Disney's Return to Hand-Drawn Animation

Getting closer (December '09) -

Milt Kahl Tribute - Videos online

(click image to see it larger)

In April the Academy of Motion Picture Arts & Sciences hosted a tribute to master animation Milt Kahl, which they called "Milt Kahl: Animation's Michelangelo" .

The Academy has now posted video excerpts from some of the panel speakers from that event, including John Musker, Ron Clements, Brad Bird, Andreas Deja, Floyd Norman, Richard Williams, John Pomeroy, and Alice Davis, among other notables.

Great memories of the master . Go watch the videos here, right now !  --- 

Milt Kahl Tribute Videos - Click HERE -

a little reminder of how amazing Milt's animation is: 

Myths of the Animation Industry

from The Illusionist directed by Sylvain Chomet

Excellent article from the folks at Animation Mentor that should be read by all students of animation:

Myths of the Animation Industry

By Mark Garabedian

The animation industry is the business of creating myth and magic. As such, it's not surprising that a myriad of meta-myths have arisen—easy-to-believe falsehoods about the industry itself. In preparing for their future careers, the next generation of animators and artists need not be waylaid by such rumors. Below are five common myths about the world of cartoons and the realities behind them.

Myth: 2D animation is a dying art -

Nothing could be further from the truth. While 3D animation is filling theaters across the globe, 2D art endures. Internationally, films such as Sony Picture's Persepolis ,Paprika , and The Secret of Kells continue to astound audiences with engrossing, hand-drawn cinema. In Scotland director/animator Sylvain Chomet (The Triplets of Belleville) is nearing completion on his next hand-drawn animated feature , The Illusionist. In the U.S. , Walt Disney Animation is hard at work on its new 2D feature, The Princess and the Frog, while shows such as Nickelodeon's Avatar: The Last Airbender and Cartoon Network's Chowder provide bright futures for the traditional style. Beyond television, the Internet has spawned numerous opportunities for vector animation (Flash and Toonboom) 2D projects as well.

Myth: It's essential to be adept at every facet of the animation process -

To quote G.I. Joe, "Knowing is half the battle." The other half is being good at what you do. Familiarity with the entire animation process can only help you, but you are being hired for a specific position. In the words of Knowledge Adventure 3D Artist Chris Marsh, "Fanning your effort and skills out to do everything the process demands only decreases your quality of work and increases production time, and that's never good." The animation process requires the efforts of many specialized individuals. Walt Disney didn't achieve his whimsical empire by being the greatest animator ever. He did so by assembling the greatest animation team ever. Discover what you do best and strive to do it better.

Myth: You want to work for a big studio -

Certainly there's no shame in working for a large studio. Who wouldn't want to have Mickey Mouse on their business card? But smaller studios have their share of perks too. A smaller company gives a great artist more opportunity to shine. Networking becomes easier, and there's more room to expand your personal style.

Myth: You should stick with a single studio for as long as possible -

Ladders: We all have the urge to climb them, especially corporate ones. But in the animation industry, sometimes it's important to spread your artistic wings. Surely no one wants an artist who never sticks around to finish a project, but by changing studios and production companies from time to time, you make yourself better known to the animation community as a whole, networking, and becoming associated with your body of work rather than your company's. "A good stint at a company is one to three years," says Big Bad Tomato digital storyboard artist Sylvia T. Leung, "it shows you are committed enough to stay, but ambitious enough to leave."

Myth: You don't need to know how to draw-

While drawing is not necessarily a key skill in today's world of texture mapping and wire framing, it's still a valuable technique in almost every step of the animation process. Putting pencil to paper, breaking down complex objects into simple shapes, and translating them into graphite blueprints will help artists of all fields better their craft. This ability will also make you more attractive to a wider number of prospective employers. Remember, even Rodin roughly sketched his figures before casting clay.

Just as 24 drawings a second creates the illusion of motion, assumptions and opinions give the illusion of industry facts. Fortunately, the truth is usually quite optimistic and should give any budding artist hope for their creative and professional future.

cover from "Drawn To Life" Vol. 1 , by Walt Stanchfield

Frank Thomas "Hook" pencil test

Animation by Frank Thomas.

This post has been updated. The original version of this pencil test that I uploaded had some of the drawings missing .

I've rescanned this from the xerox copies I had . I located the missing drawings and I think I've got the timing and lip-sync pretty close to the original. (although I'm still not 100% happy with the lip-sync ... it's off, although sometimes it looks right on , so I wonder if it's the Flash player showing it at differing frame rates, depending on bandwidth at the time ? I should try to post this as a Quicktime so it'd be more accurate. )

There were no peg holes or numbers on the xerox copies I have of these drawings so I had to do a lot of guess work and "nudging" to get the drawings to register correctly, but I finally got it to look pretty solid. The parts of the drawings to the right of the screen where the image gets lighter and drops out are artifacts from the photocopies I have. Unfortunately it will just have to stay that way for now because I don't have the time to go in to touch-up the lines which dropped out.