It’s Vic Haboush week at Cartoon Modern and I’ll be showing examples of his work all week long. I first met Vic back in 2000 while I was researching the life of Tom Oreb for ANIMATION BLAST #6, and we’ve been good friends since. As a sidenote, I’d actually taken figure drawing classes from his son, the supertalented Auguste Haboush, before I’d ever met, or even heard, of Vic. Small world. Vic worked in animation for only a decade or so, before starting his own studio, the Haboush Company, and becoming a successful live-action commercial director.
During his ten years in animation, he was an assistant art director on MELODY (1953) and TOOT WHISTLE PLUNK & BOOM (1953), a layout artist on LADY AND THE TRAMP (1955), SLEEPING BEAUTY (1959) and 101 DALMATIANS (1961), and the art director of UPA’s GAY PURREE (1962), as well as art directing a number of shorts at John Sutherland Productions, such as this classic industrial. With credits like that, I can see why Vic decided to set aside animation: if you’ve already worked on the best, why work on the rest? While Vic’s later career focused mostly on live-action, his company also produced numerous animated TV commercials and shorts, including the Oscar-nominated cartoon THE FURTHER ADVENTURES OF UNCLE SAM: PART TWO (1970). Vic was lured back to feature animation a few years ago, and contributed visual development on THE IRON GIANT (1999). You can see some of Vic’s recent paintings at Haboush.net.
This week, I wanted to share some of Vic’s animation artwork from the 1950s. A lot of the work that’ll be posted here deserves to be in the book, but I wasn’t able to fit it in, either for lack of space or because I couldn’t get definite identifications on the pieces. To kick things off, here are a couple concept paintings from the 1950s. Vic recalls that they may have been done for a Donald Duck short, though I can’t imagine which one.
(click on images for larger versions)