View allAll Photos Tagged Cartoon
JOHN ROSENBERGER
Girls' Love Stories 134
John Francis Rosenberger (born November 30, 1918, in Richmond Hill, Queens – died January 24, 1977), also occasionally credited as John Diehl, was an American comic book artist and painter from after the Second World War until the mid-1970s. Educated at the Pratt Institute, he worked primarily in the romance and superhero genres of comics, with forays into many other subjects.
Rosenberger was born and grew up in the Richmond Hill neighborhood of Queens. During early childhood, he was bedridden for two years with scarlet fever. It was during this time he began to draw. His father, a printer, encouraged John's artistic ambitions, and recruited him to help at the print shop. John continued to draw, and took inspiration from such artists as Norman Rockwell, Alex Raymond, Hal Foster and Milton Caniff.
In 1938, Rosenberger enrolled in night classes at Pratt Institute, where he met and started a romantic relationship with Marguerite "Peggy" Chapellier. Peggy was a fellow student and also happened to be the daughter of prominent art dealer George Chapellier. During their time at Pratt, John was painting houses and Peggy worked for Western Publishing as a comics colorist. The two continued to see each other as they took classes through 1941, and were married on May 27, 1942.
Soon after the marriage, John was drafted into the Army, compelling the couple to relocate to Washington, DC. There, John taught at the U.S. Army Corps of Engineers School at Fort Belvoir, and was editor of the military magazine The Specialist, to which he contributed pin-ups and other illustrations. In 1943 John was sent overseas for the remainder of the war, working on the construction of an oil pipeline in the China Burma India Theater. The Rosenbergers' first son John was born while he was away.
After the war, the Rosenbergers moved into a new house in Jackson Heights, Queens, and John took a job at his father-in-law's gallery, eventually becoming manager. (Chapellier Galleries was located next to the Whitney, and dealt in American art, endorsing such painters as William Merritt Chase, Robert Henri and Frank Duveneck.) Meanwhile, Rosenberger painted portraits and spent evenings and free time preparing samples of his art and looking for publishers.
Rosenberger had done a bit of work for Dell before the war. He started comics work again in 1946, and by 1949 he was working entirely freelance. He had left his job at the gallery in April, 1948, and was soon working on crime, western, adventure, and romance stories for several different publishers.
Robert Bernstein was a writer Rosenberger met while drawing for Brevity, Inc., a company which produced industrial, political, and educational comics in booklet form. The pair pitched an original serial newspaper strip called Sands of the South Seas a couple of years later. The proposal resulted in the publication of one issue of a comic book (retitled Sands of the South Pacific) by Toby Press. Future newspaper strip pitches were less successful, with both Christopher Crown (1959) and Chris Cross (1965) rejected by the syndicates, but the two would become frequent creative collaborators on other projects.
Other work came for Rosenberger in the form of painted covers for paperback book publishers. With his background in oil painting, this kind of work was less stressful than comics jobs, which proved to be a great pressure for him. Indeed, Rosenberger suffered a nervous breakdown in 1952, after which the family temporarily moved to a small town in Connecticut. He soon resumed working on the paperback covers, but was hesitant in going back to work for comics.
John's reentry into regular comics work was facilitated by friendly encouragement from Richard E. Hughes, editor for the American Comics Group (ACG). After about a year in Connecticut, in which the Rosenbergers went deep into debt, John signed on for work with ACG and the family moved to Levittown, Long Island, close to their new good friends the Hugheses.
While there was some work from Dell-affiliated Custom Comics (which produced educational pamphlets), work with Brevity, Inc. ended when its owner unexpectedly died in 1953. There was a dispute over royalties and a failed attempt by Rosenberger and Bernstein to buy the company, but nothing came of it, leaving ACG as Rosenberger's biggest account for the mid- to late-50s. He covered all genres for ACG, and worked in all the company's titles in some part through the mid-60s, including Adventures Into the Unknown, Forbidden Worlds, Unknown Worlds, and Romantic Adventures, all of which had managed to survive the implementation of the Comics Code in 1954.
On September 6, 1960, Rosenberger started an account with Archie Publications, and soon began work on the Simon & Kirby-created title The Fly for the Archie Adventure Series. Rosenberger then teamed with Bob Bernstein to create The Jaguar in a similar mold. He also served as a regular artist on several other titles for the Adventure Series before the group segued into the campy Mighty Comics.
Other projects Rosenberger worked on with Archie included the first issue of a short-lived iteration of The Shadow, written by Jerry Siegel, and some work penciling Archie stories. In late 1966 he stopped all his work with Archie Publications.
Meanwhile, Rosenberger had been working for National (now DC Comics) since 1963 on romance stories. His style suited the still-popular genre in that he kept up-to-date with fashionable hair and clothing styles. Also, he always drew women as ideal beauties and his leading men were all handsome.
In 1965 he drew his first superhero story for DC. It was a Supergirl and Wonder Woman story for The Brave and the Bold #63 called The Revolt of the Super Chicks!, and it was an appropriate subject for Rosenberger's expertise. Cartoonist Fred Hembeck has noted that Rosenberger's superhero work showed his background in the romance genre, with "luscious babes" and a unique proficiency in rendering "expressions of impotent bewildered befuddlement" on the faces of male protagonists.
Rosenberger continued with romance work for DC in books like Falling in Love, Girls' Love, Girls' Romances, Secret Hearts, and Young Romance, but the genre's popularity was quickly waning. Around 1972-1974, John was regularly working on various features for DC titles like Strange Sports Stories, Superman Family, Wonder Woman, and World's Finest Comics, and with characters like Zatanna and Lois Lane. He also co-created Lady Cop with Robert Kanigher.
In 1974, Rosenberger stopped work on DC projects for unknown reasons. He started penciling for Sy Barry, the regular artist for the Phantom newspaper strip, whose eyesight was beginning to fail him. He continued with this task on-and-off for about a year.
Rosenberger suffered a heart attack on April 22, 1976, and took about two months off to recover. In August he was diagnosed with cancer, and he died on January 24, 1977, at the age of 58. His last work was for Wonder Woman #217 (1975), for which he who would pencil only the first four pages before taking ill. Subsequently, this issue was redrawn by completely by Dick Dillin. The Rossenberger pages were later published in Amazing World of DC Comics #15 (Aug. 1977).
Season 4
The Empire needs new sources of energy for the new generation of Death Stars. Since known systems don't provide enough minerals, the only solution is to go beyond the Outer rim and into the Unknown.
Despite his gaping head wound he decided to take advantage of the beautiful weather and go for a hike in the hills.
He was never seen again.
From the box
Credits:
Special thanks to all those people who made The Hanna-Barbera Trading Cards possible!
CREATORS
Wiliam Hanna, Joseph Barbera
DESIGN
Roy Guzman, Bobbi Jankovich
WRITERS
David Burd, Marty Pekar
THE HANNA-BARBERA CREW
Models
Linda Moore
Dana Granger
Barbara Kruger
Donna Zeller
Marcus Nickerson
Bob Onorato
Pete Alvarado
Xerox
Star Wirth
Martin Corssley
Richard Wilson
Danny Conté
Ink & Paint
Alison Leopold
Suzette Darling
Joanne Plein
Christine Kingsland
Nelda Ridley
Lori Hanson
Lydia Swayne
Creative Services
Curt Covert
Lynn Domenico
Mary DeMarle
Shannon Dashiell
Jill Jones
Sue Doc
Betty Tropp
Research
Iwao Takamoto
JeffEckert
Hillary Dunchak
Glenn Leopold
Jerry Eisenberg
Marketing
Fred Seibert
Sally Prendergast
This drawing is from Stick News on The Daily English Show.
Show 1422.
www.thedailyenglishshow.com/show/1422-easy-rider-bigotry-...
You’re welcome to use it. We like to share.
Please link to us: thedailyenglishshow.com
Details on how to credit us: thedailyenglishshow.com/image-credits
Well, it’s in this fancy gallery and it costs $90,000 ...
I’ll take it!
JOE KUBERT
Our Army at War 216
Joe Kubert is a Jewish-American comic book artist who is best known for his work on the DC Comics characters Sgt. Rock and Hawkman. He is also the founder of The Joe Kubert School of Cartoon and Graphic Art.
Joe Kubert (born September 18, 1926) is a Jewish-American comic book artist who went on to found the Joe Kubert School of Cartoon and Graphic Art. He is best known for his work on the DC Comics characters Sgt. Rock and Hawkman. His sons, Andy Kubert and Adam Kubert, have themselves become successful comic-book artists.
Kubert's other creations include the comic books Tor, Son of Sinbad, and Viking Prince, and, with writer Robin Moore, the comic strip Tales of the Green Beret.
Kubert was inducted into the Harvey Awards' Jack Kirby Hall of Fame in 1997, and Will Eisner Comic Book Hall of Fame in 1998.
Original Artist: Joe Kubert
In 1976, Joe and Muriel Kubert founded The Joe Kubert School of Cartoon and Graphic Art. The school is dedicated to aspiring cartoonists who are dedicated to becoming professionals in cartooning, comic book, and the general field of commercial art. In addition to the major in CARTOON-GRAPHICS©, the school also offers a major in CINEMATIC ANIMATION.
Over the past years since its formation, THE JOE KUBERT SCHOOL OF CARTOON AND GRAPHIC ART, INC., has continued to hone its focus, direction and curriculum in preparing our students for the professions towards which they have dedicated themselves. The objective of the school has not altered since its inception. We will continue to bring the finest professional practicioners to compose our faculty of instructors, all of whom give unstintingly of their time, understanding, and knowledge. They afford the aspiring cartoonists of tomorrow an unequalled source of experience, and provide them with a solid foundation upon which the students may build a satisfying career. Cartoon-Graphics© and Cinematic Animation also continue to grow, offering limit-less opportunities for those professionals properly prepared to take advantage of the various media to which the art of cartooning may be applied. It is the aim and purpose of this institution to add to the ranks of our profession those people whose work and attitude reflects the highest level of the art. Recognizing the goal, the application of a sustained effort makes the goal attainable.
Joe Kubert, President
© 2002 JOE KUBERT'S WORLD OF CARTOONING, LLC. ALL RIGHTS RESERVED.
Email us at kubert@intrepid.net
Joe Kubert
Born September 18, 1926
Area(s)Penciller, Inker, Writer
Notable worksSgt. Rock
Hawkman
AwardsAlley Award (1962, 1963, 1969)
National Cartoonists Society Awards (1974, 1980)
Eisner Award (1977)
Harvey Award (1997)
Joe Kubert (born September 18, 1926, Poland) is an American comic book artist who went on to found the Joe Kubert School of Cartoon and Graphic Art. He is best known for his work on the DC Comics features Sgt. Rock and Hawkman. His sons, Andy Kubert and Adam Kubert, have themselves become successful comic-book artists.
Kubert's other creations include the comic books Tor, Son of Sinbad, and Viking Prince, and (with writer Robin Moore), the comic strip Tales of the Green Beret.
He was inducted into the comics industry's Jack Kirby Hall of Fame in 1997.
Contents
Biography
Early life and career
After moving with his family to Brooklyn, New York City, United States, as an infant, Kubert started drawing at an early age and was encouraged by his parents. In 1938, at age 11 1/2, he took the advice of a school friend related to comics publisher Louis Silberkleit, and visited the Manhattan office of Silberkleit's company MLJ Publications, the future Archie Comics. He was taken under the wing of kindly professionals Charles Biro, Mort Meskin, Bob Montana and Irv Novick, who after a few months let the promising 12-year-old artist ink some pages of the teen-humor comic book Archie, penciled by Montana.
Kubert attended Manhattan's High School of Music and Art, and after school and on weekends honed his craft at the quirkily named Harry "A" Chesler's studio, one of the comic-book "packagers" that had sprung up in the medium's early days to supply outsourced comics to publishers. Kubert's first professional job was penciling and inking the six-page story "Black-Out", starring the character Volton, in Holyoke Publishing's Catman Comics #8 (March 1942; also listed as vol. 2, #13). He would continuing drawing the feature for the next three isues, and was soon doing similar work for Fox Comics' Blue Beetle. Branching into additional art skills, he began coloring the Quality Comics reprints of future industry legend Will Eisner's The Spirit, a seven-page comics feature that as part of a newspaper Sunday-supplement.
1940s and '50s
Kubert's first work for DC Comics, where he would spend much of his career and produce some of his most notable art, was penciling and inking the 50-page "Seven Soldiers of Victory" superhero-team story in Leading Comics #8 (Fall 1943), published by a DC predecessor company, All-American Comics. Through the decade, Kubert's art would also appear in comics from Fiction House, Harvey Comics, but he was otherwise worked exclusively for All-American and DC.
In the 1950s, he became managing editor of St. John Publications, where he and the brothers Norman Maurer and Leonard Maurer produced the first 3-D comic books, starting with Three Dimension Comics #1 (Sept. 1953 oversize format, Oct. 1953 standard-size reprint), featuring Mighty Mouse. According to Kubert, it sold a remarkable 1.2 million copies at 25 cents apiece at a time when comics cost a dime.[1]
DC Comics and Sgt. Rock
Kubert served as DC Comics' director of publications from 1967-76, when he left to found the Joe Kubert School of Cartoon and Graphic Art in Dover, New Jersey. During his time with DC, Kubert initiated titles based on such Edgar Rice Burroughs properties as Tarzan and Korak. His own work on Tarzan, considered by comics historians to be a classic portrayal, is been collected by Dark Horse Comics in a hardcover book series, Much more about DC career TK
In 2006, Kubert wrote and drew "Sgt. Rock: The Prophecy", a six-issue miniseries.
Yaakov and Yosef
Kubert wrote and drew a collection of faith-based comic strips beginning in the late 1980s for Tzivos Hashem, the Lubavitch children's organization, and Moshiach Times magazine. The stories, "The Adventures of Yaakov and Yosef", were based on biblical references, but were not Bible stories. Many were based on stories of Chabad-Lubavitch Rebbes and disciples. [2]
Later career
PS Monthly (Feb. 2006). Cover art by Joe Kubert.
As of the mid-2000s, Kubert is the artist for PS Magazine, a U.S. military magazine, with comic-book elements, that stresses the importance of preventive maintenance of vehicles, arms, and other ordnance. (The name derives from its being a "postcript" to other, related publications.)
Kubert has drawn graphic novels, including Yossel: April 19, 1943 (2003) and Fax from Sarajevo (1996), the latter initially released as a 207-page hardcover book[3] and two years later as a 224-page trade paperback.[4] The non-fiction book originated as a series of faxes from European comics agent Ervin Rustemagic´ during the Serbian siege of Sarajevo. Rustemagic´ and his family, whose home and possessions in suburban Dobrinja were destroyed, spent two-and-a-half years in a ruined building, communicating with the outside world via fax when they could. Friend and client Kubert was one recipient. Collaborating long-distance, they collected Rustemagic´'s account of life during wartime, with Kubert and editor Bob Cooper turning the raw faxes into a somber comics tale.
Awards
Kubert's several awards and nominations include:
*the 1962 Alley Award for Best Single Comic Book Cover (The Brave and the Bold #42)
*a 1963 write-in Alley Award for "Artist Preferred on Sea Devils
*a special 1969 Alley Award "for the cinematic storytelling techniques and the exciting and dramatic style he has brought to the field of comic art"
*1974 and 1980 National Cartoonists Society Awards for best Story Comic Book, plus a 1997 nomination for Best Comic Book.
*The 1997 Eisner Award for "Best Graphic Album: New", for Fax from Sarajevo
*The 1997 Harvey Award for "Best Graphic Album of Original Work," for Fax from Sarajevo
Kubert was also a formally named finalist for induction into the Jack Kirby Hall of Fame in 1990, 1991, and 1992, and was inducted in 1997.
Audio
*Comic Geek Speak Podcast Interview (December 2005)
Footnotes
1.^ Universo HQ: Joe Kubert interview (circa 2001)
2.^ Chabad.org: Kids Zone - Bookshelf - Comics
3.^ Dark Horse Comics (November 1996), ISBN 1-56971-143-7
4.^ Dark Horse Comics (October 1998) ISBN 1-56971-346-4
References
*Joe Kubert's World of Cartooning (official site)
*Lambiek Comiclopedia: Joe Kubert
*"The Genesis of Joe Kubert", by Steve Stiles
*The Grand Comics Database
*Comic Geek Speak Podcast Interview (November 2005)
Retrieved from "http://en.wikipedia.org/wiki/Joe_Kubert"
Categories: | American comics artists | Eisner Award winners | Flash (comics) artists | Golden Age comics creators |
Joe Kubert/ great artist w/a great and loose line and terrific drama in his compositions. Loved him for years. Did a great Tarzan as well.!!
Stephen Lack
October 27, 2009 at 7:01pm
From the 1966 Reveille Cartoon Book. Found some years ago amongst my late father's possessions; he'd marked each cartoon out of a maximum of 20 marks. This appears to have scored 10. …My mother's cooking wasn’t quite this bad.
Mighty Orbots. Americas adaptation of Godmars.
The Saturday morning show with a damn near porn soundtrack!
LOVED IT!
I think in Michigan it came on around 8:30am? But i remember it having some of the best animation i have ever seen! and always trying to draw it. This show only lasted 1 season, supposedly due to a lawsuit by Tonka. As for some reason, they felt it infringed on The Go-Bots line of transforming toys? Personally i don't see the connection myself.
But the show is still a fun watch today; And that fluid animation OMG! TMS had to be showing off with this show along with Galaxy High! Another TMS studio animated program with very fluid animation.
Anyways, no disrespect to Go-Bot fans here. As i had more of those toys than transformers, and even had my own amalgamated universe for the 2 when i played with them!
Book featuring one of my favorite cartoons, Fangface. This novelization is of a second season episode.
Fangface Book 1 featured a first season episode.
21 RECETTES PRATIQUES DE MORT VIOLENTE à l'usage des personnes découragées ou dégoûtées de la vie pour des raisons qui, en somme, nous ne regardent pas (1926)
Jean Bruller
CREDIT CARTOON: Drew Sheneman, Star-Ledger
LINK TO: www.nj.com/opinion/index.ssf/2014/09/sheneman_chris_chris...
Pencil sketches for the "Crazy Monster Frogs" documentary by Earth Touch. The documentary features "a display of jaws, claws, toxins and other bizarre amphibian adaptations".
See the final works here: www.behance.net/gallery/20824085/Crazy-Monster-Frogs
Documentary airs on the Smithsonian Channel
8:00pm / 11:30pm
WEDNESDAY 10/29
Thanks for viewing!
Scanned without permission from the book : What does the dodo do? by Joëlle Ecormier & Nathalie Millet.
Supa Pewee Kids B-Pop Mason Valentine Comic Story Cartoon Book Pages CD Coloring Japanimation Asian Art Form Text Symbol History Manhua Chinese Art Artist Graph Animation Movie Action Graphic Cartoons Characters Novel Poetry Anime Manga Music Day Supa Oshikko Kizzu Kodomo Kawaii Cute Love Chibi Pee Wee Pastel Colors Hair Decal Skateboard Sticker Valentines Day Card Candy Gift Flower Child Comic Story Cartoon Book Pages CD Coloring Japanimation Asian Art Form Text Symbol History Martian Chinese Art Artist Graph Animation Movie Action Graphic Christmas Tree Stocking Santa Clause Snow Holidays October Cartoons Characters Novel Poetry Artistry Magazine Music Day Villain Oceanic Kazoo Cool Key Cute Love Clothes Pee Wee Pastel Colors Hair Decal Skateboard Sticker Halloween Trick Treat Outfit Mask Character Custom Costume Ghost Ghoul Goblin Bats Toys Dress Party Bag Shoes Stop Pumpkin Pick Carve Clothing Pewee Kids B-Pop Mason Valentine Comic Story Cartoon Book Pages CD Coloring Sneakers Asian Art Form Text Symbol History Powers Chinese Art Artist Graph Animation Movie Action Graphic Cartoons Characters Novel Poetry Engine Manta Music Day Soupy Ocean Kiss Colombo Hawaii Cute Love Chilli Pee Wee Pastel Colors Hair Decal Skateboard Sticker Animals Bat Big Hero Doctor Firefly Frankenstein Dracula Frozen Lake Super Baseball Game Gate Big Sky Grand Prix Gum Ball Guardians How Metal Climb Solid Cliff Retro Toys Scrabble Flowers Sports Basketball Star Team Go Kart Princess Castle Crown Fortress Cart Transformers Monkey Evil Snake Despicable Horror Monsters Classic Film Smash Mouth Fangs Teeth Costume Vampire Movie Silver Hello Wacky Fold Gold Action Figures Collectibles Car Train Final Gears Ghost Graphic Mouse Novels God Rat Cheese Circle Bubble Bobble Zoo Friend Halo Shop Portal Ship Pirate Jewels Gem Terminator Crystal Lightning Weather Thunder Twilight Storm Dragon Sailor World Think Transformer Fighters Gear Head Doctor Mad Giant Horse Dark Engine Star Coral Monsters Me Who Arcade Video Game System Thrones Chair Teacher King Steve Fantasy Fandom Lil Moon Earth Planet Big Cup Cat Novelty Cape Claws Mug Master Mug Baby Think Seed Tank Moon Mars Ring Saga Fish Tank Bros. Pool Sea Bowl Craft Wrestling Fighters Dark Hollywood Collectibles Brother Hot Toys Mad Men Green Grass Yellow Old Engine Monogram Text Symbol Cold Bush Universe Horse Kitty Kitten Dress Shoe Party Halloween Christmas New Era Comic Cap Ripple Junction Museum Triad Replicas Sideshow Business Tee Tea Album Fashion Accessories Sneakers Shoes Record Movie Con T-Shirts Hats Triad Underground Toys Movie Monsters Wacky Doctor Collectibles Sword War Hunter Buster Race RC Amusement Park Ride Roller Coaster Me Like Rap Album Download Gadget Phone App Carnival Logo Art Paint By Number Herman Wayne Wiggle Select Coloring Book CD DVD Disc Car Plane Tracker Mono Resort Land Park Gram Logo Banner UFO Earth Lights Serenity Game System Joy Stick Star Player Vinyl Figures Play Arts Candy Bat Portrait Dark Ink Caricature Frame Head Aquarium Tin Bike Collectibles Canvas Balloon Worm Farm Ant Carnival Toy Gun Sugar Wet Boo Ghoul Who Wobbler Up Club Superhero Outfit Clothes Suit Cape Boots Cape Sticker Decal Film Cell Tattoo Chinese Girl Fashion Japanese Girl Dress Style Doll China Book Chinese Cartoon Story Japan Tokyo Picture Action Movie Martial Arts Television Toy Store Japanese Animation Comic Book Graphic Novel Animation Movie Film Music Digital Journeymen Novel Film Video Library Song Lyrics Rap Download Plush Doll Toy
MAX FLEISCHER
Max Fleischer (July 19, 1883 – September 11, 1972) was an American animator. He was a pioneer in the development of the animated cartoon and served as the head of Fleischer Studios. He brought such animated characters as Betty Boop, Koko the Clown, Popeye, and Superman to the movie screen and was responsible for a number of technological innovations.
Fleischer devised a concept to simplify the process of animating movement by tracing frames of live action film. His patent for the Rotoscope was granted in 1915, although Max and his brother Dave Fleischer made their first cartoon using the system in 1914. Extensive use of this technique was made in Fleischer's Out of the Inkwell series for the first five years of the series, which started in 1919 and starred Koko the Clown and Fitz the dog.
Fleischer produced his Inkwell films for the Bray Studios until 1921, when he and younger brothers Dave and Lou established Fleischer Studios (initially named "Out of the Inkwell Films") to produce animated cartoons and short subjects; Max was credited as the producer at the beginning of every cartoon as well. Koko and Fitz remained the stars of the Out of the Inkwell series, which was renamed Inkwell Imps in 1927. The Fleischer brothers also partnered with Lee DeForest, Edwin Miles Fadiman, and Hugo Riesenfeld to form Red Seal Pictures Corporation, which owned 36 theaters on the East Coast, extending as far west as Cleveland, Ohio.
Fleischer invented the "follow the bouncing ball" technique for his Song Car-Tunes series of animated singalong shorts beginning in May 1924. After a few films with unsynchronized sound (music and sound effects only), Fleischer added synchronized sound to this series, with My Old Kentucky Home (released April 13, 1926) with a dog-like character saying "Follow the ball, and join in, everybody." The sound entries in the Song Car-Tunes series — roughly 19 out of 36 short films — used the Phonofilm sound-on-film process developed by Lee DeForest. The Song Car-Tunes series would last until early 1927, just a few months before the actual start of the sound era. This was before Walt Disney's Steamboat Willie (1928), which is often mistakenly cited as the first cartoon to synchronize sound with animation. However, by late 1926, both the DeForest Phonofilm Corp. and Red Seal Pictures had filed for bankruptcy, and the Song Car-Tunes series came to an end.
In 1923, Fleischer made two 20-minute educational features explaining Albert Einstein's Theory of Relativity (The Einstein Theory of Relativity) and Charles Darwin's Theory of Evolution. Both features used a combination of animated special effects and live action. Fleischer also produced Finding His Voice (1929) illustrating how sound films worked.
Into the early sound era, Fleischer produced many technically advanced and sophisticated animated films. Several of his cartoons had soundtracks featuring live or rotoscoped images of the leading jazz performers of the time, most notably Cab Calloway, Louis Armstrong and Don Redman. Fleischer's use of black performers was bold at a time when depictions of blacks were often denigrating and stereotypical.
In 1928, as film studios made the transition to sound, Fleischer revived the Song Car-Tunes series as Screen Songs, starting with the release of The Sidewalks of New York on February 5, 1929 through Paramount Pictures. Out of the Inkwell Films, Inc. was reorganized as Fleischer Studios in January 1929 following bankruptcy. During this time, Walt Disney was also gaining success with Mickey Mouse and Silly Symphonies. In August 1929, the silent Inkwell Imps series was replaced with the Talkartoon series, beginning with Noah's Lark. A year into the series, Fitz was renamed "Bimbo" and became the star of the Talkartoon series, starting with the cartoon Hot Dog (1930).
However, in August 1930, a Rubenesque poodle-human hybrid, Bimbo's girlfriend, made her screen debut in Dizzy Dishes, and quickly became Fleischer's biggest star; she would later be named Betty Boop. By 1931, Betty's floppy canine ears had evolved into hoop earrings, and she was transformed into a fully human girl (though she retained her romantic relationship with the dog for several episodes after her transmogrification). By the time of Minnie the Moocher (1932), Betty Boop was in a class of her own, and by August 1932, starting with Stopping the Show, the Talkartoon series was renamed as Betty Boop Cartoons; by now, as noted from even the opening song from Stopping the Show, Betty clearly became the self-proclaimed "Queen of the Animated Screen." Along with his standout star Boop, Fleischer had become one of the two premier animation producers; the up-and-coming Walt Disney was the other.
Fleischer cartoons were very different from Disney cartoons, in concept and in execution. The Fleischer approach was sophisticated, focused on surrealism, dark humor, adult psychological elements and sexuality. The Fleischer milieu was grittier, more urban, sometimes even sordid, often set in squalid tenement apartments with cracked, crumbling plaster and threadbare furnishings. Even the jazz music on Fleischer's soundtracks was rawer, saucier, more fitting with the unflinching Fleischer look at America's multicultural scene. But as popular as Betty Boop was for Fleischer, the Fleischer Studios would never come close to matching the huge international success of Mickey Mouse.
Fleischer would come closest through his deal securing the rights to the comic strip character Popeye the Sailor from King Features Syndicate. Popeye started out as a secondary character in 1929 in the newspaper feature Thimble Theater, and made his film debut in July, 1933, introduced in the Betty Boop short Popeye the Sailor. Popeye was an immediate hit for Fleischer, and would remain in production until 1957.
Fleischer's studio was a major operation in New York under the support of Paramount Studio. But as a recipient of Paramount cash, Fleischer was also at the mercy of Paramount's management. During the Great Depression, Paramount went through four name changes and reorganizations due to bankruptcies. These reorganizations affected the production budgets and created obstacles to Fleischer's development.
When the three-color Technicolor process became available, Paramount vetoed it based on their concerns with economic balance, giving Disney the opportunity to acquire an exclusivity to the process for four years, thus giving him the market edge on color cartoons. Two years later, Paramount approved color production for Fleischer, but he was left with the clearly inferior two-color processes of Cinecolor (red and blue) and two-strip Technicolor (red and green). The Color Classics series was introduced in 1934 as Fleischer's answer to Disney's Silly Symphonies.
These color cartoons were augmented with a Fleischer-patented three-dimensional background effect called "The Stereoptical Process," a precursor to Disney's Multiplane. This technique replaced the usual flat-plane, drawn and painted cartoon backgrounds with a circular 3-D scale-model background — a diorama — in front of which the action cels were positioned and photographed. As the character, say, hustled down a city street, the camera operator would rotate the diorama a click with each frame. The result was a constantly changing perspective of converging parallel lines that gave an amazing sense of depth. The process worked most dramatically with pans or tracking shots; for static shots, traditional drawn backgrounds sufficed. It was used to great effect in the longer format Popeye cartoons Popeye the Sailor Meets Sindbad the Sailor (1936) and Popeye the Sailor Meets Ali Baba's Forty Thieves (1937). These series of double-length (two-reel) cartoons were a gradual progression expressing Fleischer's desire to produce feature-length animated features. And while he had concepts for full-length features, it was not until the success of Disney's Snow White and the Seven Dwarfs (1937) that the stodgy Paramount executives realized the value of an animated feature as Fleischer had been proposing for the previous three years.
The popularity of Betty Boop was irreparably damaged as a result of the enforcement of the Hays Code in 1934. Her overt sexuality was downplayed, and her racy flapper attire was replaced with longer skirts and a less revealing neckline. While the production of the cartoons had become more refined with more structured stories, the level of the content was more juvenile, largely influenced by Paramount's front office, which was changing the tone of their films to reflect a more family-oriented audience by producing films more of the nature of MGM. Betty became a spinster career girl and maiden aunt character, a judgmental "good citizen" instead of the carefree, funloving Jazz Baby she had once been. As a result, she lost much of her audience appeal, and the era and musical style that she represented had already faded away with the coming of the Swing Era.
In 1937, film production at Fleischer's studio was affected by a five month strike, which kept his cartoons off theater screens through the rest of the year. The strikers represented by the Commercial Artists and Designers Union were not recognized by the IATSE, which represented the majority of the motion picture crafts. But after five months, Paramount Pictures urged Fleischer to settle. Then in March 1938, Fleischer Studios moved from New York City to Miami, Florida. The reasons were many. While it was reasoned that the relocation removed the studio from further union agitation, they were in need of additional space for the production of features. Coincidentally with the move, relations between brothers Dave and Max began deteriorating. A feud started simmering after Dave began an adulterous affair with his Miami secretary in 1938, and was followed by more personal and professional disputes.
While at Paramount, Dave Fleischer was asked by the studio to put the popular comic book and radio hero Superman into a cartoon series. Despite the high budgets that came from the series — triple the budget of typical Popeye one-reelers — Superman became the most successful cartoons in the late period of the studio. Its ultra-realistic drawing, stylish Art Deco look and magnificently intricate scoring made the Superman pilot the highwater mark of the studio's sophisticated output.
In the wake of Disney's inarguable triumph with Snow White and the Seven Dwarfs in 1937, Paramount top brass finally acquiesced to Fleischer's longstanding appeals to produce feature-length animated films — and now they wanted one for a Christmas 1939 release. In order to finance the new operation, Fleischer negotiated a loan with Paramount that in essence surrendered the studio's assets for the term of the loan, 10 years.
While Gulliver's Travels (1939) did moderate box office, it did not make back all of its costs since the production ran nearly $500,000 overbudget due to the relocation, transportation of film for processing and back, and costs of training new workers. At the time, it was also reported that the escalated war in Europe just three months before cut off Paramount's foreign release potential; however, recent information indicates that the picture was released in Europe but the returns were not reported to Fleischer Studios' accounting department. At the same time, returns on Popeye cartoons were also not properly accounted. These factors contributed to the continued financial losses for Fleischer's studio. The final blow came with the ill-fated release of their second feature, Mr. Bug Goes to Town (1941) two days before the bombing of Pearl Harbor.
On May 24, 1941, Paramount initiated takeover of Fleischer's studio. Max remained nominally in charge, but the long-simmering personal feud with his brother Dave further complicated the situation. Shortly after the release of Mr. Bug, a disgusted Dave left for California to take over as head of Columbia's Screen Gems animation unit in April 1942 — just one month prior to the renewal of Fleischer's contract. The move put Dave in breach of contract, for taking a position with a competitor while still contracted to Paramount. This breach, along with the substantial debt to Paramount, gave the bigger studio the right to take control of the smaller, forcing Max out. Paramount installed new management, among them Max's son-in-law, Seymour Kneitel. On May 25, 1942, the studio was renamed Famous Studios, and it moved back to New York within eight months.
Despite the disappointing performance of the feature films, the Superman series continued to do well. Nine episodes were completed by Fleischer Studios, with the final eight made by Famous Studios after the reorganization. Today, the Max Fleischer Superman cartoons are considered the final triumph of this great pioneer and his innovative studio.
After leaving his studio, Fleischer was brought in as head of the Animation Department for the industrial film company, The Jam Handy Organization. While there he supervised the technical and cartoon animation departments, producing training films for the Army and Navy and was also involved with research and development for the war effort. Following the war, he supervised the production of the animated adaptation of Rudolph the Red Nosed Reindeer (1948), sponsored by Montgomery Ward. Fleischer left Handy in 1954 and returned as Production Manager for the Bray Studios in New York.
Fleischer lost a lawsuit against Paramount in 1955 over the removal of his name from the credits of his films. While Fleischer had issues over the breach of contract, he had avoided suing to protect his son-in-law, Seymour Kneitel, who still had a position with Paramount's Famous Studios. The lawsuit was lost because the court decided that, though Fleischer's case had merit, the statute of limitations had expired. In 1958, Fleischer revived Out of the Inkwell Films, Inc. and partnered with his former animator, Hal Seeger to produce 100 color Out of the Inkwell (1960–1961) cartoons for television. Actor Larry Storch performed the voices for Koko and supporting characters Kokonut and Mean Moe.
Although the rift with his brother Dave was never resolved, Max eventually formed a friendship with his old rival Walt Disney, who welcomed Max to a reunion with former Fleischer animators who were by then employed by Disney.
Fleischer, along with his wife Essie, moved to the Motion Picture Country House in 1967. He died from heart failure on September 11, 1972, after a period of poor health. On the day of his death, Max Fleischer was cited as a great pioneer who invented an industry, and was named by Time magazine as the "Dean of Animated Cartoons."[
His son Richard Fleischer, born in 1916, entered the film industry in the 1940s, and in retirement worked on merchandising Betty Boop.
Made painstakingly accurately by Zoidberg on AlternateHistory.com. It's for my timeline, "What Madness Is This?" like all the posters and illustrations I've made and posted here. :)
1955 is the outbreak of the World War, the first large war since the Napoleonic Wars. The Republican Union's despot, Joe Steele, is demanding Canada from Caesar Napoleon VI of the Tripartite Empire (France, Spain, Austria-Hungary). Kaiser Helmut Wilhelm I of the Empire of Prussia is demanding Lower Saxony, Hesse, and Thuringia from the Confederation of the Rhine. The Kingdom of Sweden wants to finally get rid of its Tripartite Empire-sympathizing neighbor the Kingdom of Denmark-Norway. The Bonapartist Kingdom of Holland is engaged in a bloody guerrilla war in Southeast Asia. Fascist England and Scotland, both Union allies, want to get rid of the Bonapartist Kingdom of Ireland (and exterminate Irish Catholicism altogether).
In the face of all us, the League of the Three Emperors is founded in Europe, with the leaders of the Tripartite Empire, Empire of the Two Italies, and the Kaiser of the Confederation of the Rhine agreeing to protect each other against American-Anglo-Scottish-Prussian-Swedish attacks. The moderate liberal-socialist Mother Russia prepares its people for whatever may come. India and South America are ticking time-bombs of rebellion. And the Middle East is going to become very volatile as the Bonapartes and their Protestant rivals will start a desperate hunt for oil to fuel their war machines.
Exciting. :D
HANNA BARBERA STUDIOS
ABBOTT and COSTELLO
Original Animation TELEVISION SERIES 1967
Type: AWESOME Original Production Animation MODEL Drawing of COSTELLO in the indestructible space suit
from the 1967 HANNA BARBERA Animated TELEVISION SERIES
This is one of the original Production MODEL (Pencil Drawings) that was used to DESIGN THE ART that appeared under the camera during
the production filming of the original Television Commercial.
NOTE: THIS IS AN ORIGINAL; NOT A MASS PRODUCED LIMITED EDITION
Size: 12 field 12.5 x 10.5 EACH
Type: . Vintage Hand Drawn Art
Condition: EXCELLENT
Featuring ABBOTT and COSTELLO Character
Date 1967
NOTES:
The Abbott and Costello Cartoon Show is an American half-hour animated series that aired in syndication from September 9, 1967 to June 1, 1968. Each of the 39 individual episodes consisted of four five-minute cartoons. [1] The cartoons were created jointly by Hanna-Barbera, RKO and Jomar Productions between 1965 and 1967. The series was syndicated by Gold Key Entertainment and King World Productions.
The primary feature of this cartoon series was the fact that Bud Abbott supplied the voice for his own character. (Because Lou Costello had died in 1959, his character's voice was performed by Stan Irwin.)
William (Bud) Abbott and Lou Costello (born Louis Francis Cristillo) performed together as Abbott and Costello, an American comedy duo whose work in radio, film and television made them the most popular comedy team during the 1940s and 50s. Thanks to the endurance of their most popular and influential routine, "Who's on First?"—whose rapid-fire word play and comprehension confusion set the preponderant framework for most of their best-known routines—the team is, as a result, featured in the National Baseball Hall of Fame and Museum. (Contrary to popular belief, however, the duo was not inducted into the Hall.)
The team's first known radio appearance was on The Kate Smith Hour in February, 1938. "Who's on First?" was first performed for a national radio audience the following month.[1] Abbott and Costello stayed on the program as regulars for two years, but the similarities between their New Jersey-accented voices made it difficult for listeners (as opposed to stage audiences) to tell them apart due to their rapid-fire repartee. The problem was solved by having Costello affect a high-pitched childish voice, and their remaining tenure on the Smith show was successful enough to get them roles in a Broadway revue "The Streets of Paris" in 1939.
In 1940 they were signed by Universal Studios for the film One Night in the Tropics. Cast in supporting roles, they stole the show with several classic routines, including "Who's on First?" The same year they were a summer replacement on radio for Fred Allen. Two years later, they had their own NBC show.
Universal signed them to a long-term contract, and their second film, Buck Privates, (1941) made them box-office stars. In most of their films, the plot was a framework for the two comics to reintroduce comedy routines they first performed on stage. Universal also added glitzy, gratuitous production numbers (a formula borrowed from the Marx Brothers comedies) featuring The Andrews Sisters, Ted Lewis and his Orchestra, Ella Fitzgerald, and other musical acts. They made 36 films together between 1940 and 1956. Abbott and Costello were among the most popular and highest-paid entertainers in the world during World War II. Other film successes included Hold That Ghost, Who Done It?, Pardon My Sarong, The Time of Their Lives, Buck Privates Come Home, Abbott and Costello Meet Frankenstein, and Abbott and Costello Meet the Invisible Man.
In 1942, Abbott and Costello were the top box office draw with a reported take of $10 million. They would remain a top ten box office attraction until 1952.
In 1951, they moved to television as rotating hosts of The Colgate Comedy Hour. (Eddie Cantor and Martin and Lewis were among the others.) Each show was a live hour of vaudeville in front of a theater audience, revitalizing the comedians' performances and giving their old routines a new sparkle.
Beginning in 1952, a filmed half-hour series, The Abbott and Costello Show, appeared in syndication on local stations across the country. Loosely based on their radio series, the show cast the duo as unemployed wastrels. One of the show's running gags involved Abbott perpetually nagging Costello to get a job to pay their rent, while Abbott barely lifted a finger in that direction. The show featured Sidney Fields as their landlord, and Hillary Brooke as a friendly neighbor who sometimes got involved in the pair's schemes. Another semi-regular was Joe Besser as Stinky, a 40-year-old sissy dressed in a Little Lord Fauntleroy suit. Gordon Jones was Mike the cop, who always lost patience with Lou. The simple plotlines were often merely an excuse to recreate old comedy routines—including "Who's on First?" and other familiar set pieces—from their films and burlesque performances
Hanna-Barbera Productions, Inc. ( /ˌhænə bɑrˈbɛrə/) was an American animation studio that dominated North American television animation during the second half of the 20th century. The company was originally formed in 1957 by former Metro Goldwyn Mayer animation directors William Hanna and Joseph Barbera in partnership with Columbia Pictures' Screen Gems television division, as H-B Enterprises, Inc.[1] Established after MGM shut down its animation studio and ended production of its animated short films, H-B Enterprises, Inc. was renamed Hanna-Barbera Productions, Inc., in 1959.
Over the next three decades, the studio produced many successful animated shows, including The Flintstones, Jonny Quest, Scooby-Doo, The Smurfs, Yogi Bear, The Jetsons, The Huckleberry Hound Show, Top Cat, Wacky Races, The Quick Draw McGraw Show, Tom and Jerry, Space Ghost, and The Magilla Gorilla Show, among others. The studio also produced several feature films and cartoon shorts for theaters along with a number of specials and movies for television, both animated and live-action. While Hanna and Barbera's theatrical work awarded them seven Oscars, their television productions have earned the company eight Emmys[2] and a star on the Hollywood Walk of Fame. In the mid-1980s, the company's fortunes declined somewhat after the profitability of Saturday morning cartoons was eclipsed by weekday afternoon syndication.
In 1991, the company was purchased by Turner Broadcasting System, who began using much of the H-B back catalog to program the Cartoon Network the following year.[3][4] Both Hanna and Barbera went into semi-retirement after Turner purchased the company, continuing to serve as ceremonial figureheads for and sporadic artistic contributors to the studio. In 1994, the company was renamed Hanna-Barbera Cartoons, and in 1996, Turner merged with Time Warner. By the time of the merger, Turner had turned Hanna-Barbera towards primarily producing new material for Cartoon Network, including the successful Cartoon Cartoons shows such as Dexter's Laboratory, Johnny Bravo, Cow and Chicken, I Am Weasel, The Powerpuff Girls, and many others.
With William Hanna's death in 2001, Hanna-Barbera was absorbed into Warner Bros. Animation, and Cartoon Network Studios continued the projects for Cartoon Network output. Joseph Barbera remained with Warners until his death in 2006. H-B is currently an in-name-only unit of Warner Bros. Animation and its name and studio is today used only to market properties and productions associated with Hanna-Barbera's "classic" works such as The Flintstones, Scooby-Doo and Yogi Bear.
This drawing is from Stick News on The Daily English Show.
Show 1402
www.thedailyenglishshow.com/show/1402-how-to-reply-to-tha...
You’re welcome to use it. We like to share.
Please link to us: thedailyenglishshow.com
Details on how to credit us: thedailyenglishshow.com/image-credits
#fun #love #beauty #artlife
#happy #nofilter
#ohgodpleaselikethisineedvalidationsobad
(Oh god please like this i need validation so bad)