Archive for the ‘theory’ Category

Wednesday, October 15th, 2014

Advice: Business of Art

SONY DSC

I see a lot of people starting out in animation focusing on the business aspects… creating lots of “product”, pitching show ideas to studios, worrying about people who might ask them to work for free on a personal project, posting ads to groups like this to try to get viewers… I’ve seen people who do all these sorts of things for almost a decade, and still aren’t any further along to success as an animated filmmaker than the day they started.

You don’t become successful in animation by having the “right package”. You become successful because you have the “right stuff”. You can sit down and really animate, do layout, design backgrounds… you have skills in constructive drawing, compositional principles, perspective, anatomy and life drawing, color theory, painting techniques…

Specialization aimed at a specific job title is the absolute WORST thing you can do in school. I went to design school to study graphic design. They taught me type speccing, paste up, how to use a linotype machine… A couple of years later the Macintosh came out and everything I learned was obsolete. The only classes that I still use today are the basic ones… Design 101, Color 101, Drawing 101. Going to a trade school to learn art or filmmaking is a good way to be replaced by outsourcing.

If you want to be an artist, LEARN TO BE AN ARTIST FIRST. With a solid foundation in the fundamentals, you can learn any trade quickly on your own time or on the job. You don’t have to pay a school thousands of dollars to make you an unemployable specialist in a field that is now being done in India or China.

Instead of putting sweat equity into a business opportunity, it’s a lot better to put that effort into investing into yourself and your skills. But that takes hard work, humility, experimentation, and a solid plan for self education. Make personal films, but CHALLENGE YOURSELF. Don’t just fill time quotas. That’s the hard way to become successful for sure, but it’s a sure road for advancement. “Playing the game” and “doing business” can go in circles forever and get you nowhere.

Wednesday, October 1st, 2014

Theory: How To Get The Most Out Of Animation School

piano

Imagine you want to be a concert pianist and composer, and you go to Julliard to study. What would happen if you arrived at Julliard on the first day of class and you were barely able to play “Chopsticks”. What could Julliard teach you when you don’t even possess the most basic pianistic skills?

Hundreds of animation students do exactly this when they enroll in college before acquiring even the most basic drawing skills. What can you learn about animation without even the most basic drawing skills?

I hear people talk about the Preston Blair course as if it is what you need to learn to draw. THE PRESTON BLAIR COURSE IS JUST THE BEGINNING OF LEARNING TO DRAW. If you want to be an artist in animation, you really should have accomplished the basics of everything Blair teaches by 12 or 13 years old.

You can’t even BEGIN to learn without the basics. Going to college not being able to draw well will only lead to having huge debt in student loans with absolutely nothing to show for it. Schools are a business. If we went to a car mechanic and said, “Here is $500. Fix whatever you think needs fixing and keep the rest” do you think we would get our money’s worth? Schooling is not a passive endeavor.

Students don’t want to hear this. But the ones I see succeed are consistently the ones that were prepared to learn before they even began to learn.

Thursday, September 18th, 2014

Theory: The Past Is Relevant to Your Work As An Artist

Then and Now

125 Years separate these images.
THE HISTORY OF YOUR MEDIUM IS RELEVANT
TO YOUR WORK AS AN ARTIST!

(Wilhelm Busch 1865 / Bob Camp 1991)

I posted the Ren & Stimpy storyboard the day after I posted the early comic work of Wilhelm Busch in the hopes that someone would notice how much Busch’s pioneering sequential comics look like storyboards. The two Busch stories I posted are perfect examples to study if you are learning to tell stories in pictures.

But no one put two and two together. In fact, because Wilhelm Busch wasn’t a familiar name, most people didn’t even bother to click through to look at it.

The cartoonist who invented sequential comics isn’t a familiar name! What does that say about us as artists working in animation?

I can’t speak for Bob Camp who drew the Ren & Stimpy panel, because I’ve never spoken with him, but here is another Ren & Stimpy storyboard artist speaking at length about Wilhelm Busch…

Uncle Eddie’s Theory Corner: German Cartoonists

I’ve spoken with many successful animators, and their knowledge of the history of cartooning is staggering… Daumier, Nast, Gillray, Cruickshank, Hogarth… They can speak for hours about these artists and have books in their library to refer to for their own work.

What is the difference between you as an animator and Andreas or John K or Ralph Bakshi or Eric Goldberg? It isn’t necessarily talent or skill. A lot of you have talent, and skill just requires concentration and pencil mileage to develop. Every animation studio used to be packed with talented artists like these. I’ll tell you what the difference is. These guys know the history of their medium, and because of that, they push the medium forward instead of just participating in creating the same old same old.

When I post images on Animation Resources, I wonder if anyone bothers to click through the hires links or read the articles. Do you jot down the name in your sketchbook and do further googling? Do you make printouts and try to figure out the techniques for yourself? Or is it just a pretty picture to look at and click like on and never think of again?

These are not just pretty pictures. They aren’t nostalgic memories. They are BUILDING BLOCKS FOR YOUR CREATIVITY.

The material here at Animation Resources comes from the private reference libraries of professional animators. It’s the material they refer to every day in their work… the information that informs their creativity. This isn’t a musueum with specimens pickled in jars of formaldehyde. This is a vital resource for your growth as an artist. If you aren’t bookmarking, studying, filling hard drives with jpegs, learning about the artists from the past and USING THIS STUFF IN YOUR WORK… all the college degrees and knowledge of computer programs in the world won’t make you an animator.

An animator is a CARTOONIST who uses exaggeration and caricature to bring characters to life. If you want to do that for a living, you better know the foundation you are building on or you’ll be operating at a very low level creatively.

I listen in to young animators speaking about animation and I’m shocked at how narrow their experience is. There is more to learn from the history of animation than just Freddie Moore, Milt Kahl and Chuck Jones. If you limit your input to anime, TV animation and 90s Disney, you will never ever go beyond that. You won’t even get that far, because the artists who created those animated films had a MUCH wider frame of reference than you.

Animation is a very competitive business. Being able to build on the foundation of the past will give you an edge, and will allow you to go beyond what everyone else is doing, just like the two artists who drew the sketches at the top of this page. But if you limit yourself and don’t make an effort to assimilate the history of your medium, you will never get anywhere.
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