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	Comic creator: Winsor McCay ('Silas')
		McCay was born in Spring Lake, Michigan on 26 September, 1869.
		McCay came to New York at the end of 1903 to work on the Evening Telegram, where he created (under the pseudonym Silas) a number of strips, including 'Dull Care', 'Poor Jake', and best of all, 'Dreams of a Rarebit Fiend', in 1904.
		McCay began his masterpiece, 'Little Nemo in Slumberland', in October, 1905, and it was serialized in the New York Herald until 1911.
	www.lambiek.net /artists/m/mccay.htm (535 words)

	Winsor McCay Biography
		For starters, McCay was born in 1867 (the same year as Frank Brangwyn, Arthur Rackham and Sidney Sime) and had an eccentric and checkered career behind him when he moved to New York in 1903.
		McCay projected the film on his white sketch pad and in a carefully choreographed sequence interacted with the animated dinosaur and actually joins her on screen for the finale.
		McCay was allowed to purchase all rights to the character for $1 - a magnanimous gesture that doubled as a sad evaluation of his efforts.
	www.bpib.com /illustrat/mccay.htm (2261 words)

	Comic creator: Winsor McCay ('Silas')
		McCay came to New York at the end of 1903 to work on the Evening Telegram, where he created (under the pseudonym Silas) a number of strips, including 'Dull Care', 'Poor Jake', and best of all, 'Dreams of a Rarebit Fiend', in 1904.
		McCay was most famous for his masterpiece 'Little Nemo in Slumberland', which appeared in October, 1905, and was serialized in the New York Herald until 1911.
		In 1917, McCay produced the film cartoon, 'The Sinking of the Lusitania', and in 1920, his last work in the animation field, 'The Flying House', was released.
	lambiek.net /artists/m/mccay.htm (396 words)

	Cartoonist Group - Background About Winsor McCay
		The concepts that McCay explored in his comic strips, such as progressive action, proved to be useful preparation for his animation.
		Winsor McCay was born either in 1867 in Canada or in 1869 in the United States, in Michigan.
		McCay was to focus on creating editorial cartoons which he did until his contract with Hearst concluded in 1924.
	www.cartoonistgroup.com /properties/daydream/about.php (897 words)

	UNLV Short Film Archive - Archive 100
		McCay decided to animate a Dinosaur to prove that his drawings were moving.
		McCay cracks his whip, and commands Gertie to bow to the audience, and to raise her foot.
		McCay's stage dialogue with Gertie was replaced with intertitles, and the film still kept much of its charm.A film with a "star" and a storyline,"Gertie the Dinosaur" became a landmark in the history of animation.
	www.unlv.edu /programs/filmarchive/catalog_archive100/1922_winsorMcCay01.html (1500 words)

	Middle East Open Encyclopedia: Winsor McCay (Site not responding. Last check: 2007-10-06)
		Zenas Winsor McCay (September 26, 1871 to July 26, 1934) was a prolific artist and pioneer in the art of animation.
		McCay also created a number of animated short films, in which every single frame of each cartoon (with each film requiring thousands of frames) was hand-drawn by McCay himself.
		McCay went on vaudeville tours with his films.
	www.baghdadmuseum.org /ref/index.php?title=Winsor_McCay (629 words)

	CollectingChannel.com News Article (Site not responding. Last check: 2007-10-06)
		By 1903 McCay had moved to a rival paper, The Enquirer, where he began his first Sunday color strip, Tales of the Jungle Imp by Felix Fiddle, an experimental effort based on poems by George Chestor.
		Nemo, a young boy whose appearance was based on McCay’s son Robert, is nightly transported to Slumberland to share in a number of adventures with its Princess, King Morpheus, Dr. Pill, and a mischievous, often destructive, sidekick, Flip.
		McCay was working for the Hearst papers at that point and eventually Hearst decided that McCay’s other activities were taking him away from his newspaper duties.
	www.collectingchannel.com /cdsDetArt.asp?CID=&PID=1799 (1076 words)

	The dream artist
		Today McCay is celebrated primarily for "Little Nemo," which is held up by devotees of comic strips and children's literature as a supreme example of storytelling.
		Yet brilliant as they are, "Gertie the Dinosaur" and "Little Nemo" ought not to eclipse McCay's equally important legacy: In a wide range of satirical and allegorical comic strips tackling concerns like adultery, drug use, and the fear of death, he gave early proof that comics didn't always have to be humorous or escapist.
		McCay's dream strips-published under a variety of titles, including "Daydreams" and "It Was Only a Dream"-might be seen as a popular, visual counterpart to Freud's theories.
	www.wtopnews.com /index.php?nid=114&sid=668442 (1507 words)

	Don Markstein's Toonopedia: Little Nemo in Slumberland
		Winsor McCay worked as a sign painter, vaudeville performer and freelance cartoonist in Cincinnati, Ohio, during the late 19th century and the first couple of years of the 20th.
		In 1911, McCay, who in addition to his accomplishments as a newspaper cartoonist, was also a pioneer of animation (his Gertie the Dinosaur was perhaps animation's first success), created an animated version of the character in 1911, making him the first comics character adapted into that medium.
		Robert McCay, the cartoonist's son (and original model for Nemo) tried twice to resurrect the strip, once in the late 1930s and again a decade later.
	www.toonopedia.com /nemo.htm (680 words)

	Winsor McCay, the Famous Cartoonist of the N.Y. Herald and His Moving Comics (1911) - IMDb user comments (Site not responding. Last check: 2007-10-06)
		Typically, the animation exists as a sort of meta narrative, while McCay himself appears in a miniature framing story where he is challenged to produce moving drawings in a certain amount of time.
		McCay was a lightning sketch artist and did performances of his swift drawings, so moving picture animation was really an extension of the idea of rapid sketching providing dynamic impressions of motion in his work.
		For McCay, the elasticity of the characters is a way of displaying their triumph over the usual physical laws governing organic bodies.
	www.imdb.com /title/tt0001737/usercomments (1326 words)

	VQR » Little Nemo in Comicsland
		Fortunately, McCay’s imagination freed him from the strictures of his original prissy mandate to be the virtuous alternative to the four-color bad boys.
		McCay’s reliance on memory as his chief storehouse of images is further evidence of his deep insight into the nature of comics.
		McCay’s career is emblematic not only of what comics are capable of at their best, but also of the constraints that almost all cartoonists work under.
	www.vqronline.org /articles/2006/spring/heer-little-nemo-comicsland (6042 words)

	Rabbit Habit Note:
		The story of McCay's cartooning career is therefore a record of soaring artistic aspiration and accomplishment that plummets at last, inert, all animating inventiveness suspended in order to perform humdrum graphic chores.
		McCay's use of layout and page design to give dramatic emphasis to his narrative was unusual on the comics pages of the day.
		Touching briefly upon McCay’s unparalleled achievement as an animator, Harvey maintains that William Randolph Hearst, by insisting that the cartoonist concentrate solely upon editorial cartooning, stifled McCay’s genius.
	www.rcharvey.com /mccay.html (576 words)

	Biography of Winsor McCay Award
		made it to Broadway in 1908, McCay was performing his chalk-talk across the street and had to miss a portion of opening night.
		Windsor McCay wanted to do draw, and William Randolph Hearst wanted someone who did was he was told.
		McCay was allowed to purchase all rights to the character for $1, a magnanimous gesture that doubled as a sad evaluation of his efforts.
	annieawards.com /winsormccayawardpage2.htm (1690 words)

	Windsor McKay, Monarch of Slumber
		Nemo, a young boy whose appearance was based on McCay's son Robert, is nightly transported to Slumberland to share in a number of adventures with its Princess, King Morpheus, Dr. Pill, and a mischievous, often destructive, sidekick, Flip.
		Meanwhile McCay, still continuing on with the strip in hotel rooms, began performing on Vaudeville with a "speed drawing" act, touring major cities east of the Mississippi.
		McCay was working for the Hearst papers at that point and eventually Hearst decided that McCay's other activities were taking him away from his newspaper duties.
	www.stevestiles.com /nemo.htm (1108 words)

	Silver Bullet Comics Forum - View Single Post - Windsor McCay v.7 & 8 Coming From Checker In Fall '05
		These strips, from earlier in McCay's career, show him experimenting with different styles of cartooning, including the last-panel repetition that he used extensively in Dream of the Rarebit Fiend and Little Nemo in Slumberland.
		Winsor McCay is known both as the father of animation and as an innovator of comic strips.
		Using his in-depth knowledge of visual perspective, he created daily comic strips and editorial illustrations that were unlike any other in their time - his unique manipulation of the comic art form, along with his unorthodox subject matter, has made him one of the most influential creators in comic strip history.
	www.silverbulletcomicbooks.com /forum/showpost.php?p=1103&postcount=1 (263 words)

	Amazon.com: Winsor McCay: His Life and Art: Books: John Canemaker (Site not responding. Last check: 2007-10-06)
		Sendak, in his introduction, rightly calls McCay "one of America's great fantasists." That this strange, elfin man (18671934) was also a political cartoonist who, at his best, rivaled Daumier is clear from animator-film historian Canemaker's authoritative, richly illustrated, oversize biography.
		While the book does an excellent job of illuminating McCay's surroundings and events in his life it is unfortunately is not able to cast much light on the man himself.
		McCay, whose vivid perception has inspired artists and animators for decades, is captured in this exhaustive study.
	www.amazon.com /Winsor-McCay-His-Life-Art/dp/0896596877 (1611 words)

	The Animated Cartoon Factory - History of Animation/title>
		Using a wooden holder and cross hairs in the corners to keep the papers in register, he animateted the entire film.
		McCay then hand tinted each frame to match the colors of the comic strip.
		The film was then premiered on April 12th at the Colonial Theatre in New York as part of McCay's vaudeville act.
	www.brianlemay.com /History/1910-1919/1911.html (137 words)

	COMICON.com: THE BEAT — WEDNESDAY, DECEMBER 10, 2003
		I love McCay's work, am adverse to revisionism performed on works of art, and I know that to some, limited extent you have to write off this tasteless racism to the general ignorance of the times.
		Presumably, if a person were inclined to pick up a book on Windsor McCay, they would probably already know a little bit about him, and thus be able to put the racist material that appears on the inside into some sort of historical context, as distasteful as it might be.
		Subsequent volumes of Winsor McCay: Early Works, of which twelve volumes are planned, will not contain such images on their covers, nor will a second printing of this volume in the event that one should become necessary.
	www.comicon.com /cgi-bin/ultimatebb.cgi?ubb=get_topic&f=39&t=000067 (4769 words)

	TFAW.com: Classic Comic Characters #29: Little Nemo Statue
		Little Nemo in Slumberland is a masterpiece of fantastical cartooning from the turn of the last century.
		Windsor McCay's delicate, detailed drawings and subtle, expressive watercolors combine perfectly with the dreamlike fantasy-world which his characters inhabit.
		Dark Horse is proud to present this figure of Little Nemo newly awakened from his dreams of Slumberland.
	www.tfaw.com /merch/profile.html?&sku=10314 (184 words)

	Project 1: History of Animated Cartoons
		Considered the father of animated cartoons, Windsor McCay believed animation should have remained as nothing but art.
		McCay, however, was the initiator of an industry.
		McCay wanted each of his films to be unique works of art, and so he used to spend long time drawing every scene.
	www.rit.edu /~drp9231/imm/project1/intro.html (1274 words)

	Untitled Document
		Originally intended to be a part of a vaudeville act, Gertie the Dinosaur was created by Windsor McCay.
		McCay depicted this character on a static background.
		McCay's animation was also one of the first to reproduce natural movement in cartoon.
	www.rit.edu /~mfs2661/imm/project1/intro.html (731 words)

	Greasy Skillet (Site not responding. Last check: 2007-10-06)
		Windsor McCay has gone the way of Josephine Baker, Cisco Houston and Edwin Armstrong.
		While he didn’t have any of the collected volumes we were seeking, he did have a slim publication from Ohio State University’s Cartoon Research Library, The Genius of Windsor McCay.
		That McCay is not widely known for his work is unfortunate.
	www.greasyskillet.org /archives/2003/08/10-week (1085 words)

	Amazon.fr: windsor: Livres en anglais (Site not responding. Last check: 2007-10-06)
		Leisureforce Index par Simon C Windsor (Broché - janvier 1988)
		Windsor: Czechoslovakia 1968 (Paper) par Windsor (Broché - 15 septembre 1987)
		Windsor Secret par Fanny Cradock (Broché - 18 juin 1987)
	www.amazon.fr /s?ie=UTF8&pg=73&rh=i:books-us,k:windsor&page=1 (348 words)

	Tate Liverpool \| International Modern Art \| The Legacy of Cubism \| Resources
		This is an example of a highly popular comic strip: Windsor McCay's Little Nemo in Slumberland, published between 1905 and 1911 in the New York Herald.
		McCay's work was unconventional and often explored the theme of distortion and dreams; it has much in common with modern European painting.
		Comic strip: Windsor McCay, Little Nemo in Slumberland 1908.
	www.tate.org.uk /liverpool/ima/rm2/resources (142 words)

	CGT112 - Sketching for Vizualization and Communication
		That same year, Windsor McCay created a film using his cartoon clown character, Little Nemo.
		After the success of that first effort, McCay created his now-famous, Gertie the Dinosaur, and traveled the vaudeville circuit.
		He designed a series of' interactive scenes, in which Gertie seemed to respond to McCay's questions, and to obey his orders as he stood beside a rear-projection, movie screen.
	www.tech.purdue.edu /cg/courses/cgt112/reading/motion.html (2755 words)

	[No title]
		This was one of the first instances of the use of cartoons as a military training and information tool that would see further use in the 1940’s.
		Some of these efforts, including the work of Windsor McCay, were a combination of live action (featuring McCay and other cartoonists) and cartoon animation, such as with “Little Nemo” the first offering from McCay and his classic “Gertie” the dinosaur.
		At this point in time there was neither sound nor color in the world of cartoon animation and several young men who would find fame and fortune in the world of animation were only just starting their careers as animators working around 1920.
	www.issues-mag.com /sept4/animation3.phtml (400 words)

	Annie Awards: Winsor McCay Award
		Since 1972, ASIFA-Hollywood has bestowed a very special award to individuals in recognition of lifetime or career contributions to the art of animation in producing, directing, animating, design, writing, voice acting, sound and sound effects, technical work, music, professional teaching, and for other endeavors which exhibit outstanding contributions to excellence in animation.
		The Winsor McCay Award stands as one of the highest honors given to an individual in the animation industry.
		In 2006, three very special people were honored with the prestigious award for their contributions to the art and industry of animation:
	www.annieawards.com /winsormccayaward.htm (157 words)

	SilverCrow Creations - Little Nemo
		The masterpiece of Windsor McCay, the American cartoonist is an incredible succession of fantasies done in watercolor-like circus colors and with McCay's free-wheeling mastery of perspective drawing.
		The showmanship of these cartoons is matched by their psychological weirdness - and rightness - in which students of dreams have found the full catalogue of classic dream imagery: falls, flights, wild beasts in the forest and more!
		McCay, who once shared a vaudeville stage with W.C. Fields and Houdini, was equally the comedian and the master of illusions!
	www.silvercrowcreations.com /LittleNemo.htm (576 words)

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