...will he ever win?

That's Ed Sullivan (above), the TV variety show host who first introduced The Beatles to American TV. Um, well actually it's George T., a Sullivan impersonator. I couldn't find a good picture of Ed, so this'll have to do.

Anyway, I'm a big Ed Sullivan fan. Poor Ed was the world's stiffest man. It's as if he had rigor mortis while still alive. Amazingly, he was able to use that to his advantage...on him it actually looked good!



Sullivan was the king of awkward. He never knew what to do with his arms. He was always folding and unfolding them and, when he got tired of that, he'd pull on his face or stand with his hands on his waist like Superman.

How do you like the impersonation Jerry does here (above)? The coat hanger shoulders, the "really bigs," the hands-glued-to-the-side when he walks...it's all there. How do you like the way Jerry plugs the sponsor's products?




Here (above) Jackie Mason further refines the Sullivan walk. The film begins badly, so you might want to skip the first 10 seconds. The sound's bad too, but don't let that deter you from watching. This is a brilliant parody.



Okay, one more impersonation (above), this time by Paul Terry. Do you see how the jacket rides up when he puts his hands on his waist? That's because the arm holes are cut low, so all the shoulder padding is pushed up when he lifts his arms. My "Wrinkle Jacket" does that. I did a whole YouTube video about it.

January 30, 2012 05:06 PM

Here's (above) some men's fashions that might be fun to draw. The first is from Life magazine circa 1949. Life liked this style, and so do I. Thin people look great in over-size clothes.


Here's Gerry Mulligan in profile (above), looking like he was drawn by Wally Wood.

January 28, 2012 06:32 AM

You must think I'm nuts for reposting these two videos so soon after I'd posted them before. I'm doing it because I really do have something new to say about them. They've pointed me in a new direction and I'm so happy about it that I can barely contain myself.

What I see in them is a personal style of acting that's been simmering in my head for a long time. I'm picturing how this live action style would look in animation. If I could draw it the way I act it out, then I'd have a style that would be completely my own. Isn't that what every artist prays for...a unique style?



To see what I see in this video (above) imagine the roles of the little girl and the stern schoolmaster combined in one person. I picture a little girl who obsessively acts out what other people say to her, so there's lots of opportunities for back and forth acting in the same person. I love the idea of writing for the acting, something that few animation writers do.  If you want to see what I mean, watch the video from 4:10 to 6:05.

On a different but related topic, I wonder why animation took the path it did, where animators learn general skills then apply those skills in whatever way their employer directs them. That's a good plan for most animation, but does it all have to be done that way?

Why can't I have a character that I animate particularly well, and shop him (or variants of him) around to the studios for use in their own projects? The studio would own the variant of my character that I do for them, but I could animate other variants for other studios. It's as if Clark Gable were a free agent who played many roles for many bosses, but was always recognizably Clark Gable. Does that make sense? Am I explaining it right?

I told this to John and he thought the idea was completely hair-brained, just the dumbest thing he'd ever heard. In his view having an independent artist come in would undermine the director's vision and make it difficult for other animators and designers to get on the same track. Maybe, but in my view John's putting too much emphasis on the independence of the animator. Clark Gable still took direction wherever he went, and so would my hypothetical artist.  Anyway, I wouldn't recommend this way of working to John because the way he does things made him the funniest animation director of his time. Why mess with something that works?

Mike Barrier stirred up a big controversy when he suggested something similar to what I'm saying here. You should have seen the letters he got! People were outraged. Me...I think there's something in it.

January 26, 2012 03:54 PM

http://johnkdesign.blogspot.com/Hey folksI am putting together a new blog site just for my design work - mostly from commercials and short spots.That image above is a layout from Rex Hackelberg's fancy designs.Take a gander if you are interested...

January 25, 2012 09:58 PM

MORE ABOUT THE PRECIOUS TALES OF CHILDHOOD INNOCENCE

January 20, 2012 08:03 PM

January 18, 2012 07:05 PM

Everybody loves a beautiful face, but be honest...don't you love pretty faces (above) more?



Beautiful is for magazine covers and the movies. Pretty is accessible. It's what you find in the real world if you're lucky.



Pretty entitles the possessor to giggle and be fun to be with.


Of course pretty women can have flaws just like anyone else. I'll bet the pretty girl above has a depressive disorder.


Here's (above) a pretty woman that strikes me as positively dangerous. Men would be well advised to walk the other way, but it would take an exceptional man to do that.

January 18, 2012 04:23 PM

Thinking about the opening back shot in "Miracle on 34th Street" (see the previous post) got me thinking about the subject of back shots in general. I'm a big fan of back shots (actually back acting, not just isolated poses) in live action, but you don't see them much in animation. That's a shame. Back shots are funny. Where would "The people of Walmart" site be without back shots like the one above?



I understand why animation people avoid them.  You can't easily study yourself in a mirror when you're drawing the back. You could draw somebody else's back, but they're not likely to act the scene right. I guess you could act it out yourself in front of a digital camera and play it back.

 I wonder how the dancers in the video above did it. How did they know how their dance would look to us? That's a nice dance, isn't it? 'Very effective from behind.


I can't find any ready-made clips of good animated back acting, which is what I meant to discuss. I can't even find any good live action reference for it, apart from Chaplin. I'll return to this subject later when I have better visuals.

Back acting is different than front acting. It's not just a question of making good silhouettes...back acting is more about timing and context. You have to make the audience delight in imagining what the face they can't see is thinking and doing.

Oh well, I have plenty of back-of-the-head reference. I'll talk about that. For me, back of the head means big ears (above), whether the person has them in front or not.





A good back of the head (above) is a thing of beauty, even on a guy. The two dots aren't mine.




I love over-the-shoulder shots, especially when the actor facing front has an extended acting scene. Laying bare your emotions to an impassive lump of hair and tweed in the foreground strikes me as funny. I tried it out in this video from a couple of years ago.

BTW, The best acting moments here come close to what I would have put into similar scenes if I'd been an animator working on an animated film. I really need to assemble a small reel of rough animation showing how I would animate characters using my own style of acting.

January 16, 2012 10:35 PM

Gee, I couldn't finish this post (above) about date rape before it was time to rush off to Steve's place to meet...in person...a wonderful screenwriter, George Clayton Johnson. It was a terrific night! I'll tell you all about it after I get some sleep, I'm just too... sleepy......to..........write..................

January 15, 2012 05:37 PM

I created this brief demo on how the Posebook app works on the smaller smart phone devices. works on iPhone, iPad, android, kindle fire and itouch.

January 14, 2012 08:13 PM