McMASTER Madeleine) “Jean”                                                                                      (Married Name Johnson)

 Left to right: Jean McMaster, Luke Bradley, Nancy Collins, Ron Leonard, Northern Secondary High School, circa 1941.

Born 31 January 1924 in Toronto.

She attended the Northern Vocational School (name changed to Northern Secondary High School) arts program which was initiated by Group of Seven member Arthur Lismer. She took a four year fine arts program designed to help students establish careers in commercial art. Luke Bradley (above) taught illustration. The school was located on Mount Pleasant Road in Toronto. She recollected that,

“… we were taught all the techniques of working with paint, drawing, perspective and so on, which I still have, but what I remember most are the personalities of the teachers, their commitment to their profession, their passion for their work and their teaching.”

She was hired by Anglo-American in 1942. She vaguely remembered that perhaps Anglo-American came to Northern Vocational School looking for students. She remembered that her teachers at Northern were horrified to hear that she was working for a comic book company. They thought “you were to draw shoes at Rapid Grip and Batten.” She worked exclusively on “Captain Marvel stories producing the layouts from the scripts that Anglo-American received from Fawcett. She roughed in the images in pencil, and sent them to Betty Mercer who did all the lettering, blurbs as well as BOOM panels in India ink. Betty returned them to Jean who inked her pencils with a no 2 sable brush. She kept Terry and the Pirates strips which were also drawn with a no. 2 brush for reference and inspiration. She later said that the most important technical achievement she developed from her experience of drawing five days a week with a no2 sable brush, was her facility with that tool.

While at Anglo-American Jean met Priscilla Hutchings, June Banfield, and Eva Davies (Koller). She met Betty when they were eight years old. She remained in contact with Betty and Eva after she left.

Jean also became good friends with Jean Townsend, and through this friendship we learn the details about the legend of Harold Town’s involvement with Anglo-American. Jean Townsend who was also working at Anglo-American was going out with Harold Town while both were attending the Ontario College of Art., Townsend suggested to Town that he get a summer job at Anglo-American. He did but his career was quite short as he was fired for “improving” on Captain Marvel.

About the three “bosses” she remembered very little. She remembered that Les Gilpin was the warmest and most supportive while Jack Calder was the most distant and “definitely the boss”. Her most vivid memory of them was that of buying liquor for them. Liquor was rationed during the war, and they used the employee’s ration tickets to get extra bottles.

In 1944 about two years after she began, Jean was fired. She was working in a position just in front of the offices of Calder, Furness and Gilpin which apparently had partitions largely made of glass. One day the three men were playing with and making crude jokes about some object that resembled male genitalia. She complained and was fired as a trouble maker.

After she left Anglo-American her employment was mostly administrative but she created a parallel hobby/career painting and illustrating flowers. First, she went to Job Placement (possibly a Federal government body) who sent her To the A.C. Nielson Company, a U.S. subsidiary that researched retail marketing. She became Supervisor of the Charting Department which traced product sales for companies like Campbell Soups, and Nabob Coffee.

In 1951, she married Charles (Chuck) Johnson, a Canadian mechanical engineer, and moved to Caracas Venezuela. Her marriage broke up and with her daughter she returned to Canada in 1961. For the next few years she worked in several jobs as office manager. Then in 1969 she was showing her botanical drawings at the Toronto Outdoor Show next to a young woman who was working at Art & Design Studios at 68 Merton Street. She told Jean they had a large lobby which they wanted to turn into an art gallery and were looking for someone to operate it. Would Jean be interested? Jean applied and worked at the Merton Gallery, as it was called, for three months as a volunteer. She was then hired as curator to work under director D. MacKay Houston, an artist who was a member of the Royal Canadian Academy of Arts and the Water Colour Society. .

The gallery’s mandate was to support and promote the work of emerging artists and crafts persons. The commissions were kept lower than usual and there was no obligation to make a profit. Jean began showing crafts for sale Christmas time. It was a first in Toronto. Many of these artists went on to establish themselves. Joanna Staniszkis and Tamara Jaworska were tapestry artists in Toronto when the practice was unknown. Both made a career of it. Tamara went on to teach at University of British Columbia.

In 1979, she left Merton and moved to the Harbourfront Centre where she worked as Coordinator of the Craft Studio. In 1991 she became Craft Projects Manager. In the same period, in 1994, 1998 and 2002, she taught “The History of Craft and Design. From 1995 to 2000 she taught “grant writing” and “marketing for the visual arts” and from 1995 to 2002 “The History of Botanical Drawing” both.at the Haliburton School of the Arts. She oversaw the conference “Exploring Contemporary Craft History Theory and Critical Writing” in 1999. The papers presented were published in September 2002 and later reprinted by Coach House Press.

In 2003 she moved to the position of Manager Special Crafts Initiative. In the Fall of 2004, the symposium “Curatorial Practice and Critical Writing” was organized in conjunction with the Craft Council of Denmark. It was part of a major exhibition of Denmark culture held at Harbourfront Centre. In February 2006, a symposium “Canadian Craft Pioneers Historic and Contemporary” was organized. This time the papers were published by the Canadian Museum of Civilization.

She retired in 2008.

As was said earlier she carried on a parallel hobby/career in botanical drawings and watercolours. A member of the Botanical Artists of Canada, her botanical drawings were exhibited at the Toronto Botanical Garden, the Aird Gallery, the Haliburton School of the Arts.

She was a member of the Board of Directors for the Textile Museum of Canada, Professional Art Dealers of Canada, and Ontario Crafts Council, President of the William Morris Society of Canada, a juror for exhibitions and awards including the Canada Council for the Arts, Ontario Arts Council, a curriculum advisor to Georgian College Jewellery Studio, the Sheridan College School of Craft and Design, and member of the programming committees of the William Morris Society of Canada and the Canadian Society of Decorative Arts.

She died in the Toronto General Hospital 27 May 2014.

In 1993 she was awarded the Order of Canada for her work with the crafts community. In 1994 she received the Mather Award & Honourary Life Membership on the Ontario Crafts Council.                                                                                                                  In 2000, She was honoured with a Doctor of Fine Arts, honoris causa from the Nova Scotia College of Art and Design.                                                                                       In 2001, she received an Honourary Fellowship from the Ontario College of Art and Design.

SOURCE:

Correspondence:

Email 20 July 2007, to Robert MacMillan from Jean Johnson.

Email 20 Sept. 2007, to Robert MacMillan from Jean Johnson.

Email 28 Sept. 2016, to Robert MacMillan, from Billy Neill grandson to Betty Mercer quoting his Mother, Mary J. Neill.

Email 13 April 2020 to Robert MacMillan from Mary J. Neill.

Email 1 May 2020 to Robert MacMillan from Mary J. Neill.

Interview:

A conversation between Jean McMaster, Robert MacMillan and Wayne Morgan at Harbourfront Centre on 5 December 2006.

Obituary:

“Madeleine ‘Jean’ Johnson – Toronto Ont., Humphrey Funeral Home A. W. Miles-Newbigging Chapel Limited, 2014.

GALLERY:

                                    Rose Hips from a greeting card created by Jean McMaster 2006.

I cannot be absolutely sure the “Captain Marvel” Below is the work of Jean McMaster. I can only say that these were done during the time of her employment at Anglo-American, and that she was responsible for “Captain Marvel”.

 Captain Marvel Comics, 2-5, May 1943, Front cover.

 Captain Marvel Comics, 2-9, Sept. 1943: 30

 Captain Marvel Comics, Aug. 1943: 50 Captain Marvel Comics, Sept. 1943: 35

 This watercolour by Jean McMaster was done while she was visiting Betty Mercer (Atkinson). The window was in the bedroom of Mary J. Atkinson (Neill) the daughter of Betty.

McLEOD Cinders

Born in Toronto.

Graduated with degrees in art plus television and filmmaking. She spent 10 years writing and cartooning for British newspapers. She created the cartoon character “Broomie Law” which appeared in a book.

She returned to Canada and produced cartoons for the Globe and Mail during 2001 and 2002 while Anthony Jenkins was on sabbatical.

WORK:

CARTOONIST:

BOOK GRAPHIC ANTHOLOGY:

Content cartoon editorial:

Portfoolio 18: The Year’s Best Canadian Editorial Cartoons. Ed., Guy Badeaux. Writ., Scott Feschuk. McClelland & Stewart Ltd., 2002

Portfoolio 19: The Year’s Best Canadian Editorial Cartoons. Ed., & Writ., Guy Badeaux. McArthur & Co. 2003.

SOURCE:

Article book:

Portfoolio 18: The Year’s Best Canadian Editorial Cartoons. 2002: “Cinders McLeod”: 155.

GALLERY:

 Portfoolio 19: 155.

McLEOD Kagan

Graduated from the illustration program in Sheridan College in 1999, he began work with the National Post [Toronto]. He lives in Toronto (2012) with his wife and two daughters.

WORK:

ILLUSTRATOR:

BOOK GRAPHIC:

Content novel & Cover book front & back:

Kaptara, v. 1: Fear Not Tiny Alien. Writ., Steve Murray (Chip Zdarsky) . Image Comics, Dec., 2015.

Cover book front:

Kill Shakespeare: A Sea of Troubles. IDW Publishing, November 2010.

Kill Shakespeare: The Blast of War. IDW Publishing, October 2011.

PERIODICAL GRAPHIC;

Content portrait:

Kill Shakespeare: v. 1 A Sea of Troubles. IDW Publishing, Nov. 2010: “Bonus Gallery”: A selection of covers 1,2A, 3,4,5,6 at back of book.

Kill Shakespeare: v. 2, The Blast of War. IDW Publishing, Oct. 2011: “Bonus Gallery”: A selection of periodical covers 7,8,9,10,11A,12A, at back of book.

Cover front:

Kill Shakespeare, 2A. May 2010.

Kill Shakespeare, 3. July 2010.

Kill Shakespeare, 4. Aug. 2010.

NEWSPAPER:

Journalism text:

Globe & Mail, 22 July, 2017: “Valley of the bros.” Writ., Tamsin McMahon: F1, F4-5.

Story graphic:

Toronto Star, 8 April 2017: “The Tangled Roots Of Our Vimy Oak”: Writ., Jim Coyle. A1, IN4-IN7.

GALLERY:

Kill Shakespeare: v. 1, A Sea of Troubles. 2010.

Kill Shakespeare: v. 2, The Blast of War. 2011

Kill Shakespeare, 4. Aug. 2010: Front cover.

McLEOD J.R.

See CLIP THOMSON & TUB

 

McLAREN Norman

                      McLaren: 16.

“Animation is not the art of drawings that move, but the art of movements that are drawn.”

“I have tried to preserve in my relationship to the film the same closeness and intimacy that exists between a painter and his canvas.”                                            “Norman McLaren quotes.” Brainy Quotes. Web. Accessed 10 August 2016.

Here at least is something new in the art of drawing.”                                                  Praise from Pablo Picasso after seeing McLaren’s work. McLaren: 17.

Born 11 April 1914 in Stirling Scotland.

At eighteen years he began studying art and set design at Glasgow School of Art. He graduated with a degree in Interior Design. In 1934, he joined the Glasgow Film Society, and came to think of film as an art form. He developed the exacting technique of drawing directly on film thus eliminating the expense of needing a camera.

In 1935, he entered Camera Makes Whoopee in the Glasgow Amateur Film Festival. The one man jury, John Grierson the famous British documentary film-maker, judged the film bad but seeing McLaren’s potential gave him a prize and hired him to work for London’s General Post Office film department. In 1936, he was given a leave of absence to travel to the Spanish Civil War were he acted as cameraman for director Ivor Montagu’s film of the siege of Madrid. Back at the General Post Office, under Brazilian avant-garde director Alberto Cavalcanti, McLaren made his first animated film Love On The Wing.

In October 1939, he arrived in New York as a landed immigrant. After several months he got a job producing industrial and public relations films. In his spare time he made short abstract films. He drew both the visuals and the sounds on clear 35 mm film stock. These were purchased by the then named Guggenheim Museum of Non-objective Painting.

In 1941, Grierson, who founded the National Film Board, and was appointed the first Government Film Commissioner wanted McLaren to come to Canada to work for him. McLaren told Grierson that he was in the midst of directing a film and couldn’t leave and besides he didn’t want to make hard-sell war propaganda films. Grierson assured him that he would be free to make cinema on his own terms, and through diplomatic channels pressured McLaren’s employers to release him from his commitments, shortly after McLaren was in Canada working for Grierson.

After a short stint making a succession of films using his drawing-on-film technique, of which Early Mail (1941) was the first such animated film in Canada, McLaren was assigned to establish an animation unit in late 1942. Over the next fourteen months he hired and trained future N. F. B. animators.

Returning to animation in 1944, he produced C’est l’aviron and Là-haut sur ces montagnes for the Chantes Populaires series. In 1949, McLaren with Evelyn Lambert, using Oscar Peterson’s music, created Begone Dull Care innovating the technique of painting lengthwise on film stock. Pablo Picasso saw the film and cried “Here at least is something new in the art of drawing.”

In 1949, he went to China to take part in an UNESCO project on fundamental education. He taught animation and filmstrip techniques to Chinese artists so that they could use them to teach rural populations health and sanitation. As he was teaching in the area, the Communist Army moved in and took control.

On his return to Canada, he created two 3D films, Now Is The Time and Around Is Around for the 1952 Festival of Britain. These films were an extension of his hobby of making stereoscopic drawings and paintings. The following year in 1952, he turned his attention stop motion or pixilation animation and  produced Neighbours a film featuring  live actors. It won an Oscar. On hearing the news he said:’ Thanks but who is Oscar?’

By this time he was in India on another UNESCO fundamental education project. While there McLaren’s health suffered and on his return to Canada it deteriorated further until he was hospitalized with severe rheumatic fever which permanently damaged his heart. However, he was able to finish Blinkity Blank, in 1955. For this film, he won the Palme d’or at Cannes.

In 1956, he and the N.F.B. staff moved to their new headquarters in Montréal. State honours, awards at various film festivals, invitations to visit film and other institutes, interviews, and his continuing poor health, cut into McLaren’s film productivity, in spite of the ways he sought ways to reduce celebrity commitments. He did, however, continue to produce a steady stream of films.

In the late 1960’s he returned to his experiments in human movement that he had begun in Neighbours and A Chairy Tale back in the 1950’s. According to Guy Glover, “His elaboration of ‘live action’ through control of camera speeds and through intricate optical printing processes was pushed far in Pas de deux (1967) and even farther in Narcissus ….”

In 1975, he received the Anni Award of the International Animated Film Society

He died of a heart attack, 27 January 1987 in Montréal. By that time he had produced 59 films and won about 200 international awards. Three close collaborators with many of these films were composer Maurice Blackburn and animators Grant Munroe and especially Evelyn Lambart all of whom developed distinct careers of their own.

“For all but two of his 45 years as a professional filmmaker, Norman McLaren ha[d] remained as a civil servant. John Grierson’s 1941 offer on behalf of the Government of Canada – ‘Come and you will see that you can make cinema as you understand it’ – turned out to be as much a prophesy as a well-kept promise.” (Glover)

In 2018, Frame By Frame a ballet based on the life and work of Norman McLaren was created by Robert Lepage playwright, director, actor and filmmaker and Guillaume Côté, , choreographer, musician, composer and principal dancer and Choreographic Associate of the National Ballet of Canada. It was a collaboration between the National Ballet of Canada, Ex-Machiuna Lepage’s multidisciplinary production company and the National Film Board. It ran June 1-10, 2018.

WORK:

ANIMATOR:

FILM:

Scotland:

Untitled, 1933, 3 min., hand painted abstraction on clear film.

Seven Till Five, 1933, 10 min., live action, won 1^st Prize in the 2^nd Amateur Film Festival in Glasgow (1934).

Camera Makes Whoopee, 1935, 15 min., mixed techniques: animation, live action optical effects.

Polychrome Fantasy, 1935, 2 min., special effects.

Five Untitled Shorts, 1935, 5 min., each, McLaren’s first commissioned work.

Colour Cocktail, 1935, 5 min.,mixed techniques, instrumental in McLaren getting his first professional job.

Hell Unlimited, 1936, 15 min., anti-war film, mixed techniques: puppets, diagrams, animation, live action.

London, England:

Book Bargain, 1937, 10 min., documentary on production of the London telephone directory.

News for the Navy, 1937-38. 10 min., how a letter from home reaches a sailor on duty in foreign waters.

Mony a Pickle, 1937-38, 10 min., produced by several director. McLaren’s 2 minute sequence combined live photography and animation.

Love on the Wing, 1938, 5 min., 30 sec., continually metamorphosing symbols drawn directly on 35mm film stock.

The Obedient Flame, 1939, 20 min., a film using live action and animation.

New York, U.S.A.:

NBC Greeting, 1939, 30 sec., drawn directly on 35mm film, and set to “stock” music.

Allegro, 1939, 2 min., abstract visual and sound elements drawn and printed directly on clear 35 mm film.

Stars & Stripes, 1940, 2 min., 53 sec., a fantasia on the U.S.A. flag using Sousa’s music of the same title.

Dots, 1940, 2 min., 23 sec., abstract visuals and sounds both drawn in india ink on 35mm film. Awards, Rome and Toronto.

Loops, 1940, 2 min., 43 sec., abstract visuals and sound track both drawn in india ink on 35mm film. Awards, Rome, Salerno, Toronto.

Boogle Doodle, 1940, 3 min., 23 sec., hot jazz boogie played by pianist Albert Ammons with semi abstract visuals drawn directly on 35mm film.

National Film Board, Ottawa:

Mail Early, 1941, 2 min., publicity clip for Canada Post. Non abstract symbols drawn on clear 35mm film, superimposed on photographed painted background with sound provided by Benny Goodman’s “Jingle Bells”.

V for Victory, 1941, 2 min., matchstick figure symbols and lettering drawn on clear 35mm film to synchronize with bass band rendition of Sousa’s march “The Thunderer”.

Five for Four, 1942, 4 min., wartime Savings promotion. Symbolic figures drawn directly on 35mm film move and dance against simple painted background. Music “Pinetop Boogie” by Albert Ammons.

Hen Hop, 1942, 3 min., 17 sec., victory Bond promotion, A visual interpretation of Canadian barn dance music, drawn directly on 35mm film with colour added later. Award, Brussels.

Dollar Dance, 1943, 5 min., 30 sec., publicity trailer for wartime inflation and price controls. Direct drawing on 35mm film. Sound track consists of rhymed verses spoken to an orchestral accompaniment composed by Louis Applebaum.

Alouette, 1944, 3 min., co-animated with René Jodoin. Single frame animation of paper cutouts was used. This was number 1 of a sing-along series “Let’s All Sing Together”.

Keep Your Mouth Shut, 1944, 3 min. wartime anti-gossip promotion. A human skull is animated to speak an ironic message.

C’est l’aviron, 1944, 3 min., white gouche drawings on black card photographed with overlapping zooms to suggest forward movement of a canoe. Part of “Chants populaires” series.

Là-haut sur ces montages, 1945, 3 min., monochrome pastel drawings metamorphosed under an Animation camera. Also part of “Chants populaires” series.

A Little Phantasy on a 19^th Century Painting, 1946, 3 min., 37 sec., variations on Arnold Boecklin’s painting “Isle of the Dead. Monochrome pastel addition technique was used to introduce transformations of Boecklin’s spectral images. Award, Salerno.

Hoppity Pop, 1946, 3 min., 17 sec., linear configurations drawn directly on 35mm film and animated frame by frame to synchronize with circus calliope music.

Fiddle-de-dee, 1947, 3 min., 22 sec., drawn, painted and scratched on 35mm film to mimic the music of Gatineau valley fiddler Eugène Desormaux. Five awards including Brussels and Rome.

La Poulette grise, 1947, 5 min., 32 sec., coloured pastel drawings illustrating phrases of a French lullaby Metamorphose in a continuous chain of mixes made in the camera. Melody sung by Anna Malenfant of Montréal.

A Phantasy, 1948, 1953, 7 min., 15 sec., began in 1948 as “Chalk River Ballet” redesigned and completed in 1953. Painted cutouts were animated and superimposed on metamorphosing coloured paste. Backgrounds. Music both live and animated composed by Maurice Blackburn. Awards, Boston, Toronto, Venice.

Begone Dull Care, 1949, 7 min., 48 sec., an interpretation by Norman McLaren and Evelyn Lambart of three contrasting jazz pieces composed by Oscar Peterson and played by the Oscar Peterson Trio. Seven awards including Berlin, Venice.

Now Is The Time, 1950-1951, 3 min., one of two 3-D film commissioned by the British Film Institute for the Festival of Britain. Stereoscopy was achieved by photographing and drawing two visuals, one for each eye. The hand drawn sound was composed and drawn on two separate bands for stereoscopic playing.

Around Is Around, 1950-1951, 10 min., the second 3-D film produced for the Festival of Britain. Music by Louis Applebaum.

Neighbours, 1952, 8 min., 10 sec., techniques used to animate drawings or puppets were used to animate live actors. It is sometimes called pixilation. Sound also animated. Story of two neighbours who kill each other and their families over desire to possess a flower. Eight awards including Hollywood, Oscar, Rome.

Two Bagatelles, 1952, 2 min., 22 sec., two studies using pixilation. “On the Lawn” actor Munroe does a pixilated waltz to McLaren’s synthetic music. “In the Backyard” is a fast march to a calliope.

Blinkity Blank, 1955, 5 min., 15 sec., an experiment that made use of intermittent animation and spasmodic imagery to play with persistent of vision and after vision in the retina of the eye. The visuals were engraved and coloured on black 35mm film. The music was by Maurice Blackburn. Twelve awards including, Berlin, British Film Academy, Cannes, Edinburgh.

National Film Board Montréal:

Rythmetic, 1956, 8 min., 35 sec., co-produced by McLaren and Evelyn Lambert the animated exploration of the simple rules of arithmetic uses white paper cutouts on a black background. McLaren engraved the sound directly on the film. Ten awards including British Film Academy, Edinburgh.

A Chairy Tale, 1957, 9 min., 30 sec., Live action conflict between chair and McLaren employing some pixilation. Ravi Shankar Indian sitar player composed music for film. Six awards including British Film Academy.

Le Merle, 1958, 4 min., 7 sec., Single frame animation of white cutouts optically superimposed on coloured backgrounds. A stylized bird dances to a Francophone Canadian nonsense folk song. Five awards including Brussels, Locarno, New York.

Short and Suite, 1959, 4 min., 47 sec., scratched, engraved, and drawn shapes translate the jazz music. Written for the Eldon Rathburn emsemble. Awards, Bergamo, Venice.

Serenal, 1959, 4 min., engraved a strip of 16 opaque mm film with patterns that mirror the rhythms of a west Indian steel band. Awards, Bergamo, Bilbao, San Sebastion.

Mail Early For Christmas, 1959, 40 sec., engraved on black film. Music by Eldon Rathburn.

Jack Parr Credit Titles, 1959, 30 sec., Sound animated by McLaren.

Lines Vertical, 1960, 5 min., 50 sec., co-animated with Evelyn Lambert. Engraved lines vertical on black 35 mm film. Background colour added optically. Music composed and played by Maurice Blackburn. Awards Edinburgh, Venice.

Opening Speech, 1960, 6 min., 33 sec., made for opening of the 1961 Montreal International Film Festival, it animates both objects and actor (McLaren). Award, London.

New York Lightboard, 1961, 8 min., Tourism publicity clip projected in Times Square, New York, on a large sign board composed of thousands of light bulbs activated by film images. Paper cutouts were used for single frame animation of linear symbols.

New York Lightboard Record, 1961, 8 min., a film recording the reaction of New Yorkers watching the New York Lightboard clip.

Lines Horizontal, 1961, 5 min., 58 sec., each frame of Lines Vertical was turned on its side by special optical process and colour was added by filters in an optical printer. Music by Pete Seeger.

Canon, 1964, 9 min., 13 sec., a visual and musical demonstration of the canon, a type of music. Included live action photography of actor Grant Munroe. Five awards, including Canadian Film Award, Melbourne.

Mosaic, 1965, 5 min., 27 sec., Lines Vertical and Lines Horizontal were combined to create patterns of small squares which became Mosaic. The rhythmic sound track was produced by single frame engraving on black film stock. Awards, Buenos Aires, Melbourne, New York, Vancouver.

Pas de deux, 1967, 13 min., 22 sec., special effects filming of two dancers. Sixteen awards including American Film Festival, British Film Award, Canadian Film Award.

Spheres, 1969, 7 min., 28 sec., Single-frame animation of cutout spheres superimposed on coloured backgrounds create an abstract complex dance. Award Argentina.

Synchromy, 1971, 7 min., 27 sec., an animated sound composition. “What you see is what you hear.” Eight awards including Barcelona, Melbourne, San Francisco.

Ballet Adagio, 1972, 9 min., 59 sec., slow motion conventional film photography recorded a pas de deux danced by Anna Marie and David Holmes. Designed to reveal the technique and mechanics of adagio movements. Awards Atlanta, Columbus, Melbourne.

Pinscreen, 1973, 38 min, 44 sec., documentary film showing the installation of the latest model of Alexeieff’s pin-screen purchased by N.F.B.

Animated Motion Parts 1 to 5, 1976 to 1978, each ranging from 7 to 10 min., a series of five study films In which McLaren comments on, demonstrates, and classifies aspects of motion which the animator employs in his work. Award, Athens.

Narissus, 1981, a film ballet retelling the ancient Greek legend.

MERCHANDISE:

DVD:

Norman McLaren: Selected Films. National Film Board of Canada, 2002.

ILLUSTRATOR:

BOOK GRAPHIC COLLECTION:

Content drawings & Cover dust jacket front & back:

The drawings/les dessins de Norman McLaren. Introduction by Norman McLaren. Tundra Books, 1975.

AWARD:

Oscar,

1952: Neighbours, 8 min., 10 sec.

SOURCE:

Book:

The Film Work of Norman McLaren. Writ., Terence Dobson. John Libbey Publishing, 2006.

McLaren. Writ., Guy Glover. National Film Board of Canada. no date.

Norman McLaren: Manipulator of Movement, The National Film Board Years 1947 – 1967. Writ., T. Richard Valliere. Associated University Presses Inc., 1982..

Article book:

The drawings/les dessins de Norman McLaren. Tundra Books, 1975: “Biography, Filmography, Awards”: 183-191..

Take One’s Essential Guide to Canadian Film. Ed., Wyndham Lewis. University of Toronto Press, 2001: “McLaren, Norman: 142.

a handbook of Canadian film. Writ., Eleanor Beattie. Peter Martin Associates           Ltd/Take One, 1973: “Norman McLaren”: 169-172.

Article periodical:

Maclean’s, 9 Feb. 1987: “A pioneer of animation.” Writ., Pamela Young: 50.

Shift, July 1997: “The Great Animation Conspiracy”: 42.

Tamarack Review, Autumn 1957: “Norman McLaren.” Writ., Germaine Warkentin: 42-53..

Advertisement newspaper:

 Globe & Mail, 26 May 2018: “Frame By Frame: R5.

 Globe & Mail, 2 June 2018: “Frame By Frame:, R2, R5.

Article newspaper:

The Spectator [Hamilton], 20 Sept. 1986: “Weekend Now: An Animation Primer”. Writ., W. Hemsworth: C1.

DVD:

Norman McLaren: Creative Process. Dir. Donald McWilliams. National Film Board of Canada, 2002.

GALLERY:

                          From dust jacket of The drawings/les dessins de Norman McLaren. 1975.

 

McLAREN Maud

Her work was characterized by sympathetic drawings of children. It appeared in the Canadian Magazine, Canadian Home Journal and Every-woman’s World.

SOURCE:

Article periodical:

Canadian Bookman, Jan. 1919: “Some Canadian Illustrators. “ Writ., St. George Burgoyne:  24.

McLAREN John (Jack) Wilson

                                            Photo by Yousf Karsh, Let’s All Hate Toronto, Oct. 1956: Dust jacket.

Born 11 August 1896 in Edinburgh Scotland. Immigrated to Canada in 1908.

During World War 1, he was a performer, satirist and playwright for the Princess Patricia’s Canadian Light Infantry Comedy Company. He was later transferred to the Dumbells Canadian Army entertainment group and continued with them in their post war performances.

Member of the Ontario Society of Artists and the Toronto Arts and Letters Club.

Died 12 April 1988 in London Ontario.

A play about his life, The Life That Jack Built by David Fox was produced at Blyth Festival Theatre in1980.

WORK:

CARICATURIST:

FOLIO:

Our Great Ones: Twelve Caricatures Cut In Linoleum By Jack McLaren, With Footnotes By Merrill Denison And Forward By E.J. Pratt. Ryerson Press, 1932.

CARTOONIST:

PERIODICAL TEXT & GRAPHIC ANTHOLOGY:

Content panel cartoon:

Goblin, IV-9, March 1924: 17 (full page).

Goblin, V-1, July 1924: 19 (full page).

ILLUSTRATOR:

BOOK TEXT COLLECTION

Content story:

The Flying Bull And Other Tales. Writ., Watson Kirkconnell. Oxford University Press Ltd. 1940.

WRITER & ILLUSTRATOR:

BOOK TEXT & GRAPHIC:

Content humour & Cover dust jacket:

Let’s All Hate Toronto. Kingswood House, 1956. A humorous look at Toronto over its history – and a humorous jab at Toronto haters.

SOURCE:

Book:

The Life of John Wilson McLaren. Writ. & ed., John D. McLaren. McLaren Press Graphics Ltd., no date. Includes reminiscences by John Wilson McLaren plus a selections of his paintings, drawings and cut linoleum prints.

Soldiers of Song: The Dumbells and Other Canadian Concert Parties of the First World War. Writ., Jason Wilson. Wilfred Laurier University Press, 2012.

GALLERY:

Goblin, IV-9, March 1924: 17.

Goblin, V-1, July 1924: 19.

Let’s All Hate Toronto. Kingswood House, Oct. 1956. Dust jacket.

McLACHLAN Brian

A Toronto based cartoonist, he co-cartooned  with Claude Bordeleau cartoon strip the “Alex and Charlie” for Owl magazine.

His book Draw Out The Story: 10 Secrets to Creating Your Own Comics received an International Literacy Association Nonfiction Award and a Junior Library Guild Gold Medal. It was also a finalist for the Silver Birch Award presented by the Canadian Children’s Book Centre..

WORK:

CARTOONIST:

BOOK GRAPHIC ANTHOLOGY:

Content story:

Monstrosity, v.2, 2014: “The Artist”.                                                                                                                         “Timely Portal”.

PERIODICAL TEXT & GRAPHIC ANTHOLOGY:

Content story graphic:

Taddle Creek, VIII-2, Summer 2005. “Fad to Gray”: 24-27.

CO-CARTOONIST:

PERIODICAL TEXT & GRAPHIC:

Content story graphic:

Owl, 37-2, Mar. 2012: “The Outrageous World of Alex & Charlie in Marine Queen.” Co-car., Claude Bordeleau: 6-7.

GALLERY:

Taddle Creek, VIII-2, Summer 2005. “Fad to Gray”: 24

McKIBBIN Ed

Born in Coleman, Alberta, he worked briefly for Walt Disney Studios in 1938. He returned to Canada to serve in the Canadian Army during the Second World War. After the war he worked for several years as an editorial cartoonist for the Tribune [Winnipeg].

SOURCE:

Article book:

The Hecklers. Writ. & Ed.., Peter Desbarates & Terry Mosher. McClelland & Stewart Ltd., 1979: 244.

 

McKELLAR Jay

See: CALDER Jack