Book cover illustrated & designed by Carlos Ramos
The latest from Frederator Books, Original Cartoon Title Cards, should be out soon. Eric Homan and I have chosen a subjective compilation of 200 of the title cards from our productions over the years, including some of the best from The Fairly OddParents,ChalkZone, My Life as a Teenage Robot, Wow! Wow! Wubbzy!, Ape Escape Cartoons,The Meth Minute 39, What A Cartoon!, Oh Yeah! Cartoons, Random! Cartoons, and the first season of Fanboy & Chum Chum and Adventure Time. You’ve probably seen some of them here or here, but I’ve got to say, seeing them printed large size (the book is 8 1/4″ wide by 6″ high), is pretty darn cool.
“Official” publication should be in January. But, we’re hopeful that we’ll be able to offer it early (maybe as soon as next week) to Frederator blog readers. Stay tuned here for more information as it comes. In the meantime, here’s a preview of the essay at the beginning of the book.
The unconsidered art of the cartoon title card.
I started searching the internet for someone who could write an essay to introduce this book of Frederator Studios’ cartoon title cards. Surely, someone with an writer’s eye had a few choice words to say about decades of cool graphic design.
There were several places where beautiful vintage cartoon cards are displayed, usually for filmographic or historical purposes. But, for all the pages devoted to critical analysis and display of another pop culture icon, the movie poster, there wasn’t a full paragraph of consideration I could turn up about the kind of art we’re displaying in this book.
Well, I’m no art historian, so they won’t be any scintillating examinations here. But, just let me point out that it might be worth checking out the dozens of talented artists and creators who have shared their work with us here. All sorts of styles are represented, from homage to the one and two color cards we saw in the silents, to sumptuous, nuanced illustrations that are hard to appreciate in the 10 seconds they’re usually displayed on television. Breadth of craft is also demonstrated here, from simple typography, pencil on paper, computer generated images, even paper cut outs.
Within minutes of ruminating about cartoons for the first time –professionally, that is; they probably started dominating my mind as soon as my parents got their first TV– there was no choice. The model for my productions needed to be the great shorts during the golden age of the early, mid-20th century: Looney Tunes, the Disney’s, the MGM’s, even the first TV shows of Hanna-Barbera. And there was no joking about the template. Our films would hew as close as possible to these classics from front to back. Studio logo, character name, episode name, seven minutes of squash & stretch hilarity, and “The End.” No deviations, please.
It took a few years to get anyone to agree that we could even make these kinds of cartoons (thank you kindly, Scott Sassa and Ted Turner). And, among the creative posse making the first 48 shorts there wasn’t one push back about the idea of the title cards, they loved everything cartoon. It helped that I was the president of the studio, but that really had nothing to do with it.
The talent we’d lined up were chomping at the bit to reintroduce –no, reinvent– the very idea of cartoons, since the production industry and the networks had almost completely abandoned the form almost 30 years before. Disney had long seemed embarrassed by their ‘cartoon’ roots, but even the 1980 revival of the famous Warner studio couldn’t admit their strength and named itself “Warner Bros. Animation.” Our team trained themselves in a business that had turned its back on their love, but they were undeterred. When we announced our complete dedication to the form, they lined up in force and embraced every aspect of our program, eventually creating a tidal wave of success that made cartoons the dominant form of animation throughout the 1990s and 2000s.
The networks were another story. It’s fair to say that we’ve had resistance to title cards for almost everyone one of the almost 20 series that have been sprung from our three shorts series of the last 15 years. It’s never the budget issues, which would have been my first arguments against them, if I’d been so inclined; it is not inexpensive to make between 50 and 150 of illustrative, finished artwork per season. No, unfortunately, there’s probably a failure of imagination. “Other series don’t do it.”
Cartoon title cards indeed seem to be an unconsidered art. Everywhere but here. Feast your eyes for as long as you might wish, I guarantee some gorgeous rewards.
New York, 2010