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..

Illustration Friday: "SOAKED"..

Hello!

It's been awhile since I participated in an "Illustration Friday" .. But here is an entry for the this week's Theme: "Soaked". For whatever reason, I imagined a poor Clown being soaked by a bunch of misfit kids. Perhaps the setting is an oldtime kid's show like "Howdy Doody", where a bunch of audience members are allowed to soak "Seymour The Clown" with a bunch of different spraying devices? I dunno. Who's to say where inspiration flows from..

Here's what it ended up looking like:

I didn't bother inking or coloring this one. Not enough time, currently. And the drawing has a few probs. But on the whole, I'm fairly happy with the way it turned out. It has the Wally Wood/MAD magazine qualities that I was hoping for, at least.

Thanks, for visiting my Blog.. See ya!

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!

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!

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!