Archive for the ‘storyboard’ Category

Wednesday, June 15th, 2022

Story: Terry-Toons Storyboard by Jim Tyer

Jim Tyer Storyboard

Archive supporter, Wynn Hamonic shared a real treasure with us today. This is a complete storyboard by Terry-Toons’ most unique animator, Jim Tyer. It’s a great batch of drawings. Terry-Toons art is very scarce, and complete storyboards are even scarcer.

Around 1959 Tyer did storyboards for at least three films in the format of Paul Terry’s early Aesop’s Fables cartoons. The first one, “The Tiger King” (1960) was released, the other two were unproduced. This storyboard, titled “Blood is Thicker Than Water” is particularly interesting because it includes both finished panels and roughed out ones. This gives us a chance to examine Tyer’s working process and see how he planned out his compositions. At Terry-Toons, storyboards were done on full sheets of animation paper and attached to the wall by binder clips. You can see Carlo Vinci and Connie Rasinski pitching a board at Terry-Toons in this photo…

Terry Production Process

It appears that Tyer swept through the board quickly with blue pencil first, roughing in the basic compositions and poses. Then he (or his assistant) went back and began to tighten up the drawings in black pencil over the top of his roughs.

Jim Tyer Storyboard

The cartoon was evidently designed for fairly limited animation. It would even have worked well as an animatic in the style of the earliest Crusader Rabbit cartoons. The story is told primarily in voice over narration- see the breakdown of the VO script at the top. Tyer’s amazing expressions and fun designs make the whole thing work beautifully.

I’d like to thank Wynn Hamonic for giving Animation Resources the opportunity to digitize this important piece of Terry-Toons history for our permanent collection. Enjoy the genius of Jim Tyer!

Jim Tyer Storyboard
Jim Tyer StoryboardJim Tyer Storyboard
Jim Tyer StoryboardJim Tyer Storyboard
Jim Tyer StoryboardJim Tyer Storyboard
Jim Tyer StoryboardJim Tyer Storyboard
Jim Tyer StoryboardJim Tyer Storyboard
Jim Tyer StoryboardJim Tyer Storyboard
Jim Tyer StoryboardJim Tyer Storyboard
Jim Tyer StoryboardJim Tyer Storyboard
Jim Tyer StoryboardJim Tyer Storyboard
Jim Tyer StoryboardJim Tyer Storyboard
Jim Tyer StoryboardJim Tyer Storyboard
Jim Tyer StoryboardJim Tyer Storyboard
Jim Tyer StoryboardJim Tyer Storyboard
Jim Tyer StoryboardJim Tyer Storyboard
Jim Tyer StoryboardJim Tyer Storyboard
Jim Tyer StoryboardJim Tyer Storyboard
Jim Tyer StoryboardJim Tyer Storyboard
Jim Tyer StoryboardJim Tyer Storyboard
Jim Tyer StoryboardJim Tyer Storyboard
Jim Tyer StoryboardJim Tyer Storyboard
Jim Tyer StoryboardJim Tyer Storyboard
Jim Tyer StoryboardJim Tyer Storyboard
Jim Tyer StoryboardJim Tyer Storyboard
Jim Tyer StoryboardJim Tyer Storyboard
Jim Tyer StoryboardJim Tyer Storyboard
Jim Tyer StoryboardJim Tyer Storyboard
Jim Tyer StoryboardJim Tyer Storyboard
Jim Tyer StoryboardJim Tyer Storyboard
Jim Tyer StoryboardJim Tyer Storyboard
Jim Tyer StoryboardJim Tyer Storyboard
Jim Tyer StoryboardJim Tyer Storyboard
Jim Tyer StoryboardJim Tyer Storyboard
Jim Tyer StoryboardJim Tyer Storyboard
Jim Tyer StoryboardJim Tyer Storyboard
Jim Tyer StoryboardJim Tyer Storyboard
Jim Tyer StoryboardJim Tyer Storyboard
Jim Tyer StoryboardJim Tyer Storyboard
Jim Tyer StoryboardJim Tyer Storyboard
Jim Tyer StoryboardJim Tyer Storyboard

Stephen Worth
Animation Resources

Animated CartoonsAnimated Cartoons

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

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Thursday, April 28th, 2022

Story: Louise Zingarelli’s Cool World Storyboards

Louise ZingarelliLouise ZingarelliToday, we digitized a section of storyboard from one of the biggest disappointments in recent times, Ralph Bakshi’s Cool World. This film could be the poster child for devastating executive interference. Paramount bought a hard-R, gritty, sexy, noir horror/thriller from Bakshi and proceeded to revise it into a low-rent Roger Rabbit aimed at teenagers. By the time the film was completed, it bore little resemblence to Bakshi’s original concept. But I’m not going to talk about that sorry story today… Instead, I’m going to tell you about an artist who worked on Cool World who you might not know about, but should… Louise Zingarelli. Louise was a very good friend of mine, and I’d like to share my personal take on her along with this section of storyboard that vividly illustrates her amazing talents.

Louise Zingarelli
Louise Zingarelli

Louise Zingarelli was the toughest individual I’ve ever met… and one of the sweetest. If she loved you, man! she REALLY loved you. If she hated you, Boy! you better watch out.

"Hate" isn’t a strong enough word for what Louise felt if she didn’t like someone. She had a special word for it… SKIEVE. To skieve something was to hate it to the point of physical revulsion. Louise skieved REAL GOOD. She skieved lots of things… parking tickets, Canadian animators, dentist appointments, Jesse Jackson and even Charles Soloman.

Louise Zingarelli
Louise Zingarelli

Charles made the mistake of criticizing Louise’s scenes in The Chipmunk Adventure in the L.A. Times. He wrote that they were "heavily dependent on the crutch of rotoscoping". When she read that, Louise flew into a rage. She hollered, "There wasn’t a single frame of roto in the whole goddamn picture! I didn’t use a CRUTCH! I used my HEAD, which is more than I can say for Charles friggin’ Soloman!" Louise brewed and fumed about that article for years, and finally got her chance for revenge at Grim Natwick’s 100th birthday party. When Charles got up to speak, Louise made a noise like a leaky radiator. The Canadian animators on the other side of the room picked it up, and pretty soon she had the whole place going. Charles never knew what hit him.

Louise Zingarelli
Louise Zingarelli

Louise always reminded me of the tomboy girl in Our Gang- the one who was small, but when her big brother got picked on by the neighborhood bullies, she would roll up her sleeves and wipe the floor with them. Louise was short, but if she was coming at you with THAT look in her eye, you’d swear she was ten feet tall.

Louise Zingarelli
Louise Zingarelli

Louise hated a lot of things, but she saved special hatred for "The Business"… those words would come out of her mouth dripping in vitriol. "THE BIZZZZZZNESSSSS!" You would need a rug doctor after she said it to clean up all the slime. If Louise knew I was writing about her here in a blog read by people in "the business", she would kick my ass all the way to hell and back.

Louise Zingarelli
Louise Zingarelli

Now I don’t want to make Louise sound like an unpleasant person. On the contrary, she was one of the most thoughtful and considerate people I ever met. I spent many evenings at her house, sharing in her gracious hospitality. She made the most amazing chicken in her Weber grill, and she taught me the value of keeing a bottle of good Russian vodka in the freezer, "just in case". If Louise loved you, you never had the chance to doubt or forget it. She loved just as passionately as she hated.

Louise Zingarelli
Louise Zingarelli

Louise was a great artist. She could paint with Prismacolors like nobody else. She would build up layers of colors that glowed on the paper. Her characters had an indefinable sense of "ugly-cute"… never cloying, always real. Some animators complained, saying her character designs were unanimatable, but by the time they ended up on the screen, her unusual shapes and true to life personality gave them extra life.

Louise Zingarelli

Louise was the fastest artist I ever met. On Cool World, she single handedly laid out all the girl scenes, keying out the poses until they almost animated. Her average footage on layout was over seventy feet a week.

At Bagdasarian, we shared an office. I think I was the only person who ever survived sharing an office with Louise. One day, I gave her an incidental character to design. She sat around sipping her coffee and smoking casually. I finally asked her if she was going to get around to doing the drawing, because the deadline was looming. She said, "Here’s a good bet. Get your watch out. I’ll design this character in one minute. You take the sketch to Ross for approval. I betcha two bits he not only approves it, he says he LOVES it." "You’re on!" I said.

So looking at my watch, I called out, "Ready… set… GO!" Louise just sat there smiling at me. I said, "Time has started." She nodded and set her cigarette down… smoothed out her paper… "Twenty seconds." I called out. She sat down and set in to work on the drawing. Her pencil flew over the paper- beautiful sweeping lines, completely original shapes. She finished the character with time to spare and tore it off her pad. I took the sketch next door to Ross’ office. He was on the phone, so I left it on the corner of his desk and went back to Louise. She was smiling like a Cheshire Cat. A couple of minutes later, we heard from the other side of the wall, "FAAAABUUULOOUSS!" Louise casually raised an eyebrow and quietly said, "Pay up."

Louise Zingarelli

After Cool World wrapped, Louise moved back to her hometown of Chicago. I heard from her a couple of times, but we lost touch. I later found out that she had moved back to Laguna Niguel and was undergoing kemotherapy for cancer. She fought it as bravely as all of her other battles, and for a short time it seemed like she had licked it. But it came back hard. She was very ill at the end. For weeks she lay in a coma. She was so private about her battle, her best friends didn’t know she was gone for a month afterwards. She chose to spend her last days quietly with her cats painting at the ocean.

I owe Louise big time. She championed me when I was just starting out in animation, and she never wavered in her faith in me. She was a great friend and I miss her a lot.

Stephen Worth
Director
Animation Resources

Animated CartoonsAnimated Cartoons

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

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Friday, August 30th, 2019

RefPack029: Toby Bluth’s Storyboard Collection

Reference Pack

REFPACK 029
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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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Toby Bluth Storyboards

Toby Bluth Storyboard Collection
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Fantasia / Pinocchio (1940)

From his childhood years in Texas on through to his family’s move out to Los Angeles, Toby Bluth was enamored with the animated films of Walt Disney. Their story sense and striking visuals would inspire him to a long career in creating beautiful imagery. He went on to design and direct over one hundred stage productions; he illustrated numerous children’s books; and he worked on countless projects in animation. Some highlights include winning the Hollywood Drama-Logue Critics Award four times, and being named Disney Fine Art’s top selling artist for a number of years. He also was art director for the Disney animated films The Tigger Movie and Mickey, Donald, Goofy: The Three Musketeers.

Toby Bluth Storyboards

In his later years he would refer to the first five Disney animated features as his greatest inspirations. His intense love led to a close study of these films, and their influence can be seen in just about everything he created in his life. Even his home, with its wooden corbels and stained glass windows, were reminiscent of something out of Pinocchio.

While working as the art director on The Tigger Movie he had copies made of nearly every layout drawing from Snow White that was in the Disney Animation Research Library. Now I don’t know how crucial those were as reference for the look of this particular Winnie the Pooh feature, but Toby didn’t miss his chance to be able to study these rare treasures. He certainly had an eye for the good stuff!

Toby Bluth Storyboards

This collection of storyboards is a vivid example of the sort of reference material that inspired and influenced Toby’s art. These vintage photostats were used in the production of the films, and were among his most prized posessions. The clarity of staging and lighting in the early Disney features is something Toby always strived for in his own work. When explaining the appeal of his drawings and watercolor paintings he would refer to the importance of light and air. He would often refer to chiaroscuro, the treatment of light and dark, and its importance to his technique.

In Toby’s paintings, the highlights and shadows defined both mood and form. When he began a painting, he would always paint the atmosphere first. He would achieve this by laying in a wash to represent the shadows in a complimentary color to the source light. Next, he would glaze in the local color in layers, one after another. His pencil drawings would be also be completely rendered to show form and depth, a standard practice for the early Disney films, but not always done in later animated productions. You can see this wonderful examples of these rendered layout drawings in some of the storyboards contained in this collection.

I’m sure Toby would be happy to know his collection can now be shared with other students of fine image making, and likely for the very first time. I hope they inspire you as much as they did him! –Colby Bluth

Many thanks to the family of Toby Bluth for sharing this important collection of vintage storyboard photostats with us. This e-book is set up to be printed single sided on 11 x 17 inch paper, so you can print it out, pin it up on cork boards and break down the structure to learn how to apply the techniques to your own work.

REFPACK029: Toby Bluth Collection
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Toby Bluth StoryboardsToby Bluth StoryboardsToby Bluth StoryboardsToby Bluth StoryboardsToby Bluth Storyboards


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