Please Help! Animation Resources depends on your contributions to support its services to the worldwide animation community. Please contribute using PayPal.
Project Angels
John Kricfalusi, Mike Van Eaton, Rita Street, Jorge Garrido, Andreas Deja, John Canemaker, Jerry Beck, Leonard Maltin, June Foray, Paul and John Vinci, B. Paul Husband, Nancy Cartwright, Mike Fontanelli, Tom & Jill Kenny, Will Finn, Ralph Bakshi, Sherm Cohen, Marc Deckter, Dan diPaola, Kara Vallow
Project Heroes
Janet Blatter, Keith Lango Animation, Thorsten Bruemmel, David Soto, Paul Dini, Rik Maki, Ray Pointer, James Tucker, Rogelio Toledo, Nicolas Martinez, Joyce Murray Sullivan, David Wilson, David Apatoff, San Jose State Shrunkenheadman Club, Matthew DeCoster, Dino's Pizza, Chappell Ellison, Brian Homan, Barbara Miller, Wes Archer, Kevin Dooley, Caroline Melinger
Project Volunteers
Gemma Ross, Milton Knight, Claudio Riba, Eric Graf, Michael Fallik, Gary Francis, Joseph Baptista, Kelsey Sorge-Toomey, Alexander Camarillo, Alex Vassilev, Ernest Kim, Danny Young, Glenn Han, Sarah Worth, Chris Paluszek, Michael Woodside, Giancarlo Cassia, Ross Kolde, Amy Rogers
Please share… If you are a visual artist or student, here is one of the most important 20 minutes you’ll ever spend in your life… https://www.youtube.com/watch?v=lL0G3x7GRQ0
Animation Resources is a LOT more than just a webpage. For the past decade, we have been building the best collection of reference material for animators, cartoonists and illustrators that has ever been amassed. Using modern technology, we are digitizing priceless artwork, animated films and artists’ biographies and combining them in a searchable database. At this point, the database is a functional prototype- it’s only available to visitors to our facility in Los Angeles. But as Animation Resources grows, we will be able to upload more and more treasures to the internet to share with our supporting members and the worldwide animation commmunity. Our goal is to eventually make this database available over the internet to all of our membership.
PLEASE take 20 minutes out of your day and watch this video. Learn what we are building for the world. I think you will want to pitch in and help. You have the opportunity to get in on the ground floor of one of the most important projects for artists. Joining Animation Resources isn’t just about the perks of joining during our 15th Anniversary Membership Drive. It’s about supporting our Animation Archives Project so the knowledge of the past can be the foundation for animation’s future.
For the past decade, Animation Resources has been serving artists working in the fields of animation, cartooning and illustration. Our volunteers and members have pulled together to raise the bar for our art form, and it’s time to celebrate… It’s Members Appreciation time again!
During the month of February, Animation Resources expresses our appreciation for to members with a very special Reference Pack, and we invite you to become a member too. For the next 30 days, we will be sharing reasons why you should join us. Our benefits of membership far exceed the cost of our annual dues.
This year, we are trying something new to encourage new memberships. You can join for a one week trial membership for only A DOLLAR! Yes, you get access to everything our annual members get for seven days for only a buck. (Click here for the details on our Dollar Days.) What are you waiting for?
You can find out what our members get at the Member Appreciation Page. It’s easy to join. Just click on this link and you can sign up right now online…
Animation Resources depends on your contributions to support its projects. Even if you can’t afford to join our group right now, please click the button below to donate whatever you can afford using PayPal.
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*, the ability to think outside the box and come up with a million different solutions to a problem. 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 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… Frank Thomas 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.
For the past decade, Animation Resources has been serving artists working in the fields of animation, cartooning and illustration. Our volunteers and members have pulled together to raise the bar for our art form, and it’s time to celebrate… It’s Members Appreciation time again!
During the month of February, Animation Resources expresses our appreciation for to members with a very special Reference Pack, and we invite you to become a member too. For the next 30 days, we will be sharing reasons why you should join us. Our benefits of membership far exceed the cost of our annual dues.
This year, we are trying something new to encourage new memberships. You can join for a one week trial membership for only A DOLLAR! Yes, you get access to everything our annual members get for seven days for only a buck. (Click here for the details on our Dollar Days.) What are you waiting for?
You can find out what our members get at the Member Appreciation Page. It’s easy to join. Just click on this link and you can sign up right now online…
Animation Resources depends on your contributions to support its projects. Even if you can’t afford to join our group right now, please click the button below to donate whatever you can afford using PayPal.
Every other month, Animation Resources shares a new Reference Pack with its members. They consist of e-books packed with high resolution scans video downloads of rare animated films set up for still frame study, as well as podcasts and documentaries— all designed to help you become a better artist. Make sure you download this Reference Pack before it’s updated. When it’s gone, it’s gone!
This month’s RefPack is very special. We’re celebrating Members Appreciation Month, so we’re throwing open the doors to share this one with as many people as possible. Check the website about our Dollar Days special where non-members can get a week’s access to the current RefPack and Bonus Archive for only a buck! We think that when you see all the treasures Animation Resources shares with its members each and every month, you’ll want to join and become part of our organization.
The latest Animation Resources Reference Pack has been uploaded to the server. Here’s a quick overview of what you’ll find when you log in to the members only page…
VIDEO SEMINAR:
Action Analysis: Acting For Animation Animated Discussions 014 / Hosted by Davey Jarrell with Stephen Worth Download this article
Animators have been referred to as "actors with a pencil," but most classes in animation and articles on technique deal more with the pencil mileage than acting. In this special two hour episode of Animated Discussions we set out to change that. What *is* acting anyway? What constitutes *good* acting? Is acting the same in live action as it is in animation? How does an animator put across personality and action through acting? We’ll be addressing those questions and many more.
We’ve been working on this seminar for a couple of years. It’s jam-packed with useful information and all the concepts are illustrated with amazing video clips. You’ll want to download this program and save it for future reference.
PDF E-BOOKS:
Best of The E-Books A Sampler of the First 10 Years of RefPack E-Books Download this article
This pair of e-books gather together some of the highlights from the first 50 members only e-books. It is provided to the general public to give prospective members an idea of what they will receive when they join. Totaling over 500 pages, these books will give you an idea of the breadth of material Animation Resources has shared over the years.
VIDEO PODCAST:
Best of Videos 1 to 50 Sampler Reels of the First 10 Years of RefPack Animation Videos
In the past decade of Reference Packs, Animation Resources members have had an opportunity to see rarely seen films of all types, from century old silent shorts, to stop motion puppet films, animation from China, Poland, Japan and Russia; animated commercials from the early 1950s; classic theatrical cartoons; experimental animation and rare industrial training films… Our intent is not to bring back a “golden age” of animation. We encourage artists to build on the past as a foundation for surpassing it.
This pair of reels runs over 2 1/2 hours and they gather together some clips of the highlights from the first 50 members only Reference Packs. They are only shared on special occasions to give prospective members an idea of what they will receive when they join. You’ll want to download these while you can.
Bruno Bozzetto is an Italian animator known for his parody of Fantasia titled Allegro Non Troppo. His other feature films include a superhero parody called VIP My Brother Superman and a spaghetti western parody titled West And Soda. Bozzetto’s work is often satirical and political in nature, championing the common man and lampooning government inefficiency and oppression. Bozzetto’s work is not as well known in the United States as it should be, but it is recognized and appreciated across Europe.
VIP: My Brother Superman was Bozetto’s second animated feature. The film features two superheroes- SuperVIP, a strongman who is irresistible to women, and MiniVIP, a small not-so-superhero who is an ineffectual nebbish. The villain of the story, Happy Betty is a lady industrialist who has her eye on ruling the world. It was financed by American investors who objected to the depiction of the Asian slaves working in Happy Betty’s sweatshops and demanded that Bozetto paint them green. But the satirical jab at American exploitation of cheap labor in third world countries is still clear.
SD VIDEO:
Two Early German Commercials Sun In The House (1932) / Song Of The Mill (1934)
In this Reference Pack, we are sharing two rare animated theatrical commercials from Germany. One of these was made by Hans Fischerkoesen, a pioneer in using animation as a medium for advertising. The other was directed by the team of Bernhard Huth and Wintzer von Tresckow, film makers who worked in the Nazi era making short advertising and propaganda films for UFA.
Hans Fischerkoesen was often referred to as “the Walt Disney of Germany”, but truth be told, his talent wasn’t for long form storytelling animation, but rather cartoon advertising shorts. His advertising career began in 1921, and until his death in the early 1970s, he produced over a thousand animated commercials, most of which are lost. By the 1930s, his work had achieved widespread fame throughout Europe.
Wolfgang The Intrepid Mikhael Tumelya / AnimaFilmCenter / Russia / 1991
Mikhael Tumelya is a Russian animator based in Belarus. Born in 1961, he has had a prolific career directing a variety of both long and short form films, commercials and TV series. He studied under Edward Nazarov and Yuri Norstein. He currently teaches at the SHAR School and Studio in Moscow.
Tumelya’s short film, "The Song Of Wolfgang The Intrepid, The Glorious Destroyer Of Dragons" is a remarkable example of his work. It opens with an impressive multi-layer pan, and the style of movement perfectly matches the design of the characters. The anatomy of the main character is divided into segments that separate from each other, but the movement is always handled as one unit. Even though this isn’t built from an object library, Flash animators interested in making their animation less stiff would be well advised to study this film carefully.
NOTE: In order to consolidate space on our VIP Download Page, from here on we are including the Early Anime downloads within the International section.
SD VIDEO:
Gaboten Island Ep. 8 & 12 Studio / Japan / 1964
Adventure On The Gaboten Island was based on a manga by Fumio Hisamatsu, and was animated by Eiken Studios. It aired from April 4th, 1967 to December 26th of the same year. In total, thirty nine half hour episodes were produced.
The story begins when Ryuta and his sister Tomato sneak on board a submarine docked at an amusement park. The amusement park’s son Iago and his friends Cucumber and Cabo enter the submarine and get in a fight with Ryuta. In the tussle, a switch is flipped and the submarine heads out to sea. Unable to steer it and running low on fuel, the children wreck the sub in a storm and end up shipwrecked on an island in the South Pacific. Ryuta and Tomato befriend a myna bird and a gorilla. Together, the group struggles with each other and nature for survival.
One of the best ways to discern the essence of an artistic medium is to look at the very first works created in that medium. We are so inundated with movies, TV shows and commercials nowadays, it’s not easy to imagine a world without film or video. Today Animation Resources is sharing a collection of films by Auguste and Louis Lumière, brothers who were manufacturers of photographic equipment and innovators in the earliest days of film making.
The films of the Lumiere brothers are very basic- no editing, the camera is in a fixed position and doesn’t zoom, truck or pan. There is no attempt at narrative. They are designed to simply capture a moment, and they do that brilliantly. The appeal of the films fall into two categories: recognizable imagery (everyday scenes on the street, children playing with their parents, etc.) and remarkable imagery (exotic locations, dramatic industrial scenes, etc.) Animated film works with these same two categories. Cartoon characters perform small secondary actions that the audience recognizes and identifies with, creating a bond between audience and character to help suspend disbelief. And animation depicts remarkable things that could never exist in the real world- animals that talk, inanimate objects coming to life, the laws of physics bend and broken at will.
There’s a tendency in movies and TV today to always keep things moving for fear that the audience will lose interest if the plot isn’t moving forward or the pacing slows down. But these short unassuming films prove that “stopping to smell the roses” can also draw in viewers. The core element of film is observation. You might want to think about how you can use this kind of observational technique to enhance your own work.
Up to this point, there have been a total of fourteen published breakdown articles, discussing a range of topics, from hair and fur, to weight, resistance, and camera moves. While most of the articles seemed relatively complete at the time, post-hoc, I frequently discover examples that would, if included within their articles, have deepened analysis of the respective categories. Thus, it makes sense that the occasional addendum would be needed, as to provide analysis of these new breakdowns, and perhaps discuss them with a deeper level of understanding, built upon all the theories discussed in the fourteen articles previous. Instead of focusing on one particular theme or principle, the article will provide examples for the following: fur simulation, camera moves, morphs, and resistance.
ANIMATION RESOURCES ANNUAL MEMBERS: Bonus Reference Pack 8 is now being rerun and is now available for download. It includes an e-book of the incredible anthropomorphic imagery of Boris Artzybasheff, a charming Russian stop-motion cartoon, and a rarely seen animated sequence from Frank Zappa’s "100 Motels". These downloads will be available until March 1st and after that, they will be deleted from the server. So download them now!
If you are currently on a quarterly membership plan, consider upgrading to an annual membership to get access to our bonus page with even more downloads. If you still have time on you quarterly membership when you upgrade to an annual membership, email us at…
Whew! That is an amazing collection of treasures! At Animation Resources, our Advisory Board includes great artists and animators like Ralph Bakshi, Will Finn, J.J. Sedelmaier and Sherm Cohen. They’ve let us know the things that they use in their own self study so we can share them with you. That’s experience you just can’t find anywhere else. The most important information isn’t what you already know… It’s the information you should know about, but don’t know yet. We bring that to you every other month.
For the past decade, Animation Resources has been serving artists working in the fields of animation, cartooning and illustration. Our volunteers and members have pulled together to raise the bar for our art form, and it’s time to celebrate… It’s Members Appreciation time again!
During the month of February, Animation Resources expresses our appreciation for to members with a very special Reference Pack, and we invite you to become a member too. For the next 30 days, we will be sharing reasons why you should join us. Our benefits of membership far exceed the cost of our annual dues.
This year, we are trying something new to encourage new memberships. You can join for a one week trial membership for only A DOLLAR! Yes, you get access to everything our annual members get for seven days for only a buck. (Click here for the details on our Dollar Days.) What are you waiting for?
You can find out what our members get at the Member Appreciation Page. It’s easy to join. Just click on this link and you can sign up right now online…
Animation Resources depends on your contributions to support its projects. Even if you can’t afford to join our group right now, please click the button below to donate whatever you can afford using PayPal.
Please Help! Animation Resources depends on your contributions to support its services to the worldwide animation community. Please contribute using PayPal.
Please Help! Animation Resources depends on your contributions to support its services to the worldwide animation community. Please contribute using PayPal.
Please Help! Animation Resources depends on your contributions to support its services to the worldwide animation community. Please contribute using PayPal.
Animation Resources depends on your contributions to support its projects. Even if you can’t afford to join our group right now, please click the button below to donate whatever you can afford using PayPal.
by 
The primary source of inspiration for all artists is the observation of real life.
