Why must Eye Chase da Katt?? to give him back his wallet, of course!!! Dogs seem to get such a "bad rap" against felines when they're sometimes they're only tryin' to HELP!!! Even if it means HELPING themselves to a few Feline Dollars! Heh, heh! I see my Looney tunes Tex Avery Influence coming out in this toon. On one did it better than Tex!
Pharlament Funkadelic asked this eternal question decades ago in their mega hit, "Atomic Dog" and the question to this day remains unanswered... It really must be the dogg in me....
This is a sneak peek of a panel from a comic project that I am working on... stay tuned for the unvailing....
ATOMIC DOG
GEORGE CLINTON
Yeah, this is a story of a famous dog
For the dog that chases its tail will be dizzy
These are clapping dogs, rhythmic dogs
Harmonic dogs, house dogs, street dogs
Dog of the world unite
Dancin' dogs
Yeah
Countin' dogs, funky dogs
Nasty dogs (Dog)
Atomic dog
Atomic dog
Like the boys
When they're out there walkin' the streets
May compete
Nothin' but the dog in ya
Just when I thought Id seen everything on the subject of racism/coonism in comics I ran into these old Australian Adverts,and comic You dont get any more explicit than this, and what makes it WORSE is that its in a book aimed at KIDS, thus setting the stage for more advanced racial studies when they got older.
This cartoon, and other like it show the power of images.
February is Black History Month, and so for this entire month I find myself investigating and featuring on this blog African American Artists of color who have influenced my cartooning caricature style that I use gleefully on the un suspectly subway commuters of NYC. A major source of influence in my style has always been cartooning particularly of the zanier sort associated with Warner Brothers Looney Tunes, which seemed more than any other studio to embrace caricature as a whole and incorporate it into their artwork.
Caricature, by it's very nature seeks to amplify a subjects facial features for startling comic effect. The art form can also be used to make a statement about the artists' attitude toward the subject. Caricature artist, Dion Socia, of the ISCA lectured on this very subject numerous times at various ISCA Conventions that I attended, and pointed out one should instantly know the artist's point of view by looking at their caricature. With this view in mind, I find myself asking, "what were the cartoonists/caricature artists "back in the good old days" circa, 1940- 50 saying about Negroes (we werent "African Americans " then) as a whole?Ive heard the argument that the art reflected the attitude of the country at the time, that it wasnt meant to hurt or downgrade a group of people, etc. etc. But you tend to wonder what went on in the mind of the artists as they created these images shown in these films Ive have here.
To be objective for a moment, the cartooning is brilliant and so is the animation. Imaginative, well drawn, and very entertaining, even with the racial charged undertones. You can even say that the artists are depicting jazz musicians and the cultural attitude, as they saw it, of black people at the time. I know Im raising more questions than making a point here, but as I said earlier, Im wondering about all this.... After all, I AM a caricature artist, I DO lampoon people and JUMP UP distinctive facial characteristics as a matter of policy. Is it RACIST to draw Jay Z, WITH GIANTIC LIPS? is it RACIST to draw so called "nappy hair" on a black person if they have it? Is it RACIST to draw a black person as dark as the midnight sky if they LOOK that way? I personally know and have seen in my community numerous people who REALLY resemble these "racist cartoon/caricatures" depicted in these and several other youtube clips.
IS it RACIST to depict black people like this or not? If not, WHY? If so, WHY? when does "innocent caricature" cross the line into "divisive racism?" Let's talk more about this, or at least think about it this month.
Here's a link that talks about The use of the "N" word and how it is used in caricature in art and comedy http://www.ferris.edu/jimcrow/caricature/
I will always remember the day that I got off the train at Union Street on the R line en route to an appointment, and knowing me, in a rush to get to my destination. I remember stopping dead in my tracks , in front ot the Union Street sign, where I came face to face with Emmet WIgglesworth's subwaymural. I was familiar with his work and recognized the style instantly. Wigglesworth;s famaliar theme of figures juxtaposed together in a maze of afrocentric faces invoked images of ancient African tribal masks and woocarvings, elongated fingers and arms covered with mesmerizing black and white patterns.... It was classic Wigglesworth, and I could only stand there reminiscing our meeting years ago. Back in the day, I lived for a time in the Bushwich section of Brooklyn, and although I cant for the life of me remember how I found this out, but I discovered that Wmmet Wigglesworth lived within walking distance of my house, so with the impeturousness that only a young person could have, I called his home, and within minutes was seated there in his living room discussing his career, and my art. I was very inexperienced back then, was newly married, and had a passion for art, but didnt know where or how to channel it. I will always be grateful for Mr. Wigglesworth opening up his HOME to a young artist who was a total stranger, and sharing his time with me. For a while I even imitated his bold black and white afrocentric abstract stylings, until I discovered my "own voice" . I guess you can say in a sense, Wigglesworth was instrumental in teaching me how to walk.
I look forward to the day that I can be just as gratious to a young artist.
Go to UNION STREET on the R Line in Brooklyn to see his work. You wont be dissapointed.
Check out this youtube clip of Wigglesworth "droppin' some serious science" on The Advertising Industry and how it affects self esteem.
Jacob Lawrence, is an unsung hero of the sequential art form we've come to know as Comics. Before I continue, let's look at the dictionary's definition of the word...
AComics (from the Greek κωμικός, kōmikos "of or pertaining to comedy" from κῶμος - kōmos "revel, komos",[1] via the Latin cōmicus) is a graphic medium in which images are utilized in order to convey a sequential narrative;
Lawrences' epic work, THE MIGRATION, consists of 60 paintings combined with words that tell the story of the American Negro's migration from the south to the North. I am currently doing more reading on this fascinating subject, but dont let me stop you from checking out the video.
Oh By the way, Jacob Lawrence was the first African-American to be represented by a New York City gallery.
In hearing George recall the "old days" of illustration, I couldnt help but be thankful for the computer age I live in and how it streamlines jobs that are non existent now. "In the old days, we did paste up with type using literal tweezers, peices of cut out paper and rubber cement!" I also became sort of wistful that many of the jobs available to illustrators back then are not as available now. Photography was expensive, and companies used illustrators to help them advertize their products in print and tv, recalled George. There were also, a couple of "B List" companies, that artists starting out could cut their teeth on. " I did greeting card work for Hawthorne Summerfield, and Williamsburg Publishing, which no longer exist"." In those days, Hallmark Geetings was the best, and one of the first companies that really used the power of branding. They KNEW they were the best, and used it in their tag line, "Hallmark, when you care to send the very best". Ford also considered his illustration work with Harper's Magazine to be his first major illustration job. " It was an article on African American author, Ralph Ellison". While on the subject of illustration, George took care to point out that illustrators need NOT fear art directors/editors when interviewing for a freelance position. "believe it or not, they are NOT looking to eliminate you, on the contrary, art directors/editors WANT you to succeed, to be "good" because they want someone who is capapble to help illustrate their product or idea"."Frequently after having your work reviewed you may hear the comment, "this is not what we're looking for, right now". "dont take this PERSONALLY" "It's not a reflection on your talent or work, it's just that it doesnt fit the companies niche at that time""It's important that every artist find their OWN niche". Having said that, I showed him work that I'd done recently for The Wave Newspaper, and other caricature work I'd done for Rocketshark Ringtones a while back. He commented on loving the line quality of the work, being reminiscent of Hirschfield, to which I smiled, Hirschfield being an influsence. "The rest, of course, is YOU" he added, with a smile, before going on to instruct me of how caricature could be used in publishing. "Caricature CAN be used, he began, but It's important, HOW subjects are depicted. The caricature must be used to enhance what is being spoken about and not used simply as an object of out and out ridicule." In Ford's view, the caricature should show just enough visual information to indentify the subject whichout making them look ridiculous for it's own sake. I was happy for the critique, and looked up to see that three hours had passed and I really had taken up much of his time. I thanked him for an interesting afternoon, and we left out table much to the delight of a stranded yuppie desperately looking for a place to sit.
There's such a wealth of information the man had that I didnt even manage to scratch the surface with. I encouraged him to start his OWN blog just so that the information he obtained in over 50 years in business would not be lost. He assured me that he had been newly inspired to do so and would get started on it immediately. I smiled in anticipation. I cant wait to see what he writes down.
I came to the interview with high hopes of getting the ultimate secrets to becoming a successful illustrator. If George Ford could make it in the racially discriminatory period he did the bulk of his work, than surely I would have an easier time in the new millenium, I reasoned. George quickly took the wind out of my sales with the simple statement; "You cannot DUPLICATE my success". He went on to explain the circumstances of his time, the people he met, the places he found himself were all contributing factors that couldnt possibly be duplicated because it was HIS LIFE. The mistake most young illustrators make is in THINKING there's a "duplicatable 10 point plan " for success.
"There isnt" He reasoned. "each artist must find his own way" Continuing on, he added that No art school is able to "give the plan" either. "You dont LEARN to be an artist, in ANY school," "art schools take the best people who are"good" (meaning they already have potential that serves as raw material) and the art teachers, if they are good ones, act as COACHES to guide a student in a direction, and help him develop his potential."
As Far as Potential goes, George had a lot of it. He was one of Three students who studied at Pratt Institute in the late forties, before continuing his education at highly competitive, Cooper Union. "There were 1000 people competiting for 90 spots in the school and I was the only black one." Not bad for a kid who attended Boys High School in Brooklyn. Art was a challenging profession to make a living at to begin with, and being a Black man in the forties, attending art school made it a little tougther."the art teachers, knowing how tough the industry was, wondered how YOU were going to make a living", he added. The social political climate of the day werent esactly the stuff "dreams were made of" for black youth, back in Georges' day either. The constant bombardment of negative black images, and stereotypes, ie. seeing blacks ONLY pictured as domestics, made you, "accept, on some level, a lower standard, based on what you're seeing. what you see becomes acceptable" When asked how he WAS able to achieve his dreams inspite of the racism he encountered, he responded instantly that his Father gave him the confidence to continue. Unlike today, there was always an underlining push in the conciousness of a black person to "carry the hopes and apirations of the race with you" as you went about whatever you were involved in, including art. Since much of Ford's work involved illustrating prominent African Americans like Ray Charles, and Paul Roberson, I asked him did he feel it was neccessary to draw, quote, "black themes" "We need good men(in terms of technical ability) who have talent, to use it for the people." With so much art today being ego centered, such altruism seems almost laughable.But it is precisely this mindset that not only inspired Ford's work, but other black illustrators who drew during the same period, including the late Tom Feelings, a personal friend. I remarked how I had been inspired by Tom Feelings as a child when I, along with a group of other children had been drawn by him personally, at "THE MUSE" Children's Museum in Brooklyn New York. George Laughed as he recalled he'd probably "seen me" as he was drawing there also that same day! Small world eh?
John THE BAPTIST, is one of the most interesteing characters in Scripture. The son of a priest,Zechariah, he was the last in the line of Old Testament type Prophets, and the "official God appointed announcer" of Jesus, The Messiah( In case you dont know, "Christ" aint Jesus' Last name, it's Greek for Messiah) John was a rugged dude to say in the least, he lived off the land, wore camel skin coats and ate a non fat diet of locusts and honey. In my upcoming comic I take a step backwards and illustrate Johns preaching up until he baptises Jesus in the Jordan. It sure is big fun drawing this guy!
Theres a saying that goes, "there's Eight Million Stories in the naked city" Most of em sad ones,.... well, I got a chance to witness one of 'em, and I'll tell ya folks, Aint nothin' quite as heart breaking as seeing a loney yuppie in starbucks, trying to find a seat....
I was having my meeting with Illustrator George Ford, and looked up and there he was, this poor yuppie, hot latte in hand, desperately scanning the room with big sad eyes looking for an empty seat and finding none....
To Mr. Ford's delight, I temporarily interrupted our discussion just to capture that sad sack look on that Yuppie's face....
Poor guy had to drink his Latte standing UP! GASPPPP!!!!!
If you're sayin' to yourself, "I see a little Peter Bagg" Influence, in this picture... give yourself a gold star!!!
"Man, you ARE the real deal!" said Illustrator, George Ford, as he caught me re drawing a caricature I'd done of him at the Z Space Art Gallery two weeks prior. I explained to him that how I was never satisfied with my work and wanted to redraw it and present it to him as a gift, and post it on the blog. The truth of the matter is that I guess I wanted to impress him as much as he had already impressed me. There's a lot to be impressed about... George Ford has illustrated over thirty books in his career, most notably the book, RAY CHARLES , written by Sharon Bell Mathis. and illustrated by George Ford. The book went on to win the 1974 Coretta Scott King Author and Illustrator Award,marking the FIRST time an ILLUSTRATOR had recieved the award. After that initial meeting with him at The Z Space I requested another meeting with him at a later date to discuss his career. This being Black History month I thought it important to focus on African American Artists whose work and accomplishments had caught my attention. Mr. Ford Gratiously consented and took three hours out of his time to discuss with me his approach to illustration, his career as an artist, how politica and social climate contribute to an artist's work, and even, Lil' Wanye! LOL!! I'll write up in subsequent blog posts what we talked about. SOME THINGS Not ALL!!!! He told me a few secrets that I AINT SHARING!!! LOL! Stay tuned!
In the meantime, here are a few links that lead to his work http://www.justusbooks.com/modules/content/index.php?id=70
Well, I can finally put a check next to another goal on my list of "Ta Do " things. Last week on the 31st of January, marked the day that my work was shown in a gallery. The new Z Space Gallery located in Midwood Brooklyn, Featured my work along with several other emerging artists at this fun filled event. The work will be on display at the gallery until March 18th. This piece, entitled, "Feelin' Bloo" is taken from my ongoing open ended "subwaysurfer extreme life drawing series".
As my wife was coming in the door, there I was, doing my vocalizing to the top of my lungs. "DO YOU KNOW YOUR VOCALIZING CAN BE HEARD OUTSIDE???" she said, "DO YOU KNOW WHAT TIME IT IS???"
What can I say? Since starting vocal training months ago, and most recently discovering some great vocalizing exercises from The Vocal Clinic, and other sites, Well, next to doing my art work, Im a vocal training fool! LOL!!! Maybe the fact that i can ve heard OUTDOORS is a GOOD thing! It at least means, Im opening my mouth wide enough! LOL!
Was even inspired to draw a caricature of myself. I admit I look kinda angry here! LOL! Maybe I'm straining my voice too much! Gotta remember to breathe correctly.
HERE IS A GREAT SITE THAT AS LOTS OF VOCAL EXERCISES GUARANTEED TO MAE YOU A BETTER SHOWER SINGER!
http://www.aussievocalcoach.com/category/free-singing-stuff/singing-tips/
What's up Surfer fans! Good things happen to those who give! Ya know, Even though I draw for a living, sometimes it pays just to GIVE PERIOD for the sake of GIVING. Case in point is my recent caricature of Erik Dillard, of the hit online show, THE VOCAL CLINIC. To make a long story short, I loved his show, his vocal exercises helped my voice, and I wanted to show my appreciation in a tangible way, so I drew his picture. He then, did ME a favor by giving me a major shout out on his show!! and man, does he have a VAST audience!!! This is Something he DID NOT HAVE to do, but it goes to show you that true giving is like a virus!!! it has a tendency to spread once you come in contact with it. As far as social media is concerned, its not about sell sell sell, you, you, you, all the time. YOU MUST DO STUFF FOR OTHER PEOPLE. It always comes back to you. I know that Erik and I will be doing a lot of business in the future. Yu can guarantee that.
AGAIN, if you people out there are aspiring musicians, PLEASE check out his site!!! You WONT be sorry and your voice will love you for it!
For those of you who may not know, in additon to animation, illustration, storyboarding, editorial cartooning, and of course, live caricature, your boye, The Surfer is also "into singing"
No, I aint interested in cutting no album, going on American Idol or singin in your shower, but singing, just like art, has always been a passion of mine,and In the past few months Ive been blessed enough to be led to a vocal coach and friend who has really done wonders for my voice, and reignited my passion.
Inquisitive soul that I am, whenever I'm interested in something, I ALWAYS do my homework on it to get better. Ive been going online lately and discovered a couple of excellent online vocal coaches whose vocal exercises I've been practicing and enjoying. This is the first in a series of their pictures and stories.
The first thing that attracted me to ERIK was that he's a funny guy. Being an artist and a joker myself, it made me instantly connect with him. He also has a very engaging online persona that really gets you involved, and makes you feel like he's really talking to YOU personally in each lesson. Many people on line attempt this, and only end up looking and sounding forced and contrived. Erik makes you feel each lesson was tailor made for YOU personally. Another interesting thing about Erik is that he is an African American who speaks fluent Japanese and is teaching music in Japan. I found this especially interesting having never encountered this, which added to his appeal.
I can also honestly say that by following his exercises, I can HEAR and FEEL a marked change in my voice! I cant wait to see my vocal teacher to show off! LOL!
Do yourself a favoe, if you have a passion for singing and check out Erik's Channel on youtube.
You wont be dissapointed and will definitely learn something!
Oh, I almost forgot to tell ya, The line,'''
"WHAT'S COOKIN' IN DA SKILLIT?"
Is Erik's Tag Line!
Nothing like a great tag line if you're in business!
Nate Kapnicky is a guilty pleasure.... If I ever let my dark side loose, I would want to draw like Nate Kapnicky..... Nate is a master at chewing up faces, spitting them out, and using the uneaten parts to make caricatures. His Blogsite, "Jackin faces" is not for the faint of heart,or those of you who like those cute and fuzzy caricatures you sometimes get at theme parks. I visited Nate's site and saw this great pic he did of my caricature pal, Alison Gelbman. Alison's normally cute as a button, but Once Nate put her face through the meat grinder he reduced it to this horrific mish mash you see here. For all it's goryness, it's "totally her!" The man's a genius. All I gotta say is, if you want a "nice" caricature, sit in someone ELSE'S Chair!
Believe it or not, even though we're all individuals with distinct personalities, habits, and mannerisms, people STILL think that "all caricature artists draw the same". Frequently when Im doing retail caricature and I ask people if they'd like to be drawn, they sometimes say, "oh I GOT ONE OF THOSE already" as if its the same thing as buying an orange of something...... The truth is that any given artist draws the same face in a variety of ways basedon a variety of different factors including tools used, the artists mood, personal feelings towards the subject, or at the risk of sounding "spacey" the "energy" a given subject is projecting. Take This example for instance. Same face, two different treatments. The one of the left is "cartoony" simplified, something that you might see in an animated drawing, while the other is semi realistic.This guy's face had something undefinable in it that prompted me to draw hism in two ways and BOTH interpretations are equally valid. In doing two seperate caricatues like this, I usually draw the more "realistic" version first, then, taking the essential characterstics from the caricature, I use them to make a more simplified drawing. Its great fun, and easy to do. Viva La Difference! It's what makes caricature MORE fun than simply "drawing a portrait. Booooooooooorinnnnnnng!!!!
Not EVERYONE is self concious about being drawn on the train, in fact some people think SO much of themselves, they actually show you what they consider to be their best side when they think you're drawing them, just like this guy here, who judging from his facial expression just KNEW that he was ridiculously good looking, Big NOSE and ALL!!! Self Esteem is EVERYTHING people!!
She saw me drawing her and tried to turn away, but TOO LATE! she was sooo ticked off and started pouting!She was positively livid. Visually, she had nice rounded forms that artists always love to draw, and also had these great big cheeks that looked like she'd drank an entire pitcher of koolaid, and was refusing to swallow.
I roughed this out on notebook newsprint paper, started to ink it, and then felt it looked better rough. I thought it was really strange that she had this backpack which must have been so loaded down with books and junk that it hung sooo low down to her backside.
I wanted to focus on the complicated,yet dysfunctional, yet tragic, yet co dependant, yet confusing and sad relationship that some people find themselves trapped in...... This is a story about Domestic violence to be sure, but also raises questions about this very sensitive issue.... Does the Hammer "REALLY " WANT to change, but cannot? Does the Nail "REALLY" WANT to leave, but cannot? Each partner is tied to the other in this web of violence, forgiveness, passion.... No easy answers... just a lotta hurt.
One of the best things I love about riding the A train two and from Manhattan from Far Rockaway is the ride from the Howard Beach JFK Station to The Broad Channel station. What makes the ride so special is that The A Line Crosses Jamaica Bay before reaching either station, depending if youre traveling to, or from Manhattan, and on a clear day your are treated to a spectacular at times breathtaking view of The Bay, that even makes hardened subway commuters lay down their newspapers for a moment, to take in the view. The distance between the two stations is the longest between any two in the New York City Subway system, so there is more than enough time to enjoy the scenery. In fact, Ive often thought, as the sun is setting, it makes for a very romantic ride.
Apparently, Im not the only one who thinks so. As I looked up from my drawing pad, I saw two lovers alternately looking out the window, staring into each other's eyes and holding hands. The scene was beautiful. They didnt fit the part, visually, of lovers you might see on the silver screen. He was no Brad Pitt, she was no Angelina, but you could just tell their love for each other was so strong, it was almost tangible. They sat in silence, just enjoying the ride, looking at the water, and enjoying the warmth of each other's hands, knowing the person they loved was on the other end.
It was a perfect picture and I wanted to give it to them , but they didnt need my picture....
As I was caricaturing people on the train today, something so obvious, yet almost forgotten, occured to me.
on the train we spend a LOT of time underground. In the tunnel. Where it's dark. In the tunnel. where it's scary!
BOO!!!!
I remember as a kid riding the subway for the first time how terrified I was when ever we left the outdoor stations and went underground into the tunnel! There was always a moment of real intense fear accompanied by a million random thoughts, among them being... what if the train gets stuck in the tunnel? what if we cant get out? are there monsters and cavemen in the tunnels? The one tunnel that was especially frightening was the one between High Street Brooklyn Bridge and Bway Nassau. I recall traveling with my mom as a kid and asked her why we always spent so long in this particular tunnel. She casually replied, "it's because we're traveling underwater!" Im sure you can imagine the unexplainable horror my five year old, hyperactive, artistic mind must have visualized upon hearing THAT news!.. Visions of billions of gallons of water spilling onto the tracks, leaving us trapped commuters wondering if we were going to be electrocuted or drowned.....
As I grew into adulthood I calmed my fears to the point where I didnt really think about it too much, and yet in a city full of millions of people, I wondered how my fellow commuter were dealing with their own personal "tunnel issues" or if they even had any. I began studying faces while underground to get some type of visual cue as to what people might be feeling....
I dont know If I captured anything concrete, but it did make for a more intense study of their faces.
It's been said, sadly by people in my profession, that Caricature is "garbage art" Tt's "disposable art" , It's "fast food".
Well, all I can say is that "fast food" is a gourmet meal to a starving person, and how Disposable is your shadow? your reflection?
From time to time I find myself coming back to the question, What IS IT between me and caricature that keeps me coming back. In this exerpt of a letter I wrote to a potential agent, (they havent accepted me yet) I asked this question and wrote the following answer. Maybe one of you readers will find it useful.
My passion is CARICATURE. To me it's MORE than "throwaway Party Art" and "drawing people with big noses". I use caricature as a way to explore, and expose the personality and soul of a person. As human beings we all wear masks hoping that no one will pull them down and expose the hidden parts of our personality, leaving us naked and exposed. The Caricature artist acts as a human lie detector, seeing beyond the masks that people put on , and through observation, exaggeration, and amplification are able to find the true face of the person behind the "painted smile" . Throughout my career as a professional caricature entertainer and humorous portrait artist, it is not uncommon for people to say to me, "when you drew my picture , I see my father in there", or " how did you know that I was an angry person? I was SMILING!" Through the art of caricature I am also able to portray emotions, and give editorial comment. My ongoing project, and muse is something I call, "SUBWAYSURFING" or EXTREME LIFE DRAWING. where I draw caricature portraits on the NYC Trains and buses. My observations and exploits can be viewed on my blog at wwww.subwaysurfer.blogspot.com I am also the author of two books on the subject which can also be found on the blog. This work has been a way for me to bring community to a cramped often uncomfortable place where intimacy is forced upon us and where we meet people of every conceivable race, gender, social economic/political status. The Subway, for me is a mobile melting pot where cultures intermingle and clash en route to destinations only known to the individual commuter.
I just learned that Claymation Animation Pioneer ART CLOKEY, passed on Jan 9th at the age of 88.
As soon as I read the news, I realized that I had forgotten that CLOKEY also added to my growing list of early artistic influences. in an ASSOCIATED PRESS article which can be read in it's entirety at
http://www.msnbc.msn.com/id/34778153/ns/us_news-life/ For you youngins who are scratchin your head wondering, "WHO DA HECK IS GUMBY??" he was a green bendable...er... thing... LOL! with a sloping head, and ran around with a red horse named pokey. I know that doesnt sound like much of a discription, but Gumby is pretty hard to define... I do know this though. He was the "must have" toy that EVERY kid on the block and the neighborhood had, and even older kids thought he was cool. One of the reasons for GUMBY'S Coolness was that he would have these crazy avant garde type of adventures that always kept you guessing. Unlike other cartoons of that area, Gumby seemed "real" due to the claymation which was very new at the time, and unlike the flintstones, and other cartoons he could MORPH and bend into unbelievable shapes. Bumby seemed like something out of a dream. I believe he appealed to children like me because he seemed like a character a KID would think up.
Clokey was also The creaor of one of my favorite shows, Davey and Goliath. Despite the Associated press' disrespectful "nod" if you want to call it that, to the show (they made light of the show's "moralizing" and stated that it was often satirized) I remember watching the series as a kid, and was both entertained and inspired by it. The Show was produced by the Lutheran Church in the 1950s and 1960s and televised widely across the United States, the Caribbean and around the world. In fact, The program has been translated into seven languages, and the show has been broadcast on every continent except Antarctica. That's actually very impressive for a series of it's kind, IMO, and as I remember the show tackled issues that effect ALL of us including predjudice and racism, respect for authority, and sharing. Certainly these are values I HOPE parents even today would WANT their children to learn and exercise, and yet there seems to be a school of thought that frowns on things like "good manners, and being tolerant of others. I believe the MAJOR criticism is that the show, was Biblically based, and the main characters were encouraged to solve problems by having faith in God a word in our present day that is practically "outlawed".
Was riding the L Train from 14th Street to 8th ave, and overheard these two musicians talking to each other....."man, I gave the dude some money! he was good!..." said one of them, as he was commenting on a subway musician he'd just heard. ".....not me ...." said the other, ".....wouldnt even shake his hand, it's a Bad Omen!" I couldnt resist lookin at the face of someone who said something so outrageous, and started drawin him. He noticed me drawin him and then HE took out a sheet of paper and started drawing me! I took it in stride and when I completed my sketch showed it to him and gave it to him. I liked the fact that his face had this sullen intense look which reminded me of Steve McQueen. He had a great sense of humour though, in spite of his intense look and he laughed and handed me his drawing. His fellow base player felt left out and made a subtle request to have his picture done also. He spoke with a southern drawl and when i looked at him he kinda reminded me of actor, Tommy Lee Jones. He had that Kind of vibe. Visually he had features like his bud, that were "made" for caricatue. Slicked back hair, intense blue eyes, cheekbones that looked like handballs when he grinned, and that classic "BUTT CHIN" we caricaturists love to make fun of. I handed him the picture and he loved it. As they got off I very quickly made copies for myself that Im posting here. I really wish these guys luck as musicians, they definitely have a signiture look that should carry them places.
Been wanting to feature Sam klemke for a long time of this blog. Sam is the eptome of what a caricature artist is. He makes his living purely as a caricature artist, travels around the country from state to state where ever there is a fair, a party, a Bar Bat Mitzvah, or even the Opening of an envelope, Sam is there drawing caricatures and smoozin the crowd.
Sam is first off VERY good. SCAREY GOOD in fact. When I first got into the caricature biz many moons ago, I discovered Sam's work in the NCN's Trade Magazine, "EXAGGERATED FEATURES" where he was the comic artist who did hilarious, sometimes thought provoking comics on NCN Convention events, as well as his wacky adventures as a traveling caricature artist. Within the pages of his comics Sam would sometimes get philosophical about what it means to him to be an artist, the trials and tribulations of our profession and even the potential dangers! There's one cartoon where he writes about the time he was mugged in his Van which is hilarious. Thank God He survived or we would have lost a great artist.Sam's depictions of the various caricature artists of the NCN, now known as the ISCA, International Society of Caricature Artists, are always spot on accurate. If he had the inclination and opportunity,Sam could easily be a MAD Magazine cartoonist. In addition to being a great draftsman, which would be scarey enough, Sam is also a born entertainer. Ive met few people who can out talk and out smooze me into complete silence, but Sam is a master at hitting all the right notes verbally, and can literally drown you in a barrage of verbage, making you laugh yourself to death as youre going under. Sam's caricature adventures can be found in his book, A PARTY OF ONE which he sells on his website. I personally had him sign my copy at a convention and he had did one better and drew a caricature of me on the back with a SHARPIE!!
Sam is also a film maker and has more hilarious stuff on youtube that you can find by following this youtube link if you double click on the film Ive posted.
I definitely count Sam as one of my inspirations for wanting to do autobiographical comics, and Im sure anyone else who views his stuff will be equally inspired.
Now that Ive done enough brown nosing, I think I'll go and wash my face... the smell is beginning to get to me....
The eyespitt/wiping mouth part was taken from Bruce Lee. I loved the way Bruce used to spitt out blood and wipe his mouth while looking at his opponent with contempt. I tried to get that same vibe on the chipmunk as he apat out the warrior's eye. The Backflip sequence was the very FIRST animation I did on the sequence and gave me a lotta confidence
original pencil test for the Comedy on Comedy Chipmunk vs warrior segment. Here, our hero has just ripped out the warrior's eyeball, and is now swinging it in "olympic fashion" into a tree stump.
Another pencil test from the Chipmonk vs Warrior segment. in this clip he's doing the "dance of Pain" after having his eyeball ripped out, and I have him swinging the spear down at the chipmonk.
FINALLY was able to successfully upload an animattion project I did a few years ago for an INDY Film maker, Tyler Cartner, whose film mocumentary, "Comedy on Comedy" featured a short, animated "commercial" of a Chipmunk vs. a Greek warrior who tries to take his nut.
Never try to take a Chipmunk's NUT!! LOL!
Tyler suggested we have the chipmunk jump on the warriors family jewels, but I thought it would be more hilarious to have him take the whole eye out, since the "Grapping the jewels" gag has been done so many times. In putting together the "showdown" sequences when they're both "facing off" I thought about that great scene in Clint Eastwoods' "The Good The Bad and The Ugly" which had this great buildup focusing on facial expression, body language and weapons before the attack finally comes. I communicated this to the director and WIN, the After Effects, Flash Animator, pulled it off beautifully. I was so pleased.
I was responsible for the character design, the backgrounds, the layouts and keyframes that I did in Monkeyjam, a pencil test program, prior to giving everything to WIN so he could work his magic in Flash and After Effects. What made things even more phenominal about this project that we all met ONCE in Tylers studio to collaborate on our individual parts and everything else was done by email. Did I mention that WIN spoke NO ENGLISH?? In the meeting I would draw something, have him approve it, draw something else, and so on. We both used a lot of made up sign language for that first and only meeting!! LOL
Tylers film was actually VERY GOOD, even without this cartoon addition, but I was glad Tyler included me on this. I give Tyler a lot of credit for using me on this project as he was initially just looking for a FLASH ANIMATOR who could do it all. I suggested to him to take a chance and use me for the character designs, backgrounds, storyboards and key frames, and then he could use a flash guy to put everything together. It worked like a charm and few directors would have been open to the idea. Thankfully he was.
Heres a collections of drawings and stuff that I did for the project.
Posts
Why must Eye Chase da Katt?? to give him back his wallet, of course!!! Dogs seem to get such a "bad rap" against felines when they're sometimes they're only tryin' to HELP!!! Even if it means HELPING themselves to a few Feline Dollars! Heh, heh! I see my Looney tunes Tex Avery Influence coming out in this toon. On one did it better than Tex!
I will always remember the day that I got off the train at Union Street on the R line en route to an appointment, and knowing me, in a rush to get to my destination. I remember stopping dead in my tracks , in front ot the Union Street sign, where I came face to face with Emmet WIgglesworth's subwaymural. I was familiar with his work and recognized the style instantly. Wigglesworth;s famaliar theme of figures juxtaposed together in a maze of afrocentric faces invoked images of ancient African tribal masks and woocarvings, elongated fingers and arms covered with mesmerizing black and white patterns.... It was classic Wigglesworth, and I could only stand there reminiscing our meeting years ago. Back in the day, I lived for a time in the Bushwich section of Brooklyn, and although I cant for the life of me remember how I found this out, but I discovered that Wmmet Wigglesworth lived within walking distance of my house, so with the impeturousness that only a young person could have, I called his home, and within minutes was seated there in his living room discussing his career, and my art. I was very inexperienced back then, was newly married, and had a passion for art, but didnt know where or how to channel it. I will always be grateful for Mr. Wigglesworth opening up his HOME to a young artist who was a total stranger, and sharing his time with me. For a while I even imitated his bold black and white afrocentric abstract stylings, until I discovered my "own voice" . I guess you can say in a sense, Wigglesworth was instrumental in teaching me how to walk. 
Nate Kapnicky is a guilty pleasure.... If I ever let my dark side loose, I would want to draw like Nate Kapnicky..... Nate is a master at chewing up faces, spitting them out, and using the uneaten parts to make caricatures. His Blogsite, "Jackin faces" is not for the faint of heart,or those of you who like those cute and fuzzy caricatures you sometimes get at theme parks. I visited Nate's site and saw this great pic he did of my caricature pal, Alison Gelbman. Alison's normally cute as a button, but Once Nate put her face through the meat grinder he reduced it to this horrific mish mash you see here. For all it's goryness, it's "totally her!" The man's a genius. All I gotta say is, if you want a "nice" caricature, sit in someone ELSE'S Chair!
Believe it or not, even though we're all individuals with distinct personalities, habits, and mannerisms, people STILL think that "all caricature artists draw the same". Frequently when Im doing retail caricature and I ask people if they'd like to be drawn, they sometimes say, "oh I GOT ONE OF THOSE already" as if its the same thing as buying an orange of something...... 
She saw me drawing her and tried to turn away, but TOO LATE! she was sooo ticked off and started pouting!She was positively livid. Visually, she had nice rounded forms that artists always love to draw, and also had these great big cheeks that looked like she'd drank an entire pitcher of koolaid, and was refusing to swallow.
One of the best things I love about riding the A train two and from Manhattan from Far Rockaway is the ride from the Howard Beach JFK Station to The Broad Channel station. What makes the ride so special is that The A Line Crosses Jamaica Bay before reaching either station, depending if youre traveling to, or from Manhattan, and on a clear day your are treated to a spectacular at times breathtaking view of The Bay, that even makes hardened subway commuters lay down their newspapers for a moment, to take in the view. The distance between the two stations is the longest between any two in the New York City Subway system, so there is more than enough time to enjoy the scenery. In fact, Ive often thought, as the sun is setting, it makes for a very romantic ride. 
As I was caricaturing people on the train today, something so obvious, yet almost forgotten, occured to me.
