Animation Blast #9 Preview
Release Date: APRIL 2004
Here it is! The biggest issue of ANIMATION BLAST yet.
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.
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 FREE
shipping and handling. Prices for BLAST #9 are as follows:ANIMATION BLAST #9
… US … $14.95
ANIMATION BLAST #9 … CANADA… $17.95
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 email@example.com.
BLAST #9 Contents
The John Dunn Scrapbook.
John Dunn was toiling away as an assistant animator at Disney when Ward Kimball discovered him. Ward recognized his quirky talents and promptly promoted him to storyman and designer, where Dunn proceeded to design the trippy space creatures in Kimball’s classic space special MARS AND BEYOND. In the Sixties and Seventies, Dunn was a preferred storyman for Chuck Jones and especially Friz Freleng, for whom he wrote dozens of the Pink Panther shorts, and created characters like Roland & Ratfink, Tijuana Toads and the Ant and the Aardvark. This unique visual portrait of John Dunn examines his life and work through artwork, photos and personal documents, as well as through interviews with colleagues and family members.
The Making Of TWICE UPON A TIME
by Taylor Jessen
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.
A History Of Studios From
The Golden Age Of TV Commercials
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.
The Disney Photographs of Ray Aragon.
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.