April 20th, 2016

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Cartoons: A Tail Of Two Bulldogs (Avery and Hanna Barbera)

Tom & Jerry: The Bodyguard
Avery's Bad Luck Blackie

Today John Kricfalusi posted his latest lesson in the $100,000 Drawing Course, Lesson 8: Proportions Affect Design / Proportions. In it, he discusses what makes a drawing cartoony. As an example, he compares the bulldog used in the early 40s Tom & Jerry cartoons to the one used in Tex Avery’s "Bad Luck Blackie". Please read John’s post before looking at these cartoons.

As further illustration, I’m presenting two cartoons with similar themes to you for your reference… "The Bodyguard" and "Bad Luck Blackie". The difference in approach is striking. The first cartoon is an early Tom & Jerry cartoon.

Tom & Jerry: The Bodyguard
Tom & Jerry: The Bodyguard
Tom & Jerry: The Bodyguard
Tom & Jerry: The Bodyguard

The Bodyguard (1944)
Quicktime 7 / 16.6 megs

The second cartoon is a classic Tex Avery cartoon titled "Bad Luck Blackie"…

Avery's Bad Luck Blackie
Avery's Bad Luck Blackie
Avery's Bad Luck Blackie
Avery's Bad Luck Blackie

Bad Luck Blackie (1949)
Quicktime 7 / 15.8 megs

I hope you find this useful in your studies.

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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Posted by admin @ 11:57 am

April 19th, 2016

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Art Education: The Dreyfus Model

Hello everyone I’m Taber, Director of Membership at Animation Resources. I’m going to be making a series of posts focused on the more academic side of artistic instruction and learning in general. This sort of information can be helpful to both teachers and students as you push yourself to improve and practice your discipline.

Preston Blair instruction

As a beginning artist it can often be difficult to objectively judge your own progress or the quality of your own work. Being able to place yourself in an accurate position of skillfulness can help you to recognize your past growth and current deficiencies so you can better target areas for improvement. But what if you can’t tell exactly what the differences are between your work and the work of more highly skilled artists?

The Dreyfus model focuses on work practices and approaches as a measure of skill acquisition. This can be helpful to both students and instructors as it tends to be entirely non-judgmental and easy to identify objectively. The model uses four qualities to determine work habits:

  • Recollection (non-situational or situational)
  • Recognition (decomposed or holistic)
  • Decision (analytical or intuitive)
  • Awareness (monitoring or absorbed)

These attributes stack one at a time to provide a framework for evaluation:

dreyfus_chart

(click image to enlarge)

For an accurate measurement, ask yourself these questions regarding the above attributes. Because some of these attributes can flip between a more advanced and a less advanced state, I recommend relying on the lower state. For an example if you were trying to decide if you are an intuitive decision maker, or a rational decision maker but you do both part of the time, put yourself down as rational as a rule of thumb.

  1. When you recall knowledge about the subject, is it always in a related context with other information, or is it sometimes rote memorization?
  2. While thinking about an aspect of the subject, can you clearly distinguish between relevant and irrelevant aspects of the work, or is it sometimes difficult to tell what’s important?
  3. When planning your own work, do you need to carefully and analytically lay out the steps beforehand or can you see the entire project as a whole task?
  4. When making decisions in your work, do you have to do any problem solving, or do the answers come to you intuitively, without effort most of the time?

Once you’ve answered these four questions, find the lowest tier which corresponds to your answers, even if you choose an attribute from a higher tier. Read the Needs column from the above chart and try to focus your learning on the types of practice listed in that section. Don’t cheat yourself by practicing projects which are too complex or unstructured! That sort of practice is really only for very highly skillful artists.

This system is similar to the surface to core concept illustrated by Scott McCloud in his book Understanding Comics which I highly recommend! In the book, McCloud describes how a person who is initially drawn to be a fan of an art-form must undertake a journey to the core of that medium before being able to master and thus give back to that medium.mccloud_understanding_comics

Additionally, this same artist’s journey from surface to core is echoed in much of the advice and instructional material given to artists throughout time, from Zim to Richard Williams. In essence, this is what an “old masters” approach is. This struggle is ultimately the best way to gain skill in an artistic medium, however it is difficult and it does take time.

“Nobody tells this to people who are beginners, I wish someone told me. All of us who do creative work, we get into it because we have good taste. But there is this gap. For the first couple years you make stuff, it’s just not that good. It’s trying to be good, it has potential, but it’s not. But your taste, the thing that got you into the game, is still killer. And your taste is why your work disappoints you. A lot of people never get past this phase, they quit. Most people I know who do interesting, creative work went through years of this. We know our work doesn’t have this special thing that we want it to have. We all go through this. And if you are just starting out or you are still in this phase, you gotta know its normal and the most important thing you can do is do a lot of work. Put yourself on a deadline so that every week you will finish one story. It is only by going through a volume of work that you will close that gap, and your work will be as good as your ambitions. And I took longer to figure out how to do this than anyone I’ve ever met. It’s gonna take awhile. It’s normal to take awhile. You’ve just gotta fight your way through.” -Ira Glass

I have some personal theories about the types of artistic practice activities which benefit artists the most when trying to improve aspects of their work, and I’ll be talking about that next time!

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Posted by Taber Dunipace @ 11:29 am

April 18th, 2016

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Cartooning: Byrnes’ Complete Guide To Cartooning Part Four

Earl Oliver Hurst
Thanks to Clarke Snyder for this great Hurst ad.

We continue our series of posts on Gene Byrnes’ Complete Guide To Cartooning with the section dealing with…

MAGAZINE CARTOONING
Introduction by Charles D. Rice

Byrnes Complete Guide To Cartooning

PERRY BARLOW

Perry Barlow worked along side a star-studded group of cartoonists at The New Yorker which included, among others, James Thurber, Peter Arno, Gardner Rea, Charles Addams, Whitney Darrow Jr, Sam Cobean and William Steig. From its inception, The New Yorker was, as its founding editor Harold Ross described it, "a reflection in the word and picture of metropolitan life". The images were equal with the words, and this magazine contributed greatly to the development of cartooning. Here, Barlow discusses his ideating process for a Halloween cover.

Byrnes Complete Guide To Cartooning
Byrnes Complete Guide To Cartooning

WILLIAM VON RIEGEN

Von Riegen was featured in our previous post from this book, Part Three: Sketching. His gesture drawings were greatly admired.

Byrnes Complete Guide To Cartooning

EARL OLIVER HURST

Earl Oliver Hurst

Earl Oliver Hurst has been profiled extensively at Shane Glines’ excellent Cartoon Retro site. Hurst was primarily a "pretty girl" cartoonist whose work appeared in Colliers, True and American Weekly. His ads for Jantzen are particularly popular among current cartoonists. If you would like to see more, there is a great book on Hurst at Amazon… The Art Of Earl Oliver Hurst

Byrnes Complete Guide To Cartooning
Byrnes Complete Guide To Cartooning
Byrnes Complete Guide To Cartooning
Earl Oliver Hurst
Earl Oliver Hurst

KURT STOESSEL

H. Kurt Stoessel was born in 1909 in Germany, and studied at the Art Institute of Chicago. He was an illustrator and art director for several national magazines including The Atlantic. He lived and worked in Boulder, Colorado his entire career, and passed away on this day in 1984.

Byrnes Complete Guide To Cartooning
Byrnes Complete Guide To Cartooning
Byrnes Complete Guide To Cartooning
Byrnes Complete Guide To Cartooning

FRED COOPER

You may not know the name of Fred Cooper but you certainly have seen his work. He was a letterer, poster designer, illustrator, cartoonist, writer and teacher. Leslie Cabarga describes him as the original "clip art" artist- his "big head" cartoon characters were seen in dozens of magazines of the teens and twenties, and continue to be in use to this day. For more on this influential cartoonist, see Allan Holtz’s tribute in Strippers, and Cabarga’s book The Lettering and Graphic Design of F.G. Cooper

Byrnes Complete Guide To Cartooning

GLUYAS WILLIAMS

We mentioned Gluyas Williams was one of the most prolific and influential cartoonists of the 1920s. His work appeared in The New Yorker, Colliers and Life. Robert Benchley wrote, "I believe that Williams’ drawings will be preserved for expert contemplation both as data on the manners and customs of our day, and as graceful and important examples of its art." For more great work by cartoonist Gluyas Williams, see David King’s gluyaswilliams.com

Byrnes Complete Guide To Cartooning

ROBERT OSBORN

Robert Osborn was a cartoonist whose style influenced the UPA artists greatly. He worked with John Hubley on the film, Flat Hatting. He also did a great deal of illustration for the War Department, which we will be featuring in an upcoming post.

Byrnes Complete Guide To Cartooning

BARTOLI

Bartoli’s ink drawings appeared on the covers of quite a few issues of Holiday magazine in the late 40s and 50s. I haven’t been able to find out much information about him. Perhaps someone out there knows and will post some biographic info on him to the comments below.

Byrnes Complete Guide To Cartooning
Byrnes Complete Guide To Cartooning

MICHAEL BERRY

Michael Berry contributed pretty girl cartoons to Pictorial Review, Esquire, Liberty and The New Yorker.

Magazine Illustration by Michael Berry
Magazine Illustration by Michael Berry
Magazine Illustration by Michael Berry

JOHN RUGE

John Ruge’s elegant girl drawings appeared in Colliers in the late 40s and Playboy in the early 50s. His comic about an Irish Setter named Clancy was also popular.

Magazine Illustration by John Ruge
Magazine Illustration by John Ruge

RALPH STEIN & STAN HUNT

Ralph Stein was the author of a collection of pinup girl art titled The Pinup From 1852 to Now. He wrote the Popeye newspaper comic in the 1950s, and was an avid classic car enthuiast. Stan Hunt was a regular contributor to The New Yorker. He attended the New York School of Art and apprenticed under Willard Mullin. He passed away in 2006 at the age of 77.

Magazine Illustration by Ralph Stein
Magazine Illustration by Stan Hunt

RICHARD SARGENT

Richard Sargent contributed images to Pictorial Review and The Saturday Evening Post.

Magazine Illustration by Richard Sargent
Magazine Illustration by Richard Sargent

JAN BALET

Magazine Illustration by Jan Balet
Magazine Illustration by Jan Balet
(See Lief Peng’s Flickr set for more images by Jan Balet.
)

Jan Balet was a childrens book illustrator who also did artwork for several women’s magazines.

Magazine Illustration by Jan Balet
Magazine Illustration by Jan Balet

RICHARD TAYLOR & FRANK OWEN

Richard Taylor was a cartoonist for The New Yorker and Playboy. Frank Owen was a cartoonist for The Saturday Evening Post He was the one who came up with the original story idea for the Disney’s cartoon, Morris, the Midget Moose.

Magazine Illustration by Richard Taylor and Frank Owen

THE IMPORTANCE OF CARTOONS IN ADVERTISING
By Don Herold

Magazine Illustration by Don Herold

A STUDY IN LAUGHS

Gyne Brynes Complete Guide To Cartooning
Gyne Brynes Complete Guide To Cartooning

ROY DOTY

Roy Doty

Over the past half century, Roy Doty has been a cartoonist and illustrator with over 60 children’s books to his credit. He was awarded a Reuben by the National Cartoonist Society in 2006. See RoyDoty.com to see what he’s up to lately.

Magazine Illustration by Roy Doty and Jan Balet
Magazine Illustration by Roy Doty and Jan Balet
Magazine Illustration by Roy Doty and Jan Balet

Many thanks to Marc Crisafulli and David King for sharing this great book with us.

Stephen Worth
Director
Animation Resources

Magazine CartoonsMagazine Cartoons

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

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Posted by admin @ 12:52 pm