How To Animated Cartoons

Animation Resources
Reference Pack #050
Best Of Reference
Packs 26-50
2019-2022
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Die Muskete April–July 1910

Animation Resources
Publications: 2013-2022
RefPack001: Sample Reference Pack Army/Navy Screen Magazine: “The Navy

After The War” ca. 1949 First Motion
Jack Cole’s Plastic Man Number 1, 2 & 3, Picture Unit
1943 (e-book)
Private Snafu in “Gas” Army/Navy Screen

Magazine 1944 Warner Bros. RefPack005: July-August 2015
Aesops Fables: “Circus Capers” Billy DeBeck’s Barney Google
1930 Van Beuren Studio Daily Strips May 7th to October 5th 1923
(e--book)
RefPack002: January-February 2015 Schmidt’s Beer Commercial Reel Paul

ca. 1956 Fennell Studio
Zim’s Correspondence School Of
Cartooning, Comic Art & Caricature Penn Mutual: “100 Years Of Security”
Volume 1 1914/1920 (e-book) ca. 1948 Paul Fennell Studio
“Charm B.G.” 1948 Paul Fennell Studio

RefPack006: September-October 2016
Piels Beer Reel 1950s U. P. A.
Zim’s Correspondence School Of
Cartooning Comic Art & Caricature
RefPack003: March-April 2015 Volume 3 1914/1920 (e-book)
H. M. Bateman: Suburbia 1922 & Assorted Commercial Reel ca. 1950s

Burlesques 1916/1922 (e-book) Paul Fennell Studio
Cereal Commercial Reel early 1950s “Broken Treaties” & “This Changing World”
Paul Fennell Studio 1941 Columbia Studio
“Tuberculosis: You Can Help” ca. 1943

Paul Fennell Studio RefPack007: November-December 2016
Hans Holbein’s Dances Of Death &
RefPack004: May-June 2015 Complete Bible Cuts 1520s/1858 (e-book)
Zim’s Correspondence School of Campbells Soup Commercial Reel

Cartooning Comic Art & Caricature ca mid-1950s Paul Fennell Studio
Volume 2 1914/1920 (e-book)
Gran’ Pop Monkey: “A Busy Day”, “Beauty
Theatrical Commercial Reel 1938-1939 Shop” & “Baby Checkers” 1940 Cartoon
Paul Fennell Studio Films Ltd.
RefPack008: January-February 2016 “The Kangaroo Kid” 1938, “Midnight
Frolics” 1938, & “Pickled Puss” 1948
Zim’s Correspondence School Of Columbia Studio
Cartooning, Comic Arts & Caricature
Volume 4 1914/1920 (e-book)
RefPack013: November-December 2016
“Night Battle” ca. 1944 First Motion
Picture Unit L’Illustration Magazine: Noel Issues
1935 & 1938 (e-book)
Beer And Automotive Commercial Reels
ca. mid-1950s Paul Fennel Studio Scrappy In “Puttin’ Out The Kitten” 1937
& “Let’s Ring Doorbells” 1935
Columbia Studios
RefPack009: March-April 2016
101 Beautiful Images By Gustave Dore RefPack014: January-February 2017
1870 (e-book)
Cartoons And Caricatures Or Making
Keds Commercial Reel ca. mid-1950s The World Laugh By Zim 1910 (e-book)
Paul Fennell Studio
“Man On The Land” 1951 U. P. A.
“Presenting Rear Admiral” & “Okinawa”
ca. 1949 First Motion Picture Unit “Cubby’s Stratosphere Flight” 1934,
“Jolly Good Felons 1934, & “Wild Goose
Chase” 1932 Van Beuren Studio
RefPack010: June-July 2016
The Land And Water Version of RefPack015: March-April 2017
Raemaekers Cartoons Volume 1
1916 (e-book) Die Muskete Volume 10, Numbers 236-252
April-July 1910 (e-book)
Chiquita Banana Reel 1947 John
Sutherland Productions Hollywood: Comedy- A Serious Business
1980 Thames Television
“The Peanut Vendor” & “Down By The Old
Mill Stream” 1933 Fleischer Studio “Felix Wines And Dines” 1927 & “Feline
Follies” 1917 Pat Sullivan Studio
RefPack011: September-October 2016

RefPack016: May-June 2017
The Life And Works Of James Gillray,
The Caricaturist 1874 (two e-books) Esquire Magazine Cartoon Annual Volume 1
1937 (e-book)
Snip And Snap In “Top Dog” 1960,
“Foo Foo The Stowaway” 1960 & “The Mascot” 1933 Ladislas Starevich
“The Cultured Ape” 1959 Halas & Batchelor
Screen Songs: “Rise Up And Sing &
“Let’s All Sing Like The Birdies Sing” 1934
RefPack012: September October 2016 Fleischer Studio
Illustrations From Jugend Magazine

January-June 1918 (e-book) Die Muskete April–July 1910
RefPack017 July-August 2017 RefPack021: April-May 2018
Willard Mullin: Spaulding Sports Show Esquire Magazine Cartoon Annual Volume 2
1947-1952 (e-book) 1937 (e-book)
Cinemascope Terry-Toons: “Topsy TV” & Lotte Reiniger: “Papageno” 1935 & “Ten
“It’s A Living” 1957 Minutes Of Mozart” 1930
Lotte Reiniger: “Helen La Belle” 1957 & Terry-Toons: “String Bean Jack” 1933
“Night In A Harem 1958 Fantasia Prod. Kiko The Kangaroo In “Red Hot Music”
1937 & Mighty Mouse In “Hansel And
Gretel” 1952
RefPack018 September-October 2017
200 Sketches Humorous And Grotesque RefPack022: June-July 2018
By Gustave Doré 1867 (e-book)
Havoc In Heaven 1964 The Wan Brothers
“We’re On Our Way To Rio” 1944 Famous
Studio The Wan Brothers Documentary 2005
Charlie Bowers: “It’s A Bird” 1930 &

“Wild Oysters” 1940
RefPack023: August-September 2018
RefPack019 November-December 2017 Simplicissimus Volume 1 December 30
1903 - March 2 1904 (e-book)
Rip Van Winkle 1905 & Grimm’s Fairy Tales
1909 Illustrated By Arthur Rackham Astro Boy Pilot Episode 1963
(e-book)
Heckle & Jeckle In “Sno Fun” 1951
Betty Boop: “Dizzy Dishes” 1930, Terry-Toons
“Barnacle Bill” 1930 & “The Bum Bandit”
1931
RefPack024 October-November 2018
Norman McLaren: “Mail Early” 1941,
“Hen Hop” 1942, “Fiddle De Dee” 1947, As I See Boris Artzybasheff 1954 (e-book)
“Begone Dull Care” 1948 & “Blinkity Blank”
1959 “Cheburashka” 1971 Soyuzmultfilm
“Dental Hygiene Dilemma” From

RefPack020 January-February 2018 200 Motels 1971 Chuck Swenson
All The Funny Folks 1925 (e-book)

RefPack025 December 2018-January 2019
Charlie Bowers: “He Done His Best” &
“A Wild Roomer” 1926 Trump Harvey Kurtzman, Editor 1957
“Puppet Love” 1944 Famous Studios “Little Match Girl” 1937 Columbia Studio
“The Tale Of The Fisherman And The Fish”

1950 Soyuzmultfim
RefPack026: February-March 2019
Jimmy Cricket In “I’m No Fool”
Best Of E-Books 1 To 25 Volume 1 (e-book) 1955-1956 Disney Studio
Best Of E-Books 1 To 25 Volume 2 (e-book) “Dead Tsarevna & The Seven Bogatyrs”
1951 Soyuzmultfilm
Best Of Videos 1 To 25 Volume 1
Best Of Videos 1 To 25 Volume 2 RefPack031: December 2019- January 2020

Eulenspiegel Volume 1 July 1 to
RefPack027: April-May 2019 November 2 1963 (e-book)
Momotaro’s Sacred Sailors 1945 Shochiku The Tale Of The White Serpent 1956 Toei
Doga Kenkyusho
“Rhapsody Of Steel” 1959 John Sutherland RefPack032 February-March 2020

Productions
Chuck Jones Bar Sheets: “How The Grinch
Stole Christmas” 1966 (e-book)
RefPack028: June-July 2019
“How The Grinch Stole Christmas”
Esquire Annual Volume 3 1937 (e-book) Timing Video
“Tune In Tomorrow” U. P. A. 1954 Plaza (Beach) `964 SE-MA-FOR
“Kumo To Tulip” 1943 Shochiku Doga

Kenkyusho RefPack033: April-May 2020
“Cheburashka In “Gena The Crocodile” Blaeksprutten (Cuttlefish) Christmas
Soyuzmultfilm 1969 Annuals 1912-1913 (e-book)
Slapstick Analysis: “The Saw Mil” Polish Animation: “Dumpling” 1959,

lLarry Semon 1922 “Beyond The Wood Beyond The Forest”
1961, “The Little Quartet” 1965 & “A Little
Western” 1960
RefPack029: August-September 2019
Columbia Cartoons: “Scrappy’s Expedition”
Toby Bluth Storyboard Collection: Fantasia 1934, Krazy Kat in “Railroad Rhythm” 1937
& Pinocchio 1940 (e-book) & “Happy Tots Expedition” 1940
Two MGM Cartoons: “Milky Way” 1940 &

“The Hungry Wolf” 1942 RefPack034: June-July 2020
Five Films By Len Lye: “Tuslava” 1929, Gesindel: Album Von Rudolf Wilke
“Kaleisoscoper” 1935, “Rainbow Dance” 1908 (e-book)
1936, “Doing The Lambeth Walk” 1939 &
“Musical Poster Number 1” 1940 The Little Prince And The Eight Headed
Dragon Toei 1963
RefPack030: October-November 2019
Avery Influence: “Clown Of The Jungle
Die Muskete Volume X NumbersDie
253-160 1947 Disney & “Mouse Cleaning” 1948
Muskete April–July 1910
August-September 1910 (e-book) MGM
RefPack035: August-September 2020 RefPack040: June-July 2021
Fragments From France Volume 1 Magic Boy 1959 Toei
1915 (e-book)
Lantz Oswalds: “Oswald In Alaska” 1930
More Films By Len Lye: “A Colour Box” & “The Candy House” 1934
1935, “The Birth Of The Robot” 1936,
“Trade Tattoo” 1937, “Colour Flight” 1938 & The Adventures Of Mowgli Episode 1
“Colour Cry” 1952 1967 Soyuzmultfilm
Cheburashka In “Shapoklyak” 1974 & “Two Greedy Bear Cubs” 1954

“Cheburashka Goes To School” 1983 Soyuzmultfilm
Soyuzmultfilm
Well, Just You Wait! Episode 1 1969
Soyuzmultfilm
RefPack036: October-November 2020
Koziołek Matolek Episode 1 1969
Honore Daumier: Lithografien 1828-1851 Studio Miniature Filmowych
(e-book)
Dog, Cat And... Episode 1 1972
“Brotherhood Of Man” 1945 U. P. A. Studio Miniaturę Filmowych
Jiminy Cricket In “You Are A Human Slapstick Analysis: Buster Keaton- A Hard
Animal” 1955-1977 Disney Studio Act To Follow Episode 2 1967 Thames TV
Breakdowns: Assorted
RefPack037: December 2020-January 2021
Animal Farm 1954 Halas & Batchelor RefPack041: August-September 2021
Cinematography: Visions Of Light The Humpbacked Horse 1947

1992 American Film Institute Soyuzmultfilm
Van Beuren’s Tom & Jerry: “Barnyard Bunk”

& “Jolly Fish” 1932
RefPack038: February-March 2021
The Adventures Of Mowgli Episode 3
The Mystery Of Picasso 1956
1967 Soyuzmultfilm
Henri-Georges Clouzot
“Rooty Toot Toot” 1951 U. P. A.
Soyuzmultfilm
Dog, Cat And... Episode 2 1972

RefPack039: April-May 2021 Studio Miniaturę Filmowych
Borley Rectory 2017 Ashley Thorpe Early Anime: Sabu And Ichi’s Detective
Stories Episode 35 1968, Fight! Da Pyuta
Russian Animation: “Interplanetary Episode 11 1968, Space Ace Episode 39
Revolution” 1924, “Kino Circus” 1942, “The 1965
Millionaire” 1953, “The Shareholder” 1963,
“Shooting Range” 1979 Soyuzmultfilm Slapstick Analysis: Buster Keaton- A Hard
Act To Follow Episode 3 1987 Thames TV
Slapstick Analysis: Buster Keaton-
DieAMuskete
Hard April–July 1910
Act To Follow Episode 1 1987 Thames TV Breakdowns: Kanada Style Effects
RefPack042: October-November 2022 Slapstick Analysis: The Unknown Chaplin
Episode 2 1983 Thames TV
Hokusai Manga Volume 1 1814 (e-book)
Breakdowns: Weight
Linus The Lionhearted Season 2 Episode
13 1964 Ed Graham Productions
RefPack044 February-March 2022
1971 Soyuzmultfilm Leo O’Mealia: Sport Cartoons 1950
N.Y. Daily News (e-book)
“The Champion” 1948 Soyuzmultfilm
Mr. Magoo In Pink And Blue Blues” 1952
“How To Get Big” 1967 Soyuzmultfilm & “Trees And Jamaica Daddy“ 1957
Koziolek Matolek Episode 2 1969 The Adventures Of Mowgli Episode 5

Studio Miniature Filmowych 1971 Soyuzmultfilm
Early Anime: Space Boy Soran Episode 65 “Mr. Wolf” 1949 Soyuzmultfilm
& 04 1967
“Peter And Little Red Riding Hood”
Slapstick Analysis: The Unknown Chaplin 1958 Soyuzmultfilm
“Goal! Goal” 1964 Soyuzmultfilm
Breakdowns: Morphs
Koziolek Matolek Episode 3 1969
Studio Miniature Filmowych
RefPack043: December 2021-January 2022
Early Anime: Kaibutsu-Kun Episode 30
Osamu Tezuka: “Tale Of A Street Corner” 1968 & Gutsy Frog Episode 98 1973
1962, “Mermaid” 1964, “The Drop” 1965
& “Pictures At An Exhibition” 1966 Slapstick Analysis: The Unknown Chaplin
Terry-Toons: Gandy Goose In “Magic
Slipper” 1948 & Dinky Duck In “Wise Breakdowns: Perspective Turns
Quacks” 1953
RefPack045: April-May 2022
1971 Soyuzmultfilm “Famous Pictures Of The Daimyo
Procession” 1918 Toko’en Publishing
“The Wise Little Gudgeon” 1979 (e-book)
Soyuzmultfilm
Famous Studios Screen Songs: “She’ll Be
Well, Just You Wait! Episode 3 1969 Comin’ Round The Mountain” 1949 &
Soyuzmultfilm “Base Brawl” 1948
Dog, Cat And... Episode 3 1972 Linus The Lionhearted Season 2 Episode 2
Studio Miniaturę Filmowych 1964 Ed Graham Productions
Early Anime: Cyborg 009 Episode 13 “Winnie The Pooh” Episode 1 1969
& 14 1968 Soyuzmultfilm 1969
“A Match Revenge” 1968 Soyuzmultfilm

Soyuzmultfilm
Winnie The Pooh Episode 3 1972
Dog, Cat And... Episode 4 1972 Soyuzmultfilm
Studio Miniaturę Filmowych
The Enchanted Boy 1955 Soyuzmultfilm
Early Anime: Shonen Ninja Kaze Episode 9
1964 & Space Patrol Hopper Episode 3 “Cow On The Moon” 1959 Zagreb Films
1965
The Four Poster Animated Sequences
Slapstick Analysis: Never Weaken 1921 1952 U. P. A.
Harold Lloyd
“Surogat” 1961 Zagreb Films
Breakdowns: Slow Motion
“Circus” 1954 Film Polski
RefPack046 June-July 2022
“Tango” 1980 SE-MA-FOR
The Tattooed Man: Puck Magazine
March-April 1884 (e-book) Early Anime: Pirate Prince Episode 1 & 14
1966
Ladislas Starevich: “The Town Rat And
The Country Rat” 1927 & “The Old Lion” Visual Storytelling: Dementia 1955
1932 John Parker
Winnie The Pooh Episode 2 1969 Breakdowns: Motion Frames

Soyuzmultfilm
“An Unusual Match” 1955 Soyuzmultfilm RefPack048 October-November 2022

“A Brave Hare” 1955 Soyuzmultfilm Irv Spector’s Coogy 1951-1952 (e-book)
“The Horse” 1967 Withold Giersz Cinemascope: “Grand Canyonscope” 1954

& “No Hunting” 1955 Disney Studio
“Koziolek Matolek” Episode 4 1969
Studio Miniature Filmowych Hans Fischerkoesen: “Weathered Melody”
1943 & “The Snowman” 1944 U. F. A. Film
Early Anime: Wonder 3 Episode 1
& Episode 43 1966 Cipolino The Onion Boy 1961
Soyuzmultfilm
Slapstick: YoYo 1965 Pierre Etaix
Breakdowns: The Wave Principle Soyuzmultfilm
Maxi Cat: “Hat, Lunch, Broom, Tennis,

RefPack047: August-September 2022 Rope, & Door” 1971”
Fragments From France Volume 2 1917 “Cat And Mouse” 1958 Bielsko Biala Studio
(e-book)
Early Anime: Hajime Ningen Gyatorz
Commercial Reels: Storyboard Studio Episode 36 & 44 1975
& Miscellaneous New York Commercials
mid-1950s
Slapstick Analysis: Billy Bevan In She Sighs Podcasts & Livestreams
By The Seaside” 1921 & “Lizzies Of The
Field” 1924 Book Look 001: Taschen’s Disney Archive
Breakdowns: Resistance Archive 001: About Our Archive Database
Lesson 001: Warming Up Exercises

RefPack049 December 2022-January 2023
Animation Interview 001: Andrew
Willy Pogany’s Mother Goose 1928 (e-book) Chesworth
Van Beuren: “Summer Time” 1929 & Video Seminar 001: Background Layouts by
“The Office Boy” 1930 Nestor Redondo
Twelve Months 1956 Soyuzmultfilm Animated Discussions 001: Slapstick

Analysis: The Saw Mill
“Snowy Roads” 1963 Soyuzmultfilm
Animated Discussions 002: Chuck Jones
Czech Commercials: “Johnnie Loves It Bar Sheets
Clean” 1932 & “The Unforgettable Poster”
1937 Animated Discussions 003: Different Artists
Different Paths
Professor Balthazar Episode 1 1967
Zagreb Films Animated Discussions 004: Joe Murray
Interview
Early Anime: Golden Bat Episode 16 & 39
1967 Animated Discussions 005: Advice From
An Educator
Side Trips: Decasia 2002 Bill Morrison
Animated Discussions 006: Using Live
Breakdowns: More Morphs Action Reference
Animated Discussions 007: Is Reference

Constructive Or A Crutch?
Animated Discussions 008: Craig Bartlett

Interview
Members Update 001: Streaming Update &

RefPack047
Members Update 002: Students- Are You

Doing What You Need To Do To Establish
A Career In Animation?
Members Update 003: RefPack048 Review

Esquire 1937 Vol. 3
Esquire 1937 Vol. 3
Esquire 1937 Vol. 3
Esquire 1937 Vol. 3
Esquire 1937 Vol. 3
Esquire 1937 Vol. 3
Esquire 1937 Vol. 3
Esquire 1937 Vol. 3
Esquire 1937 Vol. 3
Esquire 1937 Vol. 3
Eulenspiegel Volume One
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AnimationResources.org Eulenspiegel Volume One Page 29
Katsushika
Hokusai Manga
Hokusai- by
Volume
KeisaiOne
Eisen
Hokusai Manga
Sketches Of Life In Japan
Katsushika Hokusai was argu-

ably the greatest artist Japan
ever produced. Best known for
his monumental set of woodblock
prints titled Thirty-Six Views of
Mount Fuji, his career spanned
more than 75 years, and in his
lifetime he produced more than
30,000 paintings, sketches and
woodblock prints. Japan was
closed to the Western world while
Hokusai was living and working,
but it didn’t take long after Ja-
pan’s borders were open to the
world for his fame spread to the
West. He is now regarded as one
of the greatest artists in the en-
tire history of art.
Hokusai was born in 1760, the

son of a mirror maker. At the age
of six he joined his father paint-
ing decorations around mirror
frames. When he was twelve,
his father sent him to work at a
bookseller, where he was sur-
rounded by books full of beautiful
woodblock prints. This inspired
him to apprentice with a wood-
Self portrait of Hokusai at age 82 block carver, which eventually
led him to joining the studio of
Katsukawa Shunshō, a prominent artist who designed woodblock prints. He worked in
Shunshō’s studio and studied under him for over a decade.
Today we think of woodblock prints as fine art. That is a logical expectation, since the
style derived from Chinese fine art painting. But at this time in the history of Japan,
woodblock prints were considered to be disposable pop culture. Known as “ukiyo-e”, which
translates to “floating world”, the prints depicted popular courtesans and kabuki actors,
who were much like the movie stars and pop idols of our time. One popular series even
featured the prettiest waitresses at Edo restaurants. The customers for these prints were
citizens of the merchant class, low ranking shopkeepers and dealers who had begun to ac-
cumulate wealth and were eager to spend it on “wine, women and song”. The term ukiyo-
e started off as a joke. The phrase itself sounded like a Buddhist term meaning “the world
of sorrow and grief”. But the “floating world” was actually a nickname for Edo’s red-light
district, which was surrounded by canals that made it appear to be floating on water.
Ukiyo-e prints were mass produced in much the same manner... A publisher would com-
mission an artist to create a painting. Then a skilled carver would translate that painting
into hand carved printing blocks. A printer would ink the blocks and transfer the image to
paper using pressure. There were specialists in each area. Usually the artist had no con-
tact with the people carving and printing his images. However, Hokusai’s experience as a
woodcarver’s apprentice gave him an edge; and throughout his career, he kept close tabs
on how the prints he designed were being printed.
Hokusai’s master, Shunshō died in 1793. This prompted Hokusai to began searching for a
style of his own. He ran across some Dutch and French copper engravings and began to
experiment applying Western techniques and perspective to the principles he had learned
from Shunshō. At this time, he also took studies at the Kanō school, which was a rival to
the one he belonged to. This enraged Shunshō’s
main follower Shunkō, who expelled Hokusai
from the group of artists at the studio. Instead of
discouraging Hokusai, this gave him added ener-
gy. He said of the event, “What really motivated
the development of my artistic style was the em-
barrassment I suffered at Shunkō’s hands.”
Hokusai’s subjects began to expand beyond

portraits of kabuki actors and geisha. He created
illustrated humor books, fantasy novels, erotic
art and scenes of everyday life. With Famous
Sights Of The Eastern Capital and Eight Views of
Edo he explored landscape painting. Hokusai’s
draftsmanship was well respected, and his fame
grew exponentially over the next few years... but
it didn’t go to his head. He always maintained
a sense of humor about himself. At a festival
he painted a huge portrait of a Buddhist monk,
Daruma with brooms and buckets of paint. And
at another, he painted a blue curve on a piece of
paper, dipped a chicken’s feet in red paint, and
had it run across the picture. He then presented
the image to the presiding shōgun as a land-
scape of the Tatsua river with red maple leaves Hokusai painting the portrait
floating in it. The unusual painting won first prize of Daruma in 1817.
in the competition.
Hokusai’s fame attracted talented young artists, eager to study under him. He took on 50
pupils over the years. In 1812, he found himself in need of some quick money, and de-
cided to publish an art manual called Quick Lessons In Simplified Drawing. The book was
surprisingly successful, so the following year, he published the first volume of a series of
sketchbooks known as Hokusai Manga. At that time, the word “manga” meant “random
drawings” and that is exactly what his first volume consisted of... scenes of everyday life,
animals, plants, landscapes, rendering experiments... the book contained very little text,
just lots and lots of amazing drawings.
In our internet age, it might
not be obvious what the
purpose of this kind of book
would be. If we want refer-
ence for what an ox looks
like, or how to group leaves
on a bush natuarlly, we just
type a search term into
Google and we are pre-
sented with dozens of op-
tions. But in the early 19th
century, reference like this
was not as easy to come
by. Hokusai would go out
into the world and draw
everything he saw in his
sketchbook. He would study
the way people interact
and move, the anatomy of
Egrets from “Quick Lessons In Simplified Drawing” (1812)
a goose, and how forms
overlap on hills and mountains, groups of buildings in a village... These studies would be
arranged into books he would refer to when designing a woodblock print that required
these sorts of elements. The sketchbooks would then be shared with students as a “copy
book” and they would duplicate his sketches to learn from the master by recreating the
way he constructed his drawings. The first volume of Hokusai Manga, titled “Brush Gone
Wild” was published in 1814 to great suc-
cess. In subsequent years, he published
13 volumes in total, with his students
adding two more to the set after his
death.
The importance of these little sketch

books can’t be overestimated. In 1831,
lithographs made from the pages of
Hokusai Manga were published in Germa-
ny, and in 1854 when Commodore Mat-
thew Perry opened communication with
Japan to the West, importers struggled to
fill the demand for the books in European
capitals. Even though there were huge
cultural differences, and Japan remained
a mystery to Westerners, Hokusai’s ar-
tistic importance was immediately recog-
nized for its vitality, innovative composi-
tions, naturalism and draftsmanship.
In 1884 “The Magazine Of Art” reviewed

Hokusai’s work and wrote: “With Hokusai
and his followers, the fact and its ex-
pression are everything. Give them the
“Hokusai Manga” as it was originally published. essentials of reality and they are satis-
Die Muskete April–July
fied;1910
they are realists, not with Raphael
but with Daumier. In the innumerable circumstances of life, its inexhaustible conditions,
its infinite accidents and changes, they find their only material. Hokusai drew any and
every thing with equal gusto and equal skill. The flight of birds, the grace of bamboo in
flower, the reveries of men in drink, the humours of tea-house and kennel, the loveliest
landscape, the most graceful presence, it was all one to him. His model was Japan; and
in a graphic shorthand, the perfection of which has very rarely been equalled in art, and
has certainly never been surpassed, he produced his incomparable reports. His work is
as varied and full and rich as the life of which it is the expression. It is the pageant of a
national existence– a wordless performance of all the multitudinous actualities of an active
and individual society; quick with being, teeming with character, as full of movement and
gesture and variety as the working hours of a great city.
A Note On The Reproduction And Restoration Of The Images
Woodblock prints communicate in ways a digital scan can’t. When you view one, there are
layers of perception that come together into an expressive image. There’s an unique tactile
sense to the paper and tooth to the surface, and a certain transparency that the eye reads
automatically as separate levels. There sometimes are errors relating to how the print block
makes its impression– uneven pressure resulting in gradation to the blacks, missing sections
of lines, slight smears, areas where the woodblock is slightly damaged– things one might
normally think of as visual noise. But in context of the physical object, the print itself, it be-
comes an organic whole, communicating its message better than a totally clean representa-
tion might. Because of the hand processes used to make the prints, no two are alike, and no
“perfect” copies exist. When this interplay of organic error and tactile sense is digitized, the
image flattens out and even the best scan looks pale in comparison to the original.
Many modern reprints of Hokusai Manga address these problems by touching up the draw-
ings. Gaps in lines are bridged, blurred details are redrawn, misprints are blotted out, re-
sulting in an image that appears acceptably clean. But the spark of life in the drawings is
severely compromised. Not many people know this, but woodblock carvers do not rotate the
block in front of them to access optimal angles when they are carving. The block is secured
is a fixed position in front of them and never moves. This gives the lines in the carved image
a “direction”. It is subtle, but this directionality is an integral part of why woodcuts look the
way they do. A skilled carver could probably look at another carver’s block and know if he
was left or right handed. Inevitably, when Hokusai’s drawings are reinked for modern publica-
tion, this directionality is obliterated. If you have a recent edition of Hokusai Manga in your
library, compare it to this. I think you will notice the difference.
Restoring this book was a bigger undertaking than we had imagined when we started. It took
a lot of trial and error to arrive at the best process. We decided to remove dirt and correct
blatant misprinting, but we didn’t touch the lines on the drawings. We also made sure that
a paper texture was visible. It still isn’t at all the same as viewing an original printing, but
hopefully it presents Hokusai’s drawings better than the reprints in the past. We hope you
find this book useful. If you would like us to share other volumes from this series in future
Reference Packs, please drop us aDie Muskete
line and letApril–July
us know. 1910
Hokusai Manga - Volume One
Honoré Daumier: Lithographien 1828 – 1851
Leo O’Mealia Sport Cartoons
AnimationResources.org Leo O’Mealia Sport Cartoons Page 69
The Tattooed Man
PUCK MAGAZINE, SPRING 1884
Puck was a seminal magazine in the field of Puck was not just a humor magazine– it
American satire. Designed along the lines of was primarily concerned with political satire.
European caricature journals, it was one of Thomas Nast had established the precedent
the first publications to take advantage of the at Harper’s Weekly with his relentless attacks
development of four-color stone lithography on Boss Tweed and the corruption rife within
and zinc plate printing. Prior to this, illustra- Tammany Hall. When Nast entered retire-
tions were laboriously engraved in blocks of ment, the popularity of Harper’s Weekly de-
wood. But at Puck, cartoonist Joseph Keppler clined, and Puck rose to fame for its no-holds-
drew directly upon lithographic stones with barred attacks on corrupt American political
grease pencil. When complete, the drawings figures, as well as its opinionated views of
were etched with acid to create the printing European politics. Puck also took aim at the
plates. Assistants helped prepare the “tone Catholic and Jewish faiths, for which it gener-
stones”, the blocks of stone which created ated considerable criticism. A Jewish organi-
the subtle blends of color for which Puck was zation threatened a boycott of Puck, but the
famous. One of these assistants was Eugene publishers assured them that their purpose
“Zim” Zimmerman. (See Animation Resourc- was not to offend but to entertain. Puck’s edi-
es’ previous e-books on Zim’s Correspon- tor promised to be more careful in the future
dence Course in Caricature and Cartooning.) to avoid material that might be misinterpreted
as anti-Semitic. The group was satisfied and
Keppler was a called off the boycott, and as time went by,
classically trained the objects of satire became more political in
artist, and his nature. The orientation was decidedly in favor
cartoons exhibited of the Democrats, with Republicans as the
the refined com- principle targets for mockery and derision.
positions and vivid
colors of Euro- Competing head-to-head with Puck were
pean oil paintings. Judge magazine, Police Gazette and Life.
He had gotten Judge stepped into the opposing political
his start working camp from Puck, favoring Republican can-
for Frank Leslie’s didates and skewering the Democrats. The
Weekly. During an Police Gazette’s stated mission was to provide
argument with the information of interest to law enforcement of-
publisher over a $5 ficers, but it was just an excuse to print lurid
a week raise, he stories of murder and outlaws from the Wild
threatened to jump West, along with risqué woodcuts of beauti-
ship and launch a ful women. Life magazine took the high road,
magazine of his with “appropriate” material appealing to the
own. Leslie assured elite, in stark contrast to the rough-and-tum-
Joseph Keppler
him he would do ble content of its competitors. Zimmerman
everything in his power to drive him out of later reflected, “Puck had been vicious in its
business if he tried it, but that didn’t de- attacks on the Catholics and Jews. Life side-
ter Keppler. He hired the foreman of Leslie’s stepped religious prejudice, thus gaining the
printing plant and began producing Puck as respect of all denominations...”
a German language weekly loosely based on
the British magazine Punch. It was so suc- Zimmerman was surrounded at Puck by some
cessful that in 1877, he launched an English Puck 1884
of the greatest names in cartooning– chief
edition. among whom was Frederick Opper. Opper
worked for Scrib- While Zim shadowed Opper, the English born
ners on St. Nicho- Bernhard Gillam worked in a similar style to
las Magazine Keppler. A strong forceful line and meticulous
before joining and precise style was the hallmark of Gillam’s
the staff of Frank work. He was most famous for a cartoon he
Leslie’s Weekly. created during the presidential campaign of
When Leslie died 1884. Gillam depicted the Republican candi-
in 1880, Opper date, James G. Blaine as a tattooed man in
was engaged by a freak show, his skin covered with slogans
Keppler on Puck, referring to the various scandals that pep-
where he pro- pered his career. The April 16, 1884 issue of
duced illustrations Puck that featured the cartoon quickly sold
for the next 18 out and additional printings were hastily ar-
years. Opper later ranged. Circulation doubled, and ultimately,
accepted an offer over 300,000 copies of the issue were sold.
from William
Frederick Burr Opper Randolph Hearst The “tattooed man” comic created a firestorm
to create a comic of controversy, throwing the spotlight on
strip for the New York Journal. Titled “Happy Puck. Over the next few months, Gillam fed
Hooligan”, the pioneering strip ran until failing the flames with a series of variations on the
eyesight forced Opper to retire in 1932. same theme. Keppler and Opper joined the
fray to create a few “tattooed man” gags of
Zim doesn’t say much about Opper in his their own. The cartoons reached such a high
autobiography, but he describes him as “the level of public awareness that Pear’s Soap
recognized comic artist on Puck” who gener- advertisements parodied them. (“Hurray!
ally had first pick of the material submitted Soap to remove tattoos!”) The final election
for cartoon ideas by the editorial staff. Op- tallies between Blaine and his Democratic
per was prolific, producing more art than rival, Grover Cleveland were very close, and
any other artist on staff. Zimmerman wrote, many, including Blaine himself, attributed
“There were more Puck artists than there his loss to Gillam’s cartoon. The irony of the
was white space to fill, so that often one man situation was that Gillam himself was a Re-
would have to give ‘way to make room for publican and had voted for Blaine. Cartoonists
another’s work. This was a serious obstacle were expected to serve the editorial policy of
to my artistic advancement.” It was clear that their publication. They were considered “hired
there wasn’t room at Puck for both Opper and guns” and weren’t allowed to express their
Zimmerman. own political beliefs.
Dissent was brewing

on the Puck staff. Kep-
pler and his partner
Adolph Schwarzmann
had made a deal with
the editor, Henry Bun-
ner that should Puck’s
circulation increase
significantly, Brun-
ner would receive a
$1,000 bonus. Word
filtered back to Gil-
lam that Bunner had
collected on the deal.
Since his “tattooed
man” cartoons were
Puck 1884 largely responsible for
the jump in circula-
tion, Gillam de- Judge that would suffer a decline. With the
manded a raise departure of Gillam and Zimmerman, Puck
in salary from began a long slide in quality and circulation
$100 to $125 a from which it would never recover. At Judge,
week. Keppler Gillam and Hamilton went to work revitalizing
and Schwarzmann the publication’s antiquated editorial policy,
firmly refused, inadequate printing facilities and second-rate
and Gillam began staff. The first issue of the new Judge hit the
quietly investigat- stands at the beginning of 1886. It was a re-
ing new avenues sounding success.
of employment.
He knew exactly Animation Resources was fortunate to obtain
where to inquire... a sequential run of issues of Puck magazine
Eugene “Zim” Zimmerman Judge magazine. from 1884, the absolute creative peak of the
publication. With artists like Keppler, Opper,
At this time, Judge magazine was experienc- Gillam and Zim, Puck boasted a “dream team”
ing hard times. Competition with Puck was of cartooning. These four artists, along with
fierce, and although Puck’s circulation had Viennese artist Frederich Graetz, produced
risen dramatically, Judge’s subscription base all of the illustrations for the magazine, as
was hanging fire at a fraction of the size of well as providing covers and cartoons for the
its biggest competitor. Due to the combined monthly journal, Puck’s Library. That repre-
efforts of Frank Beard and Grant Hamilton, sented a remarkable amount of work. All of
Judge had begun to dig itself out of debt. But the amazing cartoons in this e-book were pro-
when a new buyer for the publication, entre- duced in the short period of seven weeks!
preneur William Arkell took over, Beard was
out and Hamilton was put in charge. Investors This e-book was digitized by Andreas Ro-
who had a particular interest in backing a Re- driguez and David Eisman, and the image
publican rival for Puck flocked to the venture. restoration and layout was done by Stephen
Hamilton was given a fat bankroll earmarked Worth.
for hiring the best talent available.
Bernhard Gillam was first on his list. Money

wasn’t the only reason Gillam was interested
in joining the staff of the newly reconstituted
Judge– Gillam was a Republican himself, and
his position creating editorial cartoons at Puck
was in essence a job as a “hired gun”. Gil-
lam confided about the opportunity at Judge
with the only other Republican on the Puck
staff– Zim. At Puck, Zim was just another
artist competing for space with older, more
established artists. Hamilton promised him
that Zim could submit as many cartoons as
he wanted to Judge with complete freedom in
regards to theme. Gillam and Zimmerman re-
solved to resign Puck together, and join Arkell
and Hamilton at Judge.
The parting with Puck was not friendly. Gil-

lam and Zimmerman’s output was important
enough to Puck to force Keppler and Schwar-
zmann to hire five artists to replace the two
departing ones. The men in charge of Puck
were certain that Judge would fold and Gillam
Puck 1884
and Zim would return in defeat. But it wasn’t
Puck 1884
Puck 1884 AnimationResources.org
AnimationResources.org Puck 1884
Puck 1884
Puck 1884
Puck 1884
Puck 1884
Puck 1884
Puck 1884
Puck 1884
Puck 1884
Bruce Bairnsfather
In Search Of A Better ‘Ole
Animation Resources has already

discussed how cartooning was a
big part of winning World War I in
our earlier e-book on Louis Rae-
maekers (see RefPack010). But
there was another cartoonist who
had a significant impact, Bruce
Bairnsfather.
Bruce Bairnsfather was born

in Pakistan to a British military
family. As a boy, he returned to
England intending to study at a
military school, but he failed the
entrance exam. Instead, he joined
the Cheshire Regiment but soon
found army life boring. In 1907 at
the age of 20, he left the military
to pursue a career in commercial
illustration and enrolled at the
John Hassall School of Art, but he
wasn’t successful and had to take
work as an electrical engineer.
With the outbreak of the Great

War, Bairnsfather was recalled to
his regiment, and quickly rose in
rank to second lieutenant with
the Royal Warwickshire Regiment.
He was deployed to France as the
leader of a machine gun unit. He
described life in the Western Front
as “an extraordinary sensation. It
was a long and weary night, that
first one of mine in the trenches.
Everything was strange and wet
and horrid. First of all I had had to go and fix up my machine guns at various points, and
find places for the gunners to sleep in. This was no easy matter, as many of the dug-outs
had fallen in and floated off down stream.” He refused to take leave with the rest of his
unit, because he thought it would be too difficult to return to the trenches after returning
home.

Bairnsfather was nearly court
martialed after joining Ger-
man soldiers in a Christmas
truce in December of 1914.
He later reflected upon the
experience of Christmas Day
in the trenches by saying,
“It all felt most curious: here
were these sausage-eating
wretches, who had elected to
start this infernal European
fracas, and in so doing had
brought us all into the same
muddy pickle as themselves...
There was not an atom of
hate on either side that day;
and yet, on our side, not for
a moment was the will to war
and the will to beat them re-
laxed.”
At the Western Front, Bairns-

father began drawing cartoons
based on the life of soldiers in
France. He sent some to The
Bystander magazine and the
editors began to publish them
under the title Fragments
From France. The casual tone
of these cartoons and the
tendency towards gallows
humor initially drew criticism
from government leaders.
They thought that Bairnsfa-
ther’s work was vulgar and
demeaned the British army, but the soldiers themselves embraced the series, recognizing
its honesty and humor.
In 1915 during a chlorine gas attack in the 2nd Battle if Ypres, Bairnsfather was badly
wounded by an explosion and was hospitalized with shellshock and hearing damage. The
editor of The Bystander took advantage of his convalescence to commission Bairnsfather
to create a weekly cartoon for the magazine. Upon his recovery, he was not shipped back
to France. Instead, he served in a training unit on the Isle of Wight and was given a pro-
motion. Here he began in earnest to produce cartoons, which were published in The By-
stander and collected into a series of eight booklets published between 1915 and 1918.
Bairnsfather’s cartoons were responsible for boosting morale among the British troops.
In his book, Daily Sketches: A Cartoon History of 20th Century Britain, Martin Walker
wrote, “The cartoons were by a man who had fought in the trenches and who knew what
that kind of wholly new warfare was like. Veterans of the Western Front have paid almost

universal testimony to Bairnsfa-
ther as a historian of the condi-
tions in which they fought and
the sense of humour which the
soldiers brought to bear against
the life, or more precisely,
against the death.” The British
government recognized the pro-
paganda potential of Fragments
From France and shipped Bairn-
sfather off on missions to docu-
ment the experiences of U.S.
and Italian forces as well.
Fragments from France was

peppered with caricatures of all
ranks of the British army, but it
focused most on the “Tommys”–
the lowest ranking troops in
the trenches. The main charac-
ter of the series was “Old Bill”,
a walrus mustachioed middle
aged soldier with a Cockney ac-
cent. Asked to describe Old Bill,
Bairnsfather wrote that he was
“first discovered in the alluvial
deposits of Southern Flanders.
He feeds almost exclusively
on jam and water biscuits. His
hobby is filling sandbags on
dark and rainy nights.” The character was hugely popular, appearing in comic strips, china
dishware, playing cards, jigsaw puzzles and other merchandise, as well as a 1917 stage
musical comedy and a 1926 silent feature film titled “The Better ‘Ole”.
After the war ended, the name “Old Bill” became

associated with British policemen, since many of
them had similar mustaches and demeanor. Bairn-
sfather wrote and drew several books during this
period, including “Carry On Sergeant!” (1927),
Laughing Through the Orient (1933), and “Old Bill
Looks At Europe” (1935). With the outbreak of the
Second World War, Bairnsfather became an official
cartoonist for the American forces in Europe, con-
tributing drawings to Stars And Stripes and Yank
magazines.
Later in life, he lamented the fact that he had be-

come typecast as a war cartoonist, and his 1959
obituary in the London Times noted that he was
“fortunate in possessing a talent... which suited

almost to the point of genius
one particular moment and one
particular set of circumstances;
and he was unfortunate in that
he was never able to adapt, at
all happily, his talent to new
times and new circumstances.”
Due to Wartime restrictions, the

printing quality of these maga-
zines was quite low. Animation
Resources has taken great care
in digitizing and digitally restor-
ing the images to make them
look even better than they did
when they were first published.
The three issues of Fragments
From France in this e-book
were scanned for Animation
Resources by Meg Simon, and
they were restored and laid out
by Stephen Worth. We hope you
find these landmark cartoons
useful in your self-study.

Fragments From France Volume One
Willy Pogany’s Mother Goose
Ukiyo-e
ROOTS OF JAPANESE POPULAR ART
From the 17th to the 19th century, an art out an understanding of the culture. Today,
form flourished in Japan in isolation from the when we see an image of a beautiful geisha
rest of the world. It was a specialized form of playing a samisen (the Japanese equivalent of
woodblock printing called ukiyo-e. Today, we a guitar) we think of a refined lady, but to a
look at these prints and recognize the beauty person of the time, they would recognize the
of composition, color and design which de- samisen as a symbol that the girl was a pros-
rived from Chinese painting techniques. But titute.
there’s more to this art than meets the eye.
Ukiyo-e also illustrated popular myths and
Understanding the cultural background behind legends with samurai superheroes fighting
the art, reveals a great deal about its spirit. incredible battles, sometimes against demons
“Uki-yo” was a Buddhist term, meaning “sad or ghosts. The stories were full of extreme
world”, and “ukiyo-e” was a play on words, violence, magic and superhuman feats of
literally translating to “floating world”. The strength, and they served much the same
entertainment district in the city of Edo (now function as comic books do today.
known as Tokyo) was surrounded by a moat
filled with water. At night, the bars, Kabuki Woodblock prints were seen as ephemeral.
theaters, restaurants and brothels were lit up They illustrated topical subjects and were
and appeared to be floating on the water. So quickly and cheaply produced to be sold in-
the district became known by the nickname expensively to the tradesmen and merchants
“the floating world”. The world of Buddhist who patronized the bars and theaters in Edo’s
monks might be sad, but not the floating red light district. In the West, woodblock
world of Edo! printing was also cheaply produced for work-
ing people, not the upper classes. But Japan
Woodblock prints depicted the things people at this time was completely isolated from the
could see in the floating world, so the term European influences. One didn’t inform the
ukiyo-e came to be applied to them too. other.
People collected pictures of famous Kabuki ac-
tors just like people today follow their favorite The first contact with the West was in 1550,
stars. The prints also depicted beautiful wait- when Portugese sailors landed on a Japanese
resses at restaurants and tea houses... and island, but Europeans weren’t welcomed. The
also famous concubines. only people the Japanese would trade with
were the Dutch, and they were only allowed
Prostitution was legal in Japan in those days, to dock their ships at one island off the coast.
and the trade was divided into different class- The Dutch would land and unload the items
es. Some prostitutes were like modern call they had to trade, and Japanese representa-
girls, servicing customers by the hour. Oth- tives would come with their products. The
ers were not just beautiful, but also educated deal would be struck and both sides would
and talented. These concubines serviced the leave. There wasn’t much real cultural inter-
higher classes, and they chose their own cli- action for almost 300 years. So while Western
ents and set their own price. They were well art was developing and evolving in a parallel
versed in poetry and music, and if someone course, the same things were happening in
wanted to spend time with them, they had to Japan in near complete isolation.
court them and bring them gifts.
Earlier, I noted that Ukiyo-e prints derived
There was even hardcore pornography in the their techniques from Chinese painting. The
form of woodblock prints called “shunga”. Por- main aspects they took from the Chinese
nography is unmistakable, but other kinds of were:
images might not be easily interpreted Daimyo
with- Procession
Bold line drawings inked with a brush their land holdings; between the clans and
and filled with flat planes of color– Even samurai, who wanted independence from the
though each line was carved in wood, it control of the daimyo; and between daimyo in
was made to resemble brush inking. Even Kyoto and their appointed territorial represen-
the lettering in woodblock books was tatives back home in their territories.
carved a letter at a time to look like brush
inking. Eventually, it became impossible for the
daimyo to spend all of their time at the em-
Flat compositions– Depth was depicted peror’s court, so the law was amended to
in horizontal planes, similar to backdrops allow them to spend alternate years in their
on a stage set, not in a three dimensional territories and at the shogun court in Edo.
way. So every other year, the feudal lord was
required to gather up his family, his posses-
Tipped perspective– The ground plane was sions, his samurai and his retainers and travel
slanted with a high horizon line. Things across Japan to relocate. There were about
that were closer to the viewer were de- 250 daimyo clans in all, so the main road
picted lower in the composition, and things from one end of Japan to the other, called the
that were further away were higher. Tokaido Road, would often have ceremonial
processions with an entire feudal court travel-
Stylization– Landscapes weren’t intended ling the length of the road in parade forma-
to look exactly like the place they were tion. The lords tried to outdo each other in
depicting. They were highly stylized. The these parades with pomp and displays of their
goal was to convey how it FELT to be at wealth and power. The lower classes who wit-
that place at that time of day, not how it nessed the parade were required to step aside
looked. and bow, letting the procession go by. The
shogun established a set of laws governing
There is a lot more to say about ukiyo-e, but the behavior of everyone travelling the roads,
for now, I’ll leave it at that and turn to the including the daimyo. Only people of high
subject of this particular e-book. rank could ride on the backs of horses, wages
and tolls had to be paid, and way stations
THE DAIMYO PROCESSION with food and lodging (as well as prostitutes)
were established one day’s travel apart from
From the 10th century to the middle of the each other along the length of the road.
19th century, Japan was divided up into vast
hereditary territories ruled by feudal lords The daimyo procession was a popular sub-
called the daimyo. Above them were the mili- ject for ukiyo-e prints over the years, and in
tary leaders, known as the shogun, and the 1918 publisher Tōkō’en hired editor Akiyoshi
emperor and his court in Kyoto. The daimyo Zentarō to create a compilation book titled
held military and police powers within their “Well Known Pictures Of The Daimyo Proces-
districts, as well as collecting taxes and wield- sion”. Animation Resources obtained a first
ing economic control. The daimyo hired sam- edition printing of this book, and although it is
urai warriors to defend their land holdings. produced by means of lithography, not hand
carved woodblock printing, the image qual-
The shogun wanted to prevent the daimyo ity is remarkable. The artists represented in
from revolting and taking power away from this book include many of the major names
them and the emperor, so they established a in ukiyo-e, including Hiroshige, Toyokuni and
law requiring them to live in Kyoto where they Yoshitoshi. We will have more information on
could keep close watch over their activities. In the subject of Japanese art in upcoming Ref-
a sense, they were keeping the lord and his erence Packs.
family hostage to insure that they wouldn’t
try to usurp power. The daimyo relocated to Thanks to Animation Resources volunteers
Kyoto, appointing relatives and caretakers David Musset, Nicholas Jones and David
to represent them in their home province in Eisman for their help with researching and
their absence. There were constant battles digitizing this e-book. Image restoration and
Daimyo Procession
between daimyo clans, seeking to enlarge layout is by Stephen Worth.
Daimyo Procession
Daimyo Procession
Daimyo Procession
Daimyo Procession
Daimyo Procession
Daimyo Procession
Daimyo Procession
Daimyo Procession
Daimyo Procession
Daimyo Procession
Toby Bluth’s Story
yboard Collection
yboard Collection
yboard Collection
yboard Collection
yboard Collection
yboard Collection
Animation Resources
Reference Pack #032
Musical Timing Rediscovered

CHUCK JONES
BAR SHEETS
Animation Resources Inc. is a 501(c)(3) non-profit educational
organization dedicated to serving animation professionals,
cartoonists, designers, illustrators, students and researchers.
For more information, see...
https://animationresources.org
PLEASE NOTE: This material may be protected by copyright
and is provided to supporters of Animation Resources under
Fair Use provisions for critical analysis, educational and refer-
ence purposes only. Permission to copy and print is granted
for personal use only and this file is not to be distributed or
shared with others. All rights reserved.
Musical Timing
Rediscovering A Lost Animation Technique
Nowadays, one of the most overlooked techniques for planning and constructing ani-
mated films is musical timing. Most current animation is rough timed to the length of
the dialogue, with spaces left for the amount of time it takes to complete the wordless
actions called for in the storyboard. Pacing is refined in the animatic stage by alter-
ing the number of frames each storyboard panel is assigned to find a speed that feels
natural. However, this is not the way timing was planned in the golden age of anima-
tion. In the pre-television era, the timing of the action was planned alongside the musi-
cal score; so the movements would conform to the beat and rhythm of the music. This
method of timing to music is almost completely forgotten today.
Musical timing dates all

the way back to the silent
era. The Fleischer Stu-
dios developed it for the
bouncing ball sing-along
cartoons. They realized
that they needed to es-
tablish a beat that theater
organists could follow to
lead the audience in song.
The bouncing ball became
the visual cue, marking
the beat of the music. Carl
Stalling came up with a
more sophisticated ap-
proach to musical timing
at the Disney Studios for
the Silly Symphonies series. Together with the animation directors, he planned out
the music to precisely mirror every action on the screen. This kind of carefully syn-
chronized music came to be known as “Mickey-Mousing”, and was a big part of what
made Disney successful in the early sound era. When Stalling joined the Warner Bros
studio, he worked with some of the greatest animation directors who ever lived... Bob
Clampett, Friz Freleng and Chuck Jones. With their input, he further refined the pro-
cess.
At Warner Bros. the timing was a team effort between the animation director and the
musical director. When the storyboard was finished and approved, Stalling and the
director of the short would meet to sketch out the basic structure of the timing for the
film. Using a metronome’s tic-tok going at a typical beat, they would count out how
many beats it would take to perform the actions called for in the storyboard. Together
they established the timing of the cutting and action to fit within a traditional musical
structure. The tool they used to do this was the bar sheet.
MUSICAL TIMING
For the benefit of animators who may not have a background in music, I will explain the funda-
mentals of musical structure. Music is built upon a rhythmic heirarchy consisting of beats, bars
and measures. The beats are the pulse of the music, the steady rhythm you tap out with your foot
when listening to music. The bars are musical phrases... essentially individual sentences within
the overall structure of the song. The measure is the paragraph that contains the bars and sums
up with a resolution of the basic melodic idea at the end. Popular music typically consists of 4/4
time. This means that every bar consists of four beats, and four bars complete a measure. Non-
musicians can understand this more easily by thinking of it as it relates to a very simple melody–
like “Mary Had A Little Lamb”.
Each of the red X’s represents a beat, and each musical phrase is separated into bars between
the vertical double lines. The last bar resolves the melody and ends the four bar measure with a
pause for the singer to take a breath before the next measure starts. Sing the song to yourself
and tap out the beat, and you’ll see how it works.
When timing an animated film, the animation director and musical director’s first task was to
establish where the scene cuts would fall. Following the cutting in the storyboard, they would
find the best spots for scenes and sequences to begin and end from a musical standpoint. The
metronome would help them judge how many bars each scene should span. They would arrange
for sequences to start at the beginnings of musical phrases, and gag sequences would end right
along with the resolution at the end of a measure. Melodies would be established, develop and
be resolved the same way the action on the screen was being setup, played out and payed off.
This first pass was done with a red pencil, and was called “red lining”.
Next, the animation director would make a pass through for internal timing within each scene.
The director would pencil out where in the timeline each action would happen. He would place
big accents on main beats and ends of measures; and if the gag was supposed to take the audi-
ence by surprise, he might put it deliberately off the beat. Every little action was called out by a
written description... “character raises his hand, anticipates, grabs, picks the ball up, winds up,
throws...” The movement was called out in detail and every move was assigned to a specific
musical beat.
Once all the action had been described and assigned to beats, the next step was to translate the
relative timing of beats and bars to a specific amount of time using frames. For this, the direc-
tor would assign a number of frames to each beat... typically even numbers like 8, 12, 16, or 24.
Even numbers were used for two reasons... Firstly, animation was usually shot on “twos”, mean-
ing every drawing was on the screen for two frames. Odd numbers would mean that a drawing at
the beginning or end of the scene would have to be shot for just one frame. They wanted every
drawing to read, and using an even number of frames for every beat guaranteed that every draw-
ing would be shot for two frames. Secondly, the numbers they used were evenly divisible by two
and four. This made it easy for them to calculate back beats and quarter beats. An anticipation of
a big move, like the wind up before the pitch, might come on a back beat. Fast action or synco-
pated rhythms might require the timing to be broken down into quarter beats. Smaller numbers
represented a faster tempo for the music; larger ones represented a slower one. The director
would estimate the proper tempo using a metronome set to play at the beat for specific frame
rates. He would act out the action and count the number of beats it would take to accomplish.
The frame rates would be pencilled in as a number to represent the number of frames between
each beat.
The total number of frames would all be tallied and divided by 24 to determine the total running
time. At Warner Bros, the directors were required to deliver cartoons at the same length every
time- no more, no less. The first pass at the bar sheets usually came out a little bit long or a little
bit short. So the director would take the total number of frames he needed to add or subtract and
go through beat by beat, replacing the number of frames to bring it out to the proper length. For
instance, if a sequence was timed to a 8 frame beat and the overall length was a little short, he
might change from 8 frame beats to 12 frame beats to correct it. This made it simple to accor-
dion out the timing to hit precise overall running lengths without affecting the design of the overall
structure or proportions of the timing.
When the running time of the cartoon was

correct, the timing was locked. The music
director would start composing and ar-
ranging the music bar by bar. The director
would transcribe the bar sheets to ex-
posure sheets for the animators, and he
would begin work on layout. In layout, the
posing from the storyboard would be tied
down and clarified, and each of the direc-
tor’s action descriptions on the bar sheets
would be visualized as a drawing. Next,
the exposure sheets and layouts would
be handed out to the animators scene by
scene. The animators would follow the lay-
outs and the beat marked on the exposure
sheets to flesh out the action into a se-
quence of drawings that described motion.
There was no need to wait for animation
to be completed before composing the
musical score because the beats defined
the timing. Since the animators followed
the beat marked on the exposure sheets,
when the composer conducted and re-
corded the score with the click track in
his headphones, the music would line up
perfectly with the finished animation.
TIMING ON SHEETS
Timing on bar sheets is quite different from how timing was done in the television era. For TV, the
storyboard would be rough slugged. The animation director would go through and red line, as-
signing lengths in feet and frames to scenes and outlining the most basic timing of action, much
like the first steps in the bar sheet process. The footage would be totalled and cuts and additions
would be made to the board and slug to adjust it to length. Once the slugged board was locked,
it would be transcribed to exposure sheets and the internal timing would be refined by the sheet
timer without regard to the music.
Eventually, layout was done away with and

most of the decisions about how the action
would be handled was left to the storyboard
artist and the overseas animators. Music di-
rectors were also eliminated. It wasn’t neces-
sary to synchronize to the music, because
most music in television programs wasn’t
scored to the picture. It was edited from “nee-
dle drop” stock music libraries which were
not recorded to adhere to specific beats. The
music was essentially laid in like wallpaper. If
it hit major accents in the action, it was be-
cause the editor cut it to do that, not because
the director planned for it to line up.
In recent times, even the exposure sheets

have been eliminated. The storyboard pan-
els are digitized and edited together into an
animatic. The timing is determined by the
editor, based on the lengths of the line read-
ings and what looks correct as an animatic.
Rhythmic timing is almost non-existent with
this process, and detailed animation is rare,
because no one is breaking down and call-
ing for internal timing between the storyboard
panels. This streamlined production process
results in simplified animation. This is why
classic cartoons look so much more detailed
than modern animation.
There were two major advantages to using bar sheets. First, the action on the screen, from the
main accents all the way down to the smallest movements, all lined up with the music. If the
action was timed a little bit too slow or a little too fast, it didn’t matter because the synchroniza-
tion of the action with the music would make it “feel” correct. When animation is timed to natural
timing, even a slight variation in pacing can make it feel “too fast” or “too slow”. But when action
lines up with music, it can’t help but feel correct. The second advantage to using bar sheets was
that the timing wasn’t locked down until the action had been fully planned. If alterations in run-
ning time needed to be made, it was simple to just change a few bars of 8’s into 12’s. The overall
proportions of the timing stayed the same. With exposure sheets, any change required rewrit-
ing the whole sheet, because the timing was locked to specific frames in the picture. Bar sheets
could remain fluid until the correct length was achieved. Exposure sheets were not as flexible.
Because bar sheets were essentially a technical document that was only important to the direc-
tor and music director, very few of them survived. At the end of production, they were routinely
thrown away. Their purpose had been fulfilled and they were no longer needed. They weren’t
drawings of cartoon characters or colorful cels, so no one pulled them out of the trash to take
home as a souvenir. The generation of directors who worked with bar sheets had all retired by
the late 1970s, so television production developed a different way of working based on timing
to natural pause dialogue tracks. Music no longer was scored to picture. The technique wasn’t
taught to the next generation of animators. Timing to the beat became a lost art.
A CLUE FROM THE PAST
Chuck Jones was one of the greatest animation directors who ever lived. He was accustomed
to working with a music director, so when he was called upon to direct Dr. Seuss’s “How The
Grinch Stole Christmas”, he chose Eugene Poddany to supervise the music. Jones and Poddany
worked together just as Carl Stalling had worked with the Warner Bros. directors in the golden
age. In fact, Poddany had worked with Jones and alongside Stalling at Warner Bros. in 1951 on
the short “The Wearing Of The Grin”, and he had over a decade of experience scoring animated
films. “How The Grinch Stole Christmas” was probably one of the last films to be timed with bar
sheets. The whole production was planned around the music. It is a perfect example to study to
learn the lost techniques of musical timing.
Jones was friends with Dan McLaughlin, the head of the animation department at UCLA. In the
late 1970s, Chuck gave Dan a batch of material to demonstrate the process of making an animat-
ed film to his students- production sketches, cels, backgrounds and paperwork. In with the batch
were the bar sheets for “How The Grinch Stole Christmas”. When McLaughlin passed away a few
years ago, his family asked the current head of UCLA’s animation department, Doug Ward to help
find a home for Dan’s collection. Doug recognized the importance of the bar sheets and arranged
to have them donated to Animation Resources so we could conduct a research project. We set
about backwards engineering them to rediscover the secrets of musical timing.
Animation Resources’ president, Stephen Worth and animator Davey Jarrell teamed up to digi-
tize and restore the bar sheets. They were reformatted into a timeline, and synchronized with the
video of the finished animation. Members of Animation Resources can now study the film frame
by frame comparing it against the bar sheets to learn the timing techniques of the past. It’s been
a very labor intensive process, and we have only scratched the surface of the story these sheets
tell. We would appreciate it if you would let us know what you learn from reviewing this mate-
rial, so we can share your discoveries with our other members. If it prevents the secrets of musi-
cal timing from being lost forever, the effort will have been well worth it. Normally, our Reference
Packs are full of pictures and rare animation. This time, it consists of nothing but solid informa-
tion. We hope you will take the time to break down and analyze this material and apply the tech-
niques to your own work. In that way, the work of Chuck Jones and Eugene Poddany will live on.
Animation Resources would like to thank the family of Dan McLaughlin and Doug Ward for en-
trusting us with this project. Their support is greatly appreciated.
Chuck Jones’ Bar Sheets From “H
How The Grinch Stole Christmas”
Christmas Annuals
A Scandinavian Comic Tradition
The Scandinavian countries (Denmark, Sweden, Norway, Fin-

land, & Iceland) have contributed many traditions to the cele-
bration of Christmas around the world: Christmas trees, elves,
reindeer, advent calendars, and even Santa Claus. But one of
the most unique holiday traditions in Scandinavian countries is
the “Christmas book flood”. Catalogs are distributed of spe-
cial books and magazines, and people order them as gifts for
friends and family. More books are sold in this part of the world
between November and December than the rest of the year.
Scandinavians are among the most literate people in the world.
Amazingly, 1 in 10 Icelandic residents is a published author.
The holiday tradition of giving books as holiday gifts is so ubiq-
uitous, Scandinavians don’t even recognize it as a tradition.
They assume all countries buy special books for Christmas.
One of the most famous series of Christmas annuals is the Swedish publi-
cation called Bland Tomtar och Troll (Among Gnomes and Trolls). The first
issue was produced in 1907 and it included Swedish folklore and fairy tales
lavishly illustrated by the greatest artists of the time. The most famous of
these artists was John Bauer, whose beautiful watercolors inspired later
artists like Brian Froud, Arthur Rackham and Jim Henson. Bauer special-
ized in painting deep forests and the creatures that dwelled in them, both
real and imagined. His color palette was muted, but rich and varied. How-
ever, in the earliest years, the technology of the day required the illustra-
tions to be presented in just two tones, even though they were painted in
full color. Despite this limitation, Bauer’s illustrations for Bland Tomtar och
Troll created a sensation.
Flush with success, in 1911 Bauer demanded that the publisher allow him
to retain the copyright to the images and return the original artwork. This
was rejected and Bauer was replaced by another artist, causing sales to
drop. The following year, the publisher relented and Bauer was back paint-
ing his trolls and gnomes again. Advances in printing technology allowed
for the illustrations in the 1913 book to be printed in four colors, closely
resembling the richness of Bauer’s original paintings. With the outbreak of
World War I, Bauer’s heart wasn’t in painting for Bland Tomtar och Troll
Illustration by John Bauer from “Bland Tomtar och Troll”.

any more and the last issue featuring his work was published in
1915. Bauer died in a steamship accident in 1918 at 36 years of
age, but even though his career was short, his reputation en-
dures to this day.
John Bauer mentored a young artist named Gustaf Tenggren,

and after Bauer left Bland Tomtar och Troll, Tenggren stepped
in and continued where Bauer had left off. After five years, he
emigrated to the United States, where he went on to become an
acclaimed magazine illustrator and designer of Disney animated
features. In the late 1940s, Tenggren pioneered the Golden
Book style which ushered in a whole new kind of illustration.
After he left Bland Tomtar och Troll, Tenggren was succeeded
by Einar Norelius, who carried on in Bauer and Tenggren’s il-
lustration tradition for the next 40 years. Bland Tomtar och Troll
continues to be pubished every Christmas to this day.
In addition to books, Norwegian publishers put out annual

Christmas magazines, the earliest of which date back to the mid
19th century. These annuals featured sheet music, stories, hu-
morous cartoons, satirical gossip about local public figures and
recipes, and they were usually presented in a horizontal format
to set them apart from monthly and weekly periodicals.
In Copenhagen, a satirical Christmas annual magazine called

Blaeksprutten was launched in 1889. The title translates to
Cuttlefish, and the idea was that the writers and artists who
worked for the magazine had their “tentacles” in all aspects of
life in Denmark. The magazine blended both the tradition of the
Christmas annual and the satirical magazines flourishing around
the world at the time. Beautifully printed, the magazine fea-
tured catty theater reviews, humorous stories and poems, and
sentimental music; and it was illustrated with panoramic “birds
eye view” shots of Danish villages bustling with life, fanciful
subjects in lavish color, caricatures and line drawings in ink. The
principle artists in the beginning of the 20th century were Alfred
Schmidt, a well known caricaturist and poster designer; painters
Paul Gustav Fischer and Axel Nygaard; line artists Sven Brasch
and Gerda Ploug Sorenson Sarp; and fashion illustrator Gerda
Wegener. Blaeksprutten is still being published every Christmas
after 125 years.
Illustration by Einar Norelius from “Bland Tomtar och Troll”.

Christmas annuals do not always feature holiday themes, but
they all do have cartoons. In 1914, Rudolph Dirks’s newspaper
strip Katzenjammer Kids was adapted to the format; and over
the years many other comic strips and comic book characters
have appeared in Scandinavian Christmas annuals. Popeye,
Donald Duck, Tom & Jerry, Blondie, Calvin & Hobbs and Hagar
the Horrible have all been published in the same wide format.
They appear on the bookseller’s shelves alongside domestic
comics like Stomperud and Vangsgutane or Flåklypa. Each year
about 50 different titles are published, each selling as much as
225,000 copies. The tradition has fostered independent comics
scenes as well, with countries like Finland developing their own
style of dark and dreamlike comics.
These publications are pretty much unknown in the United

States, but Animation Resources has been working to collect a
sampling of these hard-to-find comics to share with its mem-
bers. We hope you find it useful to your in your studies.
Blaekspruten 1912-1913
AnimationResources.org Blaekspruten 1912-1913 Page 59
In his blog, Stripper’s Guide, Allan Holtz shared a press release for
Coogy the launch of the strip...
by Irv Spector
‘Coogy’ Sunday Page Due from Herald Tribune
Irv Spector was an animation Cartoonist Irving Spector crossed

story and layout artist who also the country 13 times in three years
worked in newspaper comics and awhile back and thereby became
comic books. He worked at Lantz, infatuated with the desert in New
Mintz, Warner Bros, Fleischer and Mexico and Arizona. “I remember
Famous Studios over the years, everything in vivid detail,” he says.
as well as freelancing at many of “I can draw it without seeing it.”
the TV animation studios of the
60s and 70s. That helps explain the locale of his
Sunday page, due May 27 from the
During WWII, Spector served in New York Herald Tribune Syndicate.
the Signal Corps as a cartoonist The characters apparently stem
alongside Stan Lee; and after the from 20 years of animated cartoon-
war, he joined Harvey Kurtzman ing and the result: “In animation,
at Lee’s Timely Comics in New you get so you consider that ani-
York drawing stories for Super mals are people.”
Rabbit. Spector’s other comic
work was featured in other funny Mr. Spector’s career goes back
animal titles, including Lucky almost, but not quite, to the age of
Duck, Toytown, Funny Frolics, 14. At 14, he tucked some of his
Muggy Doo, Supermouse, Teepee drawings under his arm, hied from
Tim and Giggle. his home in Los Angeles to the Walt
Disney studio, in Hollywood– only
Spector’s newspaper comic, to learn that Mr. Disney was “out.”
Coogy is little known today, He came back that night though
largely because of its limited and noticing a light on at the back,
distribution. The strip ran on gathered his courage and walked
Sundays in the New York Herald right into a story conference attend-
Tribune– it wasn’t widely syndi- ed by, among others, Walt Disney.
cated like the comics in King Fea-
tures or Hearst newspapers. This “They all seemed amused and Mr.
is a shame, because Coogy is Disney was kind.” says Mr. Spec-
an excellent comic, with brilliant tor. “He told me there’d be a place
compositions and great character for me at Disney’s when I finished
posing and acting. school.”
Irv Spector at the Charles Mintz studio
Coogy ran from 1951 to 1954, starting out as a small filler strip, but
soon graduated to full half page Sundays. It is clearly based on Walt
Kelly’s Pogo, but it also mirrors some of George Herriman’s desert
landscapes from Krazy Kat as well as character designs from late
40s funny animal comics.
The stories were satirical covering a wide range of topics... pros-

pectors, cowboys, boxing, television, psychiatry– the group in this
e-book feature a story line on historical figures like William Shake-
speare, Leonardo da Vinci and Nero. The strip even did parodies of
movies and books, like Dashiell Hammett’s The Maltese Falcon and
Ernest Hemmingway’s The Old Man and the Sea.
Spector’s son has said that Harvey Kurtzman invited Spector to

join the staff of Mad when it was a comic book, but he turned the
offer down because his schedule producing the Coogy strips kept
him busy. That’s too bad, because Spector’s and Kurtzman’s styles
would have blended well.
As a matter of fact, the cartoonist (who has recently taught mo-

tion picture cartooning at the College of the City of New York) didn’t
finish school. He left with half a year still to go at the age of 16,
got a job with Universal Studios. A year and a half later he went
to Disney’s as an assistant. and, at 20, he became an animator for
Columbia Studios.
As a writer later for Warner Bros., he helped in the development of

the “Bugs Bunny” type of humor (zany, wacky humor as opposed to
sweet, cute animals, he explains.)
Mr. Spector’s animals, none of which struck us as sweet, include the

title character, which has rather faint resemblance to a cougar and
serves mainly as the interlocutor of the piece. Others are Big Moe, a
bear; a tortoise; and Arresting Sam, a deputized dog.
The cartoonist, who is now connected with Famous Studios as a

writer, started the strip as a small-sized Sunday filler in December.
Spector (second from right) in the Signal Corps during WWII
After the run of Coogy ended in the New York Herald Tribune, Spec- For more information on Irv Spector and further examples of his
tor attempted to sell it to syndicates as a daily strip, and even cre- work, see...
ated a variation involving human characters, called Morgan without Ger Appledoorn’s “The Fabulous Fifties”
success. In 1960, he returned to animation working freelance for http://allthingsger.blogspot.com
many studios and shows including Famous, Hanna Barbara, Chuck
Jones’s Tower 12, Ed Graham Productions and Filmation. He passed Paul Spector’s “Spectorphile”
away at age 62 in 1977. http://irvspector.blogspot.com
Coogy 1951-1952
Coogy 1951-1952
Coogy 1951-1952
Coogy 1951-1952
Coogy 1951-1952
Coogy 1951-1952
Coogy 1951-1952

Coogy 1951-1952
Coogy 1951-1952
Coogy 1951-1952
Coogy 1951-1952
RESTORATIOM EXAMPLE
Normally, Animation Resources’ e-books have more pages than

this one. The amount of time and effort involved in restoring these
Sunday pages properly was greater than in our typical books.
Clippings of Coogy are extremely rare, and they are often in poor
condition, with fading, yellowing and printing out of register. We
felt that these comics deserved to be fully restored, so we took the
time to do it right. Each Sunday page involved approximately eight
hours of volunteer time. We have more clippings, enough to do
Building A Foundation For The Future Of Animation
The Genesis of the Project
In 1982, Stephen Worth was a student at UCLA study- ogy is just a tool. The artist is the one who creates. We
ing design. He attended an event hosted by The Inter- need to invest in artists.”
national Animated Film Society: ASIFA-Hollywood and
had the opportunity to speak with the organization’s Almost overnight, Worth established a world class facil-
President, the legendary cartoon Producer, Story Man ity for self-study and research into the art of animation.
and Voice Artist, Bill Scott. Scott shared with Worth an Housed in a storefront in Burbank, the ASIFA-Holly-
idea he was nurturing. He described his plans to create wood Animation Archive provided information, digitized
an “Animateque”– a research facility for animation pro- animated films, assembled biographical information and
fessionals and students. prepared high resolu-
Steve never forgot that tion scans of artwork
meeting. “The resources for use by countless
weren’t there to pull it animators, educators,
off during Bill’s tenure as art students and re-
President of ASIFA-Hol- searchers. The facility
lywood. But a few years became world famous
ago, I remembered Bill’s through its exhaustive
idea and realized that website and extensive
computers had made collection of material
organizing educational from the personal files
material much easier. of legendary animators
The concept of a “digital like Grim Natwick, Les
Animateque” excited me. Clark, Michael Lah, Herb
I guess you could say Klynn and John Kricfa-
that when Bill passed lusi. A dedicated group
away, his passion for the of volunteers worked
idea was transferred to tirelessly digitizing and
me.” cataloguing the mate-
rial, guaranteeing that
After 20 years as an Cartoonists refer to Animation Resources’ extensive col- future generations will
animation Producer, lection of digitized images, animated films and artists’ be able to benefit from
Stephen Worth de- biographies. The database is available to the public by the valuable informa-
cided it was time to appointment without charge. tion.
give back to the muse.
He went to work full time at ASIFA-Hollywood to try In January of 2011, ASIFA-Hollywood informed Worth
to build support for Bill’s concept of the Animateque. that regrettably they were no longer able to sponsor
“The animation business is in dire need of inspiration his project. Worth wasn’t willing to let Bill Scott’s dream
and new ideas,” Worth explains. “I kept reading in the end there, so he scrambled to create a permanent or-
trades that traditional animation techniques were dead ganizational umbrella for the collection. He established
and artists would soon be replaced by technology. But Animation Resources, a 501(c)(3) California non-profit
I know from working with innovative filmmakers like organization dedicated to supporting and encouraging
Ralph Bakshi and John Kricfalusi that the principles that animation education. The core of Animation Resources’
created Pinocchio and Bugs Bunny are the same ones offerings is Stephen Worth’s valuable research and
that will lead new technologies to the same heights curation efforts and the generous efforts of the dozens
reached in the ‘golden age’ of animation. The technol- of dedicated volunteers who dedicated their time and
energy to creating this resource.
About the Collection
The archive database of Animation Resources consists
of biographical information, images and filmographic
data culled from from a variety of sources. In a remark-
ably short span of time, the collection grew to contain
over 6,000 digitized animated films and over 125,000
high-resolution images. These assets are searchable by
keywords, and all of the data is cross-linked within the
database structure.
This means that it is possible to search for an artist’s

name and find his biography and filmography, then
click through to watch a digitized movie file of a film
he worked on. One more click reveals animation draw-
ings by that artist from that particular film. “It’s a way
of organizing information that’s never been attempted
before,” says Worth. At this point, the database is not
available on the internet, but plans are in the works to
build the infrastructure required to share the entire col-
lection online with the world. Animation Resources’s archive database contains
information on influential women animators like Lotte
Reiniger, the creator of the oldest surviving animated
feature.
“The purpose of Animation Resources is to be an ar-

chive FOR animators, not just an archive OF animation.”
Worth explains. “Because of this, the collection doesn’t
just include animated films and related artwork, but art
instructional material and a wide range of items dealing
with the history of cartooning and illustration as well.”
The collection is basically the world’s largest artist’s
“clip file”- children’s book illustrations by Rackham and
Dulac, magazine cartoons by Virgil Partch and Erich
Sokol, superhero comics by Jack Kirby and Jack Cole,
newspaper comics by Cliff Sterrett and Milton Caniff,
drawing instruction by Preston Blair and Willy Pogany…
a whole world of inspiration for artists and cartoonists.
The animation related material in the collection includes

storyboards, animation drawings, production correspon-
dence, exposure sheets, publicity materials, production
photos, model sheets, pencil tests, background paint-
ings, and more.
Digitized films in the collection include rare cartoons by

the Fleischers, Terry-Toons, Iwerks, Lantz and Columbia
studios. “These are primarily films that have never been
released to home video. Many of them haven’t been
broadcast on television since the 50s or 60s. We’re
specializing in the studios that don’t currently have
extensive commercial distribution.” says Worth. Anima-
tion historians like John Canemaker, Leonard Maltin,
Jerry Beck and Mark Kausler have been supporting the
project as well by sharing valuable research and helping
In the “golden age” of animation, production designers to acquire rare animated films for digitization.
didn’t look to other cartoons for inspiration on how their
films should look… they looked to classic illustration, How unique is the material in this collection? Anima-
like that of Gustaf Tenggren. Animation Resources’s ar- tion Director, John Kricfalusi writes, “Animation Re-
chive database includes hundreds of illustrated children sources has collected decades of lost cartoons, com-
books, each one bursting at the seams with new ideas ics, children’s books, and classic illustration and made
for how animated films can look. them available to cartoonists, illustrators and fans all
over the world. But that’s not all. Steve has also given
the whole history context. You can trace styles across to actively solicit outside sources for material that fills
studios, across different media and back through time in gaps in the rest of the collection and relates to the
to see where artists got their influences and how whole concepts he is trying to put across. Most collectors are
schools of styles evolved. There are a lot of great car- more than happy to share a digital copy of their items.
toon blogs out there, but Animation Resources has to
be the most extensive. It takes a much wider view of (Below) Ralph Bakshi, the animator who was respon-
illustrative art and cartooning than my own blog does. sible for bringing about the modern age of animation
I mostly promote very cartoony styles, mainly because has written several inspiring articles for the Animation
no one else was doing it when I started, but Steve Resources blog and has contributed material to the col-
shows you where everything came from and how all the lection. The storyboard section above is from Bakshi’s
styles are interrelated.” “Cool World” and was drawn by Louise Zingarelli.
A Non-Traditional Approach Supplementing Animation Education

Traditionally, libraries and archives have limited ac- Animation Resources is intended to serve creative pro-
cess to their collections in the interest of preservation. fessionals and students of the artform who are looking
Delicate paper and film stock requires special handling to develop the necessary skill set to become an accom-
and cannot stand up to the rigors of general circulation plished animator. These artists have a tough road to
among artists and students. In most archives, collec- haul. They are facing an industry where the quest for
tions are donated unsorted by the boxload. An archivist technical knowledge has often times eclipsed the need
must go through piece by piece inventorying, stabiliz- to develop artistic proficiency. Schools and universi-
ing and storing the items before they can begin to be ties don’t have the time and resources to provide their
utilized. This process typically takes several years. Once students with all of the experience required to be a
the collection has been inventoried and shelved, a cura- professional animator. So they focus on the most imme-
tor is brought in to examine the holdings and determine diate and practical elements and expect the students to
a contextual format- a book, an exhibit, an article- that acquire the creative and artistic aspects of their educa-
will make the public aware of the collection and its im- tion on their own.
portance. Curation can take another year or longer, and
by this time five or six years may pass before the public In tough economic times, the studios cut budgets for
is even aware that the collection exists. in-house training, so the young artists aren’t able to
pick up the fundamentals on the job either. It’s a dif-
In the era of YouTube and Google, this is beginning ficult situation, and many students of animation aren’t
to change. Digital technology removes the problems even aware of the vital need for self-study until after
associated with storage and preservation of vintage they have graduated and joined the ranks of job hunt-
artifacts. Once digitized, a film or piece of artwork can ers. By that time, it may be too late for them to pick up
efficiently and inexpensively be backed up and dis- the creative skills they need to be a productive employ-
tributed, making open access a possibility. Without ee in animation.
physical objects to catalog and store, archivists are
able to shorten the time it takes to prepare a group of Joseph Baptista, a student intern on the project who
items for public access. This allows the collection to be is now a professional animator comments, “Doing an
curated as it is assembled. The curator isn’t limited by exercise for a class at school, you’re not really sure how
the pool of material that he has to work with. He is free it fits in functionally and how those principles apply to a
real world job. You just do it for a letter grade and you However, changes in the business environment in
move on. But if you are trying to learn to animate, the animation in the 1960s and 70s stopped this system in
best way is to first learn about the principle, and then its tracks. Studios were downsizing and sending work
to try to understand how it was applied through analyz- overseas. Experienced “old timers” who possessed
ing and imitating the work of great artists.” Worth set the accumulated knowledge of decades of experience
out to fully integrate an educational mission into the were retiring without passing along their techniques to
structure of Animation Resources. Educational mate- the next generation. By the mid 1970s, it looked as if
rial is accompanied by contextual information to help animation was a dying artform in the United States. A
a student fully understand and absorb it and is ac- few animators, most notably Eric Larson, Ralph Bakshi
companied by real-world examples of the principles in and Richard Williams refused to let the artform die, and
use. Through self-study, a student learns to recognize acted as a bridge across the gap, instituting training
principles among the art in the vast collection and, with programs at the studios where they worked. Most suc-
practice and determination, begins to master the tech- cessful animators today who got their start in the early
niques for themselves. 1980s have one of these three men to thank for their
careers.
In the 21st century animation business, the employ-

ment of an animator only lasts the life of the project,
and the ladder of upward mobility is either weak or
non-existent. Art schools have largely shifted towards a
“trade school” approach, focusing on technical skills like
proficiency in Flash and Maya instead of classical art
training. This leaves young animators without a means
of developing their craft and growing as an artist. Ani-
mation Resources steps into the breech, acting as an
adjunct to animation schools and training programs,
encouraging students to begin an organized program
of creative self-study early on so they will be prepared
when the time comes to find a job in the industry.
“Everything an animator needs to know is in those old

films and sketches.” Worth explains. “The great ani-
mators of the past may no longer be with us, but that
doesn’t mean that we can’t still learn from them. It
doesn’t matter if artists animate using a pencil or a
computer. The fundamental principles are the same.
All a student of animation today needs is access to the
material, a mind for analyzing what makes a scene
work, and lots and lots of practice.” Animation Resourc-
es is trying to help fill the gap by providing a facility for
artists to study core art skills and encouraging them to
carry the art form forward.
The family of legendary animator, Carlo Vinci has been

sharing artwork from Vinci’s fifty year career in anima-
tion. The collection includes a number of class assign-
ments from his studies at the prestigious National
Academy of Design, documenting the education of a
golden age animator.
The animators who created the classic cartoons of the

1930s and 40s did not attend animation schools. They
studied fine art- life drawing, sculpting, and paint-
ing- and learned the nuts and bolts of animation after
graduation on the job. In those days, animators were
trained as a part of apprenticeship systems. An expe-
rienced animator would take fledgling artists under his
wing and train them to assist his scenes as they worked
their way up the ladder of production. A young artist
would start as an assistant, then graduate to anima- Students at the National Academy of Design in the
tor, and perhaps eventually to director, learning as he early 1920s. Traditional art studies from the past form
worked. the foundation for artists of the future.
Future Plans
You might wonder where the funding to accomplish all I think it would make sense for art colleges to support
of the things Animation Resources is doing is coming this project and take advantage of all of its vast re-
from. “We’re very much flying by the seat of our pants.” sources. I would have killed to be able to find so much
Worth admits. “Thankfully, there are a lot of great knowledge and inspiration when I was at Sheridan Col-
people who believe in this idea who are willing to sup- lege.”
port it through individual
donations. The student “The next step for us
volunteers are enthusias- is to establish a steady
tic too and are willing to stream of revenue to
roll up their sleeves and fund the sustained
make it happen. Every- growth of the project,”
thing is on an achievable says Worth. “I see in
level and momentum is my head a full brick and
building to allow us to mortar museum dedi-
take on even more in the cated to animation with
future.” satellite facilities all over
the world. I’m willing
The full collection is not to do whatever I can to
yet able to be shared make this a reality. There
online, but a wonderful are a lot of other people
selection of images and here who love animation
information are avail- and are happy to help. I
able on the Animation don’t think it’s an unat-
Resources blog, which tainable goal.”
can be found at www.
Story artist Eddie Fitzgerald offers storyboarding tips to
animationresources.org.
volunteers Michael Fallik, Max Ward and Art Fuentes.
The website contains
thousands of images
and streaming videos, along with biographical articles
and information on the progress of the project itself.
According to Stephen Worth, the blog serves over a
quarter of a million articles a month to over 1.5 million
unique visitors. “Our web traffic comes from around the
world. We’ve heard from artists as far away as Japan,
Kazakhstan and Italy who follow our progress on the
internet every day.”
There are also plans to syndicate the database to

schools and universities around the world. John Kricfa-
lusi writes, “Animation Resources’s collection should be
available to as many people as possible.
Do You Know This Man?

Though few would recognize his name, and
even fewer his face, nearly every person on
earth knows of this man’s work. This is Ub
Iwerks, the man who created Mickey Mouse.
This self portrait from 1931 was found in a

trash can at a local TV cartoon studio. No one
knows how the drawing got there and no one
at the studio could identify him. At a reunion of
animators from the most successful animated
feature of recent times, this sketch was shown
to a hall full of employees from the studio this
man made famous- not a single person recog-
nized him.
Conclusion
Part of what makes Animation Resources so unique is
that they are so progressive and yet so willfully differ-
ent from other archives. Their unique vision is encapsu-
lated in a remark from Worth, “I’m not a library science
person, I’m an animated film-maker, so I don’t know
what normal is for a facility like this. I do know what
animators need and how they need it organized so they
can use it. That’s what I’m trying to build.” This pro-
access and pro-digital approach is refreshing. Anima-
tion Resources is clearly designed by and for animators.
These specialized artists not only need to understand
the basic elements of form, design, and nuances of
character performance, but how to rigorously time and
structure the creation of their art down to 1/24th of
a second. It’s a big challenge and it requires a good
education.
Certainly the professional world contains a scattered

sampling of people as committed to their medium as
Stephen Worth and his group of dedicated volunteers,
but it’s extremely rare to find such a concentrated few
in any one place. Their passion and co-operation are
achieving great things. Archivists and librarians might
have a lot to learn from these animators. Animation
Resources is rapidly becoming the model of what the
“21st century archive” must become.
Most importantly however is the impact Animation

Resources is having on the artform. John Kricfalusi
writes, “I hope that seeing some of the incredible work
Animation Resources hosts an online drawing course
of artists and cartoonists from the first half of the 20th
led by John Kricfalusi based on Preston Blair’s book,
century will inspire us to set our standards of qual-
“Advanced Animation”.
ity higher. This could help spawn a new renaissance in
cartooning as more and more young
cartoonists discover how much great
work has been done in the past and
how much potential for variety there
is in our field.”
Worth expands upon this point,

“What point is there pickling the
past in formaldehyde and setting it
up in bottles on a dusty shelf? The
past should be put to work inform-
ing the present and helping to im-
prove the future.” It’s clear that the
people behind Animation Resources
don’t think small.
Animation Resources depends on

the support of the people who ben-
efit from it. If you feel that this web-
site is of value to you, we encourage
you to contribute, volunteer and
support the project. With your help,
Animation Resources can grow.
Together, we can take the project
forward.
(Left) A rough animation drawing by

the legendary Milt Kahl. The anima-
tion of the past is being put back to
work, educating and inspiring the
animators of the future.
This document is set up to be printed on
double sided 8 1/2 by 11 inch paper with three
hole punch. The images are optimized further
for display on iPads with Retina Screens.

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Animation Resources

Reference Pack #050

Animation Resources is a 501(c)(3) non-profit educational organization, so every dollar

• To support and encourage animation education

If you aren’t a member yet, JOIN Animation Resources TODAY!

Die Muskete April–July 1910

RefPack001: Sample Reference Pack Army/Navy Screen Magazine: “The Navy

Private Snafu in “Gas” Army/Navy Screen

RefPack002: January-February 2015 Schmidt’s Beer Commercial Reel Paul

“Charm B.G.” 1948 Paul Fennell Studio

H. M. Bateman: Suburbia 1922 & Assorted Commercial Reel ca. 1950s

“Tuberculosis: You Can Help” ca. 1943

Zim’s Correspondence School of Campbells Soup Commercial Reel

RefPack011: September-October 2016

Illustrations From Jugend Magazine

Charlie Bowers: “It’s A Bird” 1930 &

“Dental Hygiene Dilemma” From

All The Funny Folks 1925 (e-book)

“The Tale Of The Fisherman And The Fish”

Best Of Videos 1 To 25 Volume 2 RefPack031: December 2019- January 2020

“Rhapsody Of Steel” 1959 John Sutherland RefPack032 February-March 2020

“Tune In Tomorrow” U. P. A. 1954 Plaza (Beach) `964 SE-MA-FOR

“Kumo To Tulip” 1943 Shochiku Doga

Slapstick Analysis: “The Saw Mil” Polish Animation: “Dumpling” 1959,

Two MGM Cartoons: “Milky Way” 1940 &

Cheburashka In “Shapoklyak” 1974 & “Two Greedy Bear Cubs” 1954

Cinematography: Visions Of Light The Humpbacked Horse 1947

Van Beuren’s Tom & Jerry: “Barnyard Bunk”

Dog, Cat And... Episode 2 1972

Koziolek Matolek Episode 2 1969 The Adventures Of Mowgli Episode 5

“A Match Revenge” 1968 Soyuzmultfilm

Winnie The Pooh Episode 2 1969 Breakdowns: Motion Frames

“An Unusual Match” 1955 Soyuzmultfilm RefPack048 October-November 2022

“The Horse” 1967 Withold Giersz Cinemascope: “Grand Canyonscope” 1954

Maxi Cat: “Hat, Lunch, Broom, Tennis,

Breakdowns: Resistance Archive 001: About Our Archive Database

Lesson 001: Warming Up Exercises

Twelve Months 1956 Soyuzmultfilm Animated Discussions 001: Slapstick

Animated Discussions 007: Is Reference

Animated Discussions 008: Craig Bartlett

Members Update 001: Streaming Update &

Members Update 002: Students- Are You

Members Update 003: RefPack048 Review

Die Muskete April–July 1910

Katsushika Hokusai was argu-

Hokusai was born in 1760, the

Hokusai’s subjects began to expand beyond

The importance of these little sketch

In 1884 “The Magazine Of Art” reviewed

A Note On The Reproduction And Restoration Of The Images

Dissent was brewing

Bernhard Gillam was first on his list. Money

The parting with Puck was not friendly. Gil-

Animation Resources has already

Bruce Bairnsfather was born

With the outbreak of the Great

Die Muskete April–July 1910

At the Western Front, Bairns-