Archive for the ‘education’ Category

Wednesday, April 10th, 2024

Cartooning: Byrnes’ Complete Guide To Cartooning Part One

Cartoonists People On Paper

Footage of Milton Caniff, Hal Foster, Bud Fisher, Chic Young, Al Capp and other cartoonists at work in their studios…

"Passing Parade: People On Paper" (MGM/1945)

(Quicktime 7 / 24 megs)

REG’LAR FELLERS, LI’L ABNER, FLASH GORDON, TERRY & THE PIRATES, GAGS & GALS, STEVE CANYON… Meet The Men Behind The Comics

ByrnesByrnesToday, we began digitizing an important book… Gene Byrnes’ Complete Guide To Cartooning 1950. Marc Crisafulli and David King generously lent us a copy of this amazing collection of capsule features on all of the major cartoonists of the early 50s for digitization. It’s said that Ralph Bakshi learned to cartoon from this book.

In the coming days, I will be posting more from this book, along with a little biographical info on the featured artists. Today, the cartoonists profiled are all newspaper comic strip creators… Gene Byrnes, Jefferson Machamer, Alex Raymond, Louis Eisele, Charles Voight, Al Capp and Milton Caniff.

REG’LAR FELLERS
By Gene Byrnes

Gene Byrnes intended a career in sports, but after being laid up from a leg injury in 1911, he took to copying cartoons by Tad Dorgan and decided to take a correspondence course in cartooning. He began his career as a professional cartoonist with the help of Winsor McCay, who got him a job with the New York Telegram as a sports cartoonist around 1915. In 1917, he created his most famous strip, Reg’lar Fellers. which ran for over thirty years. He wrote several influential books on cartooning and illustration in the 40s and early 50s. He passed away in 1974.

Byrnes Complete Guide To Cartooning
Byrnes Complete Guide To Cartooning

RIP KIRBY
By Alex Raymond

Alex Raymond is best known for creating the comic strip, Flash Gordon in 1933. He was responsible for several other important strips as well, as creator or ghost artist, including Rip Kirby, Jungle Jim, Tim Tyler’s Luck and Tillie the Toiler. His strip, Secret Agent X9 was created in collaboration with Dasheill Hammett. He died in a car accident in 1956.

Byrnes Complete Guide To Cartooning
Byrnes Complete Guide To Cartooning

JEFFERSON MACHAMER

Thomas Jefferson Machamer began as a staff artist on the Kansas City Star in the early 1920s, and soon moved to New York, where he secured work with the New York Tribune. He made his name with his cartoons of pretty girls in Judge magazine in the late 1920s. In 1932, his strip, Gags & Gals debuted in the New York Mirror. He continued to be active in both newspaper cartoons and magazine illustration throughout the 40s and 50s, and passed away in 1960.

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

LOUIS EISELE

I don’t have any information on Louis Eislele. If anyone out there knows his biographical details, please post them to the comments below.

Byrnes Complete Guide To Cartooning

CHARLES VOIGHT

Charles Voight was known as a “girl specialist” with illustrations and comics in the New York World and Life magazine in the early decades of the 20th century. His strips included Petey Dink and Betty. He passed away in 1947.

Byrnes Complete Guide To Cartooning

ON THE WRITING OF CONTINUITY
By Al Capp

At the age of nine, Al Capp lost a leg in a streetcar accident. He became the youngest syndicated cartoonist in the country at age 19 with his strip, Colonel Gilfeather. He ghosted the strip Joe Palooka for Ham Fischer for a while, before striking out on his own with Li’l Abner in 1934. The strip was among the most popular of all time, entering the popular culture with Capp’s creations like "Sadie Hawkins Day", "Kickapoo Joy Juice" and "The Shmoo". Capp’s strip inspired a Broadway musical and feature film and ran until 1977. Capp died two years later.

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

DETOUR GUIDE FOR AN ARMCHAIR MARCO POLO
By Milton Caniff

Milton Caniff was born in Ohio in 1907. He took a job as a staff artist with the Associated Press in 1932, and soon inherited Al Capp’s strip Colonel Gilfeather when Capp left the syndicate. In 1934, Caniff created the comic strip he is best known for, Terry and the Pirates. The series was hugely popular throughout the war years, but Caniff didn’t own the copyright- it belonged to The Chicago Tribune/New York Daily News. He left the comic behind to create a new one, Steve Canyon, which spawned a short-lived television series and ran until Caniff’s death in 1988.

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

STUDYING THE COMICS PAGES

In this section, there are three articles on how to get fresh ideas, Byrnes goes through the newspaper analyzing the appeal of various comic strips, and Chic Young and Hal Foster are featured.

HOW TO GET IDEAS
By Dana Coty

I don’t have much information on Dana Coty (Dec. 19, 1901 – March 19, 1962) aside from the fact that he worked at Disney in the mid-30s, and was a story man at Famous Studios.

Byrnes Complete Guide To Cartooning

J. N. Darling (Ding)
on EDITORIAL IDEAS

Ding DarlingDing Darling"Ding" Darling was a Pulitzer Prize winning cartoonist for the Sioux City Journal, The Des Moines Register, the New York Herald Tribune and the New York Globe. His editorial cartoons dealing with conservation causes were a staple of the opinion sections of many papers for decades. He passed away in 1962.

Byrnes Complete Guide To Cartooning

IDEAS FOR ADVERTISING CARTOONS
By Sam Cobean

Sam CobeanSam CobeanSam Cobean was an inbetweener on Snow White, barely surviving on $16 a week, when he joined the strikers fighting for the creation of the Screen Cartoonists Guild. After returning to work when the contract was settled, Sam realized that Disney was not the place for him and took a job as a copy boy at the Washington Post. There, he developed an interest in political cartoons. During the war, he worked in a unit producing training cartoons and pamphlets along with cartoonist Charles Addams. Addams introduced him to the editor of the New Yorker, and Cobean’s cartoons appeared there for many years afterwards. In 1950, he created a book of cartoons, titled "Cobean’s Naked Eye" which was a bestseller. He died in a car accident in 1951.

Byrnes Complete Guide To Cartooning

STUDIES OF COMIC STRIPS

In this section, Gene Byrnes analyzes the style and appeal of various contemporary newspaper comics. The most interesting thing about the strips he features is the high level of draftsmanship, and the diverse variety of styles and approaches to the medium. Newpaper comics were once considered the pinnacle of cartooning… but today, they have plunged to its nadir. Comparing Prince Valiant to Drabble or Bringing Up Father to Cathy is a depressing task. It’s shameful that so great an artform has been allowed to deteriorate so far. I hope there are aspiring cartoonists out there who are willing to take up the difficult task of restoring the comics page to its rightful place in American culture again. This overview is a good place to start investigating the forgotten art of newspaper cartooning.

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

SUNDAY PAGES
Featuring Chic Young & Hal Foster

Byrnes Complete Guide To Cartooning

Chic YoungChic YoungChic Young was born in 1901 and began his career as a newspaper cartoonist in 1923. His first strip for King Features was Dumb Dora and in 1930, he created the strip, Blondie, one of the longest running newspaper comics of all time. He drew it until he passed away in 1973, and his son, Dean continues to write it to this day. Blondie was hugely successful and spawned film and TV adaptations.

Byrnes Complete Guide To Cartooning

Prince Valiant

Hal FosterHal FosterHal Foster was raised in the wilds of Halifax, Nova Scotia where he was an avid boater and outdoorsman. He dropped out of school in the ninth grade and began a course of self education studying sketching and anatomy. He set art aside to become a hunting guide and gold prospector, but at age 28, he decided to devote his life to a career in art. He received classical training at the Chicago Art Institute, the National Academy of Design and the Chicago Academy of Fine Arts. In 1927, he was contracted to do a comic strip adaptation of Edgar Rice Burroughs’ Tarzan of the Apes. 1n 1937, Foster introduced an original property, Prince Valiant, the most successful adventure strip of all time. Foster produced the strip for over 40 years, passing away in 1982.

Byrnes Complete Guide To Cartooning
Byrnes Complete Guide To Cartooning

Other artists featured in this section are Jimmy Hatlo, Otto Soglow, George McManus, Chester Gould and Frank King… all worthy of spending a few minutes Googling and reading up on.

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

The posts I present here at Animation Resources aren’t intended to be the last word on any subject, particularly one as large and multifaceted as the history of cartooning. My hope is that you use these posts as a springboard for your own investigation. Take the names and examples I present here and start searching the web for more… scour bookstores and flea markets… and expand your frame of reference beyond just what is presented here. I wish I had a source of "hot tips" like this when I was first starting out. Take advantage of this great resource we’re building.

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

Stephen Worth
Director
Animation Resources

Newspaper ComicsNewspaper Comics
This posting is part of the online Encyclopedia of Cartooning under the subject heading, Newspaper Comics.

THIS IS JUST THE TIP OF THE ICEBERG!

Animation Resources has been sharing treasures from the Animation Archive with its members for over a decade. Every other month, our members get access to a downloadable Reference Pack, full of information, inspiration and animation. The RefPacks consist of e-books jam packed with high resolution scans of great art, still framable animated films from around the world, documentaries, podcasts, seminars and MORE! The best part is that all of this material has been selected and curated by our Board of professionals to aid you in your self study. Our goal is to help you be a greater artist. Why wouldn’t you want to be a member of a group like that?

Membership comes in three levels. General Members get access to a bi-monthly Reference Pack as well as a Bonus RefPack from past offerings in the in-between months. We offer a discounted Student Membership for full time students and educators. And if you want to try out being a member, there is a Quarterly Membership that runs for three months.


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Sample RefPack

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Thursday, February 15th, 2024

Sponsor A Student Or Educator

Sponsor A Student

Building The Future Of Animation

Would you like to help build the foundation for the future of animation by supporting animation students and educators? Animation Resources would like to do that too!

If you are a member of Animation Resources, you know about the valuable educational information we provide. We want to make all of this available to students and educators who might not be able to afford a membership otherwise. So we are providing a way for you to sponsor a student or hard working instructor. For a donation of $50, we will award a free one year Student Membership in Animation Resources to a promising student, and for a $100 donation, we will provide a free one year membership in Animation Resources to both worthwhile animation student and their instructor. That is significantly less than our normal student rate. But Animation Resources is willing pitch in as well to give you a chance to share it forward with the next generation of animators.

Education Angel Program

Here is a great way for you to get the treasures of the Animation Resources archive into the hands of the people who need it the most. Thank you for your support! CLICK ON THE DONATE BUTTON BELOW…







After you donate, drop us an email at sworth@animationresources.org and let us know if you would like us to acknowledge your donation publicly. If we receive a donation without an email, we will assume you prefer to remain as an anonymous donor.

Animation Resources wants to thank Los Angeles Breakfast Club for their generous support of the Sponsor A Student program. Many students have been awarded free memberships because of their help.

Members Appreciation

For the past decade, Animation Resources has been serving artists working in the fields of animation, cartooning and illustration. Our volunteers and members have pulled together to raise the bar for our art form, and it’s time to celebrate… It’s Members Appreciation time again!

During the month of February, Animation Resources expresses our appreciation for to members with a very special Reference Pack, and we invite you to become a member too. For the next 30 days, we will be sharing reasons why you should join us. Our benefits of membership far exceed the cost of our annual dues.

Dollar Days

This year, we are trying something new to encourage new memberships. You can join for a one week trial membership for only A DOLLAR! Yes, you get access to everything our annual members get for seven days for only a buck. (Click here for the details on our Dollar Days.) What are you waiting for?

You can find out what our members get at the Member Appreciation Page. It’s easy to join. Just click on this link and you can sign up right now online…


JOIN TODAY!
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Members Appreciation Month

PayPalAnimationAnimation Resources depends on your contributions to support its projects. Even if you can’t afford to join our group right now, please click the button below to donate whatever you can afford using PayPal.


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Tuesday, October 3rd, 2023

Art Education: The Dreyfus Model

Hello everyone I’m Taber, Vice President of 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!


Right now, it’s Back To School time at Animation Resources, and for the next two weeks we will be sharing reasons why students and educators should be a member of our important project. There is no better way to feed your creativity than to be a member of Animation Resources. Every other month, we share a Reference Pack that is chock full of downloadable e-books and still framable videos designed to expand your horizons and blow your mind. It’s easy to join. Just click on this link and you can sign up right now online…


JOIN TODAY!
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FREE SAMPLES!
https://animationresources.org/join-us-sample-reference-pack/

Not Convinced Yet? 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

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