Author Archive

Sunday, January 30th, 2011

Biography: Ernesto Garcia Cabral (aka “Chango”)

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Birth/Death
1890 Huatusco , Veracruz , Mexico
1968 Toluca , Mexico

Occupation/Title
Political Cartoonist, Poster Illustrator

Bio Summary
The Mexican Artist: Ernesto Garcia Cabral was nicknamed “El Chango”, which means “The Monkey” in Spanish. He was a talented Cartoonist and Poster Illustrator who became famous in Mexico during the 1940s and 50s, but was not well known for his work in the United States. His work was primarily done for Advertisement on Mexican Film Comedies. He was also greatly recognized for his unique comic art and political cartoons.

Early Life/Family
Ernesto Cabral, was the son of Vicente Garci’a and Aurelia Cabral. Ever Since Ernesto was a young child; he loved art and admired the great illustrators and artists of the time. He kept a scrapbook that included printed material about illustrators and caricaturists Arias Bernal, Paolo Garretto, Norman Rockwell. He later added clippings of his own caricatures to this scrapbook. Ernesto came from a Cape Verdian culture, and lived in a transplanted Cape Verde . This was a place that included Goats, chickens, ducks, geese and pigs, and all sort of garden vegetables. It was located in the country side, and he would take the trolley into the city. His father worked as a longshoreman, while his mother was the one taking care of the house and family.

Education/Training

  • Studied at San Carlos Art Academy in Mexico (1907)
  • Studied art in Paris just before WWI, and became well known there as a cartoonist (1910)

Career Outline
Cabral returned to Mexico in 1918 where he established himself as a top caricaturist and illustrator. His work often appeared on the covers of magazines such as the weekly “Revista de Revistas”. Much of his poster work was done during 1936-1956, which was considered the Golden Age of Mexican Cinema. During this time he drew a number of Mexican lobby Cards, which may have been what Cabral was remembered for the most. These were the similar movie posters, but smaller. They were about 11 x 14 and depicted a scene from the film.
Cabral also painted murals, one of which can be found in Toluca , Mexico.

Comments On Style
Cabral used bold colors and dynamic designs, which he combined with cartoony caricature. His caricature was much different then most other artwork at the time, and drew audiences into theaters to see films by Mexican comedians like Cantinflas, Tin Tan and Resortes.

Influences
Arias Bernal, Paolo Garretto, Norman Rockwell

Personality
Ernesto has always been a determined artist ever since he was young, and knew how to enjoy life, and loved to spend time with his parents and brother.

Anecdotes
Cabral was a great artist recognized in Mexico , and France . In the United States he has not become well known by many, and said to be, “The Greatest Cartoonist You’ve Never Heard Of”.

Miscellaneous

Filmography
Mexican Cinema Lobby Cards:

  • Las Interesadas(1952) (Illustrator)
  • Las Locuras de Tin-Tan (1953) (Illustrator)
  • Rumba Caliente (1952) (Illustrator)
  • Tres Viudas Alegres (1953) (Illustrator)
  • Que Lindo Cha Cha Cha (1955) (Illustrator
  • Soy un golfo (1955) (Illustrator)
  • Resortes Cadena de Mentiras (1955) (Illustrator)
  • El Campeon Ciclista (1956) (Illustrator)
  • Resortes hora media de balazos (1957) (Illustrator)
  • Las Carinosas (1958) (Illustrator)

Political Line Drawings:

  • Tipos Que Desaparecen (1912) (Illustrator)
  • Semidiosa Por Rafael Diaz De Leon (1914) (Illustrator)
  • El Pamoso Pintor Nacho Rosas (1915) (Illustrator)
  • Un Poeta (1915) (Illustrator)
  • Lo Que Se Vende En Los Puestos (1917) (Illustrator)
  • Le Semanadio Nacional (1919) (Illustrator)

Honors

  • Cabral was 17 when he first won a scholarship to the San Carlos Art Academy
  • By 1910 he was drawing for popular publications and two years later received a grant to study art in Paris .

    Related Links

    Rogelio Agrasanchez Jr., Collecting Mexican Film Posters . Mexican Horror Cinema, www.Santostreet.com/subpages/postercollect.htm

    Bibliographic References

    Barrow, Randy, ImpactGraphicsPosters, August 7, 2004
    www.impactgraphicsposters.com/cabral.htm

    Anonymous Writer, IMDb message board, Internet Movie Database Inc.
    http://www.imdb.com/name/nm0305573/

    Anonymus Writer, Movie memorabilia, Wikipedia.org
    http://en.wikipedia.org/wiki/Movie_memorabilia

    Fernandez , Rosa M, Archives of American Art, Smithsonian Institution
    http://www.aaa.si.edu/collections/findingaids/lamaabri.htm

    Cabral, Ernesto, Two Worlds, Cape Verde Home Page
    http://www.umassd.edu/specialPrograms/caboverde/foxpoint/twoworlds.html

    Contributors To This Listing
    Rosa M. Fernandez – Smithsonian Archives of American Art: Reference Department

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

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  • Wednesday, January 26th, 2011

    Biography: Milt Stein

    This posting is a stub. You can contribute to this entry by providing information through the comments link at the bottom of this post. Please organize your information following the main category headers below….

    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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