October 21st, 2014


Theory: Three Steps to Greater Creativity

creativity

Recently on Facebook, I was asked why I thought originality in animation was such a rare thing today. I pointed out that originality and creativity are closely connected, and they aren’t just magical gifts that you are either born with or you aren’t. They come from a body of knowledge and a set of skills that can be learned. Originality and creativity are both fed by the same things… observation of life, the ability to think like an artist, and a wide range of creative influences.

The primary source of inspiration for all artists is the observation of real life.

Too many animated films employ character “archetypes”… generic mom and dad characters, typical wimpy kid, his goofy dog and clever cat, bratty little sister… I don’t know about you but those sorts of characters bore me stiff. The best actors will tell you that they don’t create characters by looking at what other actors do or employing stereotypes. They look at real people and try to capture the gestures, walk and attitudes that express that person’s unique personality. It works exactly the same in animation.

When you’re riding the bus, drinking your coffee at Starbucks or standing in line at the DMV, pay attention to the people around you. Look for unique personalities and try to capture them in your sketchbook. Exaggerate and caricature them to see how you might put those personalities across in an animated character. You’ll find that the characters you see on the street are a lot more interesting than the characters you see in most animated films.

In an earlier post on Facebook, I pointed out one of the primary creative skills, *ideation*. Another skill that is invaluable is *analysis*. Analysis is at the core of what it means to think like an artist.

When the average person sits down to watch an animated film, they are carried away into the fantasy and let the film direct their imagination and entertain them. A film maker thinks differently. Once your mind is trained to understand the process of film making, you will never sit in the theater as just another member of the audience again. You definitely lose that innocence. But it is replaced by something even more important.

When a film maker watches a film, he is looking at the application of technique. How does the film establish its characters and environment? How does it set up the conflict? What rhythms and pacing are being used to carry the film forward… contrasts in moods… staging… color… music… sound effects… acting… dialogue… All these things and more are revealed through analysis. Turn on your brain and your creativity will follow.

Lastly, it’s important to expose yourself to a broad spectrum of artistic creativity… not just the few things you already know about and like.

When I produced the “I Miss You” rock video for Bjork, the director John K was describing for the CGI animator how he wanted the rubber nipples on Bjork’s chest to move. He told him to reference a Harman-Ising cartoon called “The Milky Way”. John described the action of the nipples squirting milk in that cartoon very carefully, and even was able to chart out the timing of the movement to the frame.

Now, anyone who knows John K knows that Harman-Ising cartoons are about as far away from his personal taste as a cartoon can get. Yet he had studied “The Milky Way” carefully and had found a technique in it that he could use. He filed it away in his head and was able to retrieve it when a time came that he could use it. Classic cartoons are a gold mine of information on technique.

When you as a filmmaker are watching movies, TV shows and animation, you shouldn’t just limit yourself to what you personally *like*. Focus instead on what you can learn from. The principle of garbage in- garbage out applies here. If you watch nothing but lousy animation and stupid movies, what sorts of animation do you expect to produce yourself?

In fact, animation should be just a small portion of what you study and expose yourself to. In order to be a creative artist in animation, you need to understand and appreciate ALL of the arts. This means studying the history of all forms of music- from classical music and opera to country music and jazz. It’s the same with the history of painting, and sculpture, and dance, and most of all- film making.

If you want to train yourself to think analytically about film, choose really good examples from the past to study. Classic films are packed with cinematic techniques that animation hasn’t even touched on yet, and they will open your mind to new genres to explore. In the entire history of animation, there have been thousands of cats chasing mice and dogs chasing cats, but how many gothic horror movies have their been? How many noir thrillers? Westerns? War pictures? People love to say, “There’s nothing new under the sun.” but in animation, that isn’t true. There are a LOT more stories to be told.

Another advantage to using older films as reference is that you are more likely to pull out pure technique and less likely to simply imitate. If you are looking at a WWII movie, you can’t just copy situations and dialogue because it is from a different time and place. Instead, you are forced to focus on the acting, the staging or the cutting technique. Stealing technique isn’t stealing. It requires adaptation to your own context. Copying specific gags, situations or dialogue from modern movies similar to the one you are making is definitely stealing.

The keys to creativity in animated film making are to… 1) Open your eyes to the world around you, 2) Think about what you see- analyze how it works, and 3) Expose yourself to a wider range of creative influences.

When your frame of reference is limited to anime, video games and superhero movies, it shouldn’t be surprising that everything you create is derivative. That kind of background may seem to be a good foundation to build a career in animation on first glance, but look at the animators of the past… Milt Kahl had classical art training from Chouinard, Carlo Vinci won a scholarship to the prestigious National Academy of Design, and Grim Natwick studied painting in Vienna under Gustav Klimt. Animators back then were artists first and animators second. If you want to imitate someone’s approach to creativity, imitate the best! Become an artist.

Posted by Stephen Worth @ 3:26 pm

5 Comments »

October 20th, 2014


Illustration: Huckleberry Hound and Rocky & Bullwinkle Golden Books

Huck Hound Builds A House

We scanned Golden Books today… First up was Huckleberry Hound Builds A House. Published in 1959, this was one of the earliest Hanna Barbera books, and it’s one of the best. These H-B characters were beautifully designed and perfectly suited to the TV medium. This book was laid out by Harvey Eisenberg and painted by Al White.

Huck Hound Builds A House

Huck Hound Builds A House

Huck Hound Builds A House

Huck Hound Builds A House

Huck Hound Builds A House

Huck Hound Builds A House

Here is another TV cartoon related Golden Book by Ben De Nunez and Al White.

Rocky And His Friends is interesting because it depicts the characters in a very different way than they appeared in the TV series. White sees the characters as solid objects, not flat designs, and he renders them in a variety of different lighting situations. This book also has a nice balance of textures.

Rocky and Bullwinkle

Rocky and Bullwinkle

Rocky and Bullwinkle

Rocky and Bullwinkle

Rocky and Bullwinkle

Rocky and Bullwinkle

Rocky and Bullwinkle

Rocky and Bullwinkle

Rocky and Bullwinkle

Rocky and Bullwinkle

Rocky and Bullwinkle

Rocky and Bullwinkle

Rocky and Bullwinkle

Stephen Worth
Director
Animation Resources

Animated CartoonsAnimated Cartoons

This posting is part of the online Encyclopedia of Cartooning under the subject heading, Animation.
IllustrationIllustration

This posting is part of a series of articles comprising an online exhibit spotlighting Illustration.

Posted by admin @ 2:19 pm

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October 17th, 2014


Inbetweens: Terry-Toons Comic Book Covers

Terrytoons Comic Book Cover

Terrytoons Comic Book Cover

Terrytoons Comic Book Cover

Terrytoons Comic Book Cover

Terrytoons Comic Book Cover

Terrytoons Comic Book Cover

Terrytoons Comic Book Cover

Terrytoons Comic Book Cover

Terrytoons Comic Book Cover

Terrytoons Comic Book Cover

Terrytoons Comic Book Cover

Terrytoons Comic Book Cover

Terrytoons Comic Book Cover

Terrytoons Comic Book Cover

Terrytoons Comic Book Cover

Terrytoons Comic Book Cover

Terrytoons Comic Book Cover

Terrytoons Comic Book Cover

Terrytoons Comic Book Cover

Terrytoons Comic Book Cover

Terrytoons Comic Book Cover

Posted by Stephen Worth @ 12:19 pm

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