Category Archives: #12 Spring 1985

Harold Whitaker by John Halas

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 »

Harold Whitaker by John Halas – Page 2

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 »

Harold Whitaker by John Halas – Page 3

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 »

Harold Whitaker by John Halas – Page 4

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 »

Ken Clark chats with Dick and Elizabeth Horn

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 »

Ken Clark chats with Dick and Elizabeth Horn – Page 4

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 »

The making of Izzi Knott Cocky

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 »

Too much walking

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 »