Creator / Kennedy Cartoons
Kennedy Cartoons was an animation studio founded in Toronto
by animator Glen Kennedy in 1989, with a branch in the Philippines opening in 1992 (largely for ink-and-paint/camera work). It is known among animation fans for its varying animation quality and its many Off-Model
moments. The studio is also known for its stretchy and bouncy character animation.
Some of its Manila staff (such as Annabelle Galvez, Joseph Balderas, and Ronaldo Delfino) migrated to Toon City
. After Kennedy closed, Glen founded One Shot Pro, which worked on Hoze Houndz
Here's Glen Kennedy's site: Kennedy Animation Inc.
, which worked on some of Kennedy's cartoons.
Kennedy Cartoons worked on the following shows:
NOT animated by Kennedy Cartoons but similar in style:
Tropes found in Kennedy Cartoons' work:
- Animation Bump: Certain animators from the studio (such as Glen Kennedy) went above and beyond by producing full animation for their sequences. For a TV production, this was (and still is) rare, especially from a domestic studio.
- Say what you will about the character designs, but when it comes to the amount of drawings, the first few minutes of "Fields of Honey" are exceptional. The same is true for the first short in "Best O' Plucky Duck Day".
- Generally people will agree that the best animated sequences were done by Jon Mcclenahan (who would later found the animation studio StarToons) and John Williamson.
- Art Evolution: When the studio began, Glen Kennedy's bouncy style heavily influenced many of the animators, but his visual influence became less and less evident with each passing Disney show, to the point that his style is barely present in Aladdin (if at all). Also, Kennedy's Tiny Toons work had three periods: the first 5 episodes were extremely bouncy and cartoony, the last 3 episodes are the least bouncy and have tons of off-model moments. The 9 episodes inbetween are mildly bouncy and quite normal.
- Declarative Finger: Characters animated by Kennedy often have a tendency to do this as they speak.
- Depending on the Artist: And how. One of the major differences between Kennedy and other studios is how easy it is to differentiate between different animation styles during an episode. Opinions differ on whether this is a good thing; proponents like that an individual's thumbprint is still seen in the final animation because it gives the work a more personal touch, while opponents consider this is a sloppy practice because to them, if the designs/animation style aren't 100% uniform throughout the episode, it's considered Off-Model.
- Deranged Animation: Some scenes Kennedy animated for TTA that usually lasted for a split second or two.
- David Feiss animated on a few of the early Kennedy episodes (most notably in "Buster and the Wolverine" and "You Asked For It Part II"), and his scenes stick out quite a bit, looking somewhat similar to Cow and Chicken.
- Everybody Do the Endless Loop: In the Tiny Toons work, sometimes characters would do a rather nutty dance move reminiscent of Kennedy's earlier work on A Pup Named Scooby-Doo, and on occasion, characters may break out into dance for no reason (such as in "Buster And the Wolverine"). This practice was quickly nixed after the first few KC episodes, though.
- Off-Model: They were fired after the first season of TTA because of this. As the rumor goes, episodes like "The ACME Bowl" and "High Toon" had to be almost entirely re-animated from scratch (usually by Wang). However, they quickly found work over at Disney anyway.
- Signature Style: As far as Glen Kennedy is concerned, bouncy and stretchy characters, mouths that are frequently in the "o" position, shuffling feet, and many oft-repeated sight gags (such as characters stretching to absurd lengths before zipping off-screen). This YTP encapsulates many of those traits.
- Thick-Line Animation: Most pronounced in the Tiny Toon episodes "Hare Today, Gone Tomorrow" and "Buster and the Wolverine".
- Wild Take: Glen Kennedy could do some really crazy and off-the-wall wild takes that would've done Tex Avery and Bob Clampett proud. This is mostly prominent in A Pup Named Scooby-Doo and their earlier Tiny Toons work.