If I was a kid in 1932, walking past the movie house and this poster was displayed, I'd spend my last dime to see the cartoon . . . and maybe stay for the Cagney gangster film afterwards, though I'd have nightmares that night fer sure, and I might even still be alive now, somewhere around 90, and I'd still give my last dime to see it again.
And the Cagney film.
Disney Studio — Silly Symphony/King Neptune — 1932
This is one of those amazing cartoon birds-eye views I was talking about in the last post. What a great display of cartooning, with a penman's salute to Krazy Kat's George Herriman.
Johnny Gruelle — Yahoo Center — Life Magazine — 1927
Wow, this is one of those birds-eye view forced-perspective drawings where all the elements dwindle only slightly in size as they recede. You see this sort of thing in some old cartoons, where it's amazing enough, but to work somewhat realistically is really astounding. Where does an artist begin on such a piece as this?
Eclectic is a term you can apply liberally to descriptions of this blog. From one subject and genre to another in a heartbeat, and now showcasing one of the Auditorial Arts: character voices. The best in the history of the art, in my opinion, is Mel Blanc. We're very used to hearing him voice most of the Looney Tunes cartoon characters, but here is a rare example of Mr. Blanc voicing Walter Lantz' Woody Woodpecker, usually voiced I believe by Mr. Lantz himself. This characterization sounds like a young Porky Pig without the stutter, but is such a delight.
I don't have the sound file on this blog, you'll have to click here to link over to a really cool web site that you'll want to explore and listen to. There are other Mel Blanc recordings, as well as a great assortment of other rarities, such as Walt Kelly, Boris Karloff, Shirley Temple, on and on.
While you're at it, look in at Whirled of Kelly for a visual treat.
Who doesn't admire Ray Harryhausen's film magic, bringing creatures and skeletons and what-not to life in spooky fashion? The non-limited, but autographed, print below is a production drawing of one of his most famous sequences —The Seventh Voyage of Sinbad.
Ray Harryhausen — The Seventh Voyage of Sinbad — production drawing
I don't remember what story this is from, but Donn Crane made this illustration enjoyable enough that it could be an inspiration for a dozen different writers to go a dozen different directions with stories. I love the demon with the whip. Oh, I love it all. What a great composition with that whip traversing the panel.
Donn P. Crane — M'lady's Carriage (not the official title)
1930s
Whenever I use the word 'whip', I think of Stewie Griffin.
I am posting these images with a non-profit and educational 'fair use' motive, regarding respective copyrights. Anyone downloading and using these images for any commercial use would be in violation of respective copyrights, and does not have my approval for such use.
My name is Thom Buchanan.
I'm an artist and photographer.
People are my favorite subjects to portray in art and photos. My wife (and studio partner) has called that my 'people skills', as I've been passionately creating portrait studies for many years.
I refer to myself as a pictorialist, a combination of image-making and journalist. Images are my life.