Author Archive

Wednesday, January 26th, 2011

Biography: Milt Stein

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Birth/Death

Birth: March 15, 1921
Death: July 1977

Occupation/Title

Bio Summary

Milt Stein lived in New York for much of his life. It is unknown exactly when he started up a family, but he did so, in between working as both an animator at various studios (Fleischer Studios was one of his earliest), and working on numerous comics. After 1976, Milt was in bad health, unable to take care of himself, and tasked with taking care of both his family and his older, brain defective brother. Milt committed suicide in 1977, possibly because he could no longer take the pressure anymore.

Early Life/Family

Not much in the way of information about this. It is known that he had a family of his own, and had to take care of his older brother in his later years.

Education/Training

Not much information here as well. A lot of his later training comes from the vast amount of work he had done in various animations and on numerous comic books.

Career Outline

Milt worked at Terrytoons on and off, largely between 1941-1943. He spent a good deal of time drawing up comics for Fago’s Shop in the early 1940’s for Timely. Delving further into animation, he “worked as an assistant animator at Fleischer’s in 1943. He continued doing comics for several different comic book companies during this period, up until around the mid 1950’s. Milt was tasked with drawing features for Better Publications, such as ‘Bonny Bunny,’ ‘Coo Coo,’ ‘Goofy Comics,’ ‘Phineas the Parrot,’ Supermouse,’ ‘Tommy Turtle’ and many others. He was also a regular for Quality Comics, drawing up comics such as ‘Flatfoot Burns,’ ‘Poison Ivy,’ and ‘Inkie.’ Milt worked with several other companies, including Victory Comics on ‘Jing Pals,’ Trojan Comics on ‘Jingle Dingle,’ Marvel with ‘Silly Seal,’ ‘Ziggy Piggy,’ and ‘Wally Wolf,’ Fawcett on ‘Snortville Sneeze,’ ACG on ‘Buddy Bear,’ ‘Pat the Potato Bug,’ and Ace Periodicals on “Marmaduke Monk.’ As the 1960’s rolled around, Milt went back to animation, and worked on ‘Batfink’ for Hal Seeger, as well as ‘Return to Oz’ for Rankin-Bass.” In the late ‘60’s he worked on ‘Bowl Brummel,’ and in the mid 1970’s, ‘Tubby the Tuba,’ which was ill-fated.

Comments On Style

Milt Stein, much like many other artists, starts off with crude work. However, it was clear he was working hard on what he did. Years later, he developed the “rubber hose” style to great extents. His experience and hard work paid off, because his style came together around the period he was working on the ‘Coo Coo’ comics. He developed a more illustrational style in the late 1940’s, likely due to the large amounts of comics he had been drawing. This provided for “nicely composed landscapes, accurate use of perspective, and energetic posing.” His work in this period is considered streamlined and simplified, and managed to avoid the angularity of a lot of the “modern” styles of the time. Milt is compared to being as good as Harvey Eisenberg in this stage of his career. At Terrytoons, Milt expressively animated the girl mouse puppet in ‘Down with Cats,’ in the early 1940’s. A common sentiment is that Milt was a neglected artist, even though he was skilled.

Influences

Little is known about Milt’s influences in his younger years, but as he began to bud and grow in ability, he might have been influenced by Harvey Eisenberg, as their abilities are comparable at that period in time.

Personality

Not much information exists on this as well, but he was known to be a soft-spoken, gentle man.

Anecdotes

Supermouse’ predates ‘Mighty Mouse,’ with Milt working on both. ‘Supermouse’ was changed to ‘Mighty Mouse’ after only the first cartoon. Given that Milt was working for both companies, it is possible that he was involved in some corporate espionage. The truth may never be known, due to Milt committing suicide.

Miscellaneous

Filmography

‘Return to Oz,’ for TV, 1964; ‘Bowl Brummel,’ for TV, 1967; ‘Tubby the Tuba,’ 1975.

Honors

Related Links

lambiek.net/artists/s/stein_milt.html
portulentpalaver.blogspot.com/2007/01/milton-stein.html
http://www.comicartville.com/vincefagopg2.htm
http://www.animationarchive.org/2006/04/media-milt-steins-supermouse-comics-no.html
http://mayersononanimation.blogspot.com/2006/06/30-years-ago-today_07.html

Bibliographic References

BIO-AAA-354

Contributors To This Listing

Chris Silbe
Logan Swift
Tom Sito
Michael Sporn

To make additions or corrections to this listing, please click on COMMENTS below…

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Saturday, January 22nd, 2011

Instruction Jump Page

Instruction

In the “golden age” of animation, there were no animation schools. Artists trained to be artists, and then worked their way up through an apprenticeship system at the studios. An experienced animator would train an assistant to help him with his scenes, and after a few years, the assistant would advance to being an animator and train his own assistant. Today, this system no longer exists. Few animators work at a single studio for more than a couple of years, and training up staff is not a priority. How does a modern day animator learn the craft?

Self study.

The animators of the golden age are dead and gone now, but that doesn’t mean that you can’t learn from them. The work they left behind contains all the information you need to become a first class animator yourself. Animation Resources has gathered together the best references for self-study you will ever find. Ralph Bakshi described it once as “A Masters Degree in cartooning at your fingertips”. Print this material out. Work with it. Practice and study it. And you too can become a Master Animator.


Preston Blair’s Animation Drawing Course

Preston Blairs Advanced AnimationPreston Blairs Advanced AnimationAnimation Resources is conducting an online drawing course teaching the fundamental principles of drawing for animation. It’s based on Preston Blair’s classic book, “Advanced Animation”. Over the next year or so, we will be working over the internet with a group of students who want to sharpen their skills and learn to draw constructively. This is NOT a course in learning to draw in the 1940s style. It is designed to teach you step-by-step how to master the basic principles of drawing and posing characters for animation. These principles apply to all forms of cartooning, not just “funny animal style”.

If you would like to participate, follow our lessons as they are posted and send in your work for critique. As the group of students following this online course progresses, we’ll be introducing more advanced lessons. Each lesson builds on things you learned in previous lessons, so don’t skip ahead. Follow the instructions carefully. We ask that students who benefit from the valuable information in these lessons consider becoming members of Animation Resources. From time to time, we will be referring to materials on the Members Only download page, so to get the most out of this course, you should join our organization. Support the people that are helping you grow as an artist. JOIN NOW! https://animationresources.org/membership/levels/

Animation Drawing Course Lessons


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


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Thursday, January 20th, 2011

Theory Jump Page

Theory

Bad artists always admire each other’s work. They call it being large-minded and free from prejudice. But a truly great artist cannot conceive of life being shown, or beauty fashioned, under any conditions other than those that he has selected. –Oscar Wilde

Sometimes there are no right or wrong answers- only ideas. One of the things I have always enjoyed most about working with great artists is the opportunity to discuss creative issues without being afraid of offending or saying the wrong thing. Intellectual freedom allows that as long as an argument is well supported, it is a valid opinion. If the criteria for judging are well defined and the arguments sound, diametrically opposed opinions can be equally valid. This sort of open dialogue illuminates a subject from more than one angle and is rare in these polarized times, but strangely, among cartoonists it is still alive and well.

Over the past several years, I’ve occasionally been moved to present articles which express a personal opinion. If I’ve done a good job of it, perhaps my arguments are persuasive, but feel free to disagree. Even if you disagree with me, hopefully you’ll gain some sort of insight on the subject that you might not have otherwise.



FEATURED EXHIBIT

Music ExhibitMusic ExhibitAdventures 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. Adventures in Music explores the wide world of music with an eye to revealing the relationships between music and creativity.


THEORY


INBETWEENS ARTICLES


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