Archive for the ‘jump page’ Category

Friday, September 16th, 2011

Exhibit: Eugene Zimmerman Jump Page

The Zim Book on Cartooning

Eugene Zim ZimmermanEugene Zim ZimmermanEugene “Zim” Zimmerman was born in 1862 in Switzerland, and his family emigrated to the United States when he was seven. As a poor immigrant, Zim witnessed the “melting pot” of American culture first hand. His depictions of ethnic minorities were pointed, but honest and well observed. Although he is pretty much forgotten today, he was very well known in his time, and his humor captured the essence of turn-of-the-century America.

Zim was the founder of the so-called “Grotesque” school of caricature, and was one of the first caricaturist to incorporate exaggerated cartooniness not only in the faces of his subjects, but in the bodies as well. Zim worked for Puck and Judge, the two top humor magazines of their day.

Zim Book

Zim was a prolific artist, with more than 40,000 illustrations published in his lifetime. He retired from Judge in 1897 and founded the American Association of Cartoonists and Caricaturists. He was also a writer and teacher. His columns ran in Cartoons magazine during the early years of the century, as did ads for his landmark correspondence course in cartooning.

For more biographical information on Zim, see the Animation Resources biographical entry… Eugene "Zim" Zimmerman




ZIM: ONLINE EXHIBIT



Zim Cartoon Course

Zim BookZim Book

For the first time in nearly a century, Eugene "Zim" Zimmerman’s legendary 1914 cartooning course is available again in a deluxe two-volume edition published by the ASIFA-Hollywood Animation Archive. Lavishly illustrated with nearly 1,000 B&W illustrations and 22 hand-tipped color plates, this landmark course deserves a place on every cartoonist’s bookshelf.

Zim BookZim BookEdited by Stephen Worth and with a foreword by Ralph Bakshi, these books cover a broad range of subjects, from practical advice for aspiring artists to philosophical musings on what it means to be a cartoonist. Zim’s infectious sense of humor and vividly observed caricatures leap off the page. This drawing course may just be the keystone document of American cartooning.

REVIEWS

Eddie Fitzgerald: Uncle Eddie’s Theory Corner

SOLD OUT

The Zim Course is currently sold out. If you would like to be notified if they become available again, email sworth@animationresources.org




Imagekind Zim GalleryImagekind Zim GalleryVISIT OUR GALLERY OF FINE ART PRINTS

Imagekind Zim GalleryImagekind Zim GalleryAnimation Resources in association with Imagekind is proud to present a collection of fine art prints representing some of Eugene Zimmerman’s best work. Produced on demand from high resolution archival scans, these prints are of sufficient quality to be printed all the way up to poster size without any image degradation. Visit the Zim Gallery at Imagekind to see all the available images.

Magazine CartoonsMagazine Cartoons

This posting is part of the online Encyclopedia of Cartooning under the subject heading, Magazine Cartoons.

Friday, September 16th, 2011

Exhibit: Adventures In Music Jump Page

Adventures in Music

Dave Brubeck

When I was a kid, I always loved the “Wonderful World of Disney” show. It seemed that every show had the word “adventure” in the title. At Disneyland, Walt built a whole land around the concept of “adventure”. Today, I hope to be able to pass along to you a little of my excitement about early to mid 20th century music. I want it to be just as much fun as shooting hippos on the jungle cruise, so let’s all call it an Adventure!

Music has been a part of cartoons since before the dawn of sound. In 1925 Max Fleischer’s Bouncing Ball cartoons were the first to be animated to a musical beat. The action was syncronized so theater organists and audiences could play and sing along with the characters on the screen. The merging of animation and music was a smash hit, and soon all cartoons were timed to music.

Adventures in Music

Music shares an indescribable magic with animation. It’s hard to describe in words exactly why certain walk cycles or pantomime gags are so wonderful. Music is a source of non-verbal delight as well. The rhythms and pacing of cartoons often mirror the construction of popular music with a statement of theme followed by variations, culminating in a restatement of the theme and a big finish. If you think about it, the best cartoons are inseparable from music.

Below are links to the entire series of posts on this topic. Feel free to jump into the comments and join in the conversation.

I’m going to start out with a classic Disney animated short that attempts to outline the families of musical instruments with an emphasis on the importance of rhythm to music. They made a sequel to it called “Melody” a year later, but they never got around to making the logical third installment, “Harmony”. Maybe someday, someone will pick up where they left off and complete the trilogy.

Here is “Toot Whistle Plunk and Boom”…


ADVENTURES IN MUSIC

This series of posts originally appeared as part of my guest blogging stint on BoingBoing.

I hope these articles inspire you to investigate new types of music and integrate what you discover into your film making. Music and animation are Siamese twins. Think of them as a team from the very start of planning your film. Adding music like wallpaper as the final step the way modern television animation is often scored is a total waste of a great opportunity.

Stephen Worth
Director
Animation Resources

Saturday, January 22nd, 2011

Instruction Jump Page

Instruction

You can go to animation school, spend a $100,000 and not learn a damn thing about the basics of good animation drawing- OR you can buy a Preston Blair book for $8 and learn it all in a couple months. You pick. If you learn the principles correctly, you will be able to draw in any style today. You’ll be miserable having to dumb down your abilities- but you will be in demand. –John Kricfalusi

How much would it be worth to you to learn to draw for animation from two masters… one from the “golden age” of animation, and one of the top talents in the industry today? Well, you can do that right here on the ASIFA-Hollywood Animation Archive Blog with our online drawing course. Overseen by Ren & Stimpy creator, John Kricfalusi and using the long out-of-print original edition of Preston Blair’s handbook on animation techniques, you can’t find a better resource for honing your drawing skills.


$100,000 Animation Drawing Course …for only $8!


A-HAA INSTRUCTION POSTS

Design For TV

Founded by Norman Rockwell in the early 1950s, Famous Artists had three courses… Painting, Illustration/Design and Cartooning. Each course consisted of 24 lessons in three oversized binders covering a wide variety of subjects. To design the courses, Rockwell brought together the top artists of the day… Albert Dorne, Stevan Dohanos, Rube Goldberg, Milton Caniff, Al Capp, Willard Mullen, Virgil Partch, and Whitney Darrow Jr, among others. The result was a correspondence course that puts many current university programs to shame. ASIFA-Hollywood has been digitizing these powerful lessons and sharing some of them with you on this website. In addition, we have provided a wealth of educational material written by top cartoonist educators like Grim Natwick and Gene Byrnes; as well as invaluable articles on art theory.


Please Note: We will be reformatting and reposting these articles as time goes by. Please bookmark this page and check back regularly to see what is available.

INDEX OF ARTICLES

Bill Nolan: Cartooning Self Taught / John K Advice and Eddie’s Boney Finger and John K on Character Design


INBETWEENS ARTICLES