Archive for the ‘ed benedict’ Category

Wednesday, July 20th, 2016

Video Store: Download A Reel Of Late 30s Theatrical Animated Commercials

Every other month, members of Animation Resources are given access to an exclusive Members Only Reference Pack. In July 2015, they were able to download this reel of early theatrical commercials. Our Reference Packs change every two months, so if you weren’t a member back then, you missed out on it. But you can still buy a copy of this great video in our E-Book and Video Store. Our downloadable DVD quality video files are specially selected from the collection of Animation Resources, and we also offer PDF e-books that are packed with high resolution images on a variety of educational subjects. If you aren’t a member yet, please consider JOINING ANIMATION RESOURCES. It’s well worth it.


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Fennell Theatrical Commercial Reel

Theatrical Commercial Reel
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Paul Fennell Studios (ca. 1938-1939)

Ed Benedict was a pioneer of using animation for advertising. In 1937, Benedict animated on a Walter Lantz cartoon sponsored by Ipana Toothpaste, and it gave him an idea. Along with Jerry Brewer, he pitched Richfield Oil with the idea of projecting animated commercials on billboards in busy downtown areas, synchronized to the flow of traffic. The project fell through, but Benedict and Brewer continued to pick up commercial work, producing promotional short subjects with musical themes for theatrical release.

In 1939, Benedict began freelancing for Cartoon Films Ltd, which was built from the studio and remaining staff of the old Ub Iwerks cartoon studio in Beverly Hills. Along with director Paul Fennell, Benedict designed and animated a series of one minute cartoons for clients like Shell Oil and Rinso Soap. These cartoons were provided to theaters at no charge, and the production of the animation was underwritten by the sponsor. However independent theaters were few and far between. Most were locked into block booking contracts, where they could only run the films supplied to them by the studio with whom they were affiliated. Cartoon Films’ animated commercials got squeezed out of the market, and Fennell and Benedict went their separate ways. In the late 1940s, Ed returned to Fennell’s studio and picked up where he left off, designing industrial films and animated commercials designed for the new medium of television.

This reel of animated commercials produced by Cartoon Films Ltd. includes films that haven’t been seen in over 75 years. We thank the family of Paul Fennell and Animation Resources Advisory Board Member Steve Stanchfield for sharing them with us.

REFPACK004: Theatrical Commercials
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M4V Video File / 16:18
344 MB Download


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Fennell Theatrical Commercial Reel
Fennell Theatrical Commercial Reel
Fennell Theatrical Commercial Reel
Fennell Theatrical Commercial Reel
Fennell Theatrical Commercial Reel


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Thursday, April 21st, 2016

Animation: John K on Flintstones Animators

Meet The Stars of the Flintstones
by John Kricfalusi (from The Flintstones laserdisc set)

Flintstones Animators

When I grew up, I used to watch "The Flintstones" in syndication every day and I began to notice that the characters would look different in each cartoon. I eventually figured out that they must have been drawn by different animators, each of whom had their own individual traits.

Flintstones Animators

Comic book nerds like me have always been able to tell the difference- say, between a Steve Ditko Spiderman and a Todd McFarlane Spiderman; but in animation, the tendency for most studios is to force all the artists to try to draw the characters the same way. This is called drawing "on model".

Flintstones Animators

Ed Benedict, who designed the Flintstones is really mad that all the animators drew the characters in their own style, or "off model". Luckily for us, Hanna-Barbera didn’t have time to have the animators learn to draw the characters before they started animating!

Flintstones Animators

I love cartoons where you can tell the animators apart. Bob Clampett’s Warner Bros. cartoons are like this. And so are the early Hanna-Barbera cartoons. The tricky part is figuring out what names belong to what drawing and animation styles! "The Flintstones" when it runs in syndication, has a stock set of credits on the end of each episode. They list four animators. And, if the names ever agree with the persons who actually animated a particular episode, it’s sheer coincidence. And get this… In the early days of Hanna-Barbera, one animator would animate a whole 25 minute cartoon by himself!

Flintstones Animators

So, this is what we’ve done for the likes of you- Henry Porch (my sound editor) and I have assembled clips of each animators’ work so you can finally figure out who’s who! I know that each and every one of you is licking your lips in anticipation as one of life’s more succulent mysteries is about to disrobe and reveal its undergarments for you. –John Kricfalusi

KEN MUSE

Ken Muse
Click on the image to see a movie of Ken Muse scenes.

Ken Muse’s style is easy to spot when you see it, but hard to describe in words. That’s why we put the clips together! An obvious trait of his is the way he draws Fred’s eye bags. The line under his eye is parallel to it. Also, he draws upside down smile lines. He generally puts less expressions and poses into his cartoons than the other animators do. He’s sort of the bland one, although some of the coolest drawings ever of the Flintstones are in "The Swimming Pool". Check out Fred driving his car in the beginning of the cartoon. Or Fred lying down and staring out the window. This is before he got used to drawing the characters and began drawing "on model". Muse worked on Tom & Jerry before Hanna and Barbera opened up their own studio.

DON PATTERSON

Don Patterson
Click on the image to see a movie of Don Patterson scenes.

Don Patterson is a very funny animator. He loves to do wacky walks and runs and goofy eye takes. He never seems to repeat expressions and actions. He custom designs his work to match what’s going on in the story. He draws the characters "off model" when they need to act. He sometimes give the characters "Smurf eyes"- the two eyeball whites joined into one. Patterson came from Walter Lantz’s studio, where he animated Woody Woodpecker and Wally Walrus and all your other favorites.

CARLO VINCI

Carlo Vinci
Click on the image to see a movie of Carlo Vinci scenes.

Carlo Vinci is the master of Flintstone. He handles him clean, smooth, without shame. Here’s how to spot him… Carlo loves drawing crooked poses with the characters’ appendages- the head, the hands, the pelvic girdle- all pointing different directions. Keep your eyes peeled for socially unacceptable (in some circles) wrist actions. He likes to flip the wrist around- have the hand up, then flip down, then twist around, fingers wiggling, taking turns sticking up- it’s truly a joy to watch.

He utilizes the butt generously. Remember the old Yogi Bear cartoons? The ones where Yogi bops up and down to bongo beats? That’s Carlo. He’s always thinking of you. In Carlo’s hands, Fred’s butt is a sensative emoting creature. He also draws quite a few meaty expressions on the characters, whereas some other animators are stingy with their expressions.

Carlo came from Terrytoons, where he animated for about 30 years. He did Gandy Goose, Mighty Mouse, Heckle and Jeckle and all your favorite New York cartoons. His specialty was singing and dancing. Hey, get this! Carlo met young Joe Barbera back in the ’30s at Terrytoons and taught him how to animate. Carlo did great stuff for Terrytoons, but I think he was made for Hanna Barbera. His animation style combined with Ed Benedict’s designs created a whole new entertainment experience. Count on Carlo to deliver a quality package to you.

Read more about Carlo Vinci

GEORGE NICHOLAS

George Nicholas
Click on the image to see a movie of George Nicholas scenes.

George Nicholas draws really well. When I was a kid I’d see his cartoons and say. "There’s the good artist." He’s the one who draws really solid, almost "pretty" designs. He’s also great with the girls. He makes them look cute and sexy. Another Nicholas trait is he likes to have the tongues flop around in his characters’ mouths. Like Carlo Vinci and Don Patterson, he custom designs new expressions and poses to fit the characters’ moods according to how they feel in the context of the story at each particular instant. This is unlike many animators, who strictly draw their expressions off the model sheets. This model sheet approach is what most cartoons use today, which is why everything looks and feels so generic now. The characters always make the same expressions, rather than act according to the situation.

Mark Kausler, the world’s greatest animator, says, "Nicholas has the richest, fullest looking dialogue animation on the early Flintstones shows. Instead of using just a straight up and down ‘head bob’ formula, he varies it by shaking the head ‘yes’ and ‘no’ to the mood of the dialogue accompanied by a shrugging gesture. He also uses a special sarcastic head rotation in perspective for some lines. He uses a unique ‘beady eyed’ expression on his characters, drawing tiny pupils in Fred’s eyes when he’s getting an idea or when he’s hypnotized by something. He draws big, fat fingers on Fred’s hands, especially in pointing gestures, like in the Frog Mouth episode."

Before Hanna-Barbera, George worked for years at Disney, where he animated for Charles “Nick” Nichols’ Pluto unit.

ED LOVE

Ed Love
Click on the image to see a movie of Ed Love scenes.

Ed Love’s most obvious trait is his real cool "upside down curly mouths". Watch when his characters talk. The mouth is also a little bit to the side. His action style is very ‘springy’. Mark Kausler says it’s because he ‘slows out’ of everything. That’s hi-falutin’ animator talk. He has a way of making limited TV animation look like full animation by the way he does his timing. It’s very smooth.

Before Hanna-Barbera, Ed had a quite varied career. His first animation job was on Disney’s first color cartoon- "Flowers and Trees". He animated Mickey getting stomped on by brooms in "Sorcerer’s Apprentice". He animated for Tex Avery in the early 40s on "Screwball Squirrel", "Red Hot Riding Hood" and other classic cartoons. From the mid to late ’40s, he worked for Walter Lantz. He animated a Woody Woodpecker cartoon, "Drooler’s Delight" completely by himself.

In the early 50s, he did commercials for Ray Patin. A really cool one was for General Mills’ Corn Kix. Ed animated the Kix Man, who is made of corn balls. He animated the Trix kids before there was a Trix Rabbit. He animated some of Hanna-Barbera’s best commercials from the late 50s and early 60s- the Kelloggs’ cereal commercials starring Huck, Yogi, Quick Draw and all your other wonderful cartoon pals.

Flintstones Animators

Recently, John Kricfalusi has been elaborating on these musings at his blog, All Kinds of Stuff. Check out these posts…

Pluto Animator Animates The Flintstones- George Nicholas
>The Flintstone Flyer- Carlo Vinci Part One
The Flintstone Flyer- Carlo Vinci
I Want You To Love Carlo Vinci
Carlo Vinci Dancing
Ed Benedict 1912-2006

Flintstones Animators

Stephen Worth
Director
Animation Resources

Monday, November 30th, 2015

REFPACK 007: Campbells Soup Commercial Reel


REFPACK 007
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November-December 2015

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Every other month, members of Animation Resources are given access to an exclusive Members Only Reference Pack. These downloadable files are high resolution e-books on a variety of educational subjects and rare cartoons from the collection of Animation Resources in DVD quality. Our current Reference Pack has just been released. If you are a member, click through the link to access the MEMBERS ONLY DOWNLOAD PAGE. If you aren’t a member yet, please JOIN ANIMATION RESOURCES. It’s well worth it.

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Campbells Soup Commercial Reel

Campbells Soup Commercial Reel
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Paul Fennell Studios (ca. mid-1950s)

We continue our series of commercial reels from the Paul Fennell Studios with another great reel of commercials from the early days of television. This batch features the Campbells Kids in a variety of themes from old West to pirates to Pilgrims. It may be a little off-putting to hear the same jingle over and over, but remember that these commercials were probably featured one at a time in a weekly television series, so original viewers wouldn’t be quite so overloaded with soup!

These commercials were directed by Paul Fennell and designed by Ed Benedict in the mid-1950s. At the end of the reel is a surprise- a full color Campbells Soup commercial that may very likely be the first color animated television commercial ever aired. The first color TV broadcast was in 1951, but the technology didn’t become prevalent until the early 1960s. Throughout the 1950s, broadcasters dabbled in color but in October of 1954, the anthology program "Ford Theater" became the first series to air in color. My educated guess is that the color Campbells commercial was produced to air with that series. These rare commercials have not been seen since they originally aired, and we thank the family of Paul Fennell for sharing them with us.

REFPACK007: Campbells Soup Commercials
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M4V Video File / 21:18
221 MB Download



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Campbells Soup Reel
Campbells Soup Reel
Campbells Soup Reel
Campbells Soup Reel
Campbells Soup Reel


MEMBERS LOGIN To Download Video

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Not A Member Yet? Want A Free Sample?

Check out this SAMPLE REFERENCE PACK! It will give you a taste of what Animation Resources members get to download every other month!

Sample RefPack