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... century style of illustration; at least that was Eyvind Earle’s aim in designing the backgrounds. Tom Oreb’s character design was angled to try to work with the backgrounds almost as an amalgam between 15th & 20th centuries. For me, it works very well; others seem bothered by it. I suspect that the general love of this film’s style has strongly influenced modern animation. Pocahontas , it...
- Continuing with the enormous group of color stats of art from Toot Whistle Plunk & Boom, I have two more posts to offer. Today’s group gets a little more into true storyboard form. Amid Amidi has identified many of the B&W sketches as the work of Tom Oreb, and they show off his [...]
... Director was Ken O’Connor, Assistant Art Director was Victor Haroush, the Character Styling was by Tom Oreb, and the Color Styling was by Eyvind Earle. (Click any image to enlarge.) The board art calls for a number of different shots/cuts; whereas the film has few cuts within this sequence. Obviously this was done because of Cinemascope. Kimball understood that overactive cutting in Scope...
- Here is the second installment of the first, preliminary storyboard for what would become Toot Whistle Plunk & Boom . You can see how little of the magic was in this board, yet it obviously inspired others to keep it alive and make it work. Ward Kimball has to get most of the credit, though designs by Tom Oreb, Ken O’Connor, Eyvind Earle and Victor Haboush sure brought it to life. John Canemaker...
... I’ll be doing a lecture about the works of Fifties design masters like Bobe Cannon, Ward Kimball, Tom Oreb, Ed Benedict and John Hubley. Even more exciting, I’ll be interviewing Gene Deitch , an honest-to-goodness animation legend, live on-stage. I’m going to pick Gene’s brain about everything he’s done, from creating the classic TV series Tom Terrific … …to making mind-bendingly trippy...
