Maurice Noble and the Art of the Pan: Rhythm -On the Chronicle Books Blog

This week Chronicle Books features a few concepts from the Noble Approach on their blog. In the post I expand on some of Maurice's ideas about the rhythm of pans that I lightly touched on in the book. (see pgs. 159-160 of the Noble Approach for reference.) 

Above: An example image about spacing from the article. Please go to the blog HERE to read more.

As with many of the other ideas introduced in Maurice's text I was only able to cover a few basic Noble concepts in 175 pages. I will expand on Maurice's thoughts about pans, and other subjects in future posts.

Supplement to pg. 160 of The Noble Approach.

AWN reviews "The Noble Approach."

Fred Patten of "The Animation World Network" gives a lovely review of The Noble Approach.

To read the article please go HERE.

Musician Billy "Keys" Benson enjoying his copy of "The Noble Approach" with friends in Northern California.

Pointers: Literal and Implied Guide Lines

Maurice often used different compositional tools to help guide the focus of the audience to a specific part of a picture plane. Most usually he would try to use background elements to support, and draw attention to a character. 

Here are a few examples of literal and implied guide lines. Literal lines (hi-lighted by solid arrows in these examples) are actual lines that point to a certain area of focus. Implied lines (here illustrated by dashed arrows) are created by elements that line up in the picture plane. The relationship between these elements help create a pointing device that support the position of the character. I've chosen examples where the Coyote is rather small. Movement of the character is key to attracting the eye. But without pointing devices, it would be easy for the character to get lost.

Implied lines are related to Gestalt reification and illusory contours. The basic idea being that the mind perceives an edge or line simply because of the placement and space relationships between objects.

Supplement to pg. 151 of The Noble Approach.

Maurice Pans 03

Example from "90 Day Wondering." (1956)

To make a pan more dynamic, Maurice would often use background elements to lead the eye to and from camera. The lines of these elements also often acted as the line of flow.

Supplement to pg. 159 of "The Noble Approach"

Download the entire cartoon HERE.

Maurice Pans 02: Spacing and Leaning Elements

From "90 Day Wondering." (1956)

One method Maurice used to help keep pans from strobing was leaning elements to cut across the picture plane. The faster the pan, the more he would lean the elements. Then, unless the story called for it, he would also make sure to make the spacing of those elements uneven. 

Supplement to Pg. 160 of The Noble Approach.

Pans 1: Lines of flow

To give the eye an easy path to follow, many pans will have one primary curving line of flow focusing on one main compositional element. A change in perspective will make the composition more dynamic.

The pan up this rock tower from Road Runner is a slow one... and Maurice is able to play a lot with the line of flow... having it cross back and forth across the screen as the camera moves north.

Many Pans will have both major and minor lines of flow. These all work to guide the eye, and add interest and texture to a pan.

Supplement to pg. 159 "The Noble Approach."

Cool and Warm Shadows

Maurice often combined cool shadows with warm light. (...as well as warm shadows with cool light.) He would push these contrasts depending on the needs of the story at hand. For example, a more dramatic moment, or a more satirical story would get a more "pushed" treatment. 

Above: Here are a few random examples from some of Maurice's film work showing how he combined light and shadow.

Supplement to pg. 100 of "The Noble Approach"

Duck! Rabbit, Duck! layout comparison

Layouts and final film images from "Duck! Rabbit, Duck!" (1953)  

-Maurice made a handful of color sketches (shown on pg. 136 of "The Noble Approach") for "Duck! Rabbit, Duck!" then drew very specific background layouts to guide painter Phil DeGuard. 

Supplement to pg. 136 of "The Noble Approach."

Simplifying Complex forms: Wrap and Overlap

-Many times Maurice used simple geometric shapes when simplifying trees. Often he created added interest by using overlapping and wrapping forms. Frequently accentuating these forms by using slight up or down camera angles. 

From "Much Ado About Nutting" (1953)

In simplifying trees Maurice said; "Use a simple basic shape (circle, square, etc.) as a rough guide. Then add leaves, branches, to give your tree a more natural feel... always try to show the object you are designing from various angles: front, side, and back... remember there are three dimensions. Even in a highly stylized film, you want your elements to sit in space. Use overlapping forms and lines that describe the form to give a sense of dimension."

Supplement to pg. 97 of The Noble Approach

Design Specifics 001

A pan from "Duck Dodgers in the 24½th Century." (1953)

More than any other designer at Warner Bros. Maurice tried to create environments that were unique to a character or story. Maurice could have simply designed "a planet"... but he didn't. Planet "X"' 's design functions more than just a backdrop. It supports and enhances the satire of the story. 

Supplement to Pg. 85 "The Noble Approach."

Book review from Cartoon Brew!

Amid Amidi at Cartoon Brew discusses "The Noble Approach." You can read his thoughts HERE!

A Personal Note:

In this review Amid discusses Robert J. McKinnon's biography of Maurice "Stepping Into the Picture: Cartoon Designer Maurice Noble." He calls the biography "a failure." I can't agree. To an animation fan expecting lots of art and technique I can see how the book might be disappointing. In fact McKinnon tried to fill the book with art, but was essentially frustrated by Warner Bros. This is a book about Maurice's life. To those of us that knew him it's a gem. I've read the book several times. and despite whatever faults it may have; it's the closest thing I have to the memories of sitting down with Maurice and listening to his stories. Stories that very well may have been lost to the ages without McKinnon's text. -tod

Book Review From Cartoon Research!

Chronicle books has sent out a few hard bound pre-view copies of "The Noble Approach" in the last week. Writer and animation historian Jerry Beck got his, and has made the first official review for the book. You can read it HERE.

Above: Maurice at work at MGM in the early 1960's. One of the images included in the review... and in "The Noble Approach."

Steal Wool Progression

A Maurice progression from "Steal Wool." (1957)

(top) A rough layout - Used as reference by the animator.

(center) A color sketch... used as reference for the background painter.

... And the final background painted by artist Phil DeGuard referencing Maurice's final pencil layout, as well as the color sketch.

This background was then tested under camera with a simple character cel set-up. The resulting film frames were reviewed by Maurice to see if everything was working. If you look closely you can see the grease pencil line Maurice made through the above rejected test. He made changes to the set-up and re-shot it. Once everything looked ok... he proceeded to design and test the rest of the film.

Simplifying Complex Forms 003

Above: A simplified pan from "Much Ado About Nutting." (1953)

-The "cloud method" is another way Maurice used to simplify tree shapes. He taught, "You can get a lot of  ideas for tree shapes and tree groupings by simply looking at clouds." 

Below: A few of Maurice's layouts from "Wild Over You" (1953) that have been broken down into simple shapes.

Supplement to page 97 of "The Noble Approach."

Simplifying Complex Forms 002

-In many his early compositions, and much of his own personal art Maurice used a more "naturalistic" approach to simplification. Though less stylized, he still still broke complex masses, such as trees and leaves, into simple design and pattern. He said; "Understanding growth patterns through observation is the first step to simplifying an object." 

Good examples of this can be found in design books such as "Line and Form"  (1900) by the brilliant English artist Walter Crane. 

Walter Crane wrote: "... we should want to dwell upon its typical character and form, the controlling lines of its masses, rather than its accidental aspects, because it would really be only with these that we could successfully deal in adapting anything in nature to the conditions and limitations of a design."

Supplement to pg. 97 of The Noble Approach 

Simplifying Complex Forms 001

-When breaking down complex forms, one method Maurice used was containing these forms in simple shapes. 

-In this Maurice concept sketch, he uses a large overall shape... then more simple shapes in the interior. This approach is common in Asian art... which of course was a huge influence on Maurice's personal style. A good example of this type of simplification is the Thai Kanok.

Supplement to pg. 97 in The Noble Approach.

Working Layouts 001

Maurice always tried to provide at least a rough working background layout for the animators. 

-Here is an example that shows a rough layout (far left), a final layout with color notes for background painter Phil DeGuard... and a final film frame.

A Noble Dream Fulfilled

Above: Mr. Noble at work in his home studio

Maurice had wanted to pass on his knowledge about animation design in book form for many years. Now with the help of many talented artists and friends, his dream is a reality.

"The Noble Approach" kindle version is now available for download HERE.

The hard bound copy of the book is available for pre-order HERE.