- Full Description
A collection of personal holiday greeting cards that Bob sent out to fewer than 40 friends and family members spanning the years 1974 - 2018. Most cards were written in quirky rhymes and illustrated with amusing cartoons. Plus two more surprises inserted inside the back cover. Bob's writing, illustrating and editing career has spanned the decades with Disney and Hanna-Barbera, and he was Art Director at Egmont, Disney's comics licensee in Denmark.
William Stout has written an elegant foreword that covers a lot of history and insight. Bob's friends Sergio, Wilie Ito and Disney artist extraordinare Daan Jippes provide heartfelt testimonials to our boy. Bob is also a lifelong fan, and he managed to rub shoulders with all the greats of the comics and animation world, beginning in the 1970s with the likes of Floyd Gottfredson, Carl Barks, Stan Lee, many of Disney's Eight Old Men, Russ Heath et al. He was close friends with Dave Stevens, and has been a lifelong attendee at the San Diego Comic-Cons. His next project may well be the spectacular sketchbooks where he had his friends and artist acquaintances try to outdo one another, beginning in 1973. Harvey Kurtzman doing little Annie Fanny? check. John Severin? check. Alex Niño? check. And on and on.
This book is limited to a tiny number, possibly under 200 copies, and is only distributed by ourselves and one other retailer. It takes seriously the term Labor of Love; Bob just kept adding cool stuff to it, like the full color goodies in the inserted envelopes, right up to the last minute. Literally at our warehouse, after he drove down from Oregon to deliver these to us. And he couldn't resist adding greytone shading to more than half of the remarques he did for us, which will go out to the first orders we get. Sergio was late with his introduction, so Bob printed the book without it, than carefully (and all by himself) hand-tipped it into every book on the inside front cover. It also includes a drawing, although printed, by Sergio. That boy can't resist doodling any less than Bob can resist adding extras to this unique collection.
I asked Bob to send me a bio for those of you not acquainted with his work--I've edited it down a bit here, but I found it entertaining and also enlightening. Here we go:
After art school and 2 years with the Army Signal Corps Training School at Ft. Monmouth, NJ I returned to Los Angeles to look for work in the film or animation business.
From 1968 - 1970 I worked in the animation business as an assistant animator at Filmation, DePatie-Freleng, Film Fair, Spungbuggy and Haboush in Los Angeles.
In 1970 - 1971 I was invited to join the first training group at Disney Studios to see if I qualified to be trained to replace some of the old guys at Disney who were dead or retiring. I created storyboard sketches for movies in development, such as Catfish Bend, Pete the Pelican and as an Assistant FX animator on Bed Knobs and Broomsticks.
A taste of publishing:
From 1971 until 1977 I was an animation Layout Artist at Hanna-Barbera, Marvel Productions and Ron Campbell Films. In 1971 some friends and I produced material for the first issue of Myron Moose Funnies. This was spotted by Marv Wolfman who hired me to write and illustrate The History of Moosekind, based on my Myron Moose character, for a new humor magazine from Marvel Comics titled CRAZY. In 1978 The History of Moosekind was spotted by some people at Disney and I was hired by Disney Consumer Products, Publishing. My first assignment was to write gags for the Donald Duck comic strip, which I did between 1980 and 1989. From 1981 until 1985 I was a layout supervisor at XAM! Productions in Salt Lake City, Utah. Yeah, I was living in Utah and was employed by Disney Publishing, continuing to write the Donald Duck strip while at the same time I was a layout supervisor in Salt Lake City. Whew! I returned to Burbank and Disney Studios in 1986.
A Big Bite of Publishing stuff:
Around 1988 I wrote seven Disney Rhyming Reader children's books for Grolier Books in Danbury, CT.
Disney canceled the license that had been granted to Gladstone comics, deciding to produce their comics in house in Burbank with an all-Disney staff.
From 1989 until 1992 I was the Managing Editor, Editor and Art Director at Disney Publishing, charged with overseeing production, doing gag roughs for the covers, and editing of four titles of Disney Comics (Walt Disney's Comics and Stories, Donald Duck, DuckTales, and Uncle Scrooge Adventures) plus several graphic novels which I wrote, edited, and/or created page-by-page layouts for. I oversaw the production of six other titles that had different editors, but it all came across my desk before it went to press. I also sketched out ideas for covers and cover gags for the comics for which I was the editor.
While I worked in Disney Publishing, some of the graphic novels I was responsible for as an editor included the adaptations of Mulan, Toy Story, White Fang, Pocahontas (I drew layout sketches for the entire book,) Dick Tracy 1, 2, 3, The Rocketeer movie adaptation (by Dave Stevens and Russ Heath), Hercules (I did storyboard sketches for the entire book), and Resurrection of Doom (an original story that I wrote, story-boarded in comic book format and edited. It was not an adaptation of a movie or script.
In 1993 I accepted an invitation to go to work for Egmont Publishing in Copenhagen, Denmark. I had never been outside of the States and, at age 49, when I told a friend of mine that I was considering accepting the job, he told me I was too old to be doing that kind of thing. Naturally, I HAD to go! I moved all of my possessions to Denmark with the idea of staying there for the rest of my career. It was basically the same job I had in Burbank, but on a bigger scale. I was editing scripts, correcting artwork, meeting and working with great writers and artists from all over Europe as well as Burbank, CA. This was an unbelievable opportunity to work in foreign countries, to see most of Europe, to teach comic book storytelling and art in Dublin and Moscow. Details upon request.
When I returned to Los Angeles in 1994 I did a few layout assignments at Ogilvy-Mather Advertising for Flintstones Cocoa Pebbles, got one storyboard assignment on Garfield, then got a full-time staff job at Warner Bros on Freakazoid.
Back in the states and back to animation stuff:
In 1996 I did storyboards for Angry Beavers.
In 1997 I worked on Jumanji at Sony/Adelaide Productions. Directed one episode.
In 1998 - 1999 I went to work again for Disney, this time at Disney TV Animation, doing storyboards and story sketches for Buzz Lightyear of Star Command, Mouseworks and Mickey's Once Upon a Christmas.
From 1999 - 2000 I was at Fox TV Animation on The Family Guy.
Later in 2000 I did storyboard work on Butt-Ugly Martians for Mike Young Productions.
After that I did some Capertown Cops storyboards for Una Bella Productions.
2002 Storyboards for Courage the Cowardly Dog
2003 Xiaolin Showdown, Warner Bros.
2004 Additional storyboards for Mickey, Donald, Goofy - The Three Musketeers.
2006 Storyboards for Tom and Jerry Tales at Warner Bros.
2006 - 2010 Mickey Mouse Clubhouse
2011 - 2014 Jake and the Never Land Pirates
2014 Retired to Oregon. Writing, painting, developing interesting books.
- Additional Information
Item Code BOBFS Publisher Bob Foster Publish Date 2018 Binding Soft Cover Dimensions 7x9 # Pages 44pg Color b&w
Customer Reviews 1 item(s)
- A darned fun book!
- Bob's Chrismas Cards book is an unlikely item to appeal to a wide audience. But I think you should know, it's a darned fun book. I first met Bob when he published Myron Moose, back in the 1970s, at a San Diego Comic-Con we were both attending. He and I share an interest in classic book illustrators, in vintage comics, in the greats of animation. I went into retailing. Bob became an illustrator and animator and is an unsung creator behind a great many projects, as you will see from the biography I included with his book.
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