RIP Robert B. Sherman

I read the sad news on one of my favourite sites, Cinemaretro, that Robert B. Sherman has passed away. Robert along with his brother, Richard, were the talented songwriters who wrote much of the music that we all loved from the Disney films and theme park attractions throughout the 60's, 70's and even into the 80's. Since I was a child of the 1960's, Disney films such as The Sword in the Stone, The Jungle Book, and The Aristocats were very much a part of my formative years, as well as their absolute masterpiece, Mary Poppins. Actually, I had just screened my DVD of Mary Poppins over the Christmas holidays, watching it for the first time on my big HDTV, and was awestruck by the sheer craftsmanship that is in abundance at every level in that film. I was a bit teary eyed in fact as I listened to "Feed The Birds", remembering that it was the song that Walt Disney would often request that Bob and Dick play for him in his office when he was in a reflective mood.

The music of the Sherman Brothers is strongly melodic with witty and whimsical lyrics, making everything they wrote memorable and timeless. For me, their songs, combined with the orchestral scores by composer George Bruns, were so much a part of that warm and wonderful era of Disney, and I am grateful to these talented men for the legacy they have left us. Bob, I hope you're now enjoying a Great Big Beautiful Tomorrow!

Monica Bellucci

Yeah, I know it's a long time since New Years Eve when I last posted on this blog. Blame it on a lack of creativity on my part, as well as my general feeling of disinterest in that which passes for entertainment in this 21st century thus far. I'm afraid I'm very much out of step with the tastes of modern society, and that's why most of what you'll see here at The Cartoon Cave is dedicated to my nostalgia for a better era.

Still, I have to post something to keep you folks interested in coming back, so here is a brand new caricature I just finished yesterday of that beautiful Italian goddess, model and actress, Monica Bellucci. She's the featured subject this week on Caricaturama Showdown 3000. The initial sketch was done from watching her in the Italian film, Malena, in which she plays the title character, a beautiful yet terribly ill-treated young woman in Sicily during World War II. However, I decided to portray Monica just as herself in more glamourous mode. By the way, as today is also the birthday of my Italian buddy, Cory Crivari, I shall dedicate this caricature of Ms. Bellucci to Cory, as he well appreciates the charms of a lovely woman as do I. Happy Birthday, Cory!

Here too is a montage of clips from the film, Malena:

Happy New Year!

Well, just another quiet New Years Eve for me again this year. Not much to report, but just in case you're wondering, here's how it played out....

I asked my friend Julia if she'd have dinner with me this evening, but she was too busy making a movie so she took a rain check.

Plan B fell by the wayside too, as J-Lo was still miffed at me over what happened on our last night out together. Ouch!

It looked like a night out on the town with Jenna was a sure thing, only she couldn't find anything to wear. Ah, maybe next year...

So, after licking my wounds, I ended up dancing most of the night away with Beyoncé, who showed me a few new moves.

Luckily for me, just as I was resigned to heading back home in time to watch Anderson and Kathy do the countdown on CNN, I ran into that good sport, Lindsay, who invited me along to celebrate her recent discharge from rehab.

So, I guess it was a pretty decent New Years Eve after all. Um, how was yours?

Drawn Animation Still Matters

My good friend and colleague, Mark Mayerson, has written his well reasoned theory on why today's audiences may have forsaken traditional, hand-drawn animation in favour of the ever increasing use of CG. I think he's correct, but only up to a point, as he uses the new French film, The Artist, to make an analogy between the decline of silent film after the introduction of sound with the current decline in popularity of drawn animation. I just finished putting my own thoughts into an impassioned (if longwinded) comment in response to his post. Since I'd been wanting to say something regarding drawn animation vs CG here on my own blog, I figured I'd repost my thoughts here in order to get more mileage out of them. For what it's worth, here's what I said on the matter:

I haven't seen The Artist as yet, although it's top of my list to see. (Actually, it's about the ONLY film that I'm planning to see these days, sad to say). I have to quibble with you on one thing, though. There's no question that it is an "affectation", as you describe, but I'd argue that it was never meant to be anything more than that. It is undoubtedly meant as a loving homage to those simpler times of the silent films, but it is a one-shot novelty, not in any way hoping to bring about a return of the silent, black and white film as a form of popular entertainment. I think that's quite obvious from the fact that it's set in the 1920s, not using the format to tell a contemporary story. Back in 1976, Mel Brooks gave us Silent Movie, which was also a love letter to silent films, though one set deliberately in modern day in order to parody it in the Mel Brooks style of absurdity. But that film too was never intended to usher in a new wave of silent pictures.

That's why I think your analogy to handdrawn animated films may ring a bit false here, Mark, with due respect. Whereas nobody would want to bring back the silent film as an ongoing form of popular entertainment, recognizing its inherent limitations that no longer exist since the advent of sound and colour, those of us who champion drawn animation still believe it will always be a valid form of the art. Also, I don't think that opinion is limited to just those of us who work in animation or related fields of visual art. A lot of people, particularly mothers of young kids, do see the difference between traditional drawn animation and CG and have told me that they do indeed miss the former.

Animation may have started out as a novelty on screen, but once Disney and Fleischer popularized the illusion of moving cartoon drawings as a legitimate form of entertainment, it was recognized as a distinct art form in itself, a completely different experience to that of a live-action film. Even the technological advances in features like Pinocchio, Fantasia and especially Bambi, did not so much blur the line between drawing and live-action, but rather, treated the resulting imagery more like moving paintings, still far removed from live-action cinematography in their graphic visual clarity.

This is why I cringe at what is being done today in the name of "animation", utilizing the computer to replicate everything in live-action: light, shadow, texture, and now, with the introduction of mo-cap, slavishly realistic movement, devoid of creativity and caricature. In short, there really is no such thing as animation anymore, as the industry honchos have decided that the inherent charm of a cartoon drawing seemingly springing to life on the screen is passé, and must never be see again. The rules of photography can be the only goal to aspire to if one is to remain working in Hollywood.

What a sad state our industry has fallen into. Even sadder because nobody working in it has the courage of their convictions to fight back against the madness of it all.


There's more I want to say on this topic, but I need to gather my thoughts together first and grab some visuals to illustrate it. In the meantime, please leave your own thoughts in my comments section.

Long Live Dear Leader!

Good people of North Korea, do not be sad. Your Dear Leader is not really dead at all. No, he is but in the deepest of sleeps awaiting his true love's first kiss.


Though admittedly, given his former social status, that may take quite a while to happen:

Natalie Wood

Today marks the 30th anniversary of the very tragic death of Natalie Wood on Nov. 29th 1981. Of course, that terrible incident has been back in the news lately, due to the captain of the yacht coming forward with what may be new information that was not disclosed at the time of her drowning all those years ago. I was only 21 at the time, but I remember the sad news with great clarity. Natalie had been starring in Brainstorm, which was still in the middle of production when she died. She hadn't been in many theatrical films for awhile, as it seemed she was doing more in the way of made-for-TV movies in the late 1970s. At the time of her tragic death she was only 43, still a very vibrant and beautiful woman.

There was so much mystery surrounding her death by drowning, that speculation ran rampant about what led to it and what possibly transpired on the yacht that night. I doubt that this current re-investigation will turn up anything more conclusive that would disprove it being an "accident", but it will be interesting to see if any new facts come to light. It was certainly a very suspicious incident, though, and there has to be far more behind it that we'll probably never know the truth about.

Interestingly, as I was looking through her list of theatrical film credits on IMDb, I think I've only seen about a dozen of them that I recall. In fact, she only made about 30 odd films as an adult performer, if you start counting from her appearance in John Wayne's The Searchers, when she was just 15. Of those I have seen, there are several that I've watched a number of times, including her iconic performances as "Maria" in West Side Story, the vaudeville-to-burlesque performer "Gypsy Rose Lee" (aka "Louise") in Gypsy, and as the intrepid feminist reporter, "Maggie Dubois" in The Great Race.

Another film I've seen several times is 1964's Sex and the Single Girl, in which Natalie played real life writer (and later editor-in-chief of Cosmopolitan magazine) Helen Gurley Brown, although the movie is a fictitious romp only loosely related to Ms. Brown's book of the same title. It's not a great film, but it is a lot of fun to watch. Natalie's paired up with Tony Curtis, before costarring again together famously in The Great Race the following year, and they've got terrific on-screen chemistry. (Actually, their first onscreen pairing was in Kings Go Forth, in 1958 alongside Frank Sinatra.) Here's a clip from the film where Tony's character is trying to seduce Miss Brown while they're waiting for their clothes to dry off after a scene in which they both ended up toppling over a pier into the water. (Yes, there's a tragic irony in that, isn't there?). Of course, it was from this film that I chose to sketch my caricature of Natalie Wood that appears at the head of this post.

A truly beautiful lady with great warmth and charm. She was one of the true screen goddesses of the 1960s, and I miss her very much.

Character Face Types

This post is primarily for the benefit of the students currently in my Character Design class in the Sheridan College BAA Animation programme. An ongoing assignment that they've been working on throughout this fall semester involves drawing a number of people from life or from video (but NOT from still photos!), as a way of building up a reference library of "Character Types", that ideally they should then refer back to when trying to create new characters for animation or other assignments. I'm a great believer in creating a character design that communicates something about the character to the viewer through the visual appearance alone, even before they start to move or speak in the animation. Just as the Casting Director in a live-action film tries to cast an actor who looks credible for the role, so too does a Character Designer strive to "cast" the right sort of type for an animated character, giving much consideration to how the physical aspects of the design will suggest a certain personality type that the viewer will recognize.

I've written about this before, and there are more thoughts and visual samples to be found in these previous posts:
Sketching Character Reference
More Character Types
Variety Is The Key!
Working Out The Likeness

Before you even start to sketch a subject, you should be taking some time to properly observe and analyze their head and face type. Ask yourself the following questions when trying to form a strong visual impression of the subject:

1) What is the basic head shape? Is it long or short? Round, blocky, or triangular? Wider at the top, middle or bottom?

2) Is the facial plane straight up and down, convex or concave, or angled forward or back?

3) What is the relative placement of the facial features within that head shape? Are they mostly in the lower area with a high forehead? Are they converging toward the middle or stretched vertically along the facial plane?

4) Where are the features relative to each other? Are the eyes wide apart or close-set? Is the bottom of the nose not far from the eyes or pushed down closer to the mouth?

5) What is the relative size of the features to each other? Large or small eyes? Long or short nose? Wide or narrow mouth?

6) And finally, what are the specific shapes of the features? Are the eyes angled up or down, narrow slits or wide with much white space around the pupil? Is the nose "Pug", "Ski-slope", or "Roman"? Thick or thin lips, etc. etc. etc.....?

Study the Character Type samples I have posted here and try to analyze them using these and other questions to determine what makes the head shape and features distinct and unique!

Floyd Norman!

One of my favourite regular reads has been the blog of Disney cartoonist and gagman, Floyd Norman, AKA "Mr. Fun". Recently, Floyd had mentioned on his blogsite that he might be retiring from blogging, due to the blog's host site being phased out. That would have been a real shame, as I and many others have come to really enjoy his posts relating his many years working for Disney. Floyd is a genuine link to Disney's illustrious past, as he started working for the Disney Studio back when Sleeping Beauty was still in production. Fortunately, Floyd gave it some more thought and decided to keep on blogging using a new hosting service.

I have a special fondness for Floyd Norman, as he was a story artist on my alltime favourite Disney feature, 1967's The Jungle Book. Many of his posts are warmly nostalgic about that era of animation, and his personal recollections of attending story meetings presided over by Walt Disney himself help to give the reader a good sense of what Walt was really like. I also enjoy his stories of that master animator, Milt Kahl, who had a reputation for being a pretty colourful old curmudgeon.

Anyway, I'm personally overjoyed to see that Floyd Norman will still be regaling us with his tales from the Disney Studio back in its glory years. I've just updated the url to his new site in my list of blog links to the right. I hope you folks enjoy his stories and cartoons as much as I do!

Happy Halloween!

Here's a new caricature of Vincent Price that I drew for this past week's subject on Caricaturama Showdown 3000. I've written about Vincent Price before, as he was one of my favourite actors and I was lucky enough to have met him in person many years ago. As reference for this illustration pictured above, I turned to his role as Mr. Trumbull the undertaker, who's desperate for business in the 1963 dark comedy, The Comedy of Terrors. Here he is offering up some "medicine" to his infirm and nearly deaf father-in-law, played by Boris Karloff.

Incidentally, I'm dedicating this Halloween post to Belle Dee, who is a huge fan of Vincent Price, as well as of all the gothic horror films from AIP and Hammer studios of the 60's and 70's. Belle is also a very talented illustrator/cartoonist who has created a great many illustrations of her favourite horror film stars. Please be sure to check out her stylish art on her Facebook page.

Now, if you'll excuse me, I have to take care of this cop who's trying to arrest me for drinking and jiving at the Arthur Murray Halloween Dance...

A Disney Halloween!

Since tomorrow is Halloween, I thought I'd post up some of my Disney illustrations that were created to that theme. The two illustrations below featuring the characters from Snow White and the Seven Dwarfs and The Lion King were both done for a Random House childrens' book entitled Don't Go Bump in the Night!, which was a book full of Halloween safety tips illustrated with scenes from several Disney films and Pixar films too.



These illustrations featuring characters from The Little Mermaid appeared in another book from Random House entitled The Fairest of the Fall. This book was in the Disney Princess line of merchandising, and consisted of two stories with an autumn theme, the first featuring Ariel and the second featuring Princess Aurora (AKA Briar Rose) from Sleeping Beauty.

The story with Ariel is about her discovering a Jack-o-lantern floating in the waves which she then takes to Scuttle the seagull to see if he knows what it is for. He explains the concept of Halloween being celebrated by the villagers onshore, thereby inspiring Ariel and her friends to then stage their own aquatic variation on the festival.

(Sorry I gave away the ending, but please go buy the book anyway, okay?)