Well, I’ve been going ahead with the animation in Melvin McSchlopp. I’m not quite sure how to show the type of progress I’ve been making in a single image, but here’s an example of how I’m fleshing out the actions:
I want the animation to be wild and fun, but still kind of simple and not overly fluttery. I’m thinking of taking a closer look at some of Tex Avery’s latter-day efforts, like Deputy Droopy and Crazy Mixed-Up Pup, to try and achieve something like that animation style.
Also, I’m planning on creating a stop-motion character for the Columbus 911 project. I haven’t settled on a design yet, but I’ve been doing some sketching. My preference is for the thing with two faces, but I’ll have to think about it more:
I really like stop-motion that has a lot of squash and stretch in it, but it’s difficult to achieve since it requires so much replacement animation. It boggles the mind to see some of the stuff that was made in the 1940s by guys like George Pal and Frank Tashlin. I recently watched a very rare short Tashlin directed called The Lady Said No, which he made somewhere between his career at Warner Bros. (directing some of the most energetic and stylish cartoons of the wartime era) and his career as a live-action director (which resulted in comedy masterpieces like Son of Paleface and Will Success Spoil Rock Hunter?). The existing copy is terrible (only fragments of it remain in color), but the way he translated his hand-drawn animation style into stop-motion is wonderful:
I guess I should add that I made a stop-motion short for my Experimental Animation class last semester, where I tried to incorporate a bit of that sort of squash-and-stretch replacement animation in the bit where Gumshoe Gus dribbles the head: