Bringing back Cartoon Modern, a rare animation artbook
animationobsessive.substack.com
animationobsessive.substack.com
Who knows how much of the screening was created not by the original artwork, but by the printing method of the original book. They likely would not have been stuck with a descreening dilemma if they had access to the original files, which almost certainly still exist in the publisher's archives.
That having been said, I don't really dig the style presented in the article, but I see the aesthetic value nonetheless. I'm not sure it would be possible to pull off high quality modernism with ubiquitness metro art has. Probably we would get something much, much worse...
There are artists such as Derek Yaniger whose works have the same mid-20th century vibe:
My initial skim reading of this article indicates the "UPA style" is what the internet fandom informally calls the "CalArts style" (or at least a precursor to it), is this right?
"CalArts style" is a meaningless term coined by the most hated man in animation and appropriated by internet trolls to tear down other animators' hard work.
The UPA influence became the popular CalArts style with Genndy Tartakovsky (Dexter's Lab) and Craig McCracken (Powerpuff Girls). And the CalArts style evolved again around the time of Pendleton Ward (Adventure Time) with bean mouths and noodle arms. This is still popular today.
It's really whatever creators' like to draw, is economical for a TV production, and gets a positive reaction out of the audience.
I utterly love the style of Samurai Jack for example, so if that is/was CalArts then I'm in. I can understand the same style aped everywhere can get tiring, but that's true for almost every aesthetic.
Fast forward 20 years, and what people mean when they say "CalArts style" is completely different. They're talking about the geometric, flat graphical character designs of things like Gumball, Steven Universe, Clarence, and Gravity Falls (i.e., the "bean mouth" era). This is all TV animation (theatrical 2D animation is deader than disco), and it's partly driven by the mechanics of modern digital animation production. It's also same-y and safe, but for different reasons.
Think about the differences between an early Disney feature and something like Hanna Barbera or The Simpsons. The latter two are examples of "limited animation," which is usually a cost saving measure: draw fewer things, take less time, spend less money.
UPA was a pioneer in limited animation, but as an artform. They leaned into their constraints and created something beautiful from them.
There's way more here than I can write in a comment, but if you have an interest in animation, art, business, or working within constraints, you may find it interesting to spend an hour or two learning about UPA. (I haven't read it, but the linked book sounds like a good source.)