I just finished David Levy's "Animation Development: From Pitch to Production". This book is helpful on many levels, not merely for the next potential Matt Groening, but for writers and cartoonists of all stripes, whether you're working on the next "Rick and Morty" or just slaving away on the next "Jetpack Jr." comic strip. The first few chapters alone, detailing the content necessary for any good "pitch bible", forced me to think, and re-think, character over and over again, as "Plastic Babyheads" gradually transitioned to "Jetpack Jr." this past year.
Character is the honey that keeps the flies coming back; whether to comic or cartoon, novel or TV series. Of course, that's no news to even the most inexperienced writer, but artists are most interested in pretty pictures--and so it was a lesson learned late for me. Nevertheless, I worked and worked at it--and put Levy's book aside until I felt I knew who my characters were. That didn't come easy. I didn't start with a defining concept(other than an Earth invaded by plastic babyheads), or the idea of pitting this character against that one. They developed more or less organically as the strip has evolved, and it's taken time to get to know them.
Picking up with Levy's book where I'd left off last Fall, I found the remaining chapters no less educational, and just as challenging. The life of the creative animator/story-teller described within its pages is fraught with ups and downs, loads of disappointments and rare success. Frankly, I finished it feeling defeated before I'd begun, so difficult is the world of television animation development Levy describes. If you have illusions about overnight success, this book will wake you up to reality pretty quick. It's loaded with a lot of insightful information that should help budding young animation developers pitch their ideas and navigate the rough waters of development, should they be so lucky. But it's clear, animation development is not for the faint-of-heart--and if you don't want it badly enough, this book will ward you off the attempt.
Levy might as well have been writing about the world of comic strip development; for while the details differ, the trials are the same. For every Phoebe and Her Unicorn there are hundreds
(thousands?) of strips that never get off the ground, and many more that get to one stage of development but not the next. And every step of the way is fraught with the same emotional highs and lows. It's not for the faint-hearted.
Obviously, the subtext of this post is that I've been thinking of the next step for "Jetpack Jr.", both as comic strip and as animation. In both cases, the chances are slim; realistically next-to-nil, and I know that(accepting it is another thing). At this point in my life, I still have dreams( yes--geezers still dream!) but very few illusions. I work on "Jetpack Jr." because I love it, I'm obsessed with it- it's great fun and, go figure, I have to know what happens to these people.
If I put together a pitch bible, or a submission package, it's not only because I have a hope for success(sure I do), but because it's a learning experience, a creative endeavor in itself. The process teaches me more about the strip, its world and its characters--and makes the strip better. Putting together a pitch, or working on sample animation--can only be a plus for me.(All of the work on character this past year wouldn't have happened if I'd not been challenged by David Levy's book.) Not only will I be creatively engaged in a medium I've always loved and admired, challenging myself to broaden the range of my abilities-- I'll bring my experience back to the classroom, to my students! And... if I'm very lucky, I might make something good, something I can be proud of.
via GIPHY
Jetpack Jr. may never make it to syndication, and it may never be an animated TV show. I mean, get real--right? But there's always the next step--and continually stretching oneself, as a story-teller and as an artist--will have a different payoff.
If I were to let the challenges posed by David Levy's fine book dissuade me from trying, then I never wanted it bad enough in the first place--and the only one who loses in that equation....is me.
Saturday, November 14, 2015
Friday, November 6, 2015
Jetpack Jr. in The Sunday Funnies!
Jetpack Jr. in print! Who'da thunk it?
The folks at "The Sunday Comics"--that's who! Check them out at: https://www.facebook.com/TheSundayComicsPaper/
Marc and Rachel at The Sunday Comics have a simple idea: bring back the Sunday Funnies!
It's no news today's newspapers are missing something--Sunday comics sections aren't what they used to be( all ads and few comics)--and newspaper readers are missing out. Is it a surprise newspaper sales are down? Put together a big, overstuffed package featuring as many of the great new comics out there as you can fit, plus some of the old-and you'll have a package people will love.
Kevin Mutch and I had a similar idea when we printed "pood" a few years back--our short-lived tabloid comics newspaper. But "The Sunday Comics" has gone us ten times better by bringing together venerable syndicated comics like "Dennis the Menace" and "Garfield" with newer comics like "Jetpack Jr." and "Pirate Mike", upping the page count and printing full color all the way.
What you see in the photos is the promo preview; the real deal should be out sometime in 2016--and it's gonna be a smash!
______________________________________
While I've been publishing Jetpack Jr. online in one form or another since 2011, I have to say, there's still nothing like the charge of seeing your work in print. I don't think it's my solely my age that predisposes me to paper--Marc and Rachel are in their twenties! E-books have not replaced hard copies( far from it!), magazine racks are overstuffed and despite all of the talk around the subject, and yes, the serious decline in circulation, newspapers are still on newsprint.
Holding the comic in your hands makes it real, tangible. It's a connection to all of the great comic strips, characters and creators we've come to love throughout the history of newsprint. I'm hopeful--but not expectant--this will be the first of many times Jetpack Jr. is in print on paper.
____________________________________________________________________
Other than Jetpack Jr., my online presence has dwindled to next to nothing these past few months. Between my job, the comic strip, traveling back and forth to work( 200 miles each way), the house, helping the missus with her craft shows-it's hard to find time to write for my blog. My Twitter and Tumblr accounts lay idle and I barely have time to keep up with friends on FB. Despite my negligence, subscriptions to Jetpack on GoComics.com have risen-- a little bit ahead of the pace when I spent all that time working on Gifs, tweeting and tumbling! Go figure.
__________________________________________________________________
I'll be on sabbatical in 2016,and I have some exciting projects in mind for Jetpack Jr.! More about that later--in the meantime, it's off to another craft show this weekend, selling Deb's hats in the town of Clinton, NY--home of Hamilton College and Colgate University! I'll be the guy behind the booth drawing the next series of Jetpack Jr comics!
I'll say "so long" for now--and in honor of my Dad and his bad jokes--see ya' round if you're a doughnut!
Yeesh!
Geoff
Sunday, September 20, 2015
"Jetpack Jr." returns October 1st!
"Jetpack Jr." is back! October 1st new material begins appearing again at GoComics.com.
Lots of surprises in store--I won't let on now, you'll just have to wait!
Those strips you see strewn across my drawing board in the photo above are the product of my "hiatus", a brand new bunch of comics, which I'm in the process of coloring now. Time off was really no time off at all!
For those of you introduced to the strip through the reruns that have been running on GoComics since August, or the material appearing at Tapastic.com, the transition should be seamless--picking up right where we left off. And for those of you who've been reading all along, I appreciate your patience! I promise--the new strips will be worth the wait!
Thursday, September 17, 2015
My Dad
Today would've been my father's 81st birthday. The following is for him, with love.
William Leonard Grogan
Sept. 17, 1934-July20,2015
My Dad.
I’m going to try to avoid getting too mushy with this; my
Dad was never one for mushy-stuff, so I’ll try not to over do it—for his sake,
cause I know he’s listening.
But it is me speaking here Dad, so you know there’s going to
be some tears shed. I can’t help it, but bear with me.
My Dad was a smart guy, a fun guy, an honest, hard-working
guy who liked the company of family and friends. He enjoyed a good meal and he
liked to laugh. He was a small guy, who achieved big things. He was a warm guy,
but he wasn’t demonstrative. He was a gentle man, he could be kind and
generous, but he had no tolerance for BS and he could be impatient. He was a
traditionalist but believed in progress.
Still, I wouldn’t say
he was a complicated guy. (An example of this—once we were in the Metropolitan
Museum of Art and looking at Van Gogh’s “Starry Night”. I asked him, “What d’you think of it, Dad?”
“Too Swirly”, he said—which is Dad all over.) He liked the simple things.
And- -he was a lucky guy. He was certainly lucky to have the
mother he did. My grandmother, my
wonderful loving grandmother, Lena—whom we all called “NeNe”, would tell me
lots of stories about how Dad got into all kinds of trouble as a kid—never
anything serious, mind you---but he was a fun-loving kid---and somehow, Dad
always ended up on top and unscathed. He
was lucky that way.
My Dad was small in size, but he was a giant to me. It wasn’t that he was without flaws, or that
he did world-changing things. He wasn’t infallible.
It was in his warmth, the way he’d laugh, take pleasure in
the joys of his children (and then his grandchildren), the way he made poached
eggs for us on a Saturday, the way he worked on the crossword or read a book,
the way he could be so focused on what he was doing that he wouldn’t hear a
word you were saying, the way he could be quiet, the way he called us all
“Tiger”, the way he wanted to share his favorite things—like the Horse Races,
or golf, the Giants and the Yanks… the small ways he showed his love. He wasn’t
much for holding hands or big hugs, but little gestures, a word here and there,
carried enormous impact. We believed in him, we depended on him, we asked his
advice, we learned from him, we emulated him. He took care of us, guided us,
watched us grow. He was my Dad.
There are too many memories—they all come flooding back. But
here are a few stories my Dad might like to hear:
One of my first memories of Dad and me together is haircuts.
On Saturday mornings, when I was young, his routine was to go the grocery store
and the barber next door—and sometimes he’d bring me along. He was fanatical about haircuts. I never
shared that passion—for what are now obvious reasons. He loved everything about
the barber shop, the ritual, the smells, the talc on your neck --after the
barber brushed you off. Perhaps because
his grandfather had been a barber-or maybe he just liked looking clean. He was a clean-shaven guy—and I never knew him
to have a 5 o’clock shadow. Never. Obviously he and I had different perspectives
on facial hair. Dad belonged to that
generation of men who believed a guy with facial hair had to be a
communist. Or a college professor, which
is just as bad.
Anyway-- I sat in the chair looking at the magazines—I
remember a lot of hunting magazines, but most importantly –for me--a stack of
comics with the covers ripped off. I
don’t know if that’s where I’d first encounter the art-form that would define
my life, or if Dad knew what he’d begun, but after that I loved going to the
Barber too—despite my disdain for haircuts. Dad
must’ve thought his son was a chip off the old block—but clearly time has
proven him wrong. Still, Dad never
stopped liking a good haircut—even in his later years-- —and I can say--from my
particular perspective, in that regard, he was indeed lucky.
Dad was in the right place at the right time when he joined
IBM in the early 60’s—and he made the most of it. He worked really, really
hard—and he loved every minute of it—and as a result, he did very, very well. He
had great experiences at IBM in those days. His plant worked with NASA on a
variety of projects, including Apollo 11 and the first moon landing. I was
really proud of him, although I never understood what it was he did, exactly.
But I did understand his passion for his work and what it meant to work hard at
it. Money was secondary, a reward for
working hard at something you loved. And he was lucky- in that for him, the two
went hand-in-hand.
On Saturday afternoons when we were little, Dad would
invariably take a catnap on the sofa. He could sleep like nobody’s business. He’d lay on his side with his legs bent at the
knee., making a little space, bordered by his
butt , legs and the sofa—just right for two little kids to crawl into.
One of our favorite things to do while he was sleeping was climb over him and
into the crook of his legs, and play fort.
We’d hide back there –play cowboys or something. All the
while we were playing, climbing on him, pushing him around, Dad never budged. Not
once. He was fast asleep. And nothing-barring an earthquake --could wake him.
And even then----
Dad introduced me to sports, passed on his love of the
Yankees and the NY football Giants—and unfortunately his loyalty to them as
well. I’ve lost many a fine Sunday to Giants games. I remember my brother David
and I getting so upset at a Giants loss, back in the day—my Dad would reprimand
us for being upset…”It’s only a game! You can’t take it so personally! “ Which
is like the pot calling the kettle black if you know what I mean.
Dad did all of the usual things that Dad’s will do—taught me
to ride a bike and drive a car. And he did a good job of it. One of my favorite memories is buying a bike
together on my 13th birthday. It was a bike called an “Apollo
Racer”—and he and I picked it out together and he did some assembly on it. I
was so proud of that bike. My friends made fun of me mercilessly—so the
kickstand was on backwards. So what? --I still think it was a cool bike—and so did
my Dad.
Dad drove a car with a confidence that baffled me. Just an
example—for a time, he commuted a good deal between IBM offices in Westchester,
NY and Endicott., NY, where I grew up—about 3 ½ hours drive along route 17.
Years ago, the
January just after we were married, my wife Deb and I were driving the same
route to visit friends in Endicott, NY—in the middle of one of the worst
snowstorms I can remember. We were crawling along at about 5 miles an
hour—blinded by the blizzard—when all of a sudden this car comes zooming up
behind us at about 80. “Who is this idiot?” I said—and as the car zoomed up
behind our car and then overtook us—the driver was revealed to me
as---none-other than my Dad—who never looked back and passed us as though we
were at a standstill. Snowstorm,
blizzard, slippery roads—didn’t faze him. I asked
him later if he saw us—he didn’t know what I was talking about.
He told jokes. Well—he told one or two jokes --over and over
again—for years.
“I’ll see you down at
the clothes line…where the gang hangs out.”
Or this one:
“For seven years I
followed in your footsteps—until you changed your socks and I lost the scent.” “See you around if you’re not square” or it’s
variation “See you around if you’re a
doughnut”. You can see where I get my sense of humor.
I remember –preparing for college, it was too late to get
into the dorms—so Dad and I went to Philadelphia to find me an apartment. We
didn’t have much time. Not knowing much, we started looking through
newspapers—and we found an ad for a place that had rooms for something like
$10. a day. Dad thought that sounded like a good temporary solution to the
problem. We searched the place out—and I remember walking into the lobby…..It
looked like something out of “the Wire”
or “Homicide” one of those gritty cop shows and smelled worse. I took a deep breath as I watched my Dad
following the somewhat dubious clerk up the stairs to look at one of the rooms—(“you
stay here” he ordered) –only to run back down the same stairs faster than a
roadrunner. He wasn’t a runner. Anybody here ever see my Dad run? I don’t think
so. Not in his skill set.
I looked at him and asked hopefully—“well?”
“Shut up and move fast”
He said as he pushed me out into the street. I think he thought whatever
he saw in that room was contagious.
Those are some of the things—but there are a few moments that had a more lasting impact, and formed the
person I am. Moments wherein my Dad both taught me—and showed me a bit of who
he was.
He’d say this to me over and over growing up… a lesson he
learned from his own Dad…”You have to love what you do. There’s nothing worse
than going to work each day hating your
job…”—he drummed that idea into me. And pretty early on, I knew what I wanted
to do—and it wasn’t going to be what Dad did. If he was disappointed in that,
he never showed me. From day one, he offered his unconditional support—and
showed it in so many ways—too many to mention.
I think he knew the road would be difficult for me—because I
didn’t really have the personality for it—but he always told me he admired the
fact that I never gave up. Me and the NY
Giants. One day. Maybe this is the year.
Could be worse. Could be the Bills.
One Saturday when I was about 12, a bunch of my friends were
going bowling---I was invited. But my best friend, who was a friend of all
these other guys too—wasn’t invited. I didn’t feel too good about that. I asked
Dad what I should do. He said, “why don’t you ask if your buddy can come too?”
So I did. And these guys said they didn’t want to hang out with my buddy—cause
he wasn’t very cool. I knew if I went
with these guys, I’d be one of the cool kids—but I was upset that my friend
wasn’t invited and that they’d said mean things about him. I knew I had to make
a choice. I asked Dad what I should do.
“He looked at me and said…”who is your real friend here? Who do you care
about? Follow your heart, Geoffy—and you’ll do what’s right.”
I wasn’t one of the cool kids, but my buddy has been my
friend for life.
Dad shared other words of wisdom he promised would guarantee
a boy’s safe passage to manhood.
“You’re becoming a man now” he’d say. “These are the things
you need to know: I’d be waiting with
baited breath.
“You’ve got to…. mow the lawn….take out the trash… and
change the oil every 3 months.”
He also gained important knowledge from his military
experience: “Carry a hammer, keep your head down and everyone will think you’re
busy.”
When I was in my early 20’s, there was a time when I was
broken-hearted—the way only a 20-something can be broken-hearted, nearly
catatonic, moping around the house like a zombie.
Dad felt he had to address the issue with me. He took by the
arm and said: “Snap out of it! The world isn’t coming to an end!”
Just like in that Four Seasons song. Thankfully he didn’t
break into song—but thinking about Dad doing Frankie Vallie did a lot to get me
through a bad time.
I don’t think he ever dreamed as a boy that he’d travel the
world and see the places he’d seen. Europe,Russia Asia, Japan. He had a wonderful life, filled with
experiences and joys—and good golf games—that the little kid from Great Bend,
Pa. never imagined, I’m sure.
But remember, I said he was a simple guy. And while he
treasured all of those wonderful globe-trekking experiences, my Dad was just as
happy on a Sunday morning, walking to the store in Ocean Grove, picking up the
newspaper and coming back home to sit on the porch and do the Jumble. That simplicity is one of the things I loved
most about him, one of the things I’ll miss the most. Whether it was going for
ice cream at Days, or dunking a doughnut in your coffee when we were kids—picking
up corn from a roadside farm stand---he taught me to love those simple things
too-because that’s what life is made up of…those simple moments that pass us by
when we’re not paying attention. When
you’d go to visit Dad, or he’d visit us—he was just as likely to find a comfy
chair and read a good book as have a deep conversation. He took pleasure in the
simple experience of our company. Just
to have us nearby was enough, just to be able to see us sitting near…was
enough. It would be enough now.
So I’m going to miss the simple things about him...the
infectious nature of his happiness. The way he could make a Christmas joyful
just by saying “this will be the best Christmas ever”. His reassuring voice on the phone, the way he
called me “Geoffy” (never Geoff—it was either Geoffrey (when he was serious) or
Geoffy) or “Tiger”—he called all of us “Tiger”, nobody else ever did—nobody
ever will again. I’ll miss the sense when I spoke to him that everything was
alright, everything is okay. Your Dad is
here.
But like all grown up children, I hear my father’s voice in
my head everyday—whether I want to or not—in my inflections, my choice of
words, the way I take a breath. So
many—involuntary responses that are part of my DNA—a reflection of him. He
lives deeper in me than I ever knew.
I cherish my Dad, and I’m thankful to know he knew that. I’m
thankful for the life we lived together. I’m thankful that he found happiness.
I’m thankful-- that he never knew what hit him—and that he was here, in Ocean
Grove, with his friends and the wife he loved (and who loves him dearly) when
he left us. He was a lucky guy, after all….
**One final thought: —When I was a kid he served weekends at
Fort Drum in NY with the National Guard. I would watch him --sitting at the top
of the stairs in his Uniform-- lacing up his boots. I wanted to be just like him. Like any child
watching his Dad getting ready to go away, I’d get upset—and start to make a
fuss.
“Stop it now” he’d say. “I’ll be home before you know
it.” And I’d watch him leave from the
top of the stairs, thinking it was forever until Sunday night.
Some scientists say … Time is relative…. ---and it’s
possible our perception of time is limited by our senses—and the present, the
past and the future all co-exist—all have equal reality simultaneously. All are equally “real”—If that’s true, then
all of our memories of Dad, at all different moments of his life-- have
reality…and somewhere--- out there--- in the Milky Way… sits a young
boy…waiting at the top of the stairs. And his Dad will be home soon.
Geoff Grogan; with love
William Leonard
Grogan
Saturday, August 22, 2015
Comic Book Apocalypse! A Jack Kirby Blockbuster!
Kirby is here! Or rather--Kirby is at California State University Northridge Art Galleries in Los Angeles, where Comic Book Apocalypse: The Graphic World of Jack Kirby opens to the public on Monday, August 24th with a proper opening celebration on Saturday, August 29 at 4 P.M. Curated by my friend and colleague Charles Hatfield, preeminent Kirby expert and author of the best critical evaluation of comics art I know, Hand of Fire: The Comics Art of Jack Kirby; this exhibition has already been touted in the Los Angeles Times as "not to be missed" and is likely to elevate Jack Kirby from "great American comics-artist" status to "great American artist"; no qualification necessary.
Arriving just ahead of what would've been Jack Kirby's one hundredth birthday, the show is sure to inspire both critical re-evaluations of comics, super-heroes and Jack Kirby's monumental contributions to American pop culture, as well as the work of up-and-coming comics artists in this generation and the next. "Not to be missed" is right--and if you love art, love comics, love Jack Kirby, and are anywhere near Los Angeles, I urge you to make a point of seeing this show! Congratulations, Charles! and congratulations as well to Gallery Director James Sweeters and the team at CSUN Art Galleries, who've done such a beautiful installation!
Finally, I'm more than a little thrilled to have made a small contribution to what is sure to be an epic moment in comics exhibitions. Using Jack Kirby's illustrations, I designed the mural of Orion and Darkseid on the right side of the top photo of the show, in honor of Jack Kirby and my own father, who passed away on July 20th and was ill while I worked on this image of a father and son. Dad was certainly not Darkseid, and I'm not Orion--but I couldn't help but have him in my thoughts as I looked to create an image that would both honor and add to an understanding of Jack Kirby's achievement. And to that end, perhaps there's a little of the King's titanic tale of fathers and sons in all of us.
Monday, July 27, 2015
Behind the Scenes: Process!
This little gif gives an illustration. (Click on the image to make it larger) Enjoy:
Thursday, July 9, 2015
Kirby, GIFS, and stuff
Hey! Didja hear? There's a blockbuster retrospective of the King of Comics coming your way late this summer! That's right--a big, big show of Jack Kirby's greatest work, curated by my friend, colleague and preeminent Kirby-scholar Professor Charles Hatfield at the California State University at Northridge, August 24-October 10, 2015.
Read all about it right here: Comic Book Apocalypse: The Graphic World of Jack Kirby
I'm thrilled about the exhibition, can't wait to see the catalog and excited to be designing a mural for the show to highlight the King's graphic power . Jack Kirby is one of my greatest heroes, and to have the chance to honor him in this small way is the thrill of a lifetime for me. Do yourself a favor, make your way out to L.A. this fall and see the show. It's bound to be a mind-blower!
That said--I'm still making GIFS of the strip that I'd like to share with you---hopefully they'll draw a few new readers to www.gocomics.com/jetpack-jr ! Admittedly, I'm new at this--but it's fun, and it seems to have attracted a few folks, here and there. Here are a couple more for your viewing pleasure--and please be sure to check out my giphy channel to see them all: http://giphy.com/channel/jetpackjr/
While you're at it--follow me on Tumblr: http://plasticbabyhead.tumblr.com/
or Twitter: jetpackjr@BigBabyhead1
Read all about it right here: Comic Book Apocalypse: The Graphic World of Jack Kirby
I'm thrilled about the exhibition, can't wait to see the catalog and excited to be designing a mural for the show to highlight the King's graphic power . Jack Kirby is one of my greatest heroes, and to have the chance to honor him in this small way is the thrill of a lifetime for me. Do yourself a favor, make your way out to L.A. this fall and see the show. It's bound to be a mind-blower!
That said--I'm still making GIFS of the strip that I'd like to share with you---hopefully they'll draw a few new readers to www.gocomics.com/jetpack-jr ! Admittedly, I'm new at this--but it's fun, and it seems to have attracted a few folks, here and there. Here are a couple more for your viewing pleasure--and please be sure to check out my giphy channel to see them all: http://giphy.com/channel/jetpackjr/
While you're at it--follow me on Tumblr: http://plasticbabyhead.tumblr.com/
or Twitter: jetpackjr@BigBabyhead1
and now--the fun stuff:
Take-Off! |
Tuesday, June 23, 2015
GIF Crazy!
Here are two new GIF's of Jetpack Jr. comics! Be sure to check out the Jetpack Jr. channel on GIPHY.com! Meanwhile, enjoy!
Career Choice:
and "Art Therapy"
Wednesday, June 17, 2015
Too Long Away!
Wow-it's been awhile since my last post. I've been trying to catch up on Jetpack Jr.-trying to give myself a little lead time so that deadlines( self-imposed) aren't breathing down my neck before I post. Unfortunately, it just takes me too darn long to get the strips to completion and I can't seem to gain any time. And that means, on the list of priorities, the blog--and then social media--(all the stuff you have to do to get the word out) falls lower and lower. I find that a disappointing turn of events; I like writing the blog. Not that I have many readers, but if popularity was my main motivator, I don't think I'd still be doing the blog, the comic strip--or much of anything, for that matter.
Nevertheless, here's the news:
If you read my UPA post a few weeks back, or if you're interested in the history of UPA and animation; be sure to check out When Magoo Flew: The Rise and Fall of Animation Studio UPA by Adam Abraham(Wesleyan University Press). This is the definitive history of the ground-breaking animation studio that brought us Mr. Magoo and Gerald McBoing Boing, filled with all the backstage info and gossip you could want about animation luminaries such as John Hubley, Bobe Cannon, Paul Julian, Jules Engel, Gene Deitch, David Hilberman, Zachary Schwartz and Stephen Bosustow. It's a story by turns inspirational and heart-rending, as the studio travels to the heights of innovation and achievement in its mid-50's heyday, to its inglorious ending, sold off as so much scrap in the early 1970's by a rather callous and tasteless producer, Henry G. Saperstein. The research is thorough, the voices are clear, and the writing is thoroughly engaging. I couldn't put it down. Do yourself a favor--get yourself a copy and head out to the nearest beach, lakefront, pool--wherever you do your summer reading.
And if you're looking to stay in a UPA frame of mind--check out this wonderful, career-spanning interview with the great Gene Deitch at BOING! the podcast! Settle back and enjoy a relaxed yet informative hourlong discussion with the genial host, Todd (also know as Togotooner) and the legendary Gene Deitch as he discusses his career from its beginnings at CBS radio through his halcyon days at UPA and Terrytoons( Tom Terrific and Silly Sidney) right through to his most recent work.
I'll close today's post with something I've been fiddling with--hoping to bring a few more folks Jetpack Jr.'s way--a couple of animated gifs of recent strips. I've done gifs before, but not of my comics. A student of mine, Doug Hurtado, actually constructs his comics as gifs--and they works so well, I thought it was worth a shot with my own stuff. (talk about an old dog learning new tricks. But it goes to show--you're never too old to learn something! Thanks, Douglas!)
So, then--without further ado, Jetpack Jr. --in GIF form! Hope you dig 'em! See ya soon--
Geoff
Nevertheless, here's the news:
If you read my UPA post a few weeks back, or if you're interested in the history of UPA and animation; be sure to check out When Magoo Flew: The Rise and Fall of Animation Studio UPA by Adam Abraham(Wesleyan University Press). This is the definitive history of the ground-breaking animation studio that brought us Mr. Magoo and Gerald McBoing Boing, filled with all the backstage info and gossip you could want about animation luminaries such as John Hubley, Bobe Cannon, Paul Julian, Jules Engel, Gene Deitch, David Hilberman, Zachary Schwartz and Stephen Bosustow. It's a story by turns inspirational and heart-rending, as the studio travels to the heights of innovation and achievement in its mid-50's heyday, to its inglorious ending, sold off as so much scrap in the early 1970's by a rather callous and tasteless producer, Henry G. Saperstein. The research is thorough, the voices are clear, and the writing is thoroughly engaging. I couldn't put it down. Do yourself a favor--get yourself a copy and head out to the nearest beach, lakefront, pool--wherever you do your summer reading.
And if you're looking to stay in a UPA frame of mind--check out this wonderful, career-spanning interview with the great Gene Deitch at BOING! the podcast! Settle back and enjoy a relaxed yet informative hourlong discussion with the genial host, Todd (also know as Togotooner) and the legendary Gene Deitch as he discusses his career from its beginnings at CBS radio through his halcyon days at UPA and Terrytoons( Tom Terrific and Silly Sidney) right through to his most recent work.
I'll close today's post with something I've been fiddling with--hoping to bring a few more folks Jetpack Jr.'s way--a couple of animated gifs of recent strips. I've done gifs before, but not of my comics. A student of mine, Doug Hurtado, actually constructs his comics as gifs--and they works so well, I thought it was worth a shot with my own stuff. (talk about an old dog learning new tricks. But it goes to show--you're never too old to learn something! Thanks, Douglas!)
So, then--without further ado, Jetpack Jr. --in GIF form! Hope you dig 'em! See ya soon--
1.) Dollars & Sense
and:
Career Opportunities....
Thursday, May 28, 2015
"Stripped"
So, I watched the comic strip documentary, "Stripped" on Netflix last night. It wasn't my first viewing; I'd seen the debut of the film at the Billy Ireland Cartoon Festival back in Fall of 2013. As with my first time around, I enjoyed the film and its breezy pace and the chance to see a number of cartoonists in their studios, talking comics. "Stripped" stands pretty much alone in that it's a film devoted to the world of the comic strip, as opposed to the much more high profile world of comic books, comic cons, super-heroes and the like.
Strange, the turn of history; what had once been the pinnacle of comics art and aspiration, the syndicated comic strip, has been marginalized to the point of near extinction, debased and devalued by both its beneficiary (the newspaper) and its public. Few of the cartoonists featured in the film are widely known, at least outside the world of comics, and many speak of working their day job for years before the strip paid well enough that they could afford to live off of it; whereas in their heyday (as the film notes), strip cartoonists, like authors, were celebrities making oodles of money.
The case may be made, that newspapers themselves led the devolution of the comic strip as a cultural touchstone , as in the years following WWII, they progressively shrank the comics pages size and influence down to nothing; filling the Sunday "Comics Section" with ads and circulars and more ads and circulars, interspersed with a comic once in a while. In its glory days, a Sunday comics section might be as large as 17" x 24" and 32 pages. Today it's lucky to have three pages amidst all the drek. What kid is going to be excited about reading the local supermarket circular on a Sunday morning?*
So, among cartoonists at least, hopes were riding high that "Stripped" might do for comic strip cartooning what "20 feet from Stardom" did for backup singers. Unfortunately, that wasn't the case, as "Stripped" opted for sound-bites over interviews, and lighthearted rather than in-depth. It is enjoyable enough--but as the filmmakers opted for jaunty and entertaining, they sacrificed a sense of investment and urgency. The film lacks passion--and more importantly, a strong, compelling central character (such as Darlene Love in "20 ft.") whose work, story and charisma holds our attention. Either the filmmakers never found such a figure, or they didn't trust their material enough to let that figure emerge.
The last quarter of the film is devoted to the monumental changes that have been overtaking the industry and the art-form since the late 1990's, as newspapers downsize or disappear, let staff cartoonists go and comic strips dwindle. It's a compelling story, but somehow its drama eludes the filmmakers; bracketing the discussion as they do with bad pseudo video-game imagery-- ostensibly to connect the death of newspapers with the rise of digital media. The effect is to trivialize both the economic and cultural impact of this painful transition, in truth a transition emblematic of a larger cultural shift from one media model to another, one generation to another. There's a lot of drama in that story, but it's not to be found in this film-which again, chooses lighthearted sound bites over substance.
The rise of the webcomic is championed, through the stories of the highly successful strips Penny Arcade and PVP, as some kind of redemptive economic model and corrective to the power of corporate media. But that model was out-of-date five or six years before the film debuted, as in the wake of Penny Arcade and others, countless cartooning hopefuls (look no further!) have flooded the web with their material, t-shirts, coffee mugs and "Donate Now" buttons.
In the end, the film is a mixed bag. As a cartoonist, and as a fan of comic strips, I enjoy seeing any media attention devoted to this venerable art form, and I did enjoy this film, in the way one enjoys low-fat desserts. Yet I'm still waiting for the film that will tell the story of strips with the same kind of passion and commitment Ken Burns brought to "Jazz". Often touted as the other "original American art form", the story of the comic strip, its rise and fall, and the colorful characters who populate that story both on and off the page, is still waiting for its moment "On Stage".
Postscript: This isn't the post I was going to write. There were other elements of the film I wanted to touch on, little things that got me thinking about one thing or another. So-part II on Stripped will be along, sooner or later!
* the decline of the syndicated comic strip is a result of lots of things, not the least of which is the proliferation of terrific graphic novels and comic books--but for the sake of brevity--I'll leave that discussion for another day!
Monday, May 18, 2015
The Gift That Keeps on Giving
My birthday passed by a few weeks ago, and one of the nicest presents was Peanuts Every Sunday by Charles Schulz; vol.2: 1956-1960, from Fantagraphics. A confessed Peanuts freak, I immediately dove into the book at the neglect of everything else. This isn't so unusual, except I own the collected Peanuts volumes that span these years, and having read these strips many times over, you'd think I'd not be so eager to re-read such familiar material. But, of course, that's not the case with Peanuts. One of the wonders of the strip is that with multiple readings, it just gets better. And with Peanuts Every Sunday, the focus on the Sunday strips( in color) allows for a different rhythm than that of the complete collections.
The Sunday strips, read alone, are somehow altogether lighter, not in tone, per se--but in execution. Schulz has room to breathe in the Sundays. The luxury of added space allows for his exquisitely understated cartooning to come to the fore-particularly in extended sequences of wonderfully realized slapstick comedy.
Whether it's Linus and Snoopy, Charlie Brown and the Kite eating tree, or Snoopy and Lucy dancing, Schulz's cartooning is filled with life revealed through antic, comic movement. The situations are simplicity itself, and the laughs are in the renderings as much as in the characters responses.
The years covered by this volume(1956-60) show Schulz just hitting his stride; you can literally see him climb to the lofty peak of comic strip greatness in these pages. It's an enthralling journey.
The weekend my wife gave me this book, I happened to have hit a bit of a roadblock in my writing for "Jetpack Jr." Something in the strips I'd done that weekend wasn't working. I took a break and read a few strips from this book. A comic strip master class, Schulz's deft hand instantly opened my eyes to what was wrong with what I'd been writing--and illuminated a different pathway. The next day, fueled by the Sunday strips herein, I set about re-writing with a much clearer mind.
I've read these strips countless times, yet they never cease to reveal something new to me, both as a reader and as a cartoonist. That such unstudied(yet exquisite) simplicity might mask a well of thought and feeling so deep as to seem infinite is its miracle; Charles Schulz' legacy, his gift to us; a gift that forever keeps on giving.
*thanks, honey-for this wonderful book!
Saturday, May 9, 2015
Behind the Curtain
I've always found an artist's process interesting; several years ago there was a great book out on various cartoonists called In the Studio(Todd Hignite; Yale University Press; ©2006). It featured a number of my favorite contemporary cartoonists; Crumb, Seth, Jaime Hernandez. It was both informative and entertaining and I devoured it. I think I read it in a night or two.
Recently, I revised my process to better accommodate the digital work I do in Photoshop, while retaining the hard-copy paper original. It's old skool, I know--but I'm loathe to let go of the original, not so much for tradition's sake, but I prefer being able to conceive of the work in real space--it helps me with scale, proportion(panel to panel-as much as figures within the panels) and most importantly, rhythm; the rhythm of the images and the words together across the strip. I like being able to judge the flow of the entirety in real space. What can I say? I'm old!
I start with the sketchbook--in my case just a little composition notebook(the kind you used in third or fourth grade) and a tape recorder. I tape ideas and notes while driving on my long commute back and forth to work--and listen to them later--sped up so I sound like I've inhaled helium. It's more interesting listening to yourself that way.
Anyway-after I've loosely blocked it out in the notebook--and written and re-written the text, the next step is to work the strip out in blueline(w/non-photo blue pencil) on 11" x 17" Canson Art Board. Initially, I keep things really loose, blocking out the text first, after which I begin to work out the figures. I may draw and re-draw several times before pulling something that I can live with out from the tangle of lines.
Previously to "Jetpack", I'd been going over the blueline in 3B or 4B pencil--then scanning the pencils as text at 600dpi. The result was increasingly disappointing to me, and needed a lot of clean-up.
It also made the coloring I do in Photoshop unnecessarily difficult.
I've changed the process to better accommodate the work I do in Photoshop and to make life a little easier--and hopefully a little speedier( as juggling a full-time job and a comic strip doesn't leave a lot of time).
In the new process, I separate the figures and the backgrounds into two physical layers-as in traditional cel animation. I work the backgrounds on the Canson Art board in ink(Pentel fine-line markers) over the blueline--and then, with the markers, I trace the blueline figures and text onto translucent vellum. The vellum has a beautiful surface for the markers' ink--and the process eliminates the clean-up I'd spent so much time doing before. After some erasing on the art-board layer, I scan the pages just as before.
Once in Photoshop, I work on each layer separately and bring them together at the end-just as in cel animation. Of course I make any necessary color adjustments at that point. Sometimes I'll finish coloring the figures and lay them over the background before I've colored the ground. That way I can mold the background colors to suit the figures. I turn the figure layer on and off as I need before merging the two in the final.
Obviously, I'm mimicking the process of working in Photoshop layers but in vellum and board. Still, it's working great for me--and while I know it's easy to do working on a Cintiq, Wacom or Surface Pro tablet--for now, anyway--I prefer having an original hard copy--and it's giving me a lot of freedom in coloring that I didn't have before.
Jetpack Jr. ink on vellum; ink & blue pencil on Canson Art Board |
I start with the sketchbook--in my case just a little composition notebook(the kind you used in third or fourth grade) and a tape recorder. I tape ideas and notes while driving on my long commute back and forth to work--and listen to them later--sped up so I sound like I've inhaled helium. It's more interesting listening to yourself that way.
Anyway-after I've loosely blocked it out in the notebook--and written and re-written the text, the next step is to work the strip out in blueline(w/non-photo blue pencil) on 11" x 17" Canson Art Board. Initially, I keep things really loose, blocking out the text first, after which I begin to work out the figures. I may draw and re-draw several times before pulling something that I can live with out from the tangle of lines.
Previously to "Jetpack", I'd been going over the blueline in 3B or 4B pencil--then scanning the pencils as text at 600dpi. The result was increasingly disappointing to me, and needed a lot of clean-up.
It also made the coloring I do in Photoshop unnecessarily difficult.
I've changed the process to better accommodate the work I do in Photoshop and to make life a little easier--and hopefully a little speedier( as juggling a full-time job and a comic strip doesn't leave a lot of time).
In the new process, I separate the figures and the backgrounds into two physical layers-as in traditional cel animation. I work the backgrounds on the Canson Art board in ink(Pentel fine-line markers) over the blueline--and then, with the markers, I trace the blueline figures and text onto translucent vellum. The vellum has a beautiful surface for the markers' ink--and the process eliminates the clean-up I'd spent so much time doing before. After some erasing on the art-board layer, I scan the pages just as before.
Jetpack Jr. on vellum. from the April 26. 2015 strip on GoComics. |
Once in Photoshop, I work on each layer separately and bring them together at the end-just as in cel animation. Of course I make any necessary color adjustments at that point. Sometimes I'll finish coloring the figures and lay them over the background before I've colored the ground. That way I can mold the background colors to suit the figures. I turn the figure layer on and off as I need before merging the two in the final.
Obviously, I'm mimicking the process of working in Photoshop layers but in vellum and board. Still, it's working great for me--and while I know it's easy to do working on a Cintiq, Wacom or Surface Pro tablet--for now, anyway--I prefer having an original hard copy--and it's giving me a lot of freedom in coloring that I didn't have before.
Saturday, April 25, 2015
Stingray
Deb and I just picked up Gerry Anderson's "Stingray". If you love Gerry Anderson's "Thunderbirds" but don't know "Stingray, you're in for a treat. I love "Thunderbirds", and sure, it is Gerry Anderson's masterpiece, but "Stingray" is my favorite. It's light, it's corny, and it's tongue-in-cheek. Plus it's got a classic theme song--in the tradition of '50's pop crooning in the Jerry Vale/ Eddy Fisher mold--that you can't get out of your head.
"Stingray" features Troy Tempest, of the World Aquanaut Security Patrol (WASP). his shipmate "Phones" and love interests Atlanta Shore and Marina, a refugee from the Underwater worlds Stingray patrols. It's completely ridiculous, totally unbelievable, absurd and sexist in an early '60's way, but it never takes itself seriously for a second. The stories are silly fun, and the villains knowingly comic. Unlike Gerry Anderson's later programs, Captain Scarlet or Joe 90, the puppets look like puppets--instead of Barbie Dolls. Their heads are big and their movements awkward, like puppets should be! Anderson and crew don't try to hide the characters "puppet-ness", and they seem all the more believable for it. So if you're a fan of "Thunderbirds" but don't know Gerry Anderson's earlier work--check out "Stingray". You won't be sorry!
Friday, April 24, 2015
UPA
I've been watching a lot of the original UPA cartoons lately--over and over again. It's driving my wife bananas. (You may know UPA for Mr. Magoo. While Magoo remains their most popular work, the UPA studio was responsible for much, much more.)
I picked up the "UPA Jolly Frolics" DVD set. I suppose it'd be redundant to say I'm enjoying it. They've done a great job with it--the color restorations are wonderful--and these are cartoons wherein color is everything-so if the color is murky( as on the UPA cartoons you'll find on Youtube), you're missing half the story. It's a joy to see them as intended.
The classic UPA cartoon that set the style for which the studio is justly revered is Gerald McBoing Boing (1950), a lovely Dr. Seuss tale directed by Bobe Cannon, animated by Bill Melendez( of A Charlie Brown Christmas fame) and beautifully designed by Bill Hurtz and the great Jules Engel. I've watched it over and over again and still marvel at the fluidity of its movement, the seamless transitions and the emotionally charged modernist design. Watch the scene when Gerald approaches his father in the bathroom, and dejectedly climbs the stairs. Or when he climbs out the bedroom window and chases after the train. It's wonderful in its economy.
These qualities are repeated, with varying degrees of success, in many of the animated shorts included in this DVD. There are three more Gerald McBoing Boing cartoons, none of which repeat the magic of the first film, but which are enjoyable nonetheless. My particular favorites are John Hubley's "Rooty Toot Toot", "Madeline"( yes, that Madeline), "The Unicorn in the Garden" ( by way of James Thurber) and "The Tell-Tale Heart" brilliantly adapted from Poe's famous story and featuring the paintings of Paul Julian and the voice talent of the great James Mason, whose extraordinary performance propels the narrative to its shocking climax.
I hope this little taste of UPA's animated magic will send you to the DVD store or elsewhere to pick up the UPA Jolly Frolics collection. Classic Animation from the 1950's with an eye to modernist graphic design.
I picked up the "UPA Jolly Frolics" DVD set. I suppose it'd be redundant to say I'm enjoying it. They've done a great job with it--the color restorations are wonderful--and these are cartoons wherein color is everything-so if the color is murky( as on the UPA cartoons you'll find on Youtube), you're missing half the story. It's a joy to see them as intended.
These qualities are repeated, with varying degrees of success, in many of the animated shorts included in this DVD. There are three more Gerald McBoing Boing cartoons, none of which repeat the magic of the first film, but which are enjoyable nonetheless. My particular favorites are John Hubley's "Rooty Toot Toot", "Madeline"( yes, that Madeline), "The Unicorn in the Garden" ( by way of James Thurber) and "The Tell-Tale Heart" brilliantly adapted from Poe's famous story and featuring the paintings of Paul Julian and the voice talent of the great James Mason, whose extraordinary performance propels the narrative to its shocking climax.
Thursday, April 23, 2015
This Blog
Okay--so this blog is all things "Jetpack Jr."--and will feature whatever little bits of backstage info on the comic strip that might be of interest,etc. (to whom, I don't know! )--but I'm looking forward to writing about a few other interests--specifically comic strips, animation and '60s ,'70s pop music. Nothing ground-breaking, nothing that's gonna set the world on fire; just things an old guy( me) enjoys. I'm a Beatles freak, a McCartney fan, love Power Pop and all kinds of sixties music--so my focus will be there, but I love classical music, jazz standards, be-bop, Philip Glass, experimental stuff too. Besides The Beatles, comics and animation are my passion--specifically, classic comic strips and classic animation, so when I come across something I love, I'll share it.
So this will be a meandering blog, hardly something serious. If you're after something deep, serious, intellectual--this ain't the place. I like to think about things,sure. I love a good discussion among friends, but I don't take myself that seriously and I'm way over trying to impress anyone with my smarts. While that's cool for some people, I'm not into that. I'd rather be making stuff than trying to prove a point.
So here's a little known Power Pop fact; back in November 2011, in my one and only foray into music journalism, I interviewed Power Pop legend Dwight Twilley for MWE3.com, on the occasion of his extraordinary 2011 album, "Soundtrack".
Here's the link: http://www.mwe3.com/
Scroll down the home page and look for "Dwight Twilley; May 2012".
I really enjoyed talking to Dwight; I've been a huge fan since his first record; "I'm on Fire" way back in '74 or '75--and I was really nervous speaking with him--but he was so great, so cool and willing to talk--that he made it easy. We had a nice conversation--and I'm proud of myself for actually having the chutzpah to talk to one of my heroes without throwing up.
Hope you enjoy it--and if you do, order the album, directly from Dwight:
http://www.dwighttwilley.com/candy-store/soundtrack/
*here's my review of "Soundtrack":
http://pulpink.blogspot.com/2011/10/dwight-twilleys-soundtrack.html
So this will be a meandering blog, hardly something serious. If you're after something deep, serious, intellectual--this ain't the place. I like to think about things,sure. I love a good discussion among friends, but I don't take myself that seriously and I'm way over trying to impress anyone with my smarts. While that's cool for some people, I'm not into that. I'd rather be making stuff than trying to prove a point.
So here's a little known Power Pop fact; back in November 2011, in my one and only foray into music journalism, I interviewed Power Pop legend Dwight Twilley for MWE3.com, on the occasion of his extraordinary 2011 album, "Soundtrack".
Here's the link: http://www.mwe3.com/
Scroll down the home page and look for "Dwight Twilley; May 2012".
I really enjoyed talking to Dwight; I've been a huge fan since his first record; "I'm on Fire" way back in '74 or '75--and I was really nervous speaking with him--but he was so great, so cool and willing to talk--that he made it easy. We had a nice conversation--and I'm proud of myself for actually having the chutzpah to talk to one of my heroes without throwing up.
Hope you enjoy it--and if you do, order the album, directly from Dwight:
http://www.dwighttwilley.com/candy-store/soundtrack/
*here's my review of "Soundtrack":
http://pulpink.blogspot.com/2011/10/dwight-twilleys-soundtrack.html
Sunday, April 19, 2015
New Beginnings
Jetpack Jr. ©GeoffGrogan |
Well, it's a theory, anyway. Maybe it was the "Babyheads" bit. I've got to admit, the image is just a wee bit...uhm... bothersome. Particularly if you have a soft spot for babies. (and who doesn't?) One way or another, the title was a bomb.
So, I thought--what the hey-let's change it up a bit. I've got nothing to lose.
And thus, this week-- Jetpack Jr. begins on GoComics.com and Plastic Babyheads comes to a close--sort of. It continues, albeit in slightly altered fashion.(Thanks to everyone at GoComics.com for supporting the change.)
All things in time and it took time for
Jetpack to arrive. You might say it was a protracted gestation period. Three years as Plastic Babyheads from Outer Space before the characters began to emerge from the crowd. Where did the time go? What took so long?
I'm not one for forcing the issue, I suppose. Hey, I stumbled into the strip--came at backwards-and in those rocky beginnings, never thought it would last. But the strip has its own momentum and it's pulled me along in its wake. And as time went on, certain voices spoke louder than others. It really is true, the characters tend to find their own direction. And so, this is the path Jetpack Jr., Hank and Marsha, Rensselaer, Kramden, Bella Dilemma and a few old friends(as yet to reappear) were determined to follow. I am excited about it--and if you're reading this, I hope you are too. Where they want to go, they haven't told me--yet. We'll find out together. Meanwhile, this blog will be a place for me to let what's left of my hair down-a bit--put up some stuff on process and inspiration, or just talk about stuff I'm looking at, reading, listening to, stuff that I like. A casual affair. Hope you'll drop by often.
Subscribe to:
Posts (Atom)