The Classic Donald Duck of Tony Strobl
Article by Anders Berglund about Tony Strobl, after Carl Barks maybe the most
important Donald Duck artist.

  • Tony saw it and, of course, thought that drawing dwarfs and cute animals could be something for him, so he sent off his application to the Disney studio.

  • His job was that of "in-betweener", in other words, he drew all of the in-between frames that were needed in order for the animator's more scarce drawings to come to life.

  • So, since the middle of the fifties, he has limited himself to the actual pencil drawing.

  • Since that was not his strong suit, it made better economic sense to stick to the drawing.

  • They rarely have enough room for drawing.

  • So, in self defence, I write an occasional story with a minimum of dialogue + lots of room for drawing." Until the 1960s, Carl Fallberg, Bob Gregory and Vic Lockman were the main authors of Strobl's comics.

  • Then he would start drawing frame by frame, on the light table, in double scale, finally redrawing and combining the frames onto a completed page of transparent paper.

  • On the other hand, he enjoyed drawing Bugs Bunny, as he did several other Warner figures: "I always liked Bugs - a slim figure, elegant, easy to draw, whereas I had more trouble with Porky Pig and Petunia.

  • Then there were Elmer [Fudd] and Daffy Duck, a really wild character that you can do a lot with." Slow paced slapstick Strobl's drawing style is characterized by its clean, even and harmonious lines, with a tendency towards the static.

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  • A NIMATED F ILMS A nimated F ilms are ones in which individual drawings, paintings, or illustrations are photographed frame by frame (stop-frame cinematography).

  • His first prominent, successful and realistic cartoon character or star was a brontosaurus named Gertie in Gertie the Dinosaur (1914) (with 10, 000 drawings, backgrounds included), again presented as part of his act.

  • by modern techniques was the first to use 'cels' - transparent drawings laid over a fixed background.

  • In 1917, Max Fleischer invented the rotoscope to streamline the frame-by-frame copying process - it was a device used to overlay drawings on live-action film.

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  • It was probably a very classical and traditional course of study, well-grounded in basic drawing skills.

  • Around 1930, he was living a quiet, eccentric life in Southern California drawing direct mail ads for a printer.

  • They'd tell him, "The Three Little Pigs" and he'd be off for days doodling and drawing and designing and the results were quickly passed to the other departments to be mined for ideas.

  • His designs can be found in Peter Pan (see the pirate eating eyeballs above - one of dozens of exploratory drawings for Peter Pan that can be found in He Drew As He Pleased ) and Lady and the Tramp .

  • (Image is from Before the Animation Begins and is © 1996 by Disney Enterprises, Inc.) So many films and characters of the time began life on Hurter's drawing board.

  • (See the drawing at left from The Art of Walt Disney .) He died of a weak heart caused by rheumatic heart disease in 1942.

  • "Arranged and captioned" by fellow Disney worker Ted Sears, He Drew As He Pleased features over 700 of Hurter's amazing doodles and drawings.

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  • Camera movement is always kept to a minimum in TV animation (pans are discouraged, except to follow a character in a walk or run cycle), but I felt camera moves were an important story-telling tool, especially because we had to keep our drawing count down.

  • Then, however, I was tied to a schedule that allowed us only to fill a few boxes with drawings and detailed instructions before we had to send it overseas.

  • Using only the pre-existing storyboard drawings Matthew had been faxed by the ad agency, a Macintosh computer and the program he'd co-created, Knoll had added tremendous dimension and motion to the sketches, quickly transforming them into real movie shots .

  • Camera moves turned flat drawings into dimensional multi-plane shots.

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  • He then worked for a year in the publicity department at ICI Billingham drawing fertiliser bags, healthy grass and vegetables.

  • Meanwhile he kept his hand in by drawing posters for films and strip cartoons entirely for his own gratification.

  • He graduated in 1974, worked for a year in a bookshop and other odd places, doing the occasional day's teaching drawing and doing video projects at Jacob Kramer College, Leeds.

  • To stand up in front of a group of kids, day in and day out and be on the ball about how to draw and what drawing was about.

  • The first paid work I got was drawing kids comics for IPC, which is now Fleetway.

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  • Cribbing from books is all right once in a while, when you can't get a pose right and you're in a bind, but if you base all of your art on other people's drawings, your own style will never get the chance to emerge.

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  • 2.5" X 2"...$40 (UPAtale07) ...A great trimmed Thumbnail drawing.

  • The paper has been trimmed to 4" X 4" and the image is 2.25" X 2"...$20 (UPAtale09) ...A great trimmed Thumbnail drawing.

  • - Charming pair of Production Drawings of the Dragon and Georgie.

  • The Dragon measures 3.75"x 2.5" and Georgie measures 3" x 1.5"...$200 PAIR (#UPS-14drag01AB) ...A great production drawing from "Let's All Sing." The showman is on animation paper that measures 10" X 12" and the image is 4.5" X 3.5"...$25 (UpaLets09) ...An excelent background layout from "Let's All Sing."" This great shot of a theater is on animation paper that measures 10" X 12" ...$75 (UpaLets00) ...An excellent production drawing from "Let's All Sing."" This great shot of a man flying through the air is on animation paper that measures 10.5" X 12.5" and the image is 4" X 4.5"...$75 (UpaLets01) ...An excellent cel of the sixteenth President of the United States reading up on his jokes.

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  • At McKinley High School in Chicago, Disney divided his attention between drawing and photography, contributing both to the school paper.

  • His ambulance was covered from stem to stem, not with stock camouflage, but with drawings and cartoons.

  • In August of 1923, Walt Disney left Kansas City for Hollywood with nothing but a few drawing materials, $40 in his pocket and a completed animated and live-action film.

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  • Their original concept drawings of my character changed after I started laying down a voice." They started recording that same afternoon, the actors sitting in glass booths, separate from each other, but working together.

  • And I show them a flip book and then I show them the black-and-white videotape of the pencil sketches of the movie, with the clicker counter up in the top, and I tell them how many drawings per second -- go through the whole thing.

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