
50s-era photos of Ray Favata from a print ad campaign for Phillies Tips. An ad agency friend had asked him to be in the ad, even though Favata wasn’t a smoker.
While researching CARTOON MODERN, I had the opportunity to find out about a lot of designers from the 1950s who I previously wasn’t aware of. One of these individuals was Ray Favata. Ray worked on the East Coast for his entire career. I had the pleasure of visiting him and his wife, Carol, in upstate New York in November 2004. In the early-1950s, he started in animation at Tempo Productions, a studio that was co-owned by David Hilberman, one of UPA’s founders. After Tempo was shuttered by the Hollywood blacklist (I’m too lazy to look up the exact date right now, but it was around ‘53-54), Favata started working at other studios, like the short-lived East coast division of John Sutherland Productions and Academy Pictures.
In 1957, Gene Deitch recruited him to work at the revamped Terrytoons, and Favata was the animation director of the terrific industrial film DEPTH STUDY (for CBS Television) and boarded the second (unproduced) FLEBUS short. After Terrytoons, Favata teamed up with Bill Tytla to start a new commercial animation studio. In the 1960s, the studio became Ray Favata Productions and the studio continued into the 1980s, producing mostly commercials and also the SESAME STREET series “Billy Joe Jive.” Favata himself continued working in animation into the ’90s, and I think he even pitched in on the design of J.J. Sedelmaier’s 50s-styled spot for Home Savings Bank.
Here’s a small sampling of Favata’s work from the 1950s.
Two storyboard panels (and a still) from an early-1950s Tempo commercial for Clark’s chewing gum. This is early in Favata’s career, and his drawing style is still somewhat tight. The drawings, while displaying a nice sense of posing, feel more like illustrations than characters that are designed for animation. The commercial won an award from the NY Art Director’s Club.
Another award-winning Tempo spot designed by Favata.
Stills from various mid-1950s commercials designed by Favata for Academy Pictures.
A page of character suggestions taken from a 1950s instructional booklet on creating TV commercials. (Thanks, Shane)
A 1958 drawing for TOP CEL, the newsletter of the New York animators’ union.
A late-1950s commercial for Cheerios. Favata’s design was animated by Bill Tytla in this commercial.










What wonderful character designs. Simple, elegant and very effective. Oh, and very charming, too. Thanks for shining the spotlight on this great artist, Amid!
Comment by Ward — April 25, 2006 @ 6:21 pm
Glad you enjoyed them Ward. One funny thing I forgot to mention: when I asked Favata about who he was influenced by during the 50s, he mentioned a lot of the same people that folks today admire, like Harry Diamond, Hank Ketcham, Robert Osborn, etc.
And he said this about Golden Books: “Aurie Battaglia was one of the artists that we all dearly loved. Aurie was doing some fantastic Golden Books at the time. We thought he was THE guy to go to when we had to go for reference. Like if we had to do a cowboy thing, you’d go to him for reference. There were a couple of guys that we used to do that…the Provensens, Mary Blair, J.P. Miller. All of them were doing Golden Books. We’d call them our Bible.”
Heh, he sounds like somebody who works at Cartoon Network or Nick nowadays.
Comment by Amid — April 25, 2006 @ 10:26 pm
Such charming designs. Reminds me a lot of the Pay Patin commercials.
Interesting to see the design changes between the final Tempo commercial and the two storyboard panels. Wish they had kept the brush stylings from the boards. Nice layout and posing in the Tide commerical as well.
I think it’s great that people at CN and Nick are influenced by the early golden book artists. It’s much better to learn from these long forgotten greats than to just rehash the animated styles of the last 10-20 years.
Comment by Steve Lambe — April 26, 2006 @ 7:42 am
I agree Steve. Golden Books are a great source for inspiration. I think a lot of it boils down to how you use them though. Too many people copy the designs, but then don’t think about how to move the characters in a way that complements the style. In TV animation nowadays, I don’t think there’s generally a lot of communication between the designer and the animation director, and regardless of how pretty the designer makes his stuff, characters still move in the same formulaic ways that all TV animation moves. There’s no excuse for that, especially with the increasing use of Flash which allows directors more control over the animation. Anyway seems like I’m going off on a tangent. Back to Ray’s work…
Comment by Amid — April 26, 2006 @ 9:09 am
I need know if Ray Favata is from Sicily and were.
I’m Jazz musician very know in Italy an i’m curious of this cartoon master with the same name.
best from
Sardinia Island
Italy
Enzo Favata
www.janaproject.com
www.musicasullebocche.it
www.voyagensardaigne.it
Comment by Enzo Favata — August 13, 2006 @ 5:01 am
Enzo: I think Ray was born in the US, but his parents might be from Italy. I’ll ask when I call him in the next couple weeks and will let you know.
Comment by Amid — August 14, 2006 @ 3:41 am