FF's 50th Anniversary!

Many moons ago, I roughed-out a sketch of the entire 'FANTASTIC FOUR' group.. I'd bought a few of the Kirby/Sinnott ESSENTIAL trade paperbacks earlier; and found them really inspirational. That vintage artist team seemed to really click, on the series. And Joe Sinnott's slick inking, really made Kirby's pencilling sing!
Realizing that my original Layout would likely require some finessing, if I wanted all of the compositional elements to work.. I thought it'd be a good idea to put each character on a seperate page. They turned out pretty good, I thought. But unfortunately, I never got 'round to adding a background. Eventually I sold them all off thru a series of eBay auctions; promoting my 2003 self-published sketchbook..

More recently, I read that the 50th Anniversary of the FF would be one of many "themes" featured in the Souvenir Program Book at this year's San Diego Comic-Con.. So, I dragged out my old FF artwork & sketched out a Background that'd work behind what'd already been done.
There were parts of the old artwork that I was never quite happy with.. So, in addition to adding a background, I decided to "fix" stuff like Reed Richard's outstretched arm. As well as give The Thing a "new" face. Here's what I came up with:

It looks a bit odd, with some parts still missing.. But drawing all the Kirby -type machinery/gear, is always great fun.. And because I had the character placements already blocked-out, I was able to (hopefully) spot additional elements, without making the Layout overly busy & congested.. Even so, it still took a bit finagling inside Photoshop to get everything to fit properly..

The only thing I was sure of, for the Coloring stage,-- was that I wanted the back wall (with the large hole) to framed using a darker tone. Ideally, this would contrast nicely against the bright skyline..
I decided to add a colored line for the cityscape, so as to not distract too much from my Foreground details.
Here's how the Final Art turned out:

Even though I started working on this quite awhile back,-- the deadline of April 29th came up frighteningly fast. I barely got the image file sent off, just under the wire! With a bit of luck, the pic will see print at this year's biggest annual comic-book convention..
Anyways, it was a fun project. And one that I heartily recommend to any/all artists interested in self-promoting their abilities to a defined audience..
See ya!

Illustration Friday: "EQUIPMENT"..

Hello, again!

I've been meaning to begin participating in the online "Illustration Friday" experience, for quite some time now.. But for whatever reason, Life always seems to conspire against this plan. I either start my contribution too late, or get too busy to finish anything at all..
And that's part of the reason I'm so intent on participating.. Teaching myself the discipline of "getting it done..", in the same week that each new "Theme" subject is announced? A unique skill that any effective illustrator has to be able to call upon, in any given instance..

This week's subject, was: "Equipment"..

Do I go with showing a pile of Fishing or Sports equipment? Or do I go instead, with drawing a construction worker with a bunch of gear? The possibilities boggle the mind.. And I suppose that's the idea.
For my debut entry, I took the easy approach. And dug out an existing Location Design that I created a number of years ago.. It seemed appropos, as it's essentially a cartoony Laboratory, stacked to the rafters with exotic machinery & Jack Kirby -styled equipment!
Hope you'll like it..

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!