You Can't Tell A Hero By His Size

I believe many animators are attracted to the field out of nostalgia. How else do you explain the toy collectors? The design fetishists? Worst of all, the free passes given to questionable films?

As a child I didn't watch a lot cartoons. Much television at all, honestly. Sure I saw every episode of "Gilligan's Island", but I spent much more time running around the streets playing wiffle ball, kick the can, or card games in the Donahue's back yard while listening to the radio.

There were movies, VHS tapes. My father was an early adopter (in the future, I may write about WHT, out of Womeko New Jersey). "Jason and the Argonauts" is embarrassingly central to my philosophic system.

The animation which seeped between ears came from Children's Television Workshop and commercials. The baseball games ran mostly local spots.

...I'm just a teeny little super guy

Shoot Photos

Second shoot yesterday for prospective CBS Sunday Morning series.

We'll see how this goes, editing Thursday and animating from there.

set up

Class picture

Ben Shapiro, Gail Levin, Steve Brodner, Gil Schwartz

We'll post some clips and pieces of art as it progresses.

Up With Illustration

I haven't seen "Up". Heck, I haven't seen "Wall-E" either. Or "Toy Story" for that matter. With my digestion issues, "heartwarming" is too close to "heartburn".

If glowing reviews can't get me to the theater, maybe Bob Staake's "New Yorker" illustration would.

click to enlarge

Here's the review.

Bob has done some animation work himself, having been a designer on "Dexter's Lab" and other kid shows (and apparently helped our friend Bill Plympton on his first professional film -thanks google!).

He's kind enough to allow us to post some of his sketches, showing the thought process behind this illustration.

Here's a thumbnail of what became...

this rough, and ultimately the finished piece.

variation

The differences between the above sketches are principally visceral. The dynamics are similar -in the middle of the three, the kid is closer to scale -the other two exaggerate and force perspective.

The bottom has the house at more of an angle, showing a greater lift. The top includes surrounding buildings giving both scale and strong compositional perspective.

earthbound

ABOVE: an entirely different idea

BELOW: without humans the illustration becomes still more different

adventurous

ominous (although color would fully define this picture)

action-packed, WPA dynamic

wistful

Great illustration captures the essence of a thing -a person, an idea, a film and summarizes in sharp graphic shorthand. Further still, a great illustrator tells us something about the subject we might not have known.

Nothing For Money

This video will probably be at 10 million hits by the time this posts:



Last week I got an email from a colleague trying to connect a writer with an animator. That's not even 100% accurate. Not a writer. A writer is Paul Sedaris or Suzan-Lori Parks or J. D. McClatchy; someone who makes their living crafting stories with words.

When someone seeks out free labor from filmmakers and artists they're generally hobbyists. Writing is a hobby to them, so animation much be a hobby to someone else.

The video above lampoons professionals who engage in garage sale negotiations. Deeper, it speaks to a growing lack of professionalism in media. Ten years ago an advertising producer would be ashamed to ask you to produce a pitch spot on spec. Ten years ago the advertising producer would have been in the business for over a decade and be fully educated in the costs and burdens of a production.

******

Since nothing is for nothing, we've got merchandise.

Free tote bag to the next 50 customers.



Everyone else: CLICK HERE.

McLAREN - #3

Here's the last of the McLaren monograph.

Thanks to Kristen Collins for helping by scanning this section.

The Civil Servant As Artist

Montreal 1956 -

The Animator as James Bond?

more than anything, McLaren's work was about the art of motion

not in an "illusion of life" way, but the visual pleasure of kinetics

working with dance was only natural

it would be good to see the results of his experiments applied to character animation

someday we'll crack the code of theater and animation

films to which McLaren contributed

films about McLaren

Dr. Worm

We've been getting a lot of Youtube comments on some pieces we did for KaBlam! back in the Twentieth Century.

By producing "Hockey Monkey" we had worked ourselves back into the graces of Bob Mittenthal at Nickelodeon.

They called us in to meet with John Flansburgh and John Linnell of They Might Be Giants about a similar little film. Someone had play the Hockey Monkey for them at party sparking a songwriting revelation -in Flansburgh's words "Counting! Why didn't we think of that?"

Brian and I left 1633 Broadway with a CD of "Dr. Worm."

They gave up an open assignment. Maybe the narrator was a worm, maybe he wasn't. Maybe he was a doctor, maybe he wasn't.

Whenever we're given free reign with drawn animation, we like to call up illustrators or cartoonists whose work we like but have never gotten the opportunity to animate.

For this the appropriate call was to Kaz. He worked up designs and along with Jesse Gordon we came up with a treatment.

Like the Hockey Monkey, we intended to use both live action and animation. Of course, the second time around you have to make it more complicated.

In the opening sequence, the animated Dr. Worm pops up from under a live action flier. It may seem cheesy but we had a pencil underneath shake it before he popped up to sell the integration.

The trickier shot was the pan down the pole.

The piece was shot on 16mm, hand held, so the composite was fairly time consuming as the animation had to appear as though it circled around the live action.

Here's the piece.



We filmed this around Williamsburg. It was really cold.

The boys came from LaGuardia High School, the one girl is my friend Kendra Barber who's appeared in several of our cheapo shoots, the other was a friend of Scott Dodson who was interning at The Ink Tank at the time.

The final scene was shot at Galapagos. They were complete jerks and made my life harder.

What else? Jesse Gordon is responsible for the creative direction. Tissa David did the animation. Valerie Cardon inked the vole, Matthew Salata inked mostly everything else. I think Scott may have done some too. Alex Reshanov took care of the compositing.

And In This Corner...

Saturday evening I saw "Tyson". The duration of film is a virtual monologue by the boxer. Born in New York, brought himself to the height of his profession giving credit to his mentor, traveled the world.

We all know about the tragedies of Iron Mike through the tabloids and talk shows. The film does little to temper the impression that he's a maniac, but it's not unsympathetic -ultimately painting a subtle portrait of man who may just be a scowling cartoon.


"Tyson" was followed up this week by "Milton Glaser: To Inform and Delight". This documentary is also a virtual monologue, this one presented in multiple locations with occasional guests in contrast to the starkness of the boxer bio.


Milton Glaser -also born in New York, also the height of his professional who praises his teachers, also a world traveler -smiles through the entire documentary.

And why not? The film about him may not be as polished or moving or (ironically) even as well constructed as "Tyson" but it shows nothing but happiness in his life.

The documentary presupposes that you already know a good deal of graphic design history. Not only the hegemony of "Swiss style" design of the middle 20th Century which Glaser was instrumental in breaking, but importance of Folon, the family tree of Pushpin, and the impact of New York Magazine on the entire publishing industry.

*****

One of the first commercials I "produced" (in more quotes than usual) was designed by Milton Glaser.

It was the second and third in what would ultimately be four spots for an investment firm.

This was probably 1997, at The Ink Tank. Brian was bidding the job with an ad agency we had a good relationship with. The agency producer (no longer at that company) still calls us for projects a decade later.

We were pitching the design and contracted Richard McGuire and someone who I've forgotten to create models. Everything was going along fine when Brian detected the job, as we say, was going South. He asked the agency what the deal was. The producer told us they were triple bidding (as always) and the competition was presenting Seymour Chwast. The bigwigs at the client were wowed by that.

Incidentally, Seymour Chwast designed The Ink Tank's logo

Not to be outgunned with 1960's design firepower, R. O. Blechman (our "boss") said "Well, if he's pitching with Seymour, we'll get Milton Glaser."

And so we landed the account.

The first spot was done on film. A year later, I was working primarily on "Troubles the Cat" when the second contract came in. The commercial producer was on vacation and I was eager and foolish enough to plant myself in the middle of production.

This was being painted digitally at Tape House Digital Ink and Paint (before they re-christened themselves the abhorrent "Tape House Toons", ugh "toons"). They insisted that every color be delivered on a separate cel level. This was a spot that featured no fewer than 13 characters wearing all sorts of patterns frequently on screen at the same time. And color blending? Fuggeddaboutit.

In the long run Brian and production co-ordinator Laura Kraning managed to shoe horn some sensibility into the process. I just observed slack jawed.

One spot was animated by Tissa David, the other Ed Smith. I only had glancing contact with Glaser and he was professional and courteous. It felt like he was doing the project, not so much for the money -which was good, especially the amount of work he had to do -but out of respect for his longtime colleague, R. O. Blechman. An lesson in human dynamics.

*****

Years later I had a throw down arguement with another very well known designer/illustrator over Milton's 2001 re-vistation of I (heart) NY. I (heart) NY MORE THAN EVER, with a little singed heart.

Less than a month after the World Trade Center was destroyed, I felt the slogan was trite and dishonest. You really love NY more than ever? Because of this? On top of that, the elegance of the original turned leaden, heavy-handed. No, I (heart) NY -the original- said it all. I (heart) NY 2001 was so many George Bush's throwing first pitches at Yankee Stadium. Maybe you'd feel good about it in the moment, but where did this bitterness in the pit of your stomach come from?

Blechman's illustration -dashed off right after the second tower fell -I argued was far more poignant. And far better design. It's shorthand conjured Glaser's logo, the towers themselves, and summarized our basic emotions of the event. Illustration cognosci could even recall Blechman's own "New Yorker" cover of the 70s with the World Trade Center converted to energy-saving windmills.

Moments after I poked my head into the airbrush room to update him on events,
Bob emerged with this. He then fiddled with it for hours.

"To Inform And Delight" makes one profound point: we all know Milton Glaser. We may not all have these second-hand brushes with him, and this film certainly reveals his gift as a lecturer more than a character. We know him intimately through his work which flows all through the city: Grand Union, Brooklyn Lager, I (heart) NY, even The Rubin Museum.