“Dance of the Pen” is
“Dance of the Pen” is Cathy Hill’s comic tribute to an art supply, the DIP PEN, the holder and the pen point. It’s a tribute, not only to the dip pen, but to a lost art in a world that doesn’t celebrate drawing by hand so much anymore. As you have seen on past posts, Cathy is an experienced artist and handles the recalcitrant and stubborn pen with grace and aplomb. Her lines are exquisite, full of rhythm and scintillating, undulating beauty. Her text is all in rhyme, full of lines that celebrate the experience of an inker, “..a sideways slice–through thick and thin..(I must confess) the pen is in good form tonight.” I love her celebration of the “choreographer” of the page, the pencil! (On page six) “The final curtain’s down, Alas, We won’t be certain how he did until we see the pencil lines erased.” Cathy equates the “Dance of the Pen” to show business; the inkwell and the white out bottle are the pen’s managers. Note the “fans” clamoring for the Pen’s autograph on page Seven as the Pen replies to the autograph hounds, “Thank you, do you have a pen?” My favorite touch is the little car driving off with the Pen and his pals as they say: “Let’s celebrate in noisy joints! The night is going to waste.” Cathy and I often quote this line to each other. I hope you will enjoy the “show”!
I’m having fun reading these old Felix strips from 19320117 to 19320130. It’s different to see Felix operating as his own “cat” and not in thrall to the Danny Dooit family. The police dog that Felix teams up with is called “Snoopy”, many years before Charles Schulz used the name for his dog creation in “Peanuts”! I wonder if Mr. Schulz may have read this Felix story in his youth and remembered the dog’s name? Felix solves the Missing Mule Mystery in the 1-22 and finds a crook’s derby hat in the 1-27. This clue goads Felix in to a totally independent investigation and he pursues his man as a full-fledged ‘Police Cat”. Is that a “gat” in his had in the 1-29, or just a “gitten”? I love that frog on the lily pad in the 1-30, perhaps he’s an ancestor of Flip the Frog! The Sunday pages are the last chapters of “Felix’s Ark”, a story begun in 1931. Find a copy of David Gerstein’s “Nine Lives To Live”, to see the entire Sunday continuity in color. Until next time, “Right-e-O!”
Mabel and Jimmie match wits and dating success as Jimmie tries to prove that he loves Mabel’s pup, “Tizwin”, when he really dislikes dogs. Did people really kick dogs around with such alacrity in 1919? In 1912, a popular song called “They Gotta Quit Kickin’ My Dog Around” or “The Missouri Dog Song” was recorded for Victor. If you search for it, you can hear it, the lyrics are not easy to figure out. I’m sure the song was well remembered in 1919, and perhaps Garge used dogs and shoes as a nostalgic reminder of those canine kickin’ days. These strips are from Oct. 5th through Oct. 10th, 1919 with the strip from Oct. 7th missing. The San Francisco Examiner printed these all mixed up and out of date sequence, so I tried to restore order to them. The dogs in “Now Listen Mabel” don’t speak in anything but “grrrs”, “rowrs” and “Graaa”s. English is reserved for dog conversations in “Krazy Kat”. Remember to pass your mouse over the images until you get a menu that has the item: “Display Image in New Window”. Click on that, and you will be able to see the strips in a different window and displayed larger. If they are not immediately larger, just click on them with your mouse. Enjoy these for now, Mark
As promised, here are the Felix strips from the first two weeks of January, 1932. The model of Felix used in these comics has to be one of my favorite cat designs. His fingers are square, his knees are pointy, his torso looks like a miniature bowling pin, and his ears go high up off his head and end in points. I love how Otto shows the bottom of Felix’s feet and the Sleuth Hound’s feet as they walk along in the first panel of the 1-15. If you animated the foot coming forward almost parallel to the ground, the character would stumble or trip over his own shoes (see also the burglar in the second panel of the 1-5). The main story here really starts in the 1-7, as a funny old guy complains to the police captain that his mule is “gone”. Felix decides to train the “Official Police Dog” he met in the 1-5 to become a detective by taking up the mule case. Felix and the Hound keep coming up empty, until they see the imprints of the mule’s shoes on the rear end of a black mule wrangler. We’ll see what happens to Felix in the next exciting chapter in the Adventures of Felix The Cat!
Remember to right-click on the images until you see a menu of instructions. Click on the line saying “Open Image in a New Tab”. When you see that, click on the new tab at the top of your screen. You will then see the image in a new screen with black on both sides of it. Then enlarge the image by clicking on it, or hitting plus or minus on your keyboard. Can you figure that out?
Here’s Felix from 12-18 to 12-31-1933. Felix closes out the year by trying to serve out his time as the millionaire’s mascot. Felix misses Danny and wants to spend Christmas with him, so he tries a lot of tricks to mess up the millionaire’s office so he’ll get thrown out, but nothing works. Then in the 12-29 strip, Felix blows the millionaire’s gold bonds out the office window by turning on a fan accidentally. Danny and his brother are in their back yard cleaning up when they notice the gold bonds have landed right in front of them. If you want to read the rest of the story, find my blog post from 10/1/2013 in the archives, where you will find the Felix strips from 1934. This post concludes the Felix strip from 1933 which I started posting on 3/11/2016. It took SIX years to post the 1933s! Now as before, Felix will magically project BACK IN TIME to 1/1/1932! Look for that in an upcoming post. Don’t forget to right-click the images for the menu which will enable you to open the strips in a new window. There you can blow them up larger so you can read them more easily. Let me say “Thanks” , good readers, for staying with the old Catblog for all these years. Mark
Here’s “Now Listen, Mabel” from 9-25 to 10-4-1919. Starting in the 9-29 strip, Jimmie Doozinberry’s pal butts in on Jimmie’s harmonica serenade over the telephone to Mabel. The office rival uses a saxophone, probably a C-Melody Saxophone, which was in use in the 19-teens and 19-twenties in parlors and small ragtime jazz bands. Frankie Trumbauer, a C-Melody saxophonist and friend of Bix Beiderbecke in the twenties, did some great jazz recordings with the saxophone. It’s very funny in the 10-3, that Mabel prefers the yowling of two pre-Krazy cats to the sound of Jimmie’s sax. It’s interesting that the saxophone was invented by Adolphe Sax in 1842, and is really a brass instrument, like a cornet, with a clarinet mouth piece on it. The saxophone is louder that most other woodwinds, hence it’s versatility used in symphony orchestras and jazz bands. The instrument in the last panel of the 9-26 is a Barrel Organ. That little handle was turned, and a wooden “roll”, similar to a player-piano roll, would rub up against the keys and valves, producing a rather screechy melodic sound. The Barrel Organ dated to 1854, and the gag here is that Mabel and party are expecting Jimmie to show up with a traditional instrument, not a mechanical one. I love Garge’s layout in the 9-26 as well, one long panel in the middle of the group having a picnic, and the first and third panels laid on top of the sartorial scene. I love the design of the office telephone, The mouthpiece has an unusual white cylindrical shape, quite unlike the standard “candlestick” telephone of the era. Dial phones first came in to use in December, 1919, so Jimmie’s office phone would have been operator-assisted dialing.
I hope you enjoy these strips, readers. To enlarge them to full screen, just right-click your mouse on the image, and you should see a “Open in New Window” item in the menu list. Click on that, and you should see the strips in a new widow, much larger. Enjoy, Mark
Here’s Felix from 12-4 to 12-17-1933. In the dailies, Felix sells himself for 5K to Homer “The Boss”, a very wealthy stock speculator, preventing Mr. Dooit from selling the family house. Felix is not happy with being Homer’s mascot, but he brings “The Boss” luck, so the Good Luck Cat is in servitude. I like the little poignant touches like the last panel in the 12-12, as Felix has no appetite because he misses Danny and the old house so much. Danny and Chipp miss Felix in the 12-14 so intensely that they declare “ice cream wouldn’t taste like ice cream with Felix gone”. In the 12-10 Sunday page, Otto trots out the old dachshund and the rolller skate bit, and in the 12-17, inspired by O. Henry’s “Gift of the Magi”, Danny and Chipp sacrifice their football and drum in exchange for bottles of milk for Felix. I love panel 9, as Felix gets cozy in Santa’s snipped-off beard. This period of the Felix strip is just about the peak of Otto’s 1930s style, strong blocky shapes for the humans, and a few simple circles for Felix’s body and head. Enjoy these, thanks for your letters! Mark
Here’s “Now Listen, Mabel” from 9-18 to 9-24-1919. “Mabel” seems to me like a forerunner of “Blondie” in the early 1930s when Blondie and Dagwood were courting. The 9-20 strip is especially close to the writing in “Blondie”, as Mabel seems determined to spend all of Jimmie Doozinberry’s money, even at a tea date for two! Also the 9-24 has a Chic Young situation, as Mabel winds up with “Sammie” at a thank-you dinner she is supposedly throwing for Jimmie. Mabel is not quite the ditz that Blondie was in the early 1930s, however. She seems just a bit craftier, and is more deliberately playing the field. I also like the way Garge depicts office life in 1919, with simple desks all grouped together in a big room, no partitions or cubicles in those days. The big boss was the only guy who got an office with a closable door.
Magnifying these images is still a bit of a chore. But there may be a “built in” magnifier in the blog, just pass your cursor over the images and they “may” enlarge in a small window to the right of the comics. If that doesn’t work, just open them in a new window. You know how, don’t you? Enjoy!
Felix this time is reprinted from 19331120 to 19331203. Felix is once again hired out as a mascot to Mr. Doremi Fasola, the Operatic “Barren Tone”. Mr. Fasola cruelly kicks poor Felix, resulting in yowls and moans that sound like music to Fasola. In the 11-30 and 12-1 strips, the Depression really comes to the fore. In the 11-30, a dog remarks to Felix: “..busy as usual on the recovery drive?”, to which Felix replies, “Yeah, I’m operating under the blanket code”. The Blanket Code was an early version of the National Recovery Re-employment Act, which was generally adopted in July, 1933. Among other reforms, such as making child labor a crime, it set minimum wages at between .35 to .40 cents an hour in most jobs. It’s hard to even conceive of wages that low in our inflated age, but that’s what they were. By August 1933, the NRA code “Blue Eagle” signs were printed and posted in merchant’s and employer’s windows to show that they honored the minimum wage standards and the other labor standards covered in the Blue Eagle guidelines. These helped put a floor under the plunging economy in the mid-1930s. By the end of the thirties, the Blue Eagle was no more, ruled unconstitutional by the Supreme Court. You can look it up. In movies of the 1930s, you will often see the NRA Blue Eagle at the beginning and end of a feature picture. In the Sunday pages, Felix and Danny emerge from the woods and their adventures with the bear family, to intercept a little fox being chased by hounds. Felix shows his cartoon license and breathes in oxygen and exhales helium in to balloons which he attaches to the little fox, lifting him out of the hounds’ path. The fox has one word of dialog: “Saved”. In the 12-3, Felix distracts the hounds with pepper, but the huntsman decides to pursue Felix instead of the Fox. If you want to see the comics larger, just pass your mouse over the comics and right-click to reveal the command: “Open image in new window”. When you have a new window with the comic in it, you can enlarge it and read it more easily. Enjoy!
Here are the next six “Now Listen, Mabel” dailies from the pen and knife of George Herriman, 9-11 to 9-17-1919. 9-11 through 9-13 introduce Mabel’s dog “Tizwin” whoÂ barks at Jimmie accidentally through Mabel’s telephone. When Jimmie tells Mabel that Tizwin sounds just like Mabel over the telephone, she gets irritated and walks out on him. Mabel tosses the insult back at Jimmie in the 9-13. In the 9-15 through 9-17 strips, Jimmie keeps trying to talk to Mabel on the office telephone much to the disgust of his boss. In the 9-17 strip, Jimmie is introduced to Mr. Gindus (where is Garge getting these character names?), who seems to be another supervisor. Gindus intercepts a call to Jimmie from Mabel, but Jimmie handily steps on Gindus’s head, saving his bacon with Mabel.
I still need advice on making these strips clickable in Word Press. I tried using Classic Editor and Block Editor to edit the pictures, and tried various sizes and uploads. None of that worked, you now have to use your mouse to make the images appear in another window, where you CAN make them bigger. If anyone can help me figure this out, I would be very appreciative. Thanks for reading!
Here’s Felix from 11-6-1933 to 11-19-1933. In the dailies, Felix shows his savvy as he completely foils the counterfeitter. After Felix forces the bad guy to re-grow his whiskers, Tony the Barber gets the $10K reward and goes out to buy new clothes, completely ignoring Felix. In the 11-18, Felix makes a key statement: “When they put on the high hat—that’s the time to leave ’em.” Felix doesn’t even get a reward, he’s on to a new assignment as a mascot. Obviously he is not a fan of the wealthy classes. In the Sundays, Felix and Danny Dooit continue their adventures lost in the woods. Felix tries to feed Danny with fish he grabs from the lake. I love panel 8 in the 11-12 as all those eyes stare at Felix, very much like the scary sequence in “Snow White and the Seven Dwarfs”. In the 11-19, Felix and Danny take pity on two hungry baby Eagles and feed them worms that they intended for fish bait. Mother Eagle seems threatening, but instead gives Felix and Danny a soft bed in her nest. “One good turn always brings another,” Felix says. Enjoy these dear readers!
Hi Readers, Must be some kind o’ record for the Catblog, three posts in a week! Hope you like them. Here’s the next batch of Herriman’s “Now Listen, Mabel” from 9-4-1919 to 9-10-1919. Look at that last panel in the 9-10, a real balcony crowd scene masterpiece! Have a great Comic Weekend!
Here’s FELIX, another glorious two weeks of vintage 1933 feline frolics! These are from 10-23 to 11-5-33. I had a complaint from reader Peter Vollmann about the strips in my blog looking fuzzy, so these look vastly improved to me, hope they look that way to you, dear readers. Felix and Danny fight the depression in the 10-23 to 10-28 batch. I especially like the 10-26 strip, which has some terrific Otto Messmer fighting poses as Felix punches out a dog who unfortunately gets in the way of his feline fisticuffs. In the 10-28, an unshaven character enters the barber shop where Tony, the proprietor, has adopted Felix as mascot. In the 10-30 to 11-4 dailies, the story continues as the unshaven man takes a shave and pays for it with a counterfeit twenty dollar bill. Felix disguises himself as a poodle with some shaving soap and pursues the counterfeiter. You can imagine that “making your own money” was an idea on the rise in an era when legitimate currency was scarce.
The Sunday pages are also a continued story as Felix and Danny go fishing and are rescued from wild leopards by a bear. The bear is such a glutton that Felix resorts to assuage the bear’s hunger with an entire icebox full of food from Danny’s Mother’s kitchen.
Hope you can read these better and enjoy them more! Remember to click on the images to enlarge them. If you click again after they enlarge, they will get larger still. I hope to post more often, see ya!
We’ve been off the “air” for awhile, just for how long I don’t know. I have been neglecting the Catblog, and I’m sorry for that. The site was hacked near the Holidays. The Go Daddy Web Host people came to my rescue and restored the Catblog, including the Archives! They did a great job, but it was costly. Maybe I will put up a “Go Fund Me” page for the Catblog. You may remember a particularly creative hack the Catblog went through a few years ago when I had 5000 unwanted users from Russia! They took advantage of a security leak and I had to eliminate all of them ONE AT A TIME! Word Press is pretty good to write on, but their rules are complicated. You have to have the “latest version” of Word Press installed, or there are breeches possible. Word Press seems to put up a new version about every two weeks!Â Having a blog is like maintaining a little fort in the digital wilderness, constantly vulnerable to attack by the aboriginals. And sometimes they are more “original” than “aba”s. Here’s hoping you are all well that read this blog, and bless you for doing that. A good friend of this blog, Charles Brubaker, the eminent cartoonist, wrote to me and told me the blog was down, thanks Charles! A Better New Year to y’all and now here’s another batch of “Now Listen, Mabel” by George Herriman: 8-27 to 9-3-1919. Jimmie is fired from the Moonshine Comedy Films Studio for trying to satisfy Mabel’s ambition for him to be a star. In the 9-1 through 9-3 strips, Jimmie fools his own father by wearing a tuxedo as he escorts Mabel to a fancy dress party. Remember that these strips are “clickable”, so just click on them to enlarge.
Here is my friend Sam Cornell’s obituary from the Pegboard, the Animation Guild’s newsletter:
Sam Cornell d. 5/01/2021 â€“ Industry veteran Sam Cornell is
known for his varied work on Twilight Zone: The Movie, The
Rugrats Movie, The Wuzzles, and Shinbone Alley. His many roles
included Storyboard Artist, Layout Artist, and Title Designer. He
also directed numerous commercials with classic characters such
as Tony the Tiger and the Keebler Elves.
I guess that’s a little start on a career summary, but it misses the real Sam. I think Sam would like to be remembered as an excellent cartoonist, a really fun and cordial kind of guy and a husband and father, which I assume that he was. Sam was a dark haired slightly beefy guy with a big dark mustache. He had dark eyes that sometimes sparkled merrily. Sadly it’s been so many years since I’ve seen any of his family that I can hardly remember them. I remember that one of Sam’s children was in the “Indian Guides”, sort of an alt-world Boy Scouts, and that Sam was a senior Guide. We love George Herriman around the old Catblog, and Sam was the first animated cartoonist I met in So. Cal. who also loved Garge and of course early Disney design. If you look to the top of the post, you will see one of Sam’s layouts from the “Archy Declares War” sequence in the feature cartoon, “Shinbone Alley”, directed by John Wilson. Sam loved to talk old cartoons and cartoon history and gave me a lot of ideas for study. He was one of the first adults I met who made it OK to really enjoy old cartoons and really appreciate what made the drawings good and appealing. Look at the control he had with Pentel felt pens, he could get a good approximation of steel point inking and could draw Krazy and Ignatz in his own way, while paying tribute to Herriman at the same time. Frank Andrina was the animator on the “Archy Declares War” sequence, and I wound up doing inbetweens for him. Frank knew how MUCH I wanted to animate a professional scene, and he gave me one of my first chances to do so. Just below Sam’s layout you will see a cel set-up from that first scene, a marching army of bugs led by General Roach himself. Sam designed these characters as well. Frank animated all the scenes in this part of “Shinbone Alley” in felt tip pen, and all us inbetweeners had to follow him up with pen drawings as well. These were then Xeroxed on to cels. In the old days, good inkers would have been relied on to get the Herriman “line”, but by 1969, animators and assistants were responsible for the final line quality that reached the screen.
Â Â A few years later, Sam Cornell and fellow Chouinardian Gary Katona, formed a little company called Pacific Motion Pictures. I was hired on as a staff animator, I even had a business card! Randy Akers, who was a good friend of Gary’s was an art director for the little company. One of the most fun TV commercials we made was for Popeye Video Games. We styled the characters a bit like Segar, a bit like Bela Zaboly and a little bit like Fleischer. Randy actually constructed real sets for the spot, which were photographed on a sound stage. The idea was to emulate the Fleischer “Stereoptical Process” 3-D backgrounds without actually sculpting and building the miniature sets. In the finished commercial, you can hardly see the sets with their glass brick and translucent counter tops for the animated characters exposed over the live action “plates”. I remember that Randy was kind of upset that my ugly animation was blocking his beautiful sets. In the layout for Sc two (see above), you can see how much room I gave Popeye and Bluto/Brutus and just how much they covered Randy’s set, which I traced in red from the photostat.Â I think Sam liked the look I gave Popeye, Olive and Bluto/Brutus. At the time it seemed so futuristic to have old Popeye playing the new thing called a “Video Game” of himself. Now it seems quaint as the Popeye video game looks very early 1980s. Sam also directed at FilmFair studio in the San Fernando Valley, run by former animator Gus Jekel. A lot of talented people worked there, including Bob Kurtz, who had his own little subdivision of FilmFair called “Festival Films”. Sam supervised the more traditional animated commercials, such as Charlie the StarKist tuna, and Ernie Keebler from the cookie family. A lot of old timers hung around FilmFair picking up work, I met Rudy Zamora Sr., who dated back to the silent Felix the Cat cartoons and the Fleischer cartoons in New York. Rudy didn’t look his age at all, he still had very black hair and a lot of energy. One of Sam’s favorite animators was Stan Walsh, who was one of the original partners in Quartet Films, along with Mike Lah and Art Babbitt. Stan was a rock solid traditional animator who did beautiful stuff on Charlie Tuna. In the 1970s and 80s, traditional animators were called “Mouldy Fig” and “Centerline Animators”. If you didn’t draw like Heinz Edelman (the top designer on “Yellow Submarine”) you were relegated to the sidelines. People like Stan Walsh were just taken for granted, along with people like Hicks Lokey and Amby Paliwoda. These guys could really draw volumetrically and could turn and twist a character in any direction, which came in handy for characters like Tony Tiger, Ernie Keebler and Charlie Tuna. Sam admired cartoonists who drew “funny” and well. Here’s a link to the ONLY radio interview ever done with Sam: HERE. In this interview, Sam talks about his involvement with the Seattle World’s Fair in 1962 and the creation of the Unisphere with Harper Goff, a Disney Imagineer. Harper said that Sam drew with a “Funny Pencil”, and that really sums up Sam’s approach to drawing. He just couldn’t help being a clown with cartooning. We worked on quite a few things, notably an animated sequence for the “It’s A Good Life” seqiemce of theTwilight Zone movie, designed by Sally Cruikshank. Ethel, played by Nancy CartwrightÂ (who eventually became the voice of Bart Simpson and a multi-millionaire) is wished in to Cartoonland by Anthony, played by Jeremy Licht, where Ethel is eaten up by a Sally Cruikshank monster. The main flaw in the sequence is that Ethel’s demise is not gory enough. We had fun making our part of the sequence, but had a hard time balancing the flatness of Sally’s designs with the dimensional look required to work with a live actor (Nancy). I also animated part of the title sequence for the “New Woody Woodpecker Show”, in which Woody was being chased by Wally Walrus. At first Sam thought the animation was too “fast”, but changed his mind when all the inbetweens were done and the cels were painted. I really enjoyed animating one of my favorite characters, Woody. I applied several times for work at the Lantz studio in the early 1970s, only to be told that “You’re gonna have to wait until some of these guys DIE before we’d ever hire YOU!” Sam gave me the chance to at last do one scene with the red headed rascal.
Sam did take a drink or two occasionally, and I think he may have been a smoker, judging by the slightly wheezy tone of his voice. The girls liked Sam a lot, he had a knack of making them laugh and complimenting them at the same time. Sam unfortunately was in a terrible car accident, in which he ran his convertible off the highway and right under a roadside billboard, as I recall. He broke nearly every bone in his body, and I visited him in the hospital. I think he tried to laugh a little, but it was too painful for him. He walked with a cane for the rest of his life, but bounced back almost as jovial and convivial as he was before the accident.
The last time I heard from him was just about three years ago. Sam was in a care facility in Ojai where his family had placed him and he called me on the phone one Sunday afternoon. He was very cordial and complimentary to me about my animation for him over the years. He wouldn’t say just what ailment was keeping him in the facility, but he did say he liked the place. I really enjoyed hearing from him. About a year later, my wife and I were in Ojai for a film festival and tried to find the care facility where Sam had called me from, but he had been moved somewhere else by then. I don’t know what was the actual cause of Sam’s demise, perhaps it was complications from his car accident injuries. It’s not pleasant to dwell on what he died from, it’s a lot more fun to remember Sam the Funny Cartoonist!
You can see from some of the images I’ve collected here, that Sam tried to make every assignment from him as much fun as he could. The little drawings and notes really made me want to get in to animating the scenes. I especially like the self-portrait that Sam put on an envelope that contained “Approx. 35 Feet inside here for Mark!” Note the cocktail glass and the severed foot alongside Sam’s portrait. Sam drew himself with Mickey ears because he liked the Mouse and did direction and layout for several commercials featuring Mickey and the Disney characters. If you listen to the radio interview, Sam outlines some of these commercials combining live action and animation. That envelope held the layouts to the last animation I did for Sam, a Keebler commercial with a runaway “Magic Oven” pursued by a Keebler elf, as you can see on one of the ruffs I did for the spot.
To give you an idea of Sam’s “funny Pentel”, I’ve included a couple of his drawings from a Super Sugar Crisp commercial he directed with Sugar Bear and a couple of vultures in the cast. I love the lively effects he achieved with marker and white out to make Sugar Bear look “Super”, and the wild action implied as Sugar Bear faces the vultures. I also like the little cheek he drew on the Bear’s face, a real MGM cartoon/Harvey Eisenberg touch.Sam’s drawings were inspiring to work with, even though I had to re-interpret the characters to put them on model. I always kept Sam’s drawings pinned up on the desk to boost my enthusiasm. They bristled with energy!
It’s not easy to say goodbye to such a great friend and employer who valued my work. Sam’s “funny pencil” turned out hundreds of amusing sketches over the years. He even sent out funny Christmas cards, one of which featured a turbaned character in a Moroccan desert pushing a cart that was labelled: “Cheeses of Nazareth”. Sam was so well thought of at Jay Ward’s studio that there was an old animation table in the basement with a placard reading: “The Sam Cornell Memorial Desk”.Â Maybe that desk is still there, along with the memories and funny drawings that Sam left in it.Â I learned from the Union newspaper, “The Pegboard”, that Sam had passed away. I’m sure you can imagine dear reader, just what a sad discovery that was. So Long Sam!
Here’s a short list of work that Sam kept on his resume:
live -action/animation: Integration of live actors with animated characters.Director ; Hawaiian Punch; Jerseymaid Milk; Tony Tiger; Capt. Crunch; Quisp; Quake; Froot Loops Etc.Etc Storyboard;Jay Ward studios. George of the Jungle;etc
writing: :30 commercials Ogilvy and Mather, L.A. Main Titles design/direction Walt Disney T.V. Animation and Universal Cartoons. Director for Keebler commercials from 1962 through 2005 ( While at Duck Soup Studio in Santa Monica A VERY INTELLIGENT AND BEAUTIFUL MELISSA TIMME helped me in producing a series of commercials.)
Toy design, Mattel Toys.
Model maker;Seattle World’s Fair and New York World’s Fair
( anybody remember: “Hey, how ’bout a nice Hawaiian Punch?” “Sure.” POW!