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Recently, yesterday (08/20/2020 AD), I found this fantastically animated PC game, John & Ted Mathot’s Creature Crunch (1996), which features amazing artists like...

Dave Wasson (Star vs. the Forces of Evil, The Thing Which Lurked in the Tub, Beany & Cecil)

Carey Yost (The Powerpuff Girls, Uncle Grandpa)

Charlie Bean (The Powerpuff Girls, Samurai Jack, The Amazing World of Gumball)

Caesar Martinez (Sym-Bionic Titan)

Chris Savino (Samurai Jack, Grim & Evil/The Grim Adventures of Billy & Mandy, Johnny Test, Dexter’s Laboratory)

@henshincyborg (The Ren & Stimpy Show, The Powerpuff Girls)

Sherm Cohen (Suburban Daredevil, SpongeBob)

Marc Perry (Johnny Test, The Ren & Stimpy Show)

the late Tuck Tucker AKA Billy Bob Tucker (2 Stupid Dogs, SpongeBob, Drawn Together)

Shane Glines (Spümcø Comic Book, Batman: The Animated Series)

...you get the picture!

Timing Directors feature Don Judge, Tom Yasumi and Michel Lyman. The digital animation has some limits, but it’s much better than the animation that Cartoon Network Studios projects use these days (you know... tightly-animated “beanmouth” cartoons animated overseas in specifically Korea).

I found this from a now-deleted tweet by Justin M. Morgan from August 19, 2020 (shared in a quote tweet by one of my former mutual followers on Twitter/X). I can’t believe that I never knew about this game! I played Lamb Chops Loves Music, Jump Start Preschool/Kindergarten and The Worlds of Billy as a little kid, but this one never came into my sight until August 20th, 2020. The IMDb page for the game was in need of crediting the artists, so I updated that page--I was born to do it, and I did exactly that: I brought these great artists from my Cartoon Network childhood to the attention of people who love great animation/design and games, including obscure ones such as this.

Here’re the closing credits featuring a super talented, Western American/Canadian animation team for the T-rated 1996 point-and-click PC game.

Tweet version here (Carey Yost liked it!).

Watch the game here (unless you don’t want to spoil it)

Opening shot and main title of Auntie Edna (2018), written and directed by Ted Mathot

#Auntie Edna #opening shot #main title #Ted Mathot

This is a trailer for Ted Mathot’s book Rose & Isabel. The trailer was made to be shown at the San Diego comic con. Art by Ted Mathot, The rest by Me.

#rose and isabel #ted mathot

Train Robbery storyboards by Ted Mathot.

www.currentflavor.tumblr.com

#art #illustration #storyboard #ted mathot #western

[about portfolios] Obviously, the majority of the book should be storyboards. First and foremost I look for very good drawing skills and natural storytelling ability (what we call “story sense”). I can teach filmmaking and technical aspects of the job, but it’s very hard to teach story sense, which is an innate skill (but one that grows with a person’s experiences). After that I like to see an understanding of film language (cutting, staging, blocking, camera, etc), character performance (acting) as well as some knowledge of films and film history. Not to be underestimated is an insight into who the artist is — HOW he or she tells a story. I suggest including a least one sequence of boards that represent a story that was written or experienced by the artist. I can judge boards done for a TV show based on technical merits, but they don’t tell me much about who the artist is or what special personal qualities they would bring to the table. 20-25 pages of material is best. Portfolios on the web are good to have as reference, but I look at hard copies during reviews.

Ted Mathot (story supervisor at Pixar)

Another section from the same interview as below. Full interview here : -> http://crispy-ghee.tumblr.com/post/53864675086/interview-with-ted-mathot-pixar

#ted mathot #pixar #portfolio tips

Storyboards are generally too tightly framed. Pull back 10 or 20%. There is also a tendency for new storyboard artists to want to CUT to every new piece of information. Learn how to economize your filmmaking by combining shots, layering information in the frame and using camera moves (but always with a purpose). Don’t just watch films…STUDY them. Watch OLDER films (and these days by that I mean anything before 1980 - I’m always shocked when I meet young artists who have not seen JAWS or LAWRENCE OF ARABIA, THE GODFATHER, CITIZEN KANE, or TOUCH OF EVIL to name a few). Get the AFI 100 list and watch everything on it to start. Branch out from there. On the personal front, don’t be too aggressive or defensive and check your ego at the door (this doesn’t come up too much, but I have seen it). Be positive, open and engaging.