Published between 1982 and 1995
Flicks Films Ltd and 101 Productions Ltd are London based animation companies that are owned and run under the same umbrella. Flicks Films produce commercials and 101 Productions make TV series. David Jefferson went along to meet the man behind them, Terry Ward. The headquarters of Flicks Films Ltd is a first floor office in … Read more
Pre-production planning is considered very important. When a rough script has been prepared Bernie Kay and Terry Ward do a rough storyboard together. Changes are sometimes made to the script because a joke that is told in words may go over better in visuals only. Kay goes off with the rough storyboard and types up … Read more
This was not always the case as Ward recalls when they were working on the Mr Men series ten years ago, “We financed the Mr Men ourselves, we went to the bank and borrowed the money. It took off and we have sold it around the world. In those days “The Wombles” was about the … Read more
Flicks Films have produced five TV commercials for Harrods using graphics that were animated, traced and painted, shot on a rostrum camera with slit scan special effects enhancing the animation effects. That material was put onto video so that video effects could be added. “There are certain video effects that you can do in animation … Read more
Doing series work is different because you have a lot more freedom as an animator or a director or a producer to do your own thing. The BBC have their own independent producers who will check out the script of a series before-hand. They don’t criticise to a large extent. They will criticise if they … Read more
On 22nd March 1985 Biographic Studios closed their doors for the last time. Ken Clark went along to pay his last respects and talk over old times. In the beginning, Bob Godfrey, Keith Learner, Vera Linnecar and Nancy Hanna were all working at W. H. Larkins studios. In company with other larger units they were … Read more
Although editing became more sophisticated it did not benefit Biographic, they lost money on the final series of “Square World”. But the charisma of being on the top TV comedy programme each week with a credit on screen and in the Radio Times was a blessing in disguise. This form of advertising was infinitely more … Read more
In the Eighties, the agency man invariably arrives at the studio with completed model sheets and storyboard in his hand to ask: “Will you make this?” “We have very little freedom to alter their characters, particularly if they have already appeared in the Press,” Keith commented, “and nine times out of ten they will have … Read more
Another time they made a series of adverts for a certain fountain-pen ink manufacturer, which were so successful mothers-to-be were drinking it believing their off-spring would be born able to write!!! Mind you, no one was prepared to vouch for the authenticity of that story. After Bob Godfrey left the team to set up on … Read more
Clarence Nash, the voice of Donald Duck for over 50 years, died on 20th February 1985 at the age of eighty. We print this interview between Father Robert Murphy and Clarence Nash as a tribute to one of cartoon-lands best known voices. Interspersed throughout the following article is a three-way interview conducted by Father Robert … Read more
Hearing that the Disney Studios were looking for voices, Clarence made an appointment and the interviewer was so impressed that he rang Walt Disney’s intercom and let Walt listen in. According to Clarence, Walt’s first words to him were, “We’ve found our duck!” Clarence was on his way! “The Wise Little Hen” was a big … Read more
The profits from animated commercials often support a studio while it works on other productions. Frank Baker looks at the history of the animated commercial. As you sit watching television any night of the week, you will not fail to notice the number of animated commercials that try to sell you anything from motor insurance … Read more
Graham Beeching of Filmpaint explains the art and craft of making animation paint. The article is based on a taped interview conducted by David Jefferson. Paint consists of two basic ingredients, pigment mixed with a liquid with film forming properties. Custard is an example of a liquid with film forming properties. You could make paint … Read more
Although I realised it was not essential for animation paint to use very permanent pigments, because I have painted pictures all my life and made my own paint, I have always gone for the best I can possibly achieve. I set about making paint as if I was making paint for myself, using the most … Read more
The ingredients that are added to make the paint flow all require high water contents and this gives longer drying times. Thick paint does not necessarily mean it has got more pigment in. There are some of the cellulose thickeners where you can put one-and-a-half or two percent in water and produce a thick jelly. … Read more
The story of a mortal’s dream struggle with the gods was Paul Hanson’s choice for his first amateur animated film. Three years, 1800 cels and 50 background paintings later he had a 14 minute film with lip sync and a multitude of special effects. Paul tells us how he did it. The majority of amateur … Read more
Following this encouraging news I set about designing the title sequence, it was to last the length of the first part of the lyrics in the song. I wanted to attract the attention of the audience even before the first image hit the screen, I decided to begin the film with the phrase “Prepare to … Read more
The making of Dreamscape did not go without its disasters. 25 feet of film (and countless hours) were wasted when I left the camera’s built-in daylight filter in place. Another 50 feet were wasted when the camera jammed and another 25 feet when the peg bar was showing at the top of the frame due … Read more
A cel with 10,000 separately coloured segments in an area 9 ins by 7 ins, is just one of many in Red and Blue and Green. George Collin tells us about his special approach to animation. It all began in 1976 when I was given some super 8 equipment for my 21st birthday. For some … Read more
By 1981 I had made another 5 animated films as well as contributing to club films and in my spare time I managed to get my degree, pass the professional exams, serve my Articles of Clerkship and qualify as a Solicitor. Then I changed jobs and moved down from Merseyside to Luton. This may have … Read more
One sequence involves a green holly leaf spinning against a blue sky with red berries in view. As the leaf spins each of these elements changes colour: blue leaf, red sky, green berries etc. The idea is to show that colour convention is arbitrary. The sequence ends with each element the “right colour”, but the … Read more
Animator. Spring 1985. Issue number 12. Front cover illustrations: A sequence of pencil animations from a South African TV commercial animated by Harold Whitaker.
The Year of Animation was officially launched on 24th January 1985 at the National Film Theatre in London with a special showing of Highlights of British Animation 1899 – 1974. David Jefferson reports on the proceedings. The “Year of Animation” was officially launched on 24th January at the National Film Theatre in London with a … Read more
So what of the films on the programme? It opened with the opening titles of Bob Godfrey’s film “Great”. What a rumbustious and colourful film this is with many of the big names in British animation working on it. It tells the story of inventor Isambard Kingdom Brunel and won an Academy-award. As a complete … Read more
“Dustbin Parade” – 1942 from Halas and Batchelor was made to encourage the right attitude in war time. As someone who hated the way Britain’s were roused to war fervour during the Falklands crisis I found this film rather disturbing. The main character, a friendly little bone, is in effect being asked to commit suicide … Read more
Ollie Johnston is one of the legendary Nine Old Men of the Disney studios. He has worked on all the Disney feature films from Snow White to Fox and the Hound. Father Robert Murphy conducted the following interview with him in January 1981 at the Disney studios. If, as Cinderella once sung, “A dream is … Read more
MURPHY: Is part of that too that there were lots of people working on it? JOHNSTON: Yes, definitely. Back on Pinocchio there were four of us working on the character of Pinocchio. You were cast only on that character Walt thought you could do the best. After the war, the animation was divided by blocks … Read more
MURPHY: What was the first picture you worked on? JOHNSTON: “Pluto’s Judgement Day” or “Mickey’s Garden”. The first animation I did was on “Mickey’s Elephant”. I did a few sequences on “Snow White” but basically I worked as an assistant to Fred Moore. MURPHY: Did you work on “Fox and the Hound”? JOHNSTON: Yes, I … Read more
MURPHY: In your biography notes, special attention is given to how you could perceive a character or a story point and see it through. Any examples jump to mind where this happened? JOHNSTON: Well, Prince John in “Robin Hood”; Baloo in “Jungle Book”; the owl in “Sword in the Stone”; Mr. Since; Trusty and Scotty … Read more
MURPHY: And you do appreciate that! I can go back now and appreciate the finer qualities of a film I missed the first few times. John Tibbetts and I both agree that “Pinocchio” is probably the best of the Disney features. JOHNSTON: That’s because of all the hand-crafting. The economic factors forced a change from … Read more
Introduction by Gary French-Powell: Some months ago I told John Halas I was compiling material for an article on Harold Whitaker, I asked him if he could help fill in some of the gaps I had left. To my surprise he produced an article of his own, which gives Harold the long overdue credit and … Read more
A good number of other memorable productions followed with Harold Whitaker’s contribution. Here are just a few. The extremely expressive “Keystone Cops” chase in “History of the Cinema”. The brilliant fluidity of the Matador and the comic short¬sighted bull in “The Insolent Matador” (in the Habatales series). The charming characterisation of Santa Clause in “Christmas … Read more
3. When it comes to timing I know very few who can match Whitaker’s instinct of how to use just the right amount of frames to get the best out of a gesture. His experience in how to minimise whatever mood is created with the right time structure is unique. Fortunately in the book “Timing … Read more
Since he started animating, naturally the styles and range of techniques have broadened considerably. No matter. He is able to adapt his skills on a wide range of styles as he proved when we animated the “Foo Foo” and “Habatales” series directly onto eel with chinagraphs – without touching paper or pencil. This was a … Read more
Richard and Elizabeth Horn have been in the animation business since the fifties and have seen a lot of changes in that time. Ken Clark chats to them about animation then and now. I first met Richard at the preliminary meetings called to discuss the formation of the Grasshopper Group in the early Fifties. For … Read more
CLARK: It’s an ill wind E.HORN: Actually, it blew some ‘good’ my way. I have been very happy at Biographic with Vera, Nancy Hanna and Keith Learner. CLARK: You were thinking of taking up residence in Canada on a permanent basis at one time. D.HORN: I’ve been to Canada three times now; the first time … Read more
By now the layouts were finished, Bill’s visits had become less frequent due to pressure of work in L.A. and so the onus was on Steve Melendez and me to get the thing through. Fortunately, we worked well together, and Steve’s energy rand versatility in handling the editing and work flow enabled me to cope … Read more
CLARK: Or an amusing character like Keehar in “Watership Down” would have done. D.HORN: Yes, you need a strong comic character. In “Deadeye” they all seemed to be the same ‘weight’. Schlammy comes over as the nearest thing to a ‘character’, all the rest are throwaways and all grotesquely drawn. Even so, you can make … Read more
John Guthrie started work painting cinema foyer displays and now designs labels for Scotch whisky bottles. Both jobs have set him in good stead when it comes to his hobby of cartoon animation. My interest in making animated films was first aroused when I went to see “Snow White and the Seven Dwarfs” as a … Read more
Morris Lakin reports on the progress of his first cartoon film and he makes an interesting discovery about walk cycles. I had got as far as scene two in my first cel production. In scene one the boy and girl characters had been established meeting and walking along the road. I wanted give the impression … Read more