Another Head Turnaround..

Hello!

Where have I been, right?!.. Sorry, I'm just getting back into some regular drawing, after my cataract surgery. It's taken some time to shake all of the rust off.. But here's something I finally feel comfortable sharing:

This is another Head turnaround, that's designed to act as a kind-of model sheet for a showgirl character. I'm hoping to feature her in a short comic-book story, that I'm working on. I tried something similar a few years ago, and hit a complete dead-end. I'm confident I'll have some better luck, this time 'round..
She still looks like 3 different women here, unfortunately. But it's a first run-thru, and issues will begin to streamline themselves as I continue drawing her..

Hope to be able to show you more on this, as I get the images down on paper.. TTYLater!

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..

Deconstructing the Frazetta Female - Pt. 2

Hello, again!

Today, I thought I'd add one more drawing to the ideas presented in a previous blog posting, re: attempting to "figure out" how Frank Frazetta's comic-book women are put-together? For me, they're easily the most appealing female figures in the history of comic-books.. I can't stop looking at them!

Presented here, are a few more classic poses of some of the women that appeared in Frazetta's 50's-era comic artwork. I set them up on a line, so that I could work towards building a formal Turnaround -type model sheet..
I compared them to my prior attempts.. And the proportions stack up fairly consistently with them. And while I have no knowledge of Frazetta's familiarity with the Andrew Loomis instructional drawing books,-- I was surprised to find that (for the most part) the proportions match-up rather closely to those, as well.

Granted, the Frazetta women tend to be a little fleshier. I think I detected that Frazetta draws the breast-line a tad higher. His women are also a little more "hips-y".. And definitely feature a little more exaggeration in the Derriere department!

Tony Curtis, R.I.P.

I heard this morning that Tony Curtis passed away, at the age of 85.. I had no idea that he was already that old. He's one of those actors that seemed eternally young..
Many years ago,-- I had the idea of casting Tony Curtis in a 50's-style teen romance comic. I did a few model sheet drawings of him. And even got as far as doing some story breakdowns too, before my interest level completely slipped away.
Anyways, I thought it'd be a good excuse for a blog Post..

Tony Curtis was by no means a favorite actor of mine. But he's a personality that I associate with what might be called the "Golden Age" of Hollywood, I guess? The old-school glamour thang..When he married actress Janet Leigh, it was a pretty big deal. And I guess they became one of Filmdom's power couples, for a short time? Later on, he just got kitschy..
It's easy to dismiss a lot of his acting work. Because of his looks, he got offered a lot of lightweight roles. And appeared in straight-out fluff, like: 'Some Like It Hot' or 'Operation Petticoat'..
As early as '53, he self-produced a biopic on Harry Houdini; which is a guilty pleasure of mine. But he made an equal number of other brave choices as an actor, which also deserve mention.. I think 'The Defiant Ones' is certainly a standout. But the role that I will always associate with him the most, is his stellar performance as "Sidney Falco" in 1957's 'The Sweet Smell Of Success'!
He cleverly uses his trademark good-looks to portray a real manipulative slimeball of a P.R. man, continually sucking up to Burt Lancaster's "J.J. Hunsecker" character. That film is completely brilliant, in every way!

Okay,-- not Tony Curtis, granted.. But when I was unearthing the old artwork files, I also found a drawing I'd done of actress: Terry Moore. She was to be my female lead in that 50's-era romance story I mentioned. So I couldn't resist adding her to this Post, as well..

See ya!

Dennis Hopper, R.I.P.

I heard this afternoon that the actor Dennis Hopper passed away..
I don't mean to use this Blog to consistently memorialize famous people. And I doubt I'll be spending more time using this forum, to talk about Hollywood personalities.. But Dennis Hopper was very likely my own favorite, as far as actors go. So please forgive me this once, if I venture off into the "Dead Actors" category..

I can't remember the first time I saw Dennis Hopper on screen. But it was probably in some stupid Western, or something. Like most people, he didn't really make a deep impression on me.. Not 'til maybe 'Easy Rider' or David Lynch's 'Blue Velvet'. A film that made great use of his explosive intensity.. Later on, I would go back in Hopper's filmography to marvel at Curtis Harrington's amazing 'Night Tide' (1961).
Hopper always struck me as the "King Of Cool", too.. He was always a compelling interview, on the Late Night shows. Always had an interesting anecdote about someone he'd met in the past, or an experience that he'd survived to tell the rest of us about. It's amazing to me (and I'm sure others) that he even survived to the age of 74?!
I know he was mentored into Art Collecting by Vincent Price. That he hung out with James Dean, in 50's-era Hollywood. Had been married & divorced, many times over. And that he'd nearly been locked up for good into a mental institution, when his addictions became uncontrollable..

Many years ago, I toyed with the idea of using the image of Dennis Hopper (and some of his contemporaries) in a 50's-style Juvenile Delinquency comic-book story. I got about as far as working up a couple model sheets, before burning out on it.. It was to be called: "The Prophets Of Price Street"! hah With Dennis (of course) as the gang-leader; featuring a look that bore a striking similarity to his small role in 'Rebel Without A Cause'..

Here's a turnaround of his Head:

One of the most admirable things about Dennis Hopper, was his drive to produce & create. From interviews I've read with him, he was always greatly concerned with leaving behind a 'body of work'.. And to that end, he struck me as very successful!
'Blue Velvet' was critical to giving Hopper a second-chance in Hollywood. And he made the best of it.. Parlaying his popularity, into a short (but memorable) career as a film director. 'Colors' and 'The Hot Spot' come immediately to mind..
And rather than take the obvious parts in bigger-budget films,-- he also made some brave choices as an actor.. I'm thinking of his more obscure films like: 'Chattahoochee' and 'Paris Trout'?

When I saw the video of Hopper getting his star on the 'Hollywood Walk Of Fame', a few weeks back.. I knew he would not be around for very much longer. Even so, the thought that I won't see him in anymore films, makes me more than a little sad.
IMHO, he will definitely be missed!

Deconstructing the Frazetta Female - Pt. 1

Hello again, folks.. Sorry for the long delay, since the last post!

Today, I thought I'd present a couple of drawings that were an attempt to edu-ma-cate myself.. On why exactly I find the women in Frank Frazetta's comic-book work, so durn appealing?
My first guess is,-- that it has everything to do with his take on Proportions..

I'd really like to be able to (eventually) draw women like the ones Frazetta drew in his early comic-book career. So to examine things more closely, I decided to grab a few classic poses of some of the women that appeared in Frazetta's 1952 comic-strip: "JOHNNY COMET".. Set them up, along (and build) a formal Turnaround -type model sheet.. To better see how I can construct them, myself. As well as find out what precisely, makes them tick!

Here are some of my results:
It's important to remember, that I'm talking about Frazetta's comic-book work, and not his oil paintings. The women he painted in those, are probably more recognizable to fans.. And I enjoy them, too. But those Female figures, are much more fleshy & exaggerated. And for me (at least), are somewhat too caricatured, to be useful as an effective Female model for telling a story anywhere outside of a Fantasy setting..
As you can see, I kinda copped-out on the pure Profile view. But you get the general idea..

I guess my conclusions were, that despite a few unique nuances in the Legs/Hips/Waist.. The overall approach was similar in many ways to the classic versions that Andrew Loomis presents, in some of his educational drawing books.
I should add that I also referenced my very favorite Frazetta book of all time, to fill in some of the details.. The 1973 oversized Russ Cochran 'UNTAMED LOVE' book, reprinting four of Frazetta's 'Personal Love' romance stories..
It's an absolute classic collection!! And if you can still find a copy on eBay.. I'd definitely advise you to grab it!

Haughty BLONDE Hottie!

Hello!

Not much to report.. But I felt like the Blog deserved a new posting..
Here's something that I've been sketching, over the past couple of evenings:

This is my first run at a Head turnaround, that's designed to act as a kind-of model sheet for a Blonde woman character. I'm hoping to use her in a short comic-book story, I'm working on. I did it mostly, to try and figure out the landscape of her face. And to also try and come up with one consistent version of her hair..
Unfortunately, she looks a little different here, in each of the views! Oh, well..

She's supposed to look a little aloof & snobby, though.. And I'd like to think that I was a little more successful, in that particular regard? Hope so!

"DAISY": From 2D to 3D..

Luke Seerveld is one of my best-est buddies from my High School daze. Along with our other good friends: Marty Sytsma & Ed VanBeilen, we toyed with the idea of eventually creating our own Film/Media company; as a possible future business. Even going so far as to load up with equipment & make a couple of Super-8 films together..
Marty & Ed went on to other things.. And I continue to struggle to make a living as an Animation artist.. Of the four of us, only Luke has gone on to become the multimedia bigshot, that we'd all dreamed we'd be..
After attending college in the States, he moved to the suburbs of San Francisco.. And now owns & operates his own successful production company: Seerveld Media!

In October 2004, he surprised me with an e-mail.. Asking if I might help him out on a job that he was doing for a company named: Fat Box Films. They needed a Cow character designed that would serve as a computer-animated spokesperson, for a Cheese processing plant?!
Not one to turn away a job,-- I jumped at the assignment! And began sketching out a few ideas:
They had already had some previous design work done on it. But Luke (and the client) felt that the "look" was all wrong. And that their Cow needed to be: "happier, kinder, gentler.. and feminine, but without being too sexy!"
They specifically asked for something that has a: "Toy Story" or "Finding Nemo" quality.. As I wasn't sure exactly what that meant, I opted for a more traditional 40's-era Disney-esque style to it?
After feeling things out a bit.. I came up with the Turnaround that you see below.. Isometric views that would help their CG artists better engineer an effective 3D model.
I think I probably photoshop'd-out the "steaming dump" at her feet though, before sending it off. A touch that I'd only intended for my buddy Luke's personal amusement! haha
The cow was to be a simple brown Jersey, named: "DAISY". She would act as a sort of 3D "hostess" for tour groups visiting the Cheese factory; narrating live-action footage on the specifics of how their Cheese is made, etc. As shown from monitors set up throughout the processing plant's 'Visitor Center'..

Luke told me that the client was somewhat startled by my "retro" take on "DAISY".. I'd spent a fair amont of time trying to figure out things like: costuming details. Or, how I could convert her Hooves into a pair of expressive hands that might help her "act", during her video performances?
I think that the client appreciated my attempts to add a bit more sentimentality to her. But they still made a few slight adjustments to what I'd done, before they got to their Final Model..
Which looks (in appearance) closer to a Preston Blair -type cow:
Here's what "DAISY" ended up looking like, fully-modelled & with her colors added.. Nice, eh?
I was happy to see that they kept the Lipstick'd mouth and the cowbell necklace I'd played around with. But I guess I had imagined that she'd appear more as a full-standing figure; rather than a character seen only from the chest-up?
Removing the Horns was a very smart move, tho.. It immediately makes "DAISY" different from "Elsie", yet retains much of the overall feel!

A fun Conceptual Design assignment that I wish I'd get more requests for.. Any takers out there? LMK!!

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!

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!