Kevin Klis, R.I.P.

When you're a child, you hold to this idea that only elderly people die.. But as you get older, you realize that this isn't the case. And as I rapidly approach my own half-century mark, I've begun to lose some very dear friends! One of those, was an artist named: Kevin Klis. He passed away last month at the age of 46, after a lengthy struggle with lung cancer..

Kevin was a couple years younger than me, but we found we had many similar interests. We first met in 1983, when we both attended Sheridan College's 'Classical Animation' program.. As 1st Year students, we were assigned neighboring animation desks. So it's no surprise that we became quickly acquainted. Rather than live in Oakville, we both chose to travel to-and-from college, via the GO Train. Myself, from Scarborough. And Kev from a little further east, in Pickering/Ajax. As a result, we spent most our school days together..

Initially Kevin told me that he had little interest in animated cartoons.. He was only interested in how the program would make him a better comic-book artist. Sheridan had shut down it's own 'Cartooning' program a few years earlier, much to his chagrin..
I had pretty much forgotten about comic-books, myself. But still had fond memories of the ones I once owned as a kid. Kevin was a huge Neal Adams fan! Particularly, Adams' work on 'The BATMAN' title.. Kevin knew where all the good comic-book shops were on Queen Street West. So, when we both didn't have afternoon classes (and sometimes when we did! hah), we'd both agree to make a book shopping junket, before continuing on to Oakville.
I spent most of my money re-buying all of the old comic-books I'd once owned. In addition, we both became pretty excited by the more-adult stuff published in 'HEAVY METAL' and 'EPIC' magazine..

Through some scheduling quirk in Sheridan's 1st Year programming, students were allowed to work on a Group Film. Usually a project reserved for 2nd Year students.. Kevin and I decided that we'd try to make a short film using the characters we'd seen in 'EPIC' magazine: Arthur Suydam's 'CHOLLY & FLYTRAP'..
We came up with a contrived storyline entitled: "The Repercussion"; about 'CHOLLY' shooting a few snail characters. I can recall that Kevin did an amazing Run Cycle, that I did a BG for.. Kevin had taken the time to cel-paint these cycled drawings, using a white oil-based house paint. Shooting it all toplit under the camera, it all looked very good. But in short order, the oils began seeping out of the applied paint. And Kevin found all of his cels gummed together!
I have very little of Kevin's artwork.. But here are a few of Kev's layout sketches from that project:

That's 'CHOLLY' in the last panel, in the cockpit of his flying vehicle.. Kevin added a few tourist stickers. One, from a trip to Florida. And along the dash, ones for Hollywood and Disneyland! hah

By the time we got to our 2nd Year Group Film project, we were a little more serious about things.. Disney-style cartoony animation, wasn't really our thing. We both preferred the Fleischer 'SUPERMAN' shorts.
On top of that, we were both huge Frazetta fans.. In 1983, the animated 'FIRE AND ICE' feature made with Ralph Bakshi, came out.. And a year before that, Milius' 'CONAN' came out.. We still had Frazetta on the brain, so we decided to try and make a film about a gladiator-styled "Pit Fight"..
Kevin not only designed our "hero" character. But had the audacity to sculpt himself a small maquette to help him draw the character from multiple angles! I don't have a photo of the sculpture, but here's what Kevin's model sheet looked like:

Kevin always spent a good deal of time deciding on a character's "name".. I didn't think it was a big issue, but I could tell it was very important to him. Perhaps because his character was a bit Germanic-looking and had long blond hair, Kev settled on: "Kruger"..
I was supposed to handle scenes with our "villain". And was less-interested in what he'd be named. Perhaps that's why we never called him anything beyond: "the Brute".. My designs for "Brute" don't have Kevin's flair, but here's basically what he looked like:

We knew that the amount of work involved to get everything finished, would be gargantuan. Even so, we felt like if we could get enough of the film done to show our teachers the "potential" of our project, we'd pass the Review process at year's end. We didn't spend too much time on plot/story. But we knew the sequence of the scenes needed. And the choreography necessary, for what was essentially an animated "fight scene"..
Here's a page of Notes that I unearthed:

I couldn't find any model sheets showing the scale between these 2 characters.. But I suppose it's important to mention that "Kruger" was literally supposed to be about half the size of "Brute". We wanted to establish early on, that the cards were heavily-stacked against our hero! Kev had some great shooting ideas for playing with this sense of contrast.. Here are a few of his layout sketches:

Now somewhere along the way, our production got sidetracked with (what we concluded) was an innovative foray into "rotoscoping" technology.. Occasionally during our lunches, we'd make a trip over to a nearby Oakville mall to go shopping for toys & videos, etc. During one of these junkets, we came across some Fisher-Price Viewers that would allow you to pop in a plastic cartridge and view short animated clips from various studios. I can recall buying a couple Disney ones. I think "Clock Cleaners" was one. Another was about a "Haunted House"..
Having been an avid Super-8 filmmaker in high school, I guess my curiousity got the best of me. And I wanted to find out how the damn things worked.. So, I slowly pried one of the plastic cartridges opened. And was amazed to find that the Viewers used super-8mm clips, in a closed loop. Maybe 30 seconds worth total..
I suggested to Kevin that if we could shoot some live-action reference of each other, portraying the action we needed for our scenes.. it'd be really helpful! I already had the super-8 camera. All we needed was to build a few flimsy props & simple costumes..
Here's a rough tracing of me, from live-action. With the translated animated version of "Brute", for comparison:

Anyhoo, long-story-short.. We actually did shoot all the live-action film in a spare room at the college. And used it all for direct reference. But the time wasted on this ambitious venture, really put us behind the 8-Ball, schedule-wise. Basically, we just envisaged a grand meal that was just a little too big for our plates! But isn't that what college kids do best?.. Imagine & Dream..
While our teachers admired the scale/scope of our ideas.. There simply wasn't enough finished animation footage available to assess, for them to allow myself and Kev to graduate to 3rd Year. To our great disappointment, we both would have to repeat our 2nd Year.
Halfway thru my "repeat" year, my interest in animation was waning. I dropped out to work at a comic-book shop in Toronto. Kev continued on, and eventually graduated the program. Later on, I helped him get a job at 'Andromeda'; a comic-book distributor. Eventually, he'd return the favour and get me a Layout Test opportunity at Nelvana. Where in 1989, we both got our start in the Animation business, working on their "Beetlejuice" cartoon series!

In 1995, I began working as a Freelance artist, under my own company name. Kevin continued on at Nelvana; but would often "moonlight" doing work for the same studios I worked at. We remained good friends, though I saw him substantially less than I once did. I know he had many other friends too, as attendance at his funeral clearly attested.
Kevin was always a friendly and helpful guy. If there was a bitter side to his personality, then I never saw it. On top of that, his artwork was always top-notch and superbly executed. I've seen a lot of fellow artists "hack" out work; especially as they got older. I never saw evidence of that with Kevin. He took pride in everything he commited himself to. I will miss him, very much..

Another BURBY Baseball ALL-STAR revealed!

Hello again!

Yeah I know, it's been TOO long between Posts for me.. But a number of Freelance projects occupied my time, and kept me too busy to present anything new here..
But here's an Image that I've just completed.. It's yet another "Hall Of Fame" -type personality, in the ever-growing BURBY Baseball Card series!
This time 'round, our featured ALL-STAR player, is none other than: John Lei.. Another Animation guy, that I met (and worked with) thru the late-90's.. I think we first met at the (now defunct) 'Phoenix Animation' studios?
Unfortunately, I don't have any "Lifetime" stats recorded for John.. So, I'm going to assume that he only started playing Burby, sometime after 1996?
I can tell you that he was a solid Pitcher. And always batted somewhere in the high .300's! The important personal stats that John provided me with, are as follows: Born in Hong Kong, in November of 1970. Stands 5' 7 1⁄2" tall & weighs 142 lbs. Bats: Right and Throws: Left..

Every Card first starts out with some reference photos.. Which I shoot, as best I can. John's photos turned out a bit dark. So I had some difficulty making out the details around his eyes. But he gave me a solid hang-dog/all-business expression.. Which makes the drawing, all that much more fun to do!
I won't bore you with all of the "process" details again, re: the making of John's card. But if you click thru the "Burby" tag at the bottom of this Post.. You'll be able to follow the same techniques, which I used on Sasa Radosavcevic's artwork.
Again, the coloring is intended to mimic the old 50's-era "painted" Baseball Cards.. Slowly applying light washes of pencil crayon color, blending them carefully to build the right tones/values. I didn't take very many scans of the card as it was being put together.. But here's one, to help give you an idea of what I'm talking about:

The white shirt John had on in the reference photos, helped me map out the Red piping on the Jersey. And I altered his Black Glove to a more traditional leather color scheme. As I couldn't find any examples of Black leather gloves in any of the 1950's reference I had..
Below, is the finished Final Art:
John (and his wife Sasha) have been longtime friends of both myself & my sweetheart: Suzanne.. So, when we finally decided to get married, last April.. John and Sasha, were natural choices to act as witnesses at our Wedding. But what I only had an inkling of then, was what a great photographer John was!
We were both ecstatic when John also offered to take a series of Wedding photos of us, during/after the ceremony. Which he presented to us on a digital CD, about a week later..
I look a little "pink" in this one, but Suzanne looks fabulous here:

The game of Burby has under gone something of a resurgence here in Toronto, lately.. Mainly due to the diligence of it's organizer: Adrian Golombek. You can follow the week-to-week progress of the highly-organized 'Toronto Burby League' by clicking thru on the highlighted Link.
Me and John had a bit of a chuckle when I described the differences between their version of the game, and the version we used to play.. But I've gotta give credit where credit is due. They're definitely a highly-motivated bunch of players!

I think I've now got about 2 (possibly 3?) unfinished Cards, left to complete. The Chris York one, has literally been "half done" for quite a few years now. . At this point, it's become a real grind to finish them. But I'm so close to finishing the entire set, I almost feel I have to get 'em done!

I'll be keeping my fingers crossed, 'til that day arrives.. See ya!

Coupla HELLBOYs..

Last weekend, me & Suzanne caught a matinee of the HELLBOY sequel.. It wasn't as good as the IRON MAN movie, but a vast improvement on the first HELLBOY film. Which I only caught up with recently, on cable..
We both enjoyed Del Toro's PAN'S LABYRINTH quite a bit. So the Design work we saw in the Preview ads, really caught our eyes. You can read Suzanne's comments on the movie here, on her BLOG..

There was a time years ago, when I was quite the ravenous HELLBOY fan.. I read all the comic-books. Bought all the collected volumes, etc. Wore a HELLBOY baseball hat, everywhere I went.. A friend bought me the HELLBOY lighter, even though I don't smoke.. I even picked up one of the HELLBOY lunchboxes, 'cuz I thought it looked too cool..

While visiting the San Diego ComicCon a number of years back,-- I even bought a few pages of 'Original Art' from Mignola himself.. He was even kind enough to throw in a complimentary (and highly-collectible!) HELLBOY coffee cup, which I still drink from every morning!
I was so enamoured with the character, that I even tried "animating" a HELLBOY rotation! You can view some of my attempts at this, both here and here..
In short, I was once a total HELLBOY nerd!!!

But somewhere along the way, the character's mystique got a little flat & tired for me.. Maybe it's just that I found the stories becoming too familiar. I still enjoy Mignola's artwork.. But lately, he's got so many other artists doing the stories.. And that has zero appeal for me.

Even so, I noticed after going thru some of my own older artwork.. That I've drawn Mignola's character a remarkable number of times! Some were done to just satisfy my own curiousity. Others, were commissioned work, done at conventions, etc..
Here's one from 2004, that I did for a guy named "Otto" from Warren, Michigan.. I think I may have met him thru Jonell Napper's dandy HELLBOY messageboard..

And here's another (more elaborate) HELLBOY image, from around the same period. Maybe, a bit later? This illustration was done as an eBay Charity Auction item, that was won by a guy named "Poom" from Chicago..
The Auction was designed to help raise $ to help cover the medical costs for Rick Cortes, who had suffered a stroke, at that time.. He & I, both helped Jonell Napper early on, when she was putting together her 'www.hellboy.com' website..

Rick Cortes, is also the main guy at 'The Drawing Board' messageboard, that invited me to become a fellow Moderator.. He's got a HELLBOY 'original art' collection that makes my meagre set, look like a mere pittance. But I don't hold that against him..
He's a helluva nice guy. Who not surprisingly, answers to the name of "HellboyOne" as his DB moniker!

Well, that's all for now.. See ya around!

Andy Knight, R.I.P.

It was with genuine shock that I read of Andy Knight's recent passing (due to a fatal cerebral aneurysm), at the age of 46.. My first exposure to this news, came as a result of reading Paul Dutton's thread on the 'Animation Nation' messageboard. Frustrated that I couldn't find anything else about it, online.. I sent a quick e-mail to Amid Amidi at 'CartoonBrew' .. And he's kindly initiated a posting, that'll hopefully act as a kind of makeshift "Memorial" page..

I first heard Andy Knight's name mentioned, when I was working over at George Elliott's earlier studio: 'Pictor Entertainment'.. We'd been subcontracted by Nelvana to do Layout work on "Ned's Newt". Which was based on a terrific Animated Short, that was produced/directed by Andy.. A cartoon that was very simple in it's Design; but beautifully constructed/staged & animated.. Definitely one of the better series that Nelvana was involved with!
When my friend Jens Pindal was later hired at Andy's studio,-- I'd occasionally drop by. And would always be dazzled by the amazing artwork that they had posted in the hallways & walls, showcasing the different Animated Commercials they'd been (or were currently) working on..

In 2000, 'Cambium' chose Andy Knight's studio, to do work on episodes of "The RIPPING FRIENDS" cartoon series, that they were co-producing.. And I was hired on, as one of their Senior Layout artists. Essentially setting up Scenes, for the Posing artists I was paired with..
It was a Production that had a few bumps & bruises, along the way..
Outside of the main Pitch Pack, we had very few Design sheets to work with. And by the time Week 4 rolled along, we were still waiting on Model Sheets/Turnarounds for the 4 main characters.. So, Andy took it upon himself to create his own "Expressions" sheet.. Perhaps, only as an exercise. Or, to satisfy his own curiousity about how they might look like? I can't say.. But here's what the results looked like:
Even though it obviously wasn't Spümco, in it's "style".. I found it really interesting, nonetheless. Sadly, it's the only real example of Andy's artwork that I kept, during my stay at 'Red Rover'. I wish I'd grabbed more stuff out of their trash!
Even so, I think you can see how easily the act of "drawing" came to Andy. I watched him do a few of these.. And it just seemed so effortless to him. With a real economy to the amount of linework he needed to lay down for these!

Though the Production was a "bust" in some ways.. The joy of working at Andy's studio, prevails as a fond memory.. He was a class act, throughout. And a fun guy to be around.. I'll remember the Snooker Table lunches downstairs at 'The Charlotte Room'.. The "Beer Friday" afternoons, that turned his studio into a drunken frathouse.. The 'Bowlerama' Christmas Party, etc.. And especially all of the quality artists/friends that I worked with there, at the time.

I understand that Andy's stroke occurred, while pitching new Animated Projects in France. And that any pain he may have experienced, was (thankfully) short. My sincere condolences go out to his wife Linzi, his 3 children.. And all of the fine folks at the studio, who must now find a way to carry on at 'Red Rover' without him.. Rest in peace, Andy!

What I Did Last Summer..

Hello again!

Well, seeing as the "Will & Dewitt" cartoon is now airing episodes regularly on both YTV (Canada) & Kid's WB (United States).. I thought it'd be safe for me to post some of the BG Design work that I'd done for them?
After a particularly distasteful experience, working at 'CORE Digital' on their "Iggy Arbuckle" series.. I started looking for new work at some of the other local Toronto animation studios.. Sending out a few Resumé/Portfolio samplers, here and there. As I happened to be in the area,-- I dropped one off personally, at 'Two Presidents Productions'..
I did not know Michael Carter, previously.. But was somewhat acquainted with Alan Kennedy, the other co-owner.. I knew Alan a bit, back when he ran his previous studio: "Canuck Creations"; which was located inside the 'A Space', at the corner of Spadina/Richmond.
Thankfully, he remembered me too.. And promised he'd keep me in mind, should any new Layout or Design work arise.. And in mid-July of last year, asked if I could do some BG Design work on their new "Will & Dewitt" cartoon, for 3-4 weeks..
Well, fortunately for me.. 3-4 weeks quickly turned into a much longer 6-month stint!
And I'm happy to say that it was a very satisfying show to work on.. Not only did they allow me to work remotely, from home. And upload the finished artwork to their FTP and CAS (Client Approval System) sites.. But they allowed me to work traditionally (pencil-on-paper), too.
To my knowledge, all of the other artists were working digitally, and in-house..

The show is a very simple Flash cartoon, aimed at a preschool audience.. They're half-show episodes (2 x 11 minutes/half-hour). Featuring a boy named "Will". And his magical morphing Frog friend (named "Dewitt"); who acts as a kind of conscience/advisor/life coach, to young William..
It was directed by Paul Riley. With the Design Supervision, ably handled by Andrew Hickson..
My good buddy Dave Pietila, served as my main 'contact' during the production.. He engineered & managed the Layout/Paint/Setup system.. And kept me busy with Shot Lists to work on, for each episode..
For the most part, my role was to "fill rooms with stuff.." for the Layout crew. Who would take my drawings.. Vectorize & tweak them.. And send them over to the Painters. My layout drawings here, all feature hard pencil "holding" lines.. But if you've seen the show, then you already know that the "look" of the BG's is much softer, with a color-to-color finish on them.. Which makes the character poses stand out, a lot stronger.
The 4 layouts (above), were for an episode that took place in a Library.. As "Dewitt" morphs into a Cowboy, Spaceman, Pirate, and Dinosaur.. The bookshelves on the BG also transform into the appropriate Settings, around him.. All of these, needed to be designed upon the same Template, re: shelf positions..
More examples of "stuff" crammed into the BG drawing.. Toys, this time!
I know it looks quite crowded, as is. But much of it eventually gets changed by the Layout crew, working in-house.. Where they work their Photoshop "magic" on it.. Removing stuff they don't want. And/or shifting elements around.. My main responsibility, is to ensure that every part is drawn using the same Perspective scheme. Otherwise, things can really start to go awry!
Here's one of the last shots I did.. An episode about the importance of Ecology. And how polluting a community creek, really sucks!
If you've got small children in the house,-- I'm sure they'd find the cartoon appealing.. You can find the show's "Official Website", by clicking here! There's a Preview to watch. And (I think) a number of online Games to enjoy, too!

Modern Masters 15: Mark Schultz

Hiya Folks!

Another LONG hiatus from the ole Bloggy-wog.. Apologies, once more.
If you've been following Suzanne's blog,-- then you have probably already surmised the reasons for not posting so much.. One big (tiring!) word: "Renovation".
I did manage to find some time to purchase this week's 'JUSTICE LEAGUE: The New Frontier' 2-disc DVD release.. Watched it, and enjoyed listening to Darwyn Cooke's commentary on how he felt the whole "adaptation" thing went over, too.. Suzanne suggested I should definitely "do a Blog post" on it.. But I'm really not sure what to say about it yet. So I thought I'd go in another direction..
Actually, a LOT of great books have been coming out, lately.. Including last week's beautiful 'Alex Raymond' hardcover.. But I wanted to highlight the most recent Volume (15) in TwoMorrow's MODERN MASTERS series of trade paperbacks, featuring: Mark Schultz. I'm not a huge fan of the way this series chooses to showcase artwork. But the interviews, are generally very well done. And this one, is no exception..
Back in early Nineties, I was out of the Animation business for a brief spell.. Having totally burnt-out on doing their Layout work.. I chose to go on a self-imposed hiatus from Nelvana, where I'd been working.
I can't remember what I was doing instead, now.. Probably a bit of comic-book retail work at either 'Dragon Lady' or 'The Beguiling'..
But when I heard thru the Grapevine that Mark Schultz' 'XENOZOIC TALES' comic-book had been optioned as an Action/Adventure cartoon thru Nelvana.. I got my Portfolio back together & made a trip down to the studio, to see if I could possibly get some work as a Designer on it..
Luckily, Ted Bastien thought I'd work out okay.. And for my first-ever "Design", Ted assigned me the (daunting!) task of drawing up an Establishing Shot, featuring the cartoon's Main Location: "The City In The Sea".. A kind of crumbling cityscape that'd been retro-fitted with hydraulic tubing/cables & stone bridges.. Slightly over-run with fast-growing vines/prehistoric plants.. And with Pterodactyls, nesting in the upper echelons, etc.
Not having ever "designed" anything for Animation before.. I simply followed the models/templates, already established in Schultz' comic-book.. There were literally TONs of Location Designs that needed to be completed. Here's another example, of a Reverse View:

It was a pleasant surprise to see that Mark Schultz was quite involved firsthand, with the cartoon's production.. He had partnered up with 'Galaxy Films', to ensure that as much of his comic-book's appeal, would translate into the cartoon episodes.. Understandably, he had final-say on all 'Character Design' details.. And would occasionally send along Notes, that he felt would be helpful or interesting to us..
Here's a series of Sketches he fax'd us, featuring a character named: "Lashard".. I think we'd originally Designed him with some kind of metal skull-plate, 'cuz he'd had some kind of horrible disfiguring accident? And Mark Schultz wanted something a little more natural & subtle-looking, that still retained his hawk-ish appearance..
Here's another unpublished Pic he faxed us, that doesn't appear in the MODERN MASTERS book.. I guess he imagined ALL Canucks were Hockey-obsessed? I'm a Baseball man, myself!
Schultz actually came thru the Design studio, about mid-production.. I can't recall the exact date. But I remember that he brought writer Marv Wolfman, with him. As Wolfman was responsible for some of the Episode scripts, I think..
The brief meeting we had with him, was pretty anti-climactic.. He was congenial & polite. But the Nelvana producers couldn't wisk him thru our workspace, quickly enough.. Heaven forbid, an Artist should take time to talk to other Artists?!!
They were probably fearful that we'd soon get around to complaining about Budgets & Schedules, like we always do?.. hah

Ted Bastien knew that I was a big fan of Mark's work. And he used to tease me incessantly about how "my Hero was coming!".. Oh, brother! After he finally showed up,-- I found this devastating cartoon hanging over my Drawing Table:
Ted was good about trying to feature all of the members of our Design crew, into some of the episodes themselves.. I think Ted drew himself, as a Truck Driver. I remember that Kurt Lehner was a kid hanging off the back of an old Fire Engine. And for whatever reason,-- Ted thought that I'd make a perfect generic "MoleMan".. Featured in an episode where a Mining crew had to excavate below the foundation of "The City In The Sea"..

As you can see,-- Ted's got me in what he called my Rich Dannys "uniform".. Baseball turf shoes & my traditional "soup hat" with the letter 'R' on it! haha The other big bruiser almost looks like it was supposed to be fellow Designer: Leif Norheim.. But I don't think so.

The "Cadillacs & Dinosaurs" cartoon, was a memorable Job for me.. A fun project. And essentially, Nelvana's first real attempt at a genuine Action/Adventure cartoon. I think it worked out well, for a variety of reasons.. Not the least of which, was working with a realistic Budget & Schedule..
A year later, most of us began working on Nelvana's "Jim Lee's WildC.A.T.S." series.. Cranking out an equal number of episodes. But, on half of the same production schedule. I think it fared badly, as a result.. Oh, well.

That's all for now.. See ya!

Trips To The Fairground!

I recently finished a few more BG Layouts for the "Will & Dewitt" cartoon series, that I'm currently working on.. An episode that featured Will's Family attending their local Fair.. So, I needed to draw stuff like: Rides, Games, and Food Vendors, etc.. It seems every series I've ever worked on, has had at least ONE episode staged at a Fairground. And it got me to thinking about my own experiences at those magical places..

I dug thru the Lower Strata of my artwork archives, and uncovered a few examples of some previous "Fairground" stuff I'd drawn.. These BG Layouts/Location Designs, were completed whilst working over at George Elliott's previous studio: 'PICTOR'.. In 1997, we were contracted to do a lot of freelance Design work on MGM Animation's "All Dogs Go To Heaven" series..
This (above) is an Establishing Shot (Scene 1), from an episode in the 2nd Season.. I managed to work into my design, a tall sightseeing tower.. Which I loosely based on the old 'Bulova Clock Tower' that once existed on Toronto's old 'Canadian National Exhibition' grounds.. Or, more often referred to, as simply: "The CNE" or "The EX".

My girlfriend Suzanne, suggested that adding the "K-97" logo to it.. was a clever wink at the fact that the show was all about Dogs? I had to admit that I'm not smart enough to have made that, such a conscious creative choice! heh
Call it a happy accident, I suppose..
This Layout (above), is from the next shot (Scene 2)..
I think there was a Juggler or Street Performer doing something in the Left Foreground.. so it had to be relatively clear of obstructions.. Crowds needed to wander thru, etc. And yes, "Pasta Lou" was (in fact) spinning his pizza dough, somewhere in the Far Right..
I based the Roller Coaster (somewhat) on memories of the old, wooden "The Flyer" coaster; which also once resided at the CNE, before it (too) was dismantled & sold off somewhere.. I can still remember the familiar clack-clack-clack of the chain catching the coaster cars on each upturn pull..

I had fun adding the roof of a Haunted House into this shot (Scene 21).. The main purpose of which, was mainly to show hordes of people, clamouring down the Midway. I know that the Carousel was supposed to be animated. And possibly, even the Coaster. But for the most part, those poor Korean animators probably had their hands full, just trying to complete all those ferschliggener crowd scenes?! OUCH!!
For some reason, this shot reminds me more of the old 'Markham Fairgrounds', than the CNE.. It was another welcome Summertime diversion, each year! And I still have fond memories of riding their legendary "Zipper" ride; 'til I practically keeled over, from nausea..

This was Scene 64, which featured Itchy & Charlie (the dogs) walking forward (in perspective) at a Worm's Eye View camera angle. If you look hard, you still might see a faint Red Line, where I've indicated my Horizon Line; which is actually BELOW the surface of the cracked pavement? A visual cheat, that I commonly refer to as: "the rolling 'Beetlejuice' horizon".. 'Cuz they used to use that damn technique, ad nauseum!
The Board Panel, originally featured: "Rocketman", as the name of the roller coaster.. Being a big fan of artist: Dave Stevens.. I sneakily changed it to: "Rocketeer", based on his popular comic-book character. And even tried to incorporate some of his design details (helmet fin & eyes), into how the coaster cars might look?
I never saw the final episode on TV.. So, I can't say for sure that any of it slipped past MGM's Legal Department.. But I'd imagine it went thru, unscathed.

That's all for now.. TTY'all Later!

Nelvana monkeyshines..

My entry into the Animation business, began in '89.. I passed a test to become one of the Layout Artists on Nelvana's popular 'BEETLEJUICE' cartoon series. I continued doing Layout on crap like 'BABAR', etc. But Layout, is incredibly intensive work.. And I sooned burned-out on it.

In 1993, I heard that Nelvana might be adapting Mark Schultz' 'XENOZOIC TALES' comic-book into an animated series, entitled: "Cadillacs & Dinosaurs".. And as I'd heard that Design was a much lighter workload than Layout,-- I thought I'd apply for any positions that might still be available..
Long-story-short, I got the job.. And began working with a very small (but very talented) group of artists: Ted Bastien, Leif Norheim, Mike McKay, Kurt Lehner, Koko Maung, and Franc (Francisco) Reyes, among others..
Design, was (is) very different than Layout.. There was a lot more day-to-day kibbitzing & kvetching, than I was used to.. People had the time to throw Gag Drawings around, back-and-forth. And even though I stank at drawing them, myself.. I got quite a few, tossed in my direction. And thankfully, had the foresight to save most of them..

Ted Bastien, was our Design Supervisor.. A very talented artist, that basically showed me what Design was all about. I definitely learned a lot from him. And because our Final Artwork required very-finished linework.. I was also able to teach myself "inking", at the same time!
In hindsight, I suppose I was something of a whiner & complainer. I can get frustrated when a Production isn't running, the way I think it should. And Ted, (of course) picked up on this! Here's a couple of funny drawings that he did of me:

That's Ted, peeking around the corner.. And me, complaining about Ray (Jafelice) who was our Director on "Cads & Dinos".. I was an early fan of Dan Clowes' 'EIGHTBALL' comic-book, too. And I used to bring them into work..
Ted seemed quite taken with the David Greenberger 'Duplex Planet' 1-pagers, that appeared in that comic.. The writing of these strips, were based on the verbatim (and largely incoherent) ramblings of the Retirement Home citizenry; where Mr. Greenberger worked his Day Job.. Hence the obtuse "Run like a Goddamned Deer" comment.. heh

Another guy (who wasn't on our crew) that liked to poke fun at others, was: Dave Thomas.. Later, he turned out to be a quality Storyboard guy on shows like 'DOG CITY', etc. He always had a very dry wit & killer sense of comedic timing..
He seemed to like to draw me with a bullet Head & Body.. I guess the 1st one, was intended to be me as a "Simpsons" character? I dunno.. The color scheme makes me think so, though.

Mike McKay, was another dry wit.. Later, he would go on to be a much-in-demand Effects Designer. Which meant, a lot less Drawing for him to do. Mike is the guy that coined one of my studio nicknames: "Two Dawgs" Dannys.. All because I had the temerity to eat 2 whole hotdogs for Lunch, one afternoon?! Didn't seem like a very Big Deal, to me.. But I guess it was, to him! heh
He also also got a kick outta calling me "Dick", rather than "Rich".. Hence, the following caricature:
Ted Bastien musta liked the sound of that.. 'Cuz while we were working our way thru the "Cads & Dinos" Production schedule, he concurrently worked on his own pet project: a comic-strip, featuring different members of our studio crew.. I think that Mike McKay was a bit put-off to find out that his sole cameo in the strip, involved being portrayed as a derelict vagrant -type, that me & Ted (as the main Detective characters) ran over with our old-school Sedan? haha

The big hulking dude crashing thru the wall of Blayne's (Burnside) Variety store, is none other than Pat Rowsome.. He wasn't on our crew. And I didn't really know him, all that well. But Ted loved drawing him as a raving sociopath. And he was definitely the so-called "Villain", in his storyline..
I can recall watching a Super Bowl game at Pat's house once, with fellow friend: Rob Walton.. I dunno where Pat is, now.. I heard he got married to a girl named Sheryl.. And (I think?) may be now working in Ottawa..
Speaking of Rob Walton.. He did this killer Gag Drawing of Pat & myself, facing off against each other.. Rob liked to call it: "Clash Of The Titans", if memory serves? I found the joke a lot less funny, after Rob explained to me that I WASN'T necessarily being portrayed in Perspective, here!! heh
Even so, I think I could still give "The Pat", a run for his money..

"Clash Of The Titans" was (I believe?) inked by virtuoso artist: Goran Delic.. A Serb import to Toronto, that I didn't really get to work with fully, 'til we both began working in Design, on Jim Lee's 'WildC.A.T.S' cartoon series..
At that time (around '94, I think?), it wasn't uncommon to see me schlepping my way into work (up Atlantic Avenue), most mornings.. Wearing my usual "uniform", ably illustrated by the following Goran ink sketch:

I recall him saying: "Here you are, Reetch.. Now, you are truly a WILDcat!!" heh
Those that know me, realize that the outfit continues to be 'de rigeur'.. I still like my coffee, t-shirts, and jeans.. And though the Doctor's Bag isn't nearly as pristine as it once was.. It continues to carry all of my valued Field Guides, Layout Notes, and reams of Animation Paper.. Cintiq & Sketchbook Pro, be DAMNED!!

A little insight into some of my Nelvana Daze.. Hope you likey?
Talk to y'all laterz!

The RIPPING FRIENDS in: "Beef Rescue"!

I've been in a bit of a drawing slump, lately.. So for a new Post, I decided to just drag out an older illo & try throwing some color onto it? Here's the result:

In 2003, a local Toronto kid named "Julian" approached me at a comic-book convention.. He asked if I'd do a "Ripping Friends" commissioned Drawing for him? I said sure. But then he told me that he not only wanted the entire Foursome.. But that he wanted them geared-up in the same Spacesuits they'd worn in the "Frictor" episode?! Oh, yeah.. And also? Please include at least 1 of the cows that were in the "Ovulator" episode, as well...
Sheesh!!

Well, I always enjoy a challenge.. And fortunately, still had all of the necessary Model Sheets, too..
So, I simply invented a screwy scenario where 'Jimmy The Idiot' and the Cow, were rescuing the stranded RF team, somewhere on the Moon.. Bringing them heaping helpings of sorely-needed MEAT, to sustain their heroic strength!! heh

Hoping to post some "fresher" artwork soon, folks.. Apologies.
See yuz, later!

The Genius of HANK PORTER..

I was cruising thru sections of eBay a few nights ago.. When I came across a Seller that was auctioning off samples of 'Original Art', by Disney artist: Hank Porter.. Most of these, look to be developmental sketches.. Or perhaps, ideas that never made it Final Art.. But they're still mighty cool to look at!


After I attended Sheridan College in the early 1980's.. I spent some time working retail for 'The Dragon Lady' comic-book shop, here in Toronto.. It was then, that I first discovered Porter's work as a Designer of military insignia for various WW2 detachments. The designs would occasionally appear as full-page promos, in the older issues of 'LIFE Magazine' that we'd sell..

There was something about these Designs, that fascinated me.. Seeing familiar Funny Animals, acting in overtly aggressive ways.. These emblems seemed an ideal blending of Cartooning & Illustration disciplines. Iconic poses of animated creatures, delineated in rich colors & lush inklines!


Not long afterwards, I wrote to the Disney Archives, asking if they could help direct me to find more of this WW2 material? Their Archivist: David R. Smith wrote back a kind letter, stating that almost ALL of the Disney insignias were printed in a Stamp series once, designed to raise funds for the War Effort.. But that due to a lack of interest, little of this material has ever been republished by the Disney Company.. And he felt that there wouldn't be significant public demand, to reprint them now, etc.

Well, he must've received a few more inquiries, after mine.. Because only a few short years later (in 1992), 'Abbeville Press' published the terrific 'Disney Dons Dogtags' book! An album that I dearly love.. Yet I wish it had been more complete, too.. As it contains only a fraction of the overall artwork, actually created.


Hank Porter began running his own successful Commercial Art studio in Buffalo N.Y., in 1925. He later applied for a job at Disney, in 1936.. Where he became a valuable staff artist in their Publicity Art Department, 'til 1950.
From the very beginning of WW2, different military units began adopting divisional "mascots" as their representative insignia. And though both the 'Walter Lantz' & 'Warner Bros.' studios also contributed insignia designs,-- the lion's share of them, were still created by Hank Porter thru Disney Studios..
Porter headed up Disney's official 'Military Insignia' department.. Designing & drawing most of the emblems, himself. And supervised the work of others.. including, artist: Roy Williams. Simultaneous to this work, Porter also contributed artwork for many of the illustrated adaptations of Disney's 'SILLY SYMPHONY' cartoons; that appeared monthly in 'Good Housekeeping' magazine..

If you can still find the 'Disney Dons Dogtags' book.. I heartily recommend getting a copy!
To read (and SEE!) more about the career of Hank Porter (and others),-- I'd also direct you to visit the most-excellent David Lesjak BLOG entitled: 'Toons At War'..

See ya!