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Quick Draw McGraw – "Chopping Spree"

10 Dec

Here’s a real funny Quick Draw short written by Mike Maltese. As much as love early Hanna-Barbera, not very many make me laugh out loud. This one is an exception. The villian kind reminds me of Wilbur Cobb from Ren and Stimpy. Of course Cobb’s design is much funnier. For all things H-B be sure to go to Yowp’s blog. It’s the ginchiest. For some reason the sound goes out of sync towards the end. I’ve uploaded it twice and it keeps doing it. I guess when it gets re-encoded something goes wrong. Oh well.

Uploaded by klangley

Art Lozzi

17 Mar

I was watching some Yogi shorts last week that Art Lozzi had painted backgrounds for and noticed that even though different layout artists, Tony Rivera and Ernest Nordli, worked on the shorts the backgrounds were very similar in design. Below are some examples. This got me wondering how much leeway the background artist had when painting the backgrounds. I asked Art this very question and he was kind enough (as always) to respond. Here’ what Art had to say.

Hey Kevin,

Great hearing from you, nice to close the gap.
It’s a steady amazement to me that you, John K and others are still interested in backgrounds that I painted more than 45 years ago. Yes, I recognize the ones you attached, and swift memories shot by. I’ll try to explain the routine.
Keep in mind that Hanna and Barbera was still a new company then. There were the old-timers from MGM who worked very close to eachother and followed strict patterns: layouts, and then backgrounds (usually Bob Gentle and what’s-her-name who married Ollie Hanson, -Vera Ohman). The style was established and classic and Monte went in a gave them a hand occasionally.
At the new H-B studio there was not enough time to draw and redraw the layouts. They were being done fast, and by a lot of guys, to get it all done in time. It was a grind. I liked it because we -Monte and I- were given a wide leeway as to style. This is where I began using and developing my own. ..esp with the Flintstones, etc.
I still like the Yogi ones you sent me. Thanks.

Here in Greece, they don’t show the HB cartoons. I have seen only about a dozen since I’ve lived here. They don’t even know who Yogi Bear is. So I’ve been totally out of the picture and in the dark.
The answer to your question is Yes, I was able to exert more control -practically total- over the backgrounds, etc. The layout guys did not establish or instist on a particular style. They more or less sketched what had to be shown… fast, fast, fast… and left the rest up to us. Thank God for Ed Benedict however, who set the first Flintstones styles. Me, I stuck to it more or less. Great stuff, and great person. But the colors and painting techniques were mine.

Also, here’s one of the shorts I was watching, “A Wooin’ Bruin”.

Harvey Eisenberg – Foxy Fagan

30 Sep

Here’s some scans from Foxy Fagan #7 by Joe Barbera and Harvey Eisenberg. Every panel is perfectly drawn. Enjoy!

Pixie and Dixie – "Puppet Pals" (w/ music IDs)

16 Jul

I’ve always had a soft spot for the Huckleberry Hound show even in spite of the drop in the animation quality compared to what most of these guys were doing at MGM. Though this one has some better poses in it than others thanks to Michael Lah’s layouts. Also, I’ve included IDs for the music cues used in this short, though it’s mostly a few different ones reused over and over. I’m super nerdy when it comes to those old music cues. I spend way too much time listening to that stuff. “Puppet Pals” mostly uses cues from Jack Shaindlin, my favorite of all the stock music composers, and a couple of Loose/Seely cues. There is one cue that I’m not familiar with, I haven’t come across it anywhere, and I have loads of this stuff. If anyone knows please feel free to share. I’m sure there’s only a couple of other people out there that give a shit about this sort of thing. I’ll move onto some Gumby cues next time.

Uploaded by klangley

Officer Mutt Comics

17 Jun

I recently got a hold of issue number 5 of Red Rabbit Comics. I’m assuming like Foxy Fagan, this is also a collaboration between Harvey Eisenberg and Joe Barbera. Most of the star characters are directly or indirectly taken from MGM characters. King Looey the Lion is basically the lion from “Jerry And The Lion”, Slapsy Squirrel is Screwy Squirrel with pants, and Officer Mutt is just Officer Pooch revisited from the Hanna-Barbera cartoon of the same name.

The comic is in awful shape and was literally falling to pieces as I read it so I made sure to scan the whole thing before it completely disintegrates. The artwork is fantastic so I’ll be sure to post the whole thing in a few different posts. Though maybe not the covers, as there’s not much left of them. Luckily the rest of comic is in better shape.

Bill Hanna – "Saturday Evening Puss"

5 Sep

This scene below from “Saturday Evening Puss” is one of my favorite musical moments from Tom and Jerry. I think Bill Hanna had a great sense of timing, and not just for musical numbers. Though I do think he was greatly influenced by those he worked with. Early in his career as director the timing of his cartoons is very similar to a Rudy Ising short. When Tex Avery started at MGM Hanna-Barbera’s cartoons really started to pick up the pace much like Tex’s shorts. Here’s a couple of paragraphs from Bill Hanna’s biography on timing:

Timing a cartoon is a partly mathematical and partly intuitive process. In studying the markings indicated on the metronome, I was able to determine that when the metronome clicked at a rate of 144 beats per minute, every beat represented ten frames of film. Using the index of twenty-four frames a second in animation movement, I figured that a twelve beat was half of that, so every time it clicked it would be twelve frames. Using that multiple I marked on my metronome for a ten beat, twelve beat, fourteen beat, sixteen beat, and so on to setting the tempo of, for example, a character’s walk by coordinating the action in frames to the beat of the metronome.

Such an axiom was fine for some things. In others, such as timing the facial reaction of a character, a double take, or some other comedic or dramatic bit of action, you just had to rely on your intuitive sense of timing and know how long you wanted to hold that look on their face, or other bit of business the action calls for. Then it becomes something that is felt more than precisely measured. You see it, you feel it, and somehow you just know if it is right or wrong.

Texas Tom Layouts

15 Mar

Here’s some layouts from “Texas Tom”. I would love to see a book similar to Patrick Brion’s “Tex Avery:Les Dessins”, that was just loaded with Tom and Jerry layouts and model sheets.