(upbeat music)
- Being a Cartoonist means
getting to bring imagination to life.
(upbeat classical music)
I remember when the creator of Spongebob Squarepants
came to me, scratching his head, and I said to him
"This squirrel girl character,
"she needs two big seashells to show she has boobies".
Hello.
I'm Oswald Ferntuttle, and I draw the boobs
on the female cartoon characters.
Penelope Pussycat from the Pepé Le Pew cartoons,
I drew a line down the center to signify cleavage
and then I brought in the waist.
I pioneered that technique.
Boobs didn't have to just go out anymore.
Everything around it could go in.
Interplanet Janet from Schoolhouse Rock.
That was some of my most inspired work.
Her boobies look like two tin cans
but actually, they're her nipples.
The Teletubbies.
They're each one giant flap of breast meat.
And of course, my masterpiece, Lola Bunny from Space Jam.
Her hair's so hot you can't help but jerk it to her.
Because the human mind can only suspend so much disbelief
when confronted with an image, it is my job,
my privilege, to help audiences distinguish
between the boy characters and the girl characters
the only way the human brain knows how.
Boobs or no boobs.
Each character is different
and I really have to feel them up.
Close my eyes and imagine if this cartoon were a sexy lady,
what kind of boobs would she have
that would make me want to boink her?
Big bazonkas?
Tiny tatas?
Regular old C cup chesticles.
Now, I've had some people try to diminish my work
by telling me that cartoon characters don't need
to be over sexualized and that gender is a spectrum.
But, I've been in the business for over 50 years now
and I know that audiences would be lost without
my important work.
Boy characters are normal, and girl characters,
they have boobs so we know that they're sexy and hot.
- [Interviewer] So.
- Yeah? - [Interviewer] Do you draw
bulges on boy characters?
- Okay, a bulge for boy characters.
Don't be disgusting, that would be gratuitous.
Cartoons are for children.
I don't want boys growing up thinking that
they have to have boners all the time.
Your helmet's great.
These jugs are inconsistent.
Are we doing Debbie Thornberry's or little Lizzie McGuire's?
Pick one.
Just say one, it's fine.
- I guess Lizzie McGuire's and--
- Great.
As an illustrator, it's important to come up
with a style guide that you stick to.
In my world, my characters boobs always rise.
They never fall.
I'd rather have a girl up to her neck in her knockers
than dragging down some saggy honkers.
I always draw areola on boobs.
Even if I have to cover it in fur.
I can always point out where the areola is.
It's important to the structural integrity.
CGI.
(laughs)
That was a game changer.
Suddenly I'm seeing double Ds in 3D.
Really, really seeing them, you know?
And they were able to capture a level of bounce
I had only ever dreamt of
every night since I was a teen boy.
(laughs)
Adding boobs to pictures opens up a world of possibilities.
Kids, animals, inanimate objects.
Boom, transformed.
I add boobies to an owl.
That's a girl owl now.
To a rock, that's a sexy rock now.
To a freaking toilet, that's a lady toilet now
and I wanna (beep)
(laughs)
I'm Oswald Ferntuttle and this is my masterclass.
The guy who draws eyelashes on cartoons?
Yeah I know him and he's a fraud, okay?
Ugh.
He's a fraud.
- Hey, it's Lily.
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Did you do the math from earlier?
And if you did, can you tell me how much it was?
'Cause I'm bad with numbers.
Five, five times one.