INTRODUCING MILT GRAY'S MS. VIAGRI AMPLETEN

I wonder if blonde bombshells are making a comeback? For some artists they never really left. One of those is my friend Milt Gray who's just published his own how-to-draw-the-bombshell book (above). Milt is from the Jessica Rabbit, Bill Ward, Eric Stanton school of girl art. He goes bananas over a certain part of the female anatomy. Can you guess which part?
The pictures in the book are character layouts from a 12-minute sexy adventure film he's working on. He estimates that he'll have to generate about 15,000 drawings so down the line he'll need some help. If you need a job and can draw or animate this sort of thing, let him know. He plans to put up a web site soon at www.miltongray.comAt the moment the only way to get the book is from Astounding Comics, 224 E. Orange Grove, Burbank 91502, tel: (818) 953-7234 (What's the store's net address? Aaaarrgghh! I forgot to ask and it's a trillion o'clock at night as I write this). The store accepts mail orders.


By the way, You should also look up an article Milt wrote on animation timing for John Kricfalusi's blog. It's flat out one of the best things I've ever read on the subject!

MOVEMENT THEORIES OF DELSARTE

A while back I talked about Laban's theories of gesture. Maybe I should give equal time to gesturist I like a lot better: Francois Delsarte. Delsarte was the 19th century theoritician who came up with the over-the-top acting style you see in some silent films, the ones where the poor old lady is thrown out of her house by the evil, black-caped landlord. The technique is so old-fashioned and so funny-looking that our entire modern theory of acting exists to refute and bury it. That's too bad because nothing better has ever been invented.

I'm not saying that we should throw out all the great performances of the last 100+ years and go back to stylized caricature. What I'm saying is that we should keep what was of value in Delsarte: strong sillouettes, an emphasis on style that seems real rather than realism, and acting with the whole body rather than the face where it's appropriate.


If you think Delsarte was only studied by campy, second-rate actors, think again. Among his advocates were dancerIsadora Duncan and fundamentalist preacher Billy Sunday (above and below). I'd like to add Lawrence Olivier but that's a guess and I haven't read it anywhere.
Billy Sunday is the best American orator I've ever heard. You can hear him here at: http://billysunday.org/audio/prohibition.wav
Delsarte was a elocution theorist as well as a movement specialist. Billy Sunday didn't try to tone down Delsarte, he pumped it up and exagerrated it. He was the most popular preacher of his day. I've never seen a film of Billy but I've seen a lot of still pictures. He must have put on quite a show.

GRIGOR EFTIMOV...GENIUS!

Grigor is a theme park caricaturist on the East Coast, New Jersey I think. The man is a genius! He solved one of the most difficult problems in all of portraiture....how do you caricature a perfectly normal face? It's easy to exagerrate a nose that's already a little long. What do you do when the nose is perfect and so is every other appendage? No problem, says Grigor.

In the example above Grigor takes the dreaded perfect nose (The guy's nose, that is), pulls it out of the face and points it upward. That's a risky thing to do. The guy's nose doesn't naturally point up. You could lose the likeness. Grigor seems to have discovered what John K discovered, namely that you can invent characteristics as long as the drawing still FEELS like the person. I'll point out that Grigor also gave the guy a muzzle he didn't have before and a cow pie in place of his hair. Talk about creating a muzzle, Grigor gave this girl (above) a muzzle fit for a giraffe. And she's a good-looking girl too! Did he worry about losing the likeness? Did the crowd string him up? Nope! He fearlessly laid on the muzzle and it worked! Of course it fits into the crescent moon of the boyfriend's face.

Unbelievable! Here (above) he makes the girl's face huge then turns around and makes the guy's face even bigger! Does Grigor know no fear!? What if it hadn't worked!!??? The man is the Evil Keneival of caricaturists! I'll add that Grigor also does realistic paintings of distinction. A tip of the Uncle Eddie cap to Grigor Eftimov, caricaturist extraodinaire!

I"M GOING TO LEARN A FEW WORDS OF YIDDISH

This is what I'm reading now: "Born to Kvetch" by Michael Wex. It's a book about Yiddish which has the distinction along with Jive of being one of the world's only deliberately funny languages. I've only just started it so I apologize in advance if I make any factual errors.

Yiddish is a deliberate corruption of German with a lot of slavic words thrown in. It's a relatively new language, only a few hundred years old. It began when German Jews decided to come up with their own version of German so their kids wouldn't be assimilated into what Jews considered an alien culture and religion. Yiddish isn't only different than German, it's a parody of it. It's also a parody of Christianity.

The language can get pretty insulting but the insults are so funny sometimes that it's hard to get mad about it. In that sense it's like Jive, the language that some urban American blacks speak. Jive isn't supposed to be understood by the white man. It's deliberately full of funny sexual and racial references that would put off white people, if they only understood it. It's a funny language that's meant to use humor to seperate black people from the mainstream. Jive is fast disappearing as is Yiddish. Now that Jews have Israel and blacks have their freedom the need for seperation is slowly disappearing. Israel officially discourages Yiddish, except for scholars who study it as an academic subject in the university.

The title of the book mentions a Yiddish word, "kvetch." According to the writer all Yiddish speakers constantly complain (kvetch), whether there's anything to complain about or not. Yiddish-speaking Jews cultivated this to remind themselves that nothing will be right for them till they have a homeland of their own in Israel. The complaints are made tolerable by humor and it's no accident that Yiddish speakers helped to make America one of the funniest countries in the world. In Japan students of English sometimes study American jokes because it's believed that humorous speech is so widely used here that they'll be earmarked as foreigners if they don't make frequent jokes in the middle of a converstion.

I wish I had the energy to look up a few common Yiddish words to include here but I'm so sleepy that that I can barely finish typing this sentense. When I do learn some Yiddish words and phrases I want to move on to select Italian words and gestures. I also want to pick up some Jive. With all these funny linguistic treasures around us it seems foolish not to dabble.

DARE TO BE TWO-DIMENSIONAL!

It seems to me that too many dramatic animated features labor under the assumption that audiences want to see three-dimensional (ie., psychologically three-dimensional) characters in the lead roles. That can't be true! true.

Would the Lone Ranger show (above) really have been improved if the ranger had taken off his mask and said to Tonto: "Tonto, it's not easy helping other people day in and day out. Did it ever occur to you that maybe I'd like some help too? I'm a man and a man has needs!" No, it wouldn't have been improved! The third dimension is not for the Lone Ranger or any other mythic character.


Aren't you glad that James Bond (above) is two-dimensional? What about Snow White in the film by that name? There's not a three-dimensional character in the film. "Pinnochio" contains only one 3-D (actually 2 1/2 D) character, Jiminy Crickett, and he's not even the character the film is named for. "Alice in Wonderland" and "Fantasia" contain no 3-D characters. The early, vintage Disney didn't believe in three-dimensions and he was right. Maybe he took his cue from the best children's writers of them all, the Brothers Grimm (below), who avoided 3-D like the plague.

An added benefit of committing to 2 or 2 1/2 dimensional characters is that it solves a lot of story and directorial problems. 2-D characters are naturally extroverted. They want to do things. They want to talk and act in a stylized way. It's easier to fit music to them. Stories with these type of characters exert pressure on writers to come up with momentum, thrills and suspense. Dare to be two-dimensional!

BOOTY FROM A TRIP TO THE LIBRARY KIDS DEPARTMENT

Depressing, horrific, post-modern kids books have been in fashion for years. Here's one (above) called "Spooky ABC" by Eve Merriam, illustrations by Lane Smith. This one happens to be about Halloween but there were plenty more in the same eerie style about more conventional things. All the time I was scanning these pictures I was trying to recollect where I'd seen this style before and it finally came to me: in "Silent Hill," the horror video game about pervasive evil and dismemberment. These ABC pictures are by Lane Smith, two-time winner of the New York Times Best Illustrated Book award. The book is one of the big, expensive ones. Can't publishers find a way to bring the prices down?
This green picture of the house is also by Lane Smith. So far as I can guess it appears to show a bunch of convict slave zombies carrying the kid and his house to Hell, or perhaps to outer space.

The gigantic, yellow, expensive blob of a kid is, believe it or not, from a story Dr. Seuss wrote in the 1970s. Why do minimalist books cost so much?

When my kids were young I couldn't get them to read most of their illustrated books. They found my bound copies of Carl Barks' Donald Duck and Uncle Scrooge books and poured over them, even before they knew how to read.

WHY CARTOONS FAVOR ZOMBIE AUDIENCES

It's amazing how many vintage cartoons contain zombie audience scenes like this one (above) from Clampett's "Henpecked Duck."
Look at the audience behind Daffy. The characters in the background painting are hazy and ghost-like, with blank faces as if they were just bussed in from Hell.

Here the audience has acquired some definition but they're still engulfed by an eerie mist and are lit from only one direction. Why did so many old-time directors favor this kind of weird treatment? The obvious answer is that drawing each individual head in the crowd would have been time-consuming and take too much attention away from the main characters. Look at these sharply-drawn Jack Davis heads (above). I don't know about you but I spend a lot more time looking at the faces in the crowd than the people in the car. So that might be the answer.....but it's not the only possible answer. Maybe zombie audiences were just plain funny.