Synonyms for comicolor or Related words with comicolor

pufnstuf              yahooey              stripperella              zoboomafoo              gnipper              pelswick              fimbles              carrotblanca              beetlejuice              yappee              spaceballs              catdog              cartunes              animaniacs              zacherley              stiggs              yellowbeard              dripple              bravestarr              toopy              tuttu              hawky              shmenge              superdog              snorks              lidsville              tapeheads              robonic              trollkins              bearmiss              shadowmachine              comeek              hoobs              toonsylvania              spiderman              bellowpane              triptank              teevee              wordworld              megamind              gumby              napaloni              piggysam              impossibles              lympics              foofur              wabbit              tutenstein              terrytoons              noveltoons             



Examples of "comicolor"
All of the ComiColor cartoons are now available in the 2004 Region 2 ComiColor DVD set released by Mk2/Lobster in France. Many are available in Region 1, in particular on the Cartoons That Time Forgot series.
Ub Iwerks produced the animated adaptation, "Happy Days", released on September 30, 1936 as the last "ComiColor Cartoon" short.
An animated version of the story was produced in 1935 as part of Ub Iwerks' ComiColor series.
His multiplane camera was used in a number of the Iwerks Studio's "Willie Whopper" and "Comicolor" cartoons of the mid-1930s.
In the 1960s he started a long career on television. Together with a notable group of Uruguayan humorists (Eduardo D'Angelo, Enrique Almada, Julio Frade, Raimundo Soto), he was part of several successful humor programs: "Telecataplúm", "Jaujarana", "Hupumorpo", "Comicolor", "Híperhumor", "Decalegrón".
The Iwerks studio was only mildly successful, with cartoon series such as "Flip the Frog" and "Willie Whopper", released through Metro-Goldwyn-Mayer, and the "ComiColor" cartoons, released by Celebrity Pictures. The Iwerks studio closed in 1936.
In the 1960s he started a long career on television. Together with a notable group of Uruguayan humorists (Ricardo Espalter, Enrique Almada, Julio Frade, Raimundo Soto), he was part of several successful humor programs: "Telecataplúm" (1962), "Jaujarana" (1969-1972), "Hupumorpo" (1974-1977), "Comicolor" (1981-1984), "Híperhumor" (1984-1989), "Decalegrón" (1977-2002).
In the 1960s he started a long career on television. Together with a notable group of Uruguayan humorists (Ricardo Espalter, Eduardo D'Angelo, Enrique Almada, Raimundo Soto), he was part of several successful humor programs: "Telecataplúm" (1962), "Jaujarana" (1969-1972), "Comicolor" (1981-1984), "Híperhumor" (1984-1989), "Decalegrón" (1977-2002).
Between the 1960s and the late 1980s, there was an important influence of Uruguayan humorists. Ricardo Espalter, Enrique Almada, Raimundo Soto, Eduardo D'Angelo, Julio Frade, Berugo Carámbula, Henny Trayles and Gabriela Acher were active in many television programs, such as Jaujarana, Hupumorpo, Comicolor, Híperhumor.
The ComiColor Cartoon series was a series of 25 animated short subjects produced by the Ub Iwerks studio from 1933 to 1936. The series was the last produced by the studio; after losing distributor Metro-Goldwyn-Mayer in 1934, the Iwerks studio's senior company Celebrity Pictures (run by Pat Powers) had to distribute the films itself. The series was shot exclusively in Cinecolor.
A notable group of Uruguayan humorists developed their career on both countries, Argentina and Uruguay: Ricardo Espalter, Raimundo Soto, Eduardo D'Angelo, Julio Frade, Enrique Almada. During the 1960s, 1970s and 1980s they commuted frequently to record famous television comedies: "Jaujarana", "Hupumorpo", "Comicolor", "Híperhumor".
In the 1960s he started a long career on television. Together with a notable group of Uruguayan humorists (Eduardo D'Angelo, Ricardo Espalter, Julio Frade, Raimundo Soto), he was part of several successful humor programs: "Telecataplúm" (1962), "Jaujarana" (1969-1972), "Hupumorpo" (1974-1977), "Comicolor" (1980-1984), "Híperhumor" (1984-1989), "Decalegrón" (1977-2002).
Before 1945, Cinecolor was used almost exclusively for short films. From 1932 to 1935, Cinecolor was used in at least 22 cartoons -- including Fleischer Studios cartoons for Paramount, Hugh Harman and Rudolf Ising for MGM; and Ub Iwerks, whose Comicolor cartoons were released by independent distributor Pat Powers – the period when Walt Disney held an exclusive contract with Technicolor for the use of its three-strip process for animation. Among the best known animated short subjects series made in Cinecolor were Poor Cinderella, the first installment of Max Fleischer's "Color Classics" and Ub Iwerks' "ComiColor" cartoons, several 1930s and 1940s Warner Bros. "Looney Tunes", many of Famous Studios' late-1940s "Popeye the Sailor" cartoons, and Screen Gems' "Phantasies" from 1947 to 1949.
Most of the ComiColor entries were based upon popular fairy tales and other familiar stories, including "Jack and the Beanstalk", "Old Mother Hubbard", "The Bremen Town Musicians", and "The Headless Horseman". Grim Natwick, Al Eugster, and Shamus Culhane were among the series' lead animators/directors, and a number of the shorts were filmed using Iwerks' multiplane camera, which he built himself from the remains of a Chevrolet automobile.
Balloon Land, also known as The Pincushion Man, is a 1935 animated short film produced by Ub Iwerks as part of the ComiColor Cartoons series. The cartoon is about a place called Balloon Land, whose residents (including popular entertainment figures such as Laurel and Hardy and Charlie Chaplin) are made entirely out of balloons. The villain in the cartoon is the Pincushion Man, a character who walks around Balloon Land popping the inhabitants with pins.
Despite a contract with MGM to distribute his cartoons, and the introduction of a new character named “Flip the Frog”, and later “Willie Whopper”, the Iwerks Studio was never a major commercial success and failed to rival either Disney or Fleischer Studios. The Flip and Willie cartoons were later distributed on the home-movie market by Official Films in the 1940s. From 1933 to 1936, he produced a series of shorts (independently distributed, not part of the MGM deal) in Cinecolor, named "ComiColor Cartoons". The ComiColor series mostly focused on fairy tales with no continuing character or star. Later in the 1940s, this series would receive home-movie distribution by Castle Films. Cinecolor produced the 16 mm prints for Castle Films with red emulsion on one side and blue emulsion on the other. Later in the 1970s Blackhawk Films released these for home use, but this time using conventional Eastmancolor film stock. They are now in the public domain and are available on VHS and DVD. He also experimented with stop-motion animation in combination with the multiplane camera, and made a short called "The Toy Parade", which was never released in public. In 1936, backers withdrew financial support from the Iwerks Studio, and it folded soon after.
At first, Mickey was drawn by Disney's long-time partner and friend Ub Iwerks, who was also a technical innovator in cartoons, and drew an average of 600 drawings for Disney on a daily basis; Disney was responsible for the ideas in the cartoons, and Iwerks was responsible for bringing them to life. However, Iwerks left the Disney studio in 1930 to form his own company, which was financially backed by Celebrity Pictures owner Pat Powers. After his departure, Disney eventually found a number of different animators to replace Iwerks. Iwerks would produce three cartoon series during the 1930s: "Flip the Frog" and "Willie Whopper" for Metro-Goldwyn-Mayer, and the "ComiColor Cartoons" for Pat Powers' Celebrity Productions. However, none of these cartoons could come close to matching the success of Disney or Fleischer cartoons, and in 1933, MGM, Iwerks' cartoon distributor since 1930, ended distribution of his cartoons in favor of distributing Harman and Ising cartoons, and Iwerks left after his contract expired in 1934. After his stay with MGM, Iwerks' cartoons were distributed by Celebrity Pictures, and Iwerks would answer to Disney's use of Technicolor and create the Comicolor series, which aired cartoons in two-strip Cinecolor. However, by 1936, the Iwerks Studio began to experience financial setbacks and closed after Pat Powers withdrew financial aid to the studio. Iwerks returned to Disney in 1940, where he worked as the head of the "special effects development" division until his death in 1971.
Ub Iwerks planned to release the series in both color and black and white versions through Celebrity Productions, Inc. The series attracted public attention in England by being the first color sound cartoon series, in the two-color British Multicolor System. These shorts were exhibited in England in color, but not in the United States where they were made. After four shorts had been produced (Flying Fists, Puddle Pranks and Little Orphan Willie, also all in Multicolor) MGM picked up the series. They agreed to exhibit "Fiddlesticks" and "Flying Fists". "Little Orphan Willie" and "Puddle Pranks", were never copyrighted and remain in the public domain. MGM decided to produce the series entirely in black and white, releasing the ones produced in color in Black and White versions only. Some have speculated that "Techno-Cracked" (1933) may have been photographed in Cinecolor. The Cinecolor process was a new two-strip color process that came out in 1932, the year that to the two-strip Technicolor process was discontinued in favor of their new three-strip process. Iwerks would go on to make extensive use of Cinecolor with his ComiColor Cartoon series.
Eugster began his career in animation in 1925 where he worked at the Pat Sullivan studio. He helped create the series Felix the Cat and would blacken in the drawing of Felix. During his time working for the Pat Sullivan studio, he worked under Otto Messmer. Eugster attended Cooper Union at nighttime to study art while also working. Al Eugster then joined Fleischer Studios in 1929. Eugster would return to Fleischer in 1940. In 1932, Eugster went to work for Mintz. He worked with Preston Blair on many films, most notably, Krazy Kat cartoons. Just a year later, he went on to work for Ub lwerks where he co-animated several ComiColor shorts with Shamus Culhane. Eugster worked for Ub Iwerks until 1935, when he joined Walt Disney Animation Studios. His specialty while at Disney studio was the animation of Donald Duck as well as the works of Snow White. Eugster re-joined Fleischer in 1940 and stayed with them until 1943. He later joined the US Army. After his release from the Army, he joined Famous in 1945. Here he was the head animator and worked on a number of Screen Songs and Popeye cartoons until 1957. From 1957-1964, Eugster freelanced throughout New York working for various commercial studios. In 1964, he joined Paramount where he worked for Shamus Culhane and Ralph Bakski until the studio closed in 1967. The following year, he joined Kim and Gifford, where he began his longest stay at a single studio. In September 1987, Eugster retired from Kim and Gifford, ending his 62-year career.