Kimball Christmas Cards

If you aren't visiting Amid Amidi's site 365 Days of Ward Kimball, you're missing out on some beautiful art. Currently, there's lots of Christmas related artwork.

During his talk on Kimball at the Ottawa International Animation Festival last September, Amidi made it a point to say that Kimball's style was evolving towards more modern graphics in the 1940s. The above cards (1945 on top and 1946 on the bottom) are great examples of the turn Kimball's style was taking. Both are, of course, well drawn. But while the 1945 card is conventional in its use of perspective and structure, the '46 card breaks away from realistic perspective and revels in flattening out shapes.  While UPA would animate this stylistic approach a couple of years later, Kimball was prepared to do so but wouldn't get the chance until Melody, Toot Whistle Plunk and Boom and the TV episodes he directed for the Disneyland series in the 1950s.

Who Owns History? Who Owns Culture? Who Owns Speech?

The Walt Disney company is responsible for delaying the publication of Full Steam Ahead!: The Life and Art of Ward Kimball by Amid Amidi.  The reason, according to the author, is that Disney is unhappy that Kimball's life doesn't conform to the company's exacting standards.  Disney has had the book since January of 2012 and has yet to approve it.  The publication of the book has been delayed a minimum of seven months, preventing those who pre-ordered the book from reading it and delaying earnings for both the author and publisher.

I have not read the book and I certainly don't know the specific text that Disney is objecting to, but I find this situation to be very troubling for the chill it casts over our ability to comment on the world we live in.

We are now in a time where entertainment corporations have run amuck.  I have recently written about Sony taking ownership of any artwork submitted by job applicants.  In Finland, the police have confiscated the laptop of a nine year old girl for downloading a single song from the Pirate Bay.  In addition, they have fined the girl 600 Euros, even though the girl's father has proved that the girl later bought the album and concert tickets for the band in question.  Several countries have instituted laws where three copyright violations can result in a user being banned from the internet altogether.

One of the problems with this ban is how arbitrarily copyright violations are enforced.  All over the web, there are sites which could be construed to be violating copyright.  I say "could be" as a court could decide that material qualifies as fair use.  And the copyright holder gets to selectively decide who to prosecute and who to ignore.   In other words, if the company thinks the copyright violation is good marketing, it will turn a blind eye. 

Beyond the logistics of corporations using the law to arbitrarily punish people, there is the much larger question of who owns history, culture and speech?  When culture is manufactured for a profit, do we have the right to discuss it, criticize it and respond to it?  Can we use examples to make our case or are we limited by the legal rights of the manufacturer?

As the entertainment corporations are now multinational behemoths with whole staffs of lawyers charged with protecting intellectual property, they use the threat of legal action as a deterrent.  The Kimball book is a case in point.  In court, it could be argued that any Disney artwork used in the book is fair use.  What's one still image from the more than 100,000 frames in a feature film?  How is the publication of a still depriving Disney of income?  Disney could not suppress a book based on its text without proving libel, but it can suppress a book before the fact by denying the use of artwork and the threat of a lawsuit if a publisher decides to take a chance and publish anyway.

Unfortunately, this is not an isolated incident.  Disney owns Marvel and denied Sean Howe, the author of Marvel Comics: The Untold Story, the use of illustrations unless they could approve the text of the book.  Howe and his publisher decided to forgo illustrations, so the history of a comic book company has no images of the artwork that made the company worth writing about.  And as I mentioned above, copyright prosecutions are arbitrary.  Howe has a tumblr where he has included images that should have been included in the book and so far, Disney hasn't complained.

How strange is it that in the western world, it is permissible to comment on governments but not on companies that make cartoons?  As corporations have increasingly lobbied governments to write laws for their own benefit, we may soon reach a point where criticizing governments is irrelevant and the corporations who should be criticized will stifle all dissent.

R. Crumb on Ward Kimball

Amid Amidi recently posted this picture of (L to R) Robert Armstrong, Ward Kimball and R. Crumb on the blog 365 Days of Ward Kimball.  If you're interested in Crumb's thoughts on Kimball, you can go here and scroll down.  Crumb also comments on Matt Groening and Ralph Bakshi on the same page.  You'll have to scroll down to find them, but he also talks about Winsor McCay and Walt Disney, among many other people of note outside animation.

Ward Kimball Biography Coming in 2012

Caricature of Ward Kimball by Walt Kelly

Didier Ghez's Disney History site has details of Amid Amidi's biography of Ward Kimball to come out in the latter half of 2012.

"The Kimball family has generously granted me access to all of Ward's personal files, photos and diaries, and I've combined this with new research and interviews to present a thorough celebration of his life that acknowledges his impact on the art form."

This is a book I very much look forward to reading.

Dumbo Part 22

Except for two shots, one by Walt Kelly and the other by Don Towsley, Ward Kimball and Fred Moore dominate this sequence. Kimball does the entire song, "When I See an Elephant Fly" (except for Kelly's shot 22), including shots of Timothy. Then Moore takes Timothy over for his heartfelt recitation of Dumbo's troubles. Once again, the film is powered by contrast, this time moving from the upbeat song to the plea for understanding.

Was Kimball ever better than this and his work in Pinocchio? The music here allows him to be as broad as he wants to be while the crows' reaction to a flying elephant is perfectly reasonable. As much as I love Kimball's work, there are times I feel his broadness pulls me out of a film. His work here and in Pinocchio has an emotional grounding that keeps him functioning as part of the story.

All of Kimball's strengths are on display here: brilliant posing, fantastic accents and eccentric movements. The bottom half of the crow with glasses in shot 12 is just astounding in the way it moves. I can't figure out how Kimball planned it. Maybe he animated it straight ahead knowing where the beats were, but there's no obvious logic to it and yet it works. The shots that follow it with the two tall crows dancing are approached more conventionally, but Kimball's posing and timing make them stand out, the same as shots 19 and 20 animated to Cliff Edwards' scat singing.

If Kimball quit the business after animating this song, we'd still consider him a genius animator.

I've already written about how Kimball doesn't care which voice comes out of which crow and also pointed out that the two crows switch positions in shot 14. I've found yet another cheat. In shots 25 and 29, Jim Crow is painted different colours, so there's a sixth crow in the sequence. This might be because the film cuts from shot 29, with all the crows on the ground, to shot 30 with Jim Crow standing elsewhere. Perhaps the wrong colours were used to avoid the appearance of a jump cut.

Moore's animation does an excellent job with Ed Brophy's voice track. His trademark rhythmic line is present in his poses and his accents, such as kicking and grabbing the hat in shot 46, are dead on. Moore captures Timothy's anguish and emotional exhaustion well, making the crows' eventual response believable. Timothy's speech provokes tears, embarrassed looks and in shot 41, a cringe when Timothy describes how they made Dumbo a clown.

I've always felt that cringe was very daring. It rips away the pretense that the crows are genuinely happy, revealing their awareness of their own social position. It's that line of dialogue and the reaction to it that convert the crows to Dumbo's allies. They know what Dumbo's experienced, even if they're not showing it. Having the crows take Dumbo's side implicitly acknowledges that they are equally victims of injustice, a rather audacious racial attitude for a 1940 Hollywood film.

Dumbo Part 21A

This is a continued discussion of the "Up in the Tree" sequence. The first part dealt with racial issues surrounding the crow characters. This part will look at the animation. I'm reprinting the mosaic below so that you don't have to scroll down several articles to see the shots.





The two animators whose work is important in this sequence are Ward Kimball and Don Towsley. Kimball is a master of certain things. His poses are very strong; they have a strong line of action and good negative shapes. They are also very rhythmic, with long sweeping curves that tie a character's body parts together into a unified whole. He also understands stretch and squash, changing the character's body shape to make the pose more pleasing or to communicate more effectively. As a result, the poses read very clearly.

The pose above is typical of Kimball's work. Note the negative spaces that separate the legs, arms and cigar from the rest of the body. This pose has a clear silhouette. The line that runs down the back ends at the character's right foot and the line that runs down the chest ends at the character's left toes. That line also forks and continues to the sweep of the tail. Note that the angle of the arms and the tail are parallel and that each arm is defined by continuous curved lines, broken only by scalloping to give the impression of feathers.

Kimball is also a master of contrasting timing. This was standard at the Disney studio at the time, though Kimball's background as a jazz musician may have made him more sensitive to this than most. If you watch this sequence with the sound turned off, you can clearly see how Kimball accents his animation by placing fast actions against slow ones. This is accomplished by the spacing between drawings. The wider the spacing between drawings, the faster the character will appear to move.

There's a sequence in the Disney Family Album on Kimball, where he flips key drawings drawings of Jiminy Cricket. (If you go to the link, the relevant portion is at 2:42.) Those drawings are an entire course in animation by themselves. Everything an animator has to know is in those drawings and by 1940, those qualities were as natural to Kimball as breathing.

Don DaGradi did a good job of laying out the crowd shots of the crows. However, Kimball knew how to animate them so that the audience knows where to look. This is another tough skill to master, as with 5 characters on the screen, an animator who doesn't understand staging will produce a mess of unfocused movement.

What's here is typically strong Kimball animation, but the next sequence is where Kimball really shines.

I first watched this sequence single frame on Super 8mm film. During the heyday of the home movie market, Disney released seven minute long sequences from their features in colour and sound. The last few shots of Timothy really made an impression on me due to their strong poses. At the time, I assumed that the work was by Fred Moore, though now I know it was Don Towsley, a lesser-known animator who did some excellent work at Disney.

The one negative against Towsley in this sequence is his treatment of Dumbo's face. He pushes the facial features too low on the head, giving them a pinched look.

However, his animation of Timothy is great. In those final shots, Timothy is bursting with enthusiasm for his vision of the future. Towsley puts in a lot of broad poses that are very different from each other, though each one is impeccable. As Timothy moves between the poses, the rapidity of his movements perfectly communicates his excitement at discovering the truth that will finally redeem Dumbo.



In addition to what I've already mentioned, take a close look at panels 5-12. The motion is very sophisticated in that Towsley is not having all the body parts move at once. In panels 5-9, the arms are leading the body. In panel 10, the body leads and the arm hangs back before snapping forward in panel 11 and the motion resolving itself in panel 12.


Look at how broad those poses and shape changes are. Look how appealing the drawings are. You can't tell the timing from the stills, but there's some very fast accents in that animation. Towsley really knew what he was doing.

Ward Kimball Writes Will Finn

Will Finn shares a letter he received from Ward Kimball in 1973. Kimball's letter is full of clear-eyed advice that's still worth reading over 30 years later. Will provides background as to how he wrote Kimball and the generous responses he got as a result. Check it out.

A Mickey Mystery

A fan/historian going under the internet handle The Spectre pointed out that the draft for Mickey's Birthday Party lists the Music Room as responsible for the majority of footage in the two Mickey Mouse dance sequences. Ken Muse is credited with a small amount of footage for the first scene and Riley Thomson a small amount of footage for the second. Footage attributed to the Music Room (which was really the director's room) means that the scene either had no animation or had existing animation lifted from another film.

When I did the mosaic for the film, I definitely didn't look closely enough at the draft and assumed that the credited animators were responsible for the whole thing.

In comments when I printed the mosaic, Galen Fott said that he had a drawing of Mickey that he was told was from Mickey's Surprise Party, which was a commercial that the Disney studio made for Nabisco for use at the 1939 World's Fair. Galen's drawing matches the costuming of Mickey in that cartoon, but there is no dance animation in it. Furthermore, the pose in Galen's drawing matches a frame in Mickey's Birthday Party pretty closely.

At this point, I do believe that the dance animation pre-existed Mickey's Birthday Party, but there are several unanswered questions. Was the animation originally done for Mickey's Surprise Party and cut from the film for some reason? If not, what film was the footage done for? Finally, who animated this great dance? It always looked like Ward Kimball to me before I got a look at the draft. Is it Kimball? Fred Moore? Of course, it's possible that Muse and Thomson animated the scenes for an earlier film and then added some new material to make it fit into the new film.

If there is anybody out there who can shed some light on this mystery, I'd love to hear from you.

Kimball's Cricket

I'd like to point everybody to Larry T's blog, where he has posted 41 drawings from a Ward Kimball Jiminy Cricket scene from Pinocchio. In addition to the drawings, he has videos of the drawings and a clip of the finished piece. Larry includes an example of a scene folder and discusses the typical animation pipeline of the time.

Kimball's work always has a strong line of action and a clear silhouette. There's a simplicity to his drawings that's not easy to achieve. He has a real gift for making a clear, direct statement in every drawing while never losing the appeal of the character design.

There's a wealth of information in the drawings Larry posted. In the sample above, we can see that Kimball is calling for a trace back of Jiminy's left foot. There's also got a spacing chart indicating how the inbetweens should be drawn. There are production, sequence and scene numbers stamped on the drawings so that the drawings can't be misplaced if they get separated from their scene folder. And we can see the reinforcement put on the center peg hole to keep the registration steady for camera. Every one of those things is useful for animation students to know. Some of them, with a little thought, are as valuable in cgi as they are in drawn animation.

This is also an example of Disney's five hole peg system. I was under the impression that the center hole and the outer horizontal holes were used by the animators, leaving the other two holes fresh for the inking stage. Does anybody know if that's the case?

When you're finished looking at Larry's blog, you can see some more of Kimball's Cricket drawings in this segment from the Disney Family Album. Kimball explains how Jiminy's design evolved and around 3 minutes in, Kimball flips a scene of Jiminy.

The Nifty Nineties

The Nifty Nineties is one of the few cartoons directed by Riley Thompson. The Mickey cartoons he directed were sometimes referred to as the "drunk Mickeys," possibly due to the alcohol consumption of the crew (both Fred Moore and Walt Kelly were known to imbibe) or possibly due to the style of animation, as the characters are more flexible in these cartoons than they've ever been.

Thanks to Jenny Lerew of Blackwing Diaries, I have a copy of the animator draft from the studio for this cartoon. The cartoon features an all-star cast of animators, including Fred Moore, Ward Kimball, Walt Kelly, Marvin Woodward, Les Clark, and Bud Swift. There's another animator credited as Smith who is probably Claude Smith. I don't know if the second names attached to some scenes are the names of assistant animators or possibly effects animators. If anybody knows, please comment.

I know that Walt Kelly, later the creator of the Pogo comic strip, animated on Pinocchio, Dumbo and The Reluctant Dragon, but this is the first time I've been able to identify specific scenes that he did. It's clear from his scenes that he was considered a more junior animator. The star Mickey scenes are done by Moore, Clark and Woodward. The broad action Mickey scenes are done by Claude Smith. None of Kelly's shots has much acting potential and he only gets one close-up.

If you are familiar with the entire cartoon, there is a sequence of still artwork which parodies the temperance plays of the 1890's. The drunk in this sequence looks like it's a caricature of storyman and director Dick Huemer, though I can't be sure. Unfortunately, the animator draft only identifies this material as coming from the music room, so I don't know who is responsible for the art.

I love animator drafts for the insights they give into a director's style. Thompson clearly gave animators continuous shots to do. Other directors like Clampett and Culhane were less likely to do that. In addition, Thompson was willing to let animation, rather than layout and cutting, carry the film. Moore's longest shot is his last one, which is 45 feet and 5 frames long. That's just over 30 seconds of continuous animation. Similarly, Kimball's longest shot is his second shot, which is 33 feet and 14 frames, or over 20 seconds. Of course, in the case of Moore and Kimball, the animation is so good and so lively that you're happy to keep watching.

There are mysteries associated with the draft. I have no idea who Elliotte is. He only animated a pair of hands removing a show card. There's information in the footage column that I can't figure out, such as "S & 1/2," "S & 1/4," "1/16S," "1/8S," and "1/4S." The background column includes notations like "NP" and "NS" that are mysteries. If anyone knows what these things refer to, please comment.