A limited number of back issues #7 and #8 are available exclusively through 

BLAST #8
48 total pages (16 in full color)$ 6 (US)
$ 7 (Canada)
$ 9 (Anywhere else in the world)WHAT’S INSIDE:
> Original cover by Gary Baseman.
> Gary Baseman and Timothy Björklund discuss TEACHER’S PET.
> Interview with FLINTSTONES designer Ed Benedict.
> John Kricfalusi discusses Ed Benedict’s designs.
> Profile of Pixar storyman/designer Teddy Newton.
> Oscar Grillo art portfolio.
> Retro-book review of Disney’s OUR FRIEND THE ATOM.
> Comics by Gabe Swarr, Aaron Springer and Michel Gagné
BLAST #7
48 total pages (16 in full color)

$ 6 (US)
$ 7 (Canada)
$ 9 (Anywhere else in the world)

WHAT’S INSIDE:
> Original cover by Aaron Springer.
> Genndy Tartakovsky talks about SAMURAI JACK.
> Greg Duffell looks at the Square Dancing Art of Chuck Jones.
> Jerry Beck looks at classic cartoon newspaper ads.
> Michel Gagne shares his visual development art from OSMOSIS JONES.
> The art and career of animation veteran Ray Aragon.
> Gag drawings by Disney legend Floyd Norman.
> Five top animation artists – Shane Glines, Lenord Robinson, Ed Bell, John Mahoney and Mr. Lawrence – each create a drawing based on the theme of THE DREAM FEMALE.
> Ward Kimball’s appearance on YOU BET YOUR LIFE.
> PREVIEW: A look at Mark Kausler’s animated short IT’S THE CAT.

Animation Blast and TM Amid Amidi 1996-2012.

ANIMATION BLAST is the creation of publisher/editor Amid Amidi.
Where is Animation Blast?
The editor and publisher of Animation Blast may be contacted at HERE

Animation Blast #9 Preview

Release Date: APRIL 2004

A perfect-bound 100-page edition of the BLAST.

On thick matte paper with over 50 pages in full color.

Completely ad-free with a limited print run of 2500 copies.

As always, plenty of rare artwork and photos, as well as in-depth research.

And now for a personal plea. If you’re thinking about buying this issue, please consider pre-ordering sometime within the next couple months rather than waiting until after its published. I’m quite pleased with the decision to make the BLAST ad-free, but it also means that the issue’s sole financial funds will come from readers. And because I have to pay the printers in full before they hand over the issues, each and every pre-order will be immensely appreciated. Also, as a pre-order bonus, consider pooling together with friends (or enemies) at work or school, and order five or more issues of #9 together and save a lot of money. See the left column for details. With a print run of 2500 (far less than the last couple editions), expect #9 to sell out sooner than the previous issues.

 

Ordering Info

We accept cash, check or money order payable to Amid Amidi, as well as credit card ordering through Paypal. All prices are US currency and include FREEshipping and handling. Prices for BLAST #9 are as follows:ANIMATION BLAST #9 … US … $14.95

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ANIMATION BLAST #9 … CANADA… $17.95

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ANIMATION BLAST #9 … REST OF THE WORLD… $22.95

Click on the buttons above to order with a credit card through Paypal. Otherwise, mail payment (with name and shipping address) to:Animation Blast
P.O. BOX 12345
Encino, CA 91426-0491

For back issues of ANIMATION BLAST, go HERE.
Any questions? Email info@animationblast.com.

BLAST #9 Contents

 

The early-’80s were not a particularly bright period for the art of animation, but one film dared to break ground with a visually distinctive cut-out style and an improvisational script. The film, TWICE UPON A TIME, had an executive producer by the name of George Lucas, and a crew that included such top talents as Henry Selick (director of NIGHTMARE BEFORE CHRISTMAS), David Fincher (director of FIGHT CLUB and SE7EN) and Harley Jessup (production designer of MONSTERS INC). This is the fascinating behind-the-scenes story of the film’s production, from its inspired conception through its ignominious end when distributor Warner Bros. buried the film. Taylor Jessen explores this forgotten animated gem through interviews with many of the film’s key figures including directors John Korty and Chuck Swenson, as well as Selick, Fincher, George Evelyn, Kaj Pindal, Carl Willat, Michael McDonald, Alan Ladd Jr. and Bill Couturie. 

During peak years in the Fifties, it has been estimated that one out of every four ads on television was animated. Hardly a kids-only marketing gimmick in those days, animated characters proudly peddled anything that could be unloaded onto the American consumer, whether it be cigarettes and beer, gasoline and auto parts, banking services, insurance, lipstick, coffee and even portable barbeques and fertilizer. Animation was frequently used for public service announcements, political campaigns and military recruitment spots. It was a vital component of Madison Avenue’s move away from the ‘hard sell’ and its efforts to entice viewers through entertainment. But the animation studios that produced those commercials have been largely forgotten over the years. Here then is a comprehensive first-of-its-kind list documenting over 25 major commercial studios operating in Los Angeles and New York in the Fifties and early-Sixties. Packed with commercial stills, the list includes studio histories, crew and client lists, stories about the commercials, and other rare tidbits. 

Animation artist Ray Aragon shares photos from his personal collection showing the Disney layout and background artists in June and July 1958, just as they were finishing up duties on SLEEPING BEAUTY and beginning production on 101 DALMATIANS. 

A look at five modern animation artists who have their own distinct take on cartoons: DreamWorks feature animator Patrick Maté, POWERPUFF GIRLS art director Don Shank, independent animator Milton Knight and stop motion animators Seamus Walsh and Mark Caballero.

A perspective on Disney’s THE THREE CABALLEROS from David Calvo, BAMBI background stylist Tyrus Wong speaks about the art of making kites, and color comics by Gabe Swarr, Marc Deckter and Nick Cross. 

Animation Blast © 1996-2013.
Redistribution prohibited.