Hanna-Barbera Studios
Quick way to simultaneously inspire and depress is to remind oneself of how the popular arts used to function.
Here are some images from http://tonytoons.tumblr.com illustrating the people and atmosphere of 1950s-1960s Hanna-Barbera studios. I tried to find a similar photographic resource for images of Marvel Comics' world-famous Bullpen of the 1960s but so far I am unsuccessful.
In the image above, we see Tony Benedict and Joe Barbera discussing the storyboards. This is my personal favorite part of the creative process for my comics but I don't know if storyboards are considered vital among comic book makers.
I like being able to break a comic down to its cellular components and work on its shape and pace and style after an initial conception phase. That is the stage in comics where my mind is at its most active.
This man created Jonny Quest. Doug Wildey.
It's so inspiring to me to look at these people creating cartoons in offices rather than hunched over in decrepit urban apartment homes, in a corner listening to a clock radio with Cup O' Noodles wedged between their legs. People casually went to work at a place and in this place those people had the tools and space to work comfortably.
Sue Sommers, identified on Tony's blog only as "painter." We see that she appears to be painting the lush backgrounds that were common in animation back in the days.
Personally I wish that mainstream comic books would employ background artists. Much like Gerhard of the comic book Cerebus had the duty of crafting a world for Dave Sim's figures to dance upon and throughout, I am of the opinion that this sort of artist is sorely needed in today's comic book creation cycle. Particularly now that computers allow for so much layering and editing, it seems like it would help Marvel and DC comics achieve that veracity that they strive for.
Tony Benedict again, this time taking a break to enjoy some literature and learn about the news of the day. A cosmopolitan and studious lot, these animators.
As I look at these photos (this one is actually Tony working at Disney) I feel a link between their workspaces and my day job office. I work in a large cubicle bullpen. These cubicles fit four workspaces, though my cubicle seats three. The fourth space is occupied by one of our printers.
Apart from the fact that I don't like my job, the workspace is highly comfortable. There is ample desktop space, there are personal and public filing drawers. There is room to walk and room to lean back and stretch. Truly, every sedentary job should be similar to this. The walls are low so that you can see your peers by standing up but they are high enough that you can concentrate when you sit down. Also, you can pin papers to the cubicle walls. I would love to draw comics in my office. All we would need are those tabletop drafting boards and we would be set.
Finally, two unidentified animation artists. This pumps me up like you wouldn't believe. Just cranking out cartoons without fame, without glory, just coming to work and getting stuff done.
In comic books, there is a bit of local celebrity that goes with the craft and the business. Somehow I think that there is a good amount to be said for simply grinding out work and getting paid for it.
Obviously I can't know if these people were happy or if they are happy (or alive). I am projecting onto them a longing for a sort of professional-class/working-class determination to simply do a job and do it well.
Anyway, have a nice day,
-Ayo2012xoxo.
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