The Dachshund and the Sausage: A Comic Artist's Dream
- 1913
- 5 min
AVALIAÇÃO DA IMDb
6,1/10
201
SUA AVALIAÇÃO
Adicionar um enredo no seu idiomaAn artist draws a dog who comes to life and eats a plate of sausages.An artist draws a dog who comes to life and eats a plate of sausages.An artist draws a dog who comes to life and eats a plate of sausages.
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- ConexõesFeatured in Cartoon Carnival (2021)
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This Began The Film Animation Business As We Know It
It took awhile for film animators to realize that the process of making cartoons didn't necessarily mean each frame of film would require one fully drawn picture. Early movie cartoons were rudimentary drawings with no background or objects spicing up the scenery. These artists were focused on the one or two subjects who were moving on a basic blank background.
Cel animation allowed film cartoonists to fill backgrounds with landscapes and fixed objects and to concentrate solely on those moving characters for each frame. The process saved time by not having to draw each canvass over and over again. The only painting they would have to create was just a new cel of the person/animal in motion, laying that drawing over previously drawn static objects and stationary characters.
J. R. Bray slowly realized the time-savings of cel animation when he was creating his June 1913's "The Artist's Dream," also titled "The Dachshund and The Sausage." Bray, a newspaper and magazine comic artist, was mesmerized by the Winsor McCay and John Stuart Blackton animations. Bray took a different approach than the two animation pioneers to produce his short cartoon. He began by drawing the furniture his character --a dog--was going to use and reproduced that drawing several times. He then drew the dog to clamor about the furniture. Using a combination of live action and animation, Bray produced his four-minute film, attracting a contract from Pathe Studios to produce cartoons just like "The Artist's Dream."
Bray knew he wasn't capable of speedily churning out animated shorts like his first effort since the process was extremely laborious. He decided to form his own animated studio, The Bray Production Company, and began hiring several talented comic artists as well as support teams. One of his top hires was Earl Hurd, who held a patent for cel animation. Bray knew that invention would be the key to his production, and devised a system that would give him the moniker "The Henry Ford of American Animation." He eventually created four units of artists working on four cartoons at one time. Each cartoon took a month to produce, so his company, staggering each cartoon's release, would be pumping out one film a week.
Cartoonist Raoule Barre was taking a similar approach to producing cartoons about the same time as Bray was. Employed by Edison Studios, Barre left to form his own animated company focused on creating just moving cartoons. With both Bray and Barre's output of a unique visual product enjoyed by millions, the business of animation was assured to have a bright and prosperous future.
Cel animation allowed film cartoonists to fill backgrounds with landscapes and fixed objects and to concentrate solely on those moving characters for each frame. The process saved time by not having to draw each canvass over and over again. The only painting they would have to create was just a new cel of the person/animal in motion, laying that drawing over previously drawn static objects and stationary characters.
J. R. Bray slowly realized the time-savings of cel animation when he was creating his June 1913's "The Artist's Dream," also titled "The Dachshund and The Sausage." Bray, a newspaper and magazine comic artist, was mesmerized by the Winsor McCay and John Stuart Blackton animations. Bray took a different approach than the two animation pioneers to produce his short cartoon. He began by drawing the furniture his character --a dog--was going to use and reproduced that drawing several times. He then drew the dog to clamor about the furniture. Using a combination of live action and animation, Bray produced his four-minute film, attracting a contract from Pathe Studios to produce cartoons just like "The Artist's Dream."
Bray knew he wasn't capable of speedily churning out animated shorts like his first effort since the process was extremely laborious. He decided to form his own animated studio, The Bray Production Company, and began hiring several talented comic artists as well as support teams. One of his top hires was Earl Hurd, who held a patent for cel animation. Bray knew that invention would be the key to his production, and devised a system that would give him the moniker "The Henry Ford of American Animation." He eventually created four units of artists working on four cartoons at one time. Each cartoon took a month to produce, so his company, staggering each cartoon's release, would be pumping out one film a week.
Cartoonist Raoule Barre was taking a similar approach to producing cartoons about the same time as Bray was. Employed by Edison Studios, Barre left to form his own animated company focused on creating just moving cartoons. With both Bray and Barre's output of a unique visual product enjoyed by millions, the business of animation was assured to have a bright and prosperous future.
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- springfieldrental
- 29 de abr. de 2021
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By what name was The Dachshund and the Sausage: A Comic Artist's Dream (1913) officially released in Canada in English?
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