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Today I studied Chuck Jones and Ivo Caprino, and then I just mashed this together based on my memory of their art styles. Maybe the face is more Ivo Caprino than anything.
Category Artwork (Digital) / Animal related (non-anthro)
Species Vulpine (Other)
Size 1118 x 866px
File Size 211.2 kB
Listed in Folders
The grin is so obnoxiously Jones, but I love the fusion. Especially the whole fleshy face, this really would work in Caprinoesque or Trnkaesque stop motion (if you could keep that fur standing still!).
I once was a Jones disciple, then I remember Mike Sporn once wrote on his blog about those horrid Raggedy Ann films, something like "the last few films hovered over the "cute/corny/ugly" line, this jumped right over it." And that phrase encapsulates everything I sort of feel now about the sickly, arrogant Late Period of Chuck Jones, when he became afraid of contrast in proportions or in character. Sort of fascinating, still.
What I'm impressed by is how he managed to work around what should have been his biggest stumbling block - his inability to do anything with a character he couldn't conceive from the inside out, as Corny Cole (the guy who did everything interesting in animation design in the 60s and 70s) confirmed: "He's got all this storyboard in front of him; he's got a few of my drawings down, and he's got all these scribbles, scratched over. He's been on this thing for five weeks, and he can't do anything with it. He says, "I can't do this." I said, "What's wrong?" "This is not my Daffy Duck.""
So he got around it by... changing the personality of literally every character he came into contact with to suit his own thought processes. Sometimes for the better (his Daffy and Bugs during the late 40s, before they turned into professor vs. supervillain, were some of the most mature and subtle personalities I can think of until that time - and an improvement, too!); sometimes for the worse (His Tom and Jerry was cute in an ugly, blocky way, kind of treacly, kind of weightless, but the worst part is how incoherent their personalities and relationship became).
I once was a Jones disciple, then I remember Mike Sporn once wrote on his blog about those horrid Raggedy Ann films, something like "the last few films hovered over the "cute/corny/ugly" line, this jumped right over it." And that phrase encapsulates everything I sort of feel now about the sickly, arrogant Late Period of Chuck Jones, when he became afraid of contrast in proportions or in character. Sort of fascinating, still.
What I'm impressed by is how he managed to work around what should have been his biggest stumbling block - his inability to do anything with a character he couldn't conceive from the inside out, as Corny Cole (the guy who did everything interesting in animation design in the 60s and 70s) confirmed: "He's got all this storyboard in front of him; he's got a few of my drawings down, and he's got all these scribbles, scratched over. He's been on this thing for five weeks, and he can't do anything with it. He says, "I can't do this." I said, "What's wrong?" "This is not my Daffy Duck.""
So he got around it by... changing the personality of literally every character he came into contact with to suit his own thought processes. Sometimes for the better (his Daffy and Bugs during the late 40s, before they turned into professor vs. supervillain, were some of the most mature and subtle personalities I can think of until that time - and an improvement, too!); sometimes for the worse (His Tom and Jerry was cute in an ugly, blocky way, kind of treacly, kind of weightless, but the worst part is how incoherent their personalities and relationship became).
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