#joel veitch

[squideo]

How Crusha Crushed It with The Crusha Kittens Advert

In this series, Squideo has examined the best ways to turn advertising content into gold. Now that we’ve broken down the eight key ingredients, it’s time to dive deep into some examples of stellar advertising. This week, the advert in question was picked by Squideo’s Production Manager Callum Major.

When asked why this particular advert had become his favourite of all time, Callum said: “I remember the advert from when I was younger, when I’d see it on TV all the time. It’s so whacky and bizarre! It's so bad it's good!”

The Artistocrusha

Crusha is a brand of milkshake mix, which recently started selling desserts as part of its range. It may be a surprise that Crusha dates back to 1955, when it was managed by British Sugar. The branding that you may associate with Crusha didn’t come about, however, until late 2001 when it came under the control of a British Sugar subsidiary: Silver Spoon. British Sugar, which has been owned by Associated British Foods since 1991, effectively owns all the sugar produced in the United Kingdom.

Over the next two years, Silver Spoon worked to redevelop the Crusha brand in order to appeal to a new audience. This included a new logo and the adoption of cats as the brand mascot, despite most adult cats being lactose intolerant.

Crusha in Boots

In 2003, the first advert for the revitalised Crusha was released. The mastermind behind this eye-catching advert was Joel Veitch of RealGood, a web animator and singer-song writer, who has been responsible for several high-profile pieces of work including the 2012 animated television special Uncle Wormsley’s Christmas.

The advert is a story of mixed success. Later in 2003, the same year the advert was released, Crusha became involved in a scandal when it’s owners discovered that a batch of faulty Crusha milkshakes had gone out to retailers. Instead of notifying the retailer, Tesco, British Sugar decided to send workers into the store and buy as many of the 580 affected bottles as they could. Tesco realised what was happening and removed the stock, creating a negative press story that undid some of the advert’s impact.

To add insult to injury, the advert was eventually banned from British television by Ofcom in 2004 after several people attempted to recreate the advert with real cats. One man was ultimately arrested for the mistreatment of animals. That didn’t stop Crusha putting out an additional advert by Veitch in 2008, this time with the cats in a gym. Eventually the brand moved away from the visual style of Veitch’s work, but the cat has remained a feature in all their adverts; fully animated since 2014.

Veitch’s animations were so popular in the 2000s, that after Coca Cola recreated aspects of his work – for a 2007 advert that ran in Argentina – he launched a lawsuit against the company. They eventually reached a settlement. Coca Cola had used his band’s song Ninja in a video full of kittens. Not exactly a subtle rip-off.

The Crusha King

Compared to the technical complexities that went into creating Cadbury’s Gorilla advert, which we explored earlier in this series, the process for making the Crusha Kittens advert was relatively straightforward. After all, no one had to travel across the world to find the right gorilla costume. Crusha Kittens wasn’t a major production, so why does it have such a lasting legacy? The advert regularly makes the lists of iconic British adverts and the song lives in the memories of many early noughties children.

Mental Music

The last two adverts broken down in the Advert Alchemy series, Gorilla and The Little Duckling, used existing music in their videos. Crusha Kittens, however, features an original song. It’s a short song, only four lines total, yet it has the overwhelming power of an earworm – guaranteed to make you sing “I want some Crusha” for days on end.

Since the video opens with several cats holding instruments, including an accordion, music was essential to the plot. Since the advert is aimed at children – who will convince their parents to buy the product – the song also had to be simple enough for them to memorise and Veitch definitely delivered when he composed this doozy.

Cute Cat

Even if you’re too young to remember the early days of the internet, scrolling through any social media platform in this day and age will prove this to be true: kittens are always cute. The Crusha Kittens advert predates the cat memes that society has grown to love in the 2020s, but even in 2003 it was well known that children like animals, and cats are a type of animal.

While none of the animals in the video are emphasised for cuteness (in fact some people state the cows gave them nightmares), by adding anthropomorphic features like holding instruments and wearing hats, and singing in an unexpectedly deep voice, the creators of this advert definitely understood the audience they were targeting: kids.

Ancient Animation

In a world of apps that deliver top-quality and relatively inexpensive video production tools, the Crusha Kittens advert may seem terribly outdated. Like something that was mocked up on Photoshop and Microsoft Paint. But to audiences in 2003, that was the beauty of the advert.

Crusha Kittens ran during the 4pm to 6pm timeslot, most popular with advertisers targeting a child audience. In 2003, Crusha Kittens was typically airing between Capri Sun and Nickelodeon adverts. Their competitors were producing live-action or 2D animated videos. Crusha Kittens stood out because it didn’t use this format, and it made something that could be recreated by people at home.

Content Worth Gold

What do you think? What made Crusha Kittens so successful? Watch the full advert below and let us know in the comments.

Get in touch with the Squideo team today to find out how we can improve your advertising strategy with video production, motion graphics, social media management and much more!

[briviting]

puppy dawg

[existennialmemes]

Really gotta hand it to Joel Veitch for inventing one of earliest memes through Dark Magic and Man Made Horrors Beyond Our Comprehension

[radwolf76]

FLASHBack: Week 88 - Viking Kittens

On FLASHBack this week, we're going to be examining the work of one of the shapers of early internet culture, Joel Veitch, or as he was known on the B3TA Forums, Crab Bloke. Although it wasn't mentioned at the time, FLASHBack previously touched upon some of Veitch's work -- he collaborated with Weebl to write the first two episodes of Mr. Stabby. Today, however, I'd like to highlight what had to be the best use of Led Zeppelin's Immigrant Song, until that one scene from Thor: Ragnarok, anyway. On 27 September 2002, Joel posted Viking Kittens to his site RatherGood.com. Now you may notice that I haven't linked to the creator's own video conversion of the original Flash. That's because the audio has been copyright claimed, and rather than monetize it the audio has been muted out instead. It took some searching to find a YouTube source that hadn't been copyright mangled like this. While this may seem to be a case of a Transformative Use, Veitch would be operating under UK copyright law, where he would likely fail a minimal-maximal test under the 'Substantial Part' Doctrine by using the entire song. This would also not be the first animation of his to have legal issues: on one hand he's had to pull a Flash about Thomas the Tank Engine under threat of legal action from the show's creators, and on the other, he successfully settled a lawsuit with Coca-Cola over an advert that copied the content of one of his Flashes too closely. So if Veitch thought he could win a copyright fight over the use of the song he may just have made the attempt. As is, we'll have to be content with the copy of the Flash on Albino Blacksheep until the end of 2020, and whatever YouTube copies can stay off the copyright radar afterwards.   Veitch's Viking kittens would not be his only early foray into musical kittens animated in Flash, he also had Punk Kittens, Chilled Kittens, and Kittens singing Destiny's Child. He would later make a song observing that The Internet Is Made Of Cats, which while true, fails to make mention of the effect that his own singing kittens had as a cat-alyst for the rise of cat net domination. Two of his early Singing Kitten Flashes in particular though, would eventually lead to a phenomenon that Joel would become infamous for. Both Angry Kitten and Sweary Kittens would feature a kitten that was mostly bugged eyes and a lipless mouth of disturbing pointy teeth. Joel would reuse these design elements in the creation of his original characters, the spongmonkeys. These abominations would later go on to be used in one of the most WTF advertising campaigns of all time. While not primarily responsible for the decline of the franchise advertised, it certainly didn't help.   That wraps it up for now. Next time on FLASHBack, bring your blue hair dye, because it's about to get all Anime up in here.

[frederator-studios]

Meet Joel Veitch and David P. Shute, Creators of “Kid Arthur”

From the dawning of 2000 AD - when Adobe Systems first pulled Flash from the Software Stone - British animators Joel Veitch and David Shute have crafted absurd and iconic web comedy for their site, Rather Good. They are bricklayers of our Modern Age of Memes; but beyond builders, they are Wizards of the Web, gracing our desktops with such magic as the Spongmonkeys and Punk Kittens Play ‘Fell in Love With a Girl’ by the White Stripes, memes that thrived even in the dark ether of the pre-YouTube web. Frederator is honored to have aided in their maturity into long-form content, heralded by the release of their GO! Cartoon, “Kid Arthur,” which comes in at a whopping 5 minutes and 40 seconds long. Joel, David and I sat about a round table to discuss out-of-control saxophonists, dial-up modems, and wizard cats of great Magick.

So how did you each find your way into animation?

JV: We were both already in animation when we met, weren’t we David? DS: I was fairly newly graduated at the time. I studied animation at Uni - Southampton University - and was doing adverts for a while before I met Joel. JV: I started off more on the web comedy side, and drifted into animation when I began learning Flash in the early 2000s. I soon realized that my heart lay with that more than anything else. I made a couple of things that did alright and it became possible to do it for a living… so yeah, I kind of fell into animation by accident, but loved it once I’d discovered it.

How did you guys meet?

JV: I had an office, which I was sharing with some people, who were making a video which was never released. It was... all copies were ordered destroyed.(they start laughin’)  They were doing it for a client! Which turned out to be just so... completely insane. DS: It was a stop motion cartoon, and the idea was to parody something, but it was…. they gave… no I won’t say it, I won’t - (Joel is cracking up) They gave us the brief to be as offensive as possible with it. So me and another animator, we just went to town, made it. It was monstrous. It never got released, and that’s a very good thing. JV: I saw it through production and it blew my mind. Of course it never saw the light of day. But I was so completely overwhelmed by what I had witnessed being made that I asked David to come team up with me, and we’ve been a brothership ever since.

What did you guys first work on together?

JV: I still do a bit, but at the time I was doing a lot of comedy music. So we made a load of animated videos for the songs. For our own projects, that was kind of the bread and butter of what we collaborated on.

What did the comedy music entail?

JV: Well the not-full-band stuff we did as Rather Good; often just guitar and singing. But I'm also the singer of a 7 piece ska band called 7 Seconds Of Love, and we did live gigs, which was a lot of fun. We still gig, if the events are big enough—but it’s tougher now that some bandmates have moved from London.

Any legendary comedy music gig stories?

JV: If I had to choose one… it’d be the time Chaynsaw climbed the lighting rig.

We all have band names: I’m Stallion Explosion, The Bearslayer is bassist, Chaynsaw is the saxophonist, and so on. One night we were playing at quite a big venue in London; large stage, gallery seating, and there was a huge lighting rig that went all the way to the ceiling. During the song “Ninja”, Chaynsaw flipped out. He took a running jump and flew over the barriers and into the crowd, disappearing in a pile of flailing bodies. He ran through the crowd to the back and began climbing up the scaffolding of the lighting rig like some kind of crazed sax-wielding gibbon. Up and up all the way to the gods, as the crowd went crazy and we wondered whether we were about to witness his death. When he reached the gods, he climbed over onto the balcony and sprinted out of sight.  The crowd was going wild. They thought the stunt was part of the show but we had no idea what he was playing at. The song approached Chaynsaw's solo, with no sign of him. I assumed he had run off into the night, probably bellowing "CHAYNSAAAAAW!" and wielding his saxophone.  However, just at the exact moment his solo began, he came barrelling out from backstage at full speed, skidded to a halt at the front of the stage and blasted out a storming solo. The crowd went crazy: they thought it was the best bit of showmanship they’d ever seen. But it was a fluke. He'd just run headlong through random passages and stairwells backstage until he’d burst out on to the stage at the exact right moment.  It was a triumph. Nobody need ever know that it was a suicidally dangerous lunatic episode. My lips are sealed.

Yes, clearly. So Rather Good’s animations pre-date YouTube?

JV: Oh, pre-YouTube, yeah. You couldn’t really do video in those days because you didn’t have the bandwidth to do it, which was why Flash was so popular. You had to keep projects down to a couple of megabytes, very small files. Everyone was on dial-up modems.

(Rather Good’s highly educational vid about the history of the world wide web)

Wild. Was your goal to just have fun, or did you have an online audience in mind while making things?

JV: Historically they’ve been a way to entertain ourselves, at least primarily. On the basis that if you’re making something fun, that you enjoy making, then it’s more likely to be interesting and enjoyable out in the world. If you over-analyze it, you end up with something that doesn’t work very well; that’s how bad comedy gets written.

So what was it like, helping to build meme culture from the ground up… rewarding?

JV: Ha, yeah... it’s a fascinating and evolving world, isn’t it? And it’s changing so much and so fast it’s just… it’s almost difficult to put into words, the sheer magnitude of it. DS: You couldn’t really imagine this ecosystem now, 20 years ago. It would sound insane. JV: I mean, it wasn’t that long ago that the big hit was a mini track with a bunch of animated gifs of hamsters. DS: A 4 second loop of a CGI baby dancing... JV: God, and do you remember the crazy frog? DS: Oh God… yeah. JV: (laughing) It’s come a long way, and that’s a good thing. And it’s not just a technological thing is it, there’s really important stuff about the way that it’s opened up… I used to say “democratization of creativity,” which is a slightly overblown way of just saying it’s much easier for people to get stuff out in the world than it used to be. There was a system of gatekeepers in place that was very difficult to get past, until a little before YouTube. That system is bypassed now, it doesn’t really have the power anymore to dictate what makes it onto TV and hence into the popular consciousness. That’s now distributed out into the world. Which is good, although there’s a new dictator now, isn’t there? The algorithms. But that’s a different sort of thing.

(“We Like the Moon,” an ancient and powerful Rather Good meme. So revered that Quiznos used it to sell subs, in a commercial that you may, like me, vaguely remember as a fever dream from your adolescence)

Our strange new reality. Have you guys done much in the traditional kids space in the UK, with CBBC or CITV or others?

JV: We haven’t done much of anything in kids—most of what we’ve done for telly has been in the adult realm. One of our motivations for “Kid Arthur” and some other projects is getting to focus on character and narrative. Because for a long, long time, we’ve done short form - proper short form, often a minute or less long - and that’s fun, but you don’t get the opportunity to really develop character and story in those. It’s just gags. DS: That’s what’s been so fun about “Kid Arthur”: being able to actually build characters with a relationship between them, and have the space to explore that and the outer world.

So how did you guys come up with “Kid Arthur”?

JV: We’ve both always loved the Arthurian legends, fantasy worlds, Tolkien’s writing. It’s been a big part of our... cultural space, if you know what I mean? It feels like it’s been more ‘everywhere’ than ever in the last couple of years, since The Lord of the Rings, The Hobbit, and Game of Thrones and everything - everybody’s all about swords and dragons these days, which is fun. We’d talk about King Arthur and he’d pop up in conversation a lot, and we thought it’d be hilarious to put him and Mordred as kids in a modern day school. 

So is the rest of Arthur and Mordred’s world totally normal, and no one notices that these kids are summoning dragons and crazy shiz?

DS: Absolutely, they’re clueless. JV: It’s too out there for people to process. DS: I think they’re aware on some dim level, but their minds are totally unable to process or comprehend it.

(Poor, sweet, unknowing ‘Miss’)

When did you guys decide to pitch to Frederator, and what stage of development was “Kid Arthur” in?

DS: It was still pretty early on when we pitched it. JV: I met Carrie Miller in London a while ago now, at an animation event. And we talked about how we ought to pitch something to you guys. So we’d been thinking about what we could do with Frederator specifically, and “Kid Arthur” felt like the right fit.

Who do you each relate to the most between Mordred or Arthur?

DS: That’s pretty obvious isn’t it? I’m definitely Arthur. (note: David voices Arthur. Meanwhile, Joel is cracking up) JV: But this is the thing though isn’t it, part of the joy of the character, is that Arthur, he’s a kind of all-conquering heroic warrior, but he’s got Dave’s personality here, you know? He’s kinda like “Sighhhh… oh God. He’s trying to destroy me again, isn’t he”. DS: Yeaaah. JV: And I very much relate to Mordred. (Joel voices Mordred)

Oh gosh, really? How so?

JV: Well, he’s an extension of my own character to a certain extent. I’m not painting a very nice picture of myself there, am I? I mean, he’s not totally evil - he’d be gutted if he ever did destroy Arthur. That’s key to it, isn’t it? DS: Oh yeah. He’d be bereft. JV: Utterly bereft.

Have you guys been developing your ideas for a full series?

DS: We’ve talked about it quite a lot. JV: There’s a whole expanded world that we couldn’t really fit into a 5 minute short, and more characters: Guinevere - DS: Merlin - JV: Merlin as a cat! He’s the most powerful wizard in the universe. But he’s also a cat, so he tends to use his awesome power to do stuff like magic up fish heads. DS: He’s not a super intelligent cat, mind you, just a standard cat. With great magic. JV: And there’s all the knights of the round table, the witches, the Lady of the Lake. There’s this pre-existing structure from legend of all of these quests, and it’s all just ripe to be transplanted into a little town, where it exists slightly below the surface, manifesting in, you know, neighborhood parks and ponds. DS: We really love this idea that Arthur and Mordred’s battle is this ageless, epic struggle between good and evil. It’s been going on in some form or another for thousands of years, and will continue until the apocalypse. So the notion that there’s all these artifacts and characters from this enormous mythology in this modern town, largely unnoticed by everyone else—that’s exciting to us.

How has reading about Arthurian legend played a role in development?

DS: The great thing about Arthurian legend is that there are several classical texts, and they all contradict each other. Even the relationship between Arthur and Mordred shifts around quite a lot. So there’s so much within range that we can play with, and select whatever fits our world best. JV: We realized early on, that with other historical characters - say Henry VIII - there’s a very firm history of who they were, a definite character that you can research. But with these guys... you know, whether or not there was a genuine historical figure who was the genesis of these tales, when you really drill into it, it’s mystic. There’s nothing definite in this history to grab hold to - or be beholden to. The variation is part of the fun of the idea.

How do you guys usually divvy up your work?

DS: We write collaboratively; we get together and bash out words. I take the lead on the art side, things like character designs and boards. Joel more on things like sound and foley, and general managing of projects, and you know, talking to people. I’m far more happy when I’m kind of locked away and not having to talk with anyone. JV: He’s happy to not deal with actual humans.

Do you guys always pitch together, or David do you prefer to sit that out?

DS: We normally get together for that kind of thing. But Joel usually says about 20 words for my 1 word, which is fine with me. JV: We’re pretty evenly split today aren’t we David? DS: Yeah, not so bad.

What are your favorite cartoons?

JV: Battle of the Planets! DS: Yeah, we like the 80s cartoons: Ulysses 31 I really loved as a kid. It was absurdly bleak. A guy and his son drifting through deep space, encountering depressing, frightening worlds… the whole thing was a bit hopeless. Which 8 year old me really enjoyed. JV: There was a show called The Trap Door which was fantastic. Claymation show - I presume that it never aired in the states, which is a shame because it’s wonderful, truly wonderful. And Danger Mouse is a favorite, always great. DS: There’s a couple more grown up things, like Venture Bros. - JV: - Adventure Time! DS: Of course, yeah. JV: And there’s some proper adult animation being made at the moment which is lovely. We both love Archer. And Rick and Morty is obviously what it is, it’s incredible.

Any last thoughts to share with the Frederator audience?

JV: I’d just like to say how grateful we are to Frederator for helping us realize our vision for “Kid Arthur,” and exactly as we envisioned it. Working with a lot of studios can feel like you’re smashing through a brick wall with your face; and you come out of it with a product that isn’t really what you wanted to create in the first place. But “Kid Arthur” has been our baby, and we were paired with an incredible team of people to help us bring it to life. Just thinking about how much we learned from Larry (Huber, the director)... it’s incredible. It has been lovely working with Frederator. DS: Throughout the whole process, it’s been really nice. That’s so rare. JV: I wouldn’t even say rare, David! It’s unique. It’s absolutely unique. So we’re thankful.

Thanks for the great chat, Joel and David! I’ll be staying abreast of your Rather Good content - especially since I think a lot of it has been swimming around my subconscious mind for years. Excited to see what you guys do next! 

- Cooper

[fredfilmsblog]

FredFilms promises...

Creators first.

I've always believed that we owe you, our fans and now at FredFilms we all take it as gospel. We owe you our best work, of course. But beyond we examine everything about ourselves constantly, to assure ourselves and you that we’re trying to stay on the right track. To that end, whatever work I’ve done –whether it be in the music business, the network television business, and certainly, cartoons– has been done with making public promises that try and assure you that we’ll deliver.

To that end, I thought it would be good to print out a new set of our limited edition postcards to make the FredFilms promises completely clear. This one’s the first.

As throughout my entire cartoon career, and now at FredFilms, it’s been my  mission to let exceptional creators do their thing. We’re not in the business of micro-managing our creative talent. Instead, we seek out and nurture creators who have a story they need to tell and give them as much room as possible to tell it.. We go to festivals, art schools, comedy clubs, and explore the dustiest corners of the internet to find folks we know we have to work with.

We believe there are new stories to be told. 

We promise.

.....

It might seem extreme, but I thought it might be interesting to list all of the creators that have worked on my productions, starting in 1995 with What A Cartoon! at Hanna-Barbera and Cartoon Network in 1995. If you look at any of the 140 individual links (!) you’ll see that almost all of them have had estimable careers in cartoons or animation adjacent (comics, video games, VFX and the like). Some have created hit series with me, some without (sigh!) and some have become quite famous. One way or the other, they’ve all been amazing.

Raul Aguirre

Natasha Allegri

Robert Alvarez

Amy Anderson

Tex Avery

Ralph Bakshi

Joe  Barbera

Damien Barchowsky

Charlie Bean

Jerry Beck

D.R. Beitzel

Mike Bell

Tim Biskup

Bob Boyle

Chris “Spike” Brandt

Eric Bryan

Michelle Bryan

David Burd

Bill Burnett

Breehn Burns

Jaime Diaz

Angelo diNallo

Kyle A. Carrozza

Elyse Castro

Tony Cervone

Alison Cowles

David Cowles

Rick Delcarmen

Jeff DeGrandis

Andrew Dickman

John R. Dilworth

Davis Doi

Greg Eagles

Jerry Eisenberg

Warren Ellis

Greg Emison

John Eng

Jun Falkenstein

David Feiss

Eddie Fitzgerald

John Fountain  

Manny Galán

Dana Galin

James Giordano

Alan Goodman

Tom Gran

Mike Gray

Antoine Guilbaud

Bill Hanna

Meinert Hansen

Russ Harris

Butch Hartman

Andy Helm

Adam Henry

Bill Ho

Larry Huber  

Gabe Janisz  

George Johnson  

Don Jurwich

Kang yo-kong

Ken Kessel

Jiwook Kim

Alex Kirwan

Kevin Kolde

Grant Kolton

Erik Knutson

Dahveed Kolodny-Nagy

Diane Kredensor

Harvey Kurtzman  

Juris Lisovs

Seth MacFarlane

Steve Marmel

Miss Kelly Martin

Eugene Mattos

Craig McCracken

Jon McClenahan

John McIntyre

Harry McLaughlin

Dan Meth

Mike Milo

Zac Moncrief

Russell Mooney

Jesse Moynihan

Justin Moynihan

Adam Muto

Andre Nieves

Jeret Ochi

Joe Orrantia

Victor Ortado

Rory Panagotopulos

Paul Parducci

Van Partible

Lincoln Peirce

Jonni Phillips

Jason Plapp

Polygon Pictures

Bill Plympton

Carlos Ramos

Michael Rann

Russ Reiley

Christopher Reineman

Rob Renzetti

G. Brian Reynolds

John Reynolds

John Rice

Bill Riling

Mel Roach

Eric Robles

Mike Rosenthal

Jason Butler Rote

Jim Ryan

Fred Seibert

Seo jun-kyo

Don Shank

David Shute

Brent Sievers

Achiu So

Hamish Steele

Elizabeth Stonecypher

Jennifer Cho Suhr

Genndy Tartakovsky

Doug TenNapel

Aliki Theofilopoulos

Miles Thompson

Karl Toerge

Kate Tsang

Guy Vasilovich

Byron Vaughns

Joel Veitch

Pat Ventura

Anne Walker

Vincent Waller

Pendleton Ward

Dave Wasson

Mike Wellins

Melissa Wolfe

Martin Woolley

Jim Wyatt

Niki Yang

Carey Yost

.....

FredFilms Postcard Series 2.1

From the postcard back:

Congratulations! You are one of 75 people to receive this limited edition FredFilms postcard!

www.fredfilms.com

A FredFilms promise: Creators first.

FredFilms’ mission is to ‘put the right people in the room.’ By helping extraordinary creators we can produce innovative shows with enduring characters.

We know there a new stories to be told.

Executive producer: Fred Seibert

Series 2.1 [mailed out April 6, 2021]

[forkadelphia]

Hex remedy. - Ivo Dominguez Jr.

Hex remedy. – Ivo Dominguez Jr.

[wiccadelphia]

Hex remedy. - Ivo Dominguez Jr.

New Post has been published on https://wiccadelphia.com/?p=1539

Hex remedy. - Ivo Dominguez Jr.

Hex remedy.

Posted by Ivo Dominguez Jr. on Monday, July 20, 2020

[tet-asw]

Hex remedy. - Ivo Dominguez Jr.

https://tet-asw.org/2020/07/20/hex-remedy-ivo-dominguez-jr/

[frederator-studios]

The Frederator Interview Dodeckamechapost

Hello all!

In a year and 3 months at Frederator Studios, I’ve had an amazing opportunity: to speak with many successful people in animation about their love for their craft, their motivation getting into it, and the moves that made their careers. 50 of these conversations have made it onto paper (one into a video!), and now, I bequeath them to you in this Master’s Collection! Da dun! From the start, I’ve composed these interviews with a particular reader in mind. That is any of you following who dreams of working in animation, and becoming a part of the shows that you love. If that is you, then I hope these conversations will be a resource for you. Everyone’s path is different - that’s an overwhelming trend in these! - but if you wish to become a cartoonist, there IS a path open for you.

This also marks my last post to the Frederator Studios Tumblr. I’ll miss you all, and Frederator! But my path is taking me on to the next opportunity. It has been a gift to share this cartoon joy with you. Thank you for it. 

Without further ado: read, enjoy, and follow these amazing artists, writers, actors, animators, producers - creators! And if you are that dreamer I’ve kept in mind - take the advice you like, leave whatever you don’t, but no matter what, please: believe in yourself. And begin.

- Cooper Nelson ❀

~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~

Richard Armitage Actor, Trevor Belmont (Castlevania)

Nick Bachman Supervising Producer (Costume Quest)

Damien Barchowsky & Jeff Drake  Creators (Potty Horse)

DR Beitzel  Creator (The Bagheads)

Jack Bernhardt Writer (Bravest Warriors)

Michelle Bryan  Director (The Fairly Oddparents, The Bagheads)

James Callis Actor, Alucard (Castlevania)

Bryan Caselli co-Executive Producer / Storyboard Artist (Costume Quest)

Elyse Castro Creator (The Summoning)

Justin Chan  Artist / Animator (Veggiemancers)

David & Alison Cowles Creators (Boots)

Jane Crawford  Supervising Producer (Bravest Warriors)

Nick Cross Art Director/Animator (Over the Garden Wall, Yellow Cake)

Eva Cvijanovic Director (Hedgehog’s Home)

Sam & Adam Deats Directors (Castlevania)

Julian de Perio Background Artist (Costume Quest)

Grace Ellis Writer (Bravest Warriors, Moonstruck)

Dylan Glynn Director (Service Magique, Lost Daughter)

Mathieu Hains Creator / Animator (The Angry Little Cupcake / The Loud House)

James Hamilton Writer (Bravest Warriors)

Derek Iversen Writer (Spongebob Squarepants)

Garrett Jackson Animator / Office Manager

Gabe Janisz Creator (Tyler & Co.)

Sean Jara Creator (Mysticons)

Ali Kellner Creator / Animator (Nana / Bravest Warriors)

Grant Kolton Creator (City Dwellers)

Kate Leth Writer (Bravest Warriors, Hellcat!)

Juris Lisovs Creator (Both Brothers)

Anneliese Mak & “Stayin’ a Lava” crew Animators, Sheridan College

Amanda McCann Line Producer (Costume Quest)

Adetokumboh M’Cormack Actor, Isaac (Castlevania)

Graham McTavish Actor, Dracula (Castlevania)

Nata Metlukh Director (Fears)

Diane Obomsawin Director (I Like Girls, Kaspar)

Jonathan Ng Director (Requiem for Romance)

Ryan North Writer (Bravest Warriors, Squirrel Girl)

Rory Panagotopulos Creator (Thrashin’ USA)

Neil Parfitt Composer (Bravest Warriors)

Austen Payne Creator (One Hell of a Party)

Janet Perlman Director (Sorry Film Not Ready)

Jonni Philips Creator (Rachel and Her Grandfather Control the Island)

David Shute & Joel Veitch Creators (Kid Arthur)

Brent Sievers Creator (Nebulous)

Elise Simard Director (Opening Hours, Breakfast)

Jennifer Suhr & Kate Tsang  Creators (Welcome to Doozy)

Adrian Thatcher Director (Bravest Warriors)

Benjamin Townsend  Story Editor / co-EP (Bravest Warriors)

Steve Wolfhard  Writer / Board Artist (Bravest Warriors, Adventure Time)

Tiya “Addictiya” Zhong Creator (Lost, Stolen, Dropped)

[keycomicbooks]

#CyGor #1 (1999) #JoelThomas Cover & Pencils, #RickVeitch Story "Fire In Mind" Cy-Gor has visions from when Dr. Frederick Willheim created him. As he's being transported he becomes more uncomfortable. He breaks free of his holding unit.  https://www.amazon.com/dp/B08D4RBXSV

[scentedkryptoniteballoon]

Immigrant Song Led Zeppelin Led Zeppelin III - 1970 Viking Kittens set sailing by Joel Veitch