Cartoon From 2010
Miriam
While the word cartoon usually refers to an animation or a funny drawing, in an art historical context it can also refer to a full-scale preparatory drawing for a fresco, oil painting or a tapestry. The word we use today comes from the Italian cartone, which simply means a large sheet of paper or card.
In his Waterloo cartoon, Daniel Maclise RA was drawing on a medium with its origins in Renaissance fresco painting. While Maclise copied his cartoon by eye (as did Raphael in The Sacrifice at Lystra; pictured) there were other scaling techniques which had been around for thousands of years. "Squaring up", a method still used by artists today, was developed by the Egyptians at least 5,000 years ago. More on this below...
"Squaring up", a simple technique which allows the easy and accurate transfer of an image from one surface to another, was most often used to transfer cartoons onto murals or to transfer preparatory drawings onto canvas paintings. Lord Leighton used this technique for his preparatory sketch for Flaming June (pictured). You can see the pencil-drawn grids which would be used to transfer the sketch onto a larger surface as accurately as possible.
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Max and Dave Fleischer used a "setback camera." Animation cels were placed in front of a background similar to scenery on a layout. On a theatre screen this had a 3D effect. It comes through on a smaller scale on TV and computer screens. I found a photo online
Interesting topic. I admit that while it's not the same (and based on one comparison write-up I saw on an animation site, apparently a bit of a controversial topic in the animation field ), I first thought of the Disney Multi-Plane Camera when I saw this. Clearly a different effect though. The most striking part to me was when the kid woke up at the engine facility and then walked by all the different engines. That was a neat shot.
I found this YouTube video with a bit of the process for the Fleischer setback camera, part shows the film cell mounted in front of the scenery on the turntable and then the next cell hung in front of the turntable scenery with it rotated slightly.
Lou, the multilane camera rig was used by Disney and Max Fletcher. When I first started out in TV I had the bottom job as a film editor. I put the reels of cartoons together for the Saturday morning kids shows. We had a number of Warner Bros. Looney Tune packages and a large Paramount package that included the Max Fletcher cartoons. They were all the regular ten minutes reels except for two or three longer ones what were called two reelers. I could't use those as we couldn't get three cartoons in a half hour show. We had to cut down the ten minute reels as it was to get the commercial spots in. I was curious as to why Fletcher made these long cartoons so I projected them. They are amazing Popeye Cartoons. Turns out the long Popeye cartoons were test shoots for what Max wanted to do and that's make full length animated movies like Disney did. We had those movies in our Paramount Package. Gulliver's Travels (1939) and "Hoppity Goes To Town" _cbX17vZs0. Neither film made a profit and Fletcher never made another long forum movie.
As far as I know Disney never used a horizontal rig with model sets as background. He used his rig shooting down through layers of glass Plates that could be moved up or down. I finally got the longer Popeye's on the air after Christmas because few commercials were running then. I asked if one break could be pulled as they were all PSA's Public Service spots. My next step up the ladder in television was cutting The Bowery Boys and Little Rascal films. I was on my way. Don
Thanks Tom, as I understand it they would have to go up my arm and pull the Tendon down to reattach it. That's according to my local doctor but he's not a surgeon. I will see a new surgeon when ever we get back to the mainland. Other wise I can live with it. Don
Lou, my mother's best friend when we lived in Culver City was a background artist for Walt Disney. Sometimes when she came over to our house she would give my sister and me cells from what ever animated movie they were making at the time. I don't know if they were used in a film, rejects or what but we would use our crayons to make them "better". Wish I had all those cells now. Lou, I would love to see a good 35mm print of that cartoon. That short section of the film is amazing. Don
I'm surprised that this subject has only surfaced recently. I remember seeing Play Safe as a kid on TV, back in the early 60's. Probably a feature on Saturday morning cartoons. I imagine it was prompted by the popularity of Lionel & American Flyer trains at that time. My friends have the same memory and it stuck with me my whole life. The blue bullet nose engine was very similar to the steamlined engines of Henry Dreyfuss, & Raymond Lowey, as well as others, from the late 30's to 40's. Because of Play Safe those style engines have always been favorite's of mine.
I purchased a VHS tape at a train show over 30 years ago featuring the cartoon, and it was like I went back in time to when I was a kid. I've since purchased the cartoon on DVD. I introduced the video to my Grandson when he was 2 years old & it is now a favorite of his. I'm now building that engine for my Grandsons fifth birthday, which is in a week. Unfortunately he may only get to see it through pictures or videos because of Covid-19, at least for now.
Progress as of 4 days ago. Been doing all of the painting with rattle can, spraying outdoors. The weather has not been cooperating, cold & rainy. Did get the final coat on the engine last night, spraying in my attic. Not ideal but fairly warm & no wind or rain. Will do the final details tonight. Photos to follow, for those interested.
Didn't quite get the engine completed for my Grandsons birthday, but close. A few details need to be added, handrails for one (waiting for my K&S music wire). While not an exact duplicate it does have the look and feel of the cartoon engine. Running trains again with my Grandson was very satisfying, even under the COVID-19 limited conditions.
With those cels no one at the time thought much of them (and keep in mind with standard automation that is 24 frames a second, though they didn't need as many background cels as foreground since the background would change slowly, it is still a lot for a 6 minute short), they used to use them at Warner Brothers to slide down the hill, they were thrown out en masse, today those cels are worth a small fortune...it is kind of like a lot of things, who knew?
I enjoyed watching that, thanks. When the kid turns up the speed control on the trains all the way, my thought was "besides it being 2 rails, we know it isn't Lionel, if you turned the speed up all the way the train would go flying off the tracks *lol*.
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