Gerard Baldwin, a life in animation

Readers of either of my books, Mr. Magoo's Christmas Carol, The Making of the First Animated Christmas Special or The Art of Jay Ward Productions will instantly recognize the name Gerard Baldwin.  Baldwin was responsible for directing and animating the highly memorable, show-stopping sequence featuring the Despicables in Christmas Carol.   For Jay Ward, he directed and animated many of the best episodes of Fractured Fairy Tales, Aesop & Son and Dudley Do-right at Jay Ward as well as animating several pilots such as Hoppity Hooper, Super Chicken and George of the Jungle.  Baldwin had a flair for turning the limitations of low-budget animation into assets while squeezing out the highest possible entertainment value.

Now, you can learn a little bit more about the master himself in his new book, From Mister Magoo to Papa Smurf, A Memoir by Gerard Baldwin, available at Amazon and Barnes & Noble.  Beginning at his beginning, Baldwin recounts growing up in New York, his decision to become an artist and his sideways move into the medium that would define his career, animation.  You'll read about his early days as an inbetweener at UPA, his military service, his return to UPA and his rise as an animator and director in the TV animation industry, culminating in becoming a producer on Hanna-Barbera's The Smurfs.  Between his stories from the animation trenches and his wry observations, there are a number of charming drawings illustrating anecdotes from his life.

During it's baby boomer heyday, television animation was usually looked down upon, especially by those in the industry.  Consequently, very few animators and directors from that era put their experiences and thoughts down on paper; this is rare insight into the art and commerce of 1960s animated cartoons that is of interest to not only those that grew up with the cartoons but for anyone who follows pop culture.  You can buy it here.

David Weidman 1921-2014

By now, most of you will have heard of the passing of David Weidman, who painted backgrounds on Mr. Magoo's Christmas Carol, did color styling on numerous Fractured Fairy Tales and also painted for Hanna Barbera in the late 60s.  He was even more well-known for his serigraphs from the mid-60s to the 70s, some of which can be seen here.  I profiled David about 3 years ago, which you can see here and if you're interested in reading more about David Weidman, check out his book here.

Unfortunately, he passed away while I was out of town, hence this late posting.  David died peacefully and in the home he built.  His memorial service was yesterday and family members and friends celebrated his life, recounting his sense of humor and unique, iconoclastic approach to life.  He lived a long life, long enough that he was around when his work was rediscovered late in life.  In fact, some of his serigraphs could be seen in episodes of Mad Men, as you can see here. 

I always found my visits with David to be humorous, stimulating and informative.  My last big visit with him was during research for the Jay Ward book, when we discussed his work for TV Spots, a Ward subcontractor, on Fractured Fairy Tales.  Although that part of his career had been largely overlooked, even by him, he was a font of knowledge about his time there and why he did what he did.  It was as if we had opened up a long forgotten closet and the information just came tumbling out.  Because the shorts he art directed there are so visually arresting, I ended up devoting several pages to his work.  Here's an example below:

It was an honor to have become a friend of David Weidman as well as chronicler of his animation work. Good-bye David, your keen eye for design and your wonderful sense of humor will be missed.

The Art of the Jay Ward Studio

If everything falls into place, it appears that the follow up to the making of Mr. Magoo's Christmas Carol book will be a book on the art of the Jay Ward studio.  As I mentioned in the previous book, both UPA and Ward shared a number of key artists throughout the early 60s.  One of those artists, Shirley Silvey, kept a lot of material from her days at both studios and as I began sifting through the material, it occurred to me that there was a book in both her life and work as well as a book on the visual aspect of the one studio, who more than any other, tried to keep 'funny' alive in TV animation.  I proposed the book to Classic Media and the Ward estate, who are tied together as Bullwinkle Studios; both were enthusiastically behind it.

This book won't be a history of the Jay Ward studio, Keith Scott's thorough examination of the Jay Ward studio, The Moose That Roared, has already covered that topic and covered it exceptionally well.  This is meant to be a visual encyclopedia of the art created by some of the industry's most talented designers and boarders within the context of TV animation's 'golden age'.  The reason I'm devoting space to on this blog is that although I've collected a lot of images for this book already, I'm asking any and all collectors of Jay Ward art for scans of their art for use in the book in order  to make it as complete as possible.  This call includes original storyboards, model sheets, layouts, cels, backgrounds, pitch art for unsold pilots, promotional art, ad art, the Bullwinkle comic strip and comics, etc.

I realize that much of the early Ward production work was done in Mexico making it extremely difficult to locate, if in fact it still exists.  However, more often than people realize, episodes, titles and bridges were animated in Hollywood and every so often, an artifact from those productions shows up.  If you're a collector of Jay Ward production art or know someone who is, please have them contact me here.  And if you know family members of artists who worked at Jay Ward, please send them my way.

To be clear, I'm not looking for scene cels, art that was manufactured for the retail market.  It's unclear as to whether or not General Mills or Quaker Oats will cooperate with this venture so for the time being, I'm focusing on the entertainment side of Jay Ward productions rather than their commercial productions like Cap'n Crunch or Quisp and Quake.  The book is scheduled to be published late next year.