I posed this for the animator- wanted Guy with lots of frantic energy, and lots of camera movement following Guy around. By contrast, I wanted EB fairly static, only moving to get out of Guy’s way. We did several versions to get the timing and action right, as well as finessing the camera moves, keeping the camera naturally following Guy instead of anticipating his movement.
I got another picture book published! This one I did not write- the wonderful Jolie Curran is the author. She is passionate about math, and young kids learning how to properly add, so we got together and found an entertaining way to explain the basic rules of addition.
EB, being a typical teenager, is angry with Guy, who, trying to be a good father, refuses to let her see Looka. Working over the original animator’s roughs, I pushed EB’s poses, added punch to her final pose, more overlap to her ponytail, and varying the timing to make a stronger contrast between her and Guy.
Dealing with sudden parenthood, Guy becomes over-protective of EB, freaking her out. I wanted to push Guy’s nervous energy. This shot set the tone for subsequent shots, where EB’s mind is on her new boyfriend, and Guy feverishly cranks the cheesegrater, creating a 2-foot high pile.
I placed Guy’s hands and the cheesegrater on a separate level, steadily moving upward, while Guy’s body shakes energetically. Later shots followed this timing, as Guy waits for EB to say, “when.”
Looka’s hair is a key design element, which I used as part of his character. I reworked many shots, adding more overlap to his hair to accentuate or punctuate Looka’s attitude. In this shot, having been forbidden by his father to see EB, Looka angrily rebels.
I spent over three years on this show. In season 2 I worked on the odd-numbered episodes, as animation supervisor on episodes 1 and 3, and as animation director on episodes 5, 7 and 9. It was a wonderful opportunity to combine Disny-style full character animation with Warner Bros. Loony Tunes timing and Dr. Seuss zaniness. It’s a well-written show with wonderful art-direction and great voice actors.
I worked over animators’ drawings, making new poses or outright re-animating and timing their shots. I worked loosely, drawing fairly roughly, enough to guide the animators to rework and complete their shots.
Michellee acts as a decoy. distracting this new character from his duties of keeping an eye on Guy. My drawings in blue worked over the original animator’s roughs. I focused mainly on the other character. Michellee is mostly posed- no lip-sync, but the main timing is there.
I wanted more nervous energy from the screen right character, having him react more sharply to Michellee’s antics.