It all started on John Kricfalusi’s blog in a series of posts where he analyzes UPA’s modern graphics, comparing them to traditional character animation as practiced by Warner Bros., Walter Lantz and Terrytoons.

Michael Sporn then responded on his blog, igniting a series of comments that are, in no particular order, thought-provoking, frustrating, insightful and maddening. Whatever your opinion, it’s a fun read.

One of my guilty pleasures, when watching Paramount cartoons from the mid-1930s through the late 1940s, is admiring the incredible “Fleischer lettering” in the main titles (and occasionally in the body of the cartoon itself). I’ve never been able to identify the mystery studio calligrapher, but this person’s unique work is as much a part of the studio’s style as the animation, voices and music. This lettering style first shows up right before the Fleischer studio moves to Miami and is prevalent throughout the 1940s Famous Studios period (you can view some of this work on my Paramount Original Titles page). This individual also did the Famous Studios logo, Fleischer/Famous letterheads and in-house publications.

Graphic designer Mark Simonson has just created two new fonts based on “Fleischer lettering” and they look terrific. Coincidentally, Mark has also been working on a font resembling to my second favorite classic movie lettering: Columbia Pictures titles (most recognizable from Three Stooges shorts, Sam Katzman serials and just about everything Columbia released from the late thirties through the mid 1950s). But I digress. I’ll be ordering his Fleischer styled Snicker and Kinescope later this week.

It’s less than two months away.

Tom Spurgeon has posted a definitive guide to attending the Comic-Con on his Comics Reporter blog. It’s a must-read if you are planning to attend.

See you there.

(picture via Old Man Musings)

Good news! Harry McCracken’s blog is back.

McCracken, former editor of Animato, current editor of PC World and webmaster of Scrappyland, has promised to step up the pace of his blogging at Harry-Go-Round, which he has just redesigned.

Also check out his many fun-filled archived articles and galleries like Those Wonderful, Memorable, Never-to-be-Forgotten Animation Restaurants of Yesteryear, his virtual museum of 8mm Cartoon Home Movie Boxes, and a curious section of Mystery Art.

In all my years of watching and collecting animated cartoons, only a scant few of the shows I grew up with have eluded my review in recent years. One of those, The Beagles, has just surfaced this week on You Tube. It’s a clip of the opening — a kinescope, in black & white — but it’s all we got.

The show was Total Television’s (Underdog, Tennessee Tuxedo) final production and it aired two seasons (26 episodes) on CBS during 1966-68 (Saturday afternoons at 12:30pm). That’s Sandy Becker doing a Dean Martin impersonation for Stringer, and Allen Swift as Scotty their agent. Toontracker reports the possibilty that all the master elements are lost due to being thrown away. The show was never syndicated, and hasn’t been seen since 1968. Even though the characters are not a parody of The Beatles (as reported in numerous cartoon histories), I suspect King Features (who had the cartoon rights to The Beatles) or the Apple Corps. themselves may have had a hand in this series mysterious disappearence.

Whatever happened, thanks to Freenbean, some of my brain cells can now rest easy with the Beagles garage band theme song now restored in my memory bank.

(click for large version)

Shane Glines of the indispensable Cartoon Retro has sent over a fascinating 1935 article, titled “Hollywood’s Men of Action,” from Everyweek Magazine, a Sunday newspaper supplement. The Depression-era piece plays up the high salaries possible by working in animation.

There’s some interesting things about the article. For one, it has the only photo I’ve ever seen of Lantz animator LaVerne Harding. (I think the male animator at top is Norm Ferguson; does anybody know for sure.) Also curious, it mentions Flintstones designer Ed Benedict as one of the top Lantz animators. This was still relatively early in his career so it’s interesting that he got top billing over more experienced Lantz animators like Bill Nolan.

Of particular note is this section where Walt Disney explains why women don’t make good animators:

Ordinarily Disney keeps from 30 to 40 men in his apprentice room. The apprenticeship lasts from six months to a year.

As a rule this class is composed entirely of young men. Seldom is a girl found among them. For some inexplainable reason, women don’t make good animators. At the present time there is only one in the entire business—Verne Harding who works on Oswald at Universal.

“I don’t know why girls should be poor animators but they are,” Disney declares. “Very frequently they are better artists than men but for some reason they lack the knack of getting smooth action into their drawings.”

This quote from Walt is also amusing:

“I’ve often been told how lucky I am not to have any stars to go temperamental on me,” Disney remarks. “It’s true I never have any trouble with Mickey, the three pigs or any of my characters. But don’t ever think animators can’t be temperamental. Say, they can be just as bad as any star you ever saw.

“Occasionally one will have an off day on which he can’t draw anything worth while. Then he has to be pampered and pulled out of his slump with all the diplomacy that would be used on a star.”

The new Steven Spielberg/Michael Bay live action CG Transformers movie looks to be one of the biggest films of the summer. But if you want to know how far we’ve come in 20 years, compare the latest trailer to the Marvel Productions cartoon feature from 1986:

I’ve just discovered the blog of Enzo Avolio and am blown away by his beautiful artwork and animation design. Avolio teaches character design at Sheridan College and a brief interview with him was posted last year on CharacterDesign.blogspot.com. Nice stuff.

CONTEST OVER! I thought it was a fairly difficult question but obviously not for Brew readers. Before I could even get to my computer, over a dozen readers had responded correctly. The first two correct answers, and thus the winners, are Jennifer Klein and Joe Apel.

Of course, everybody can be a winner if they pick up a copy of The Ancient Book of Myth and War. Support some great artists and buy your copy today!

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We’ve got a good one today. We’re giving away TWO signed copies of the handsome new art book The Ancient Book of Myth and War created by four of Pixar’s most talented: Don Shank, Scott Morse, Lou Romano and Nate Wragg. All four artists will be signing each copy.

Winners will be the first two people to correctly post a response in the COMMENTS section to the following question:

Two of the book’s artists, Scott Morse and Lou Romano, have the distinction of receiving art training from which famous Warner Bros. layout artist/background designer, and what are the contemporary artists trained by this Golden Age legend collectively known as?

(Note: Folks who have already won something from Cartoon Brew in the past year or two are ineligible for this contest.)

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