Published between 1982 and 1995
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