Archive for the ‘meta’ Category

Thursday, February 28th, 2019

About The Animation Archive Project

Animation Resources

The Genesis of the Project

Animation In BurbankAnimation In BurbankIn 1982, Stephen Worth was a student at UCLA studying design. He attended an event hosted by The International Animated Film Society: ASIFA-Hollywood and had the opportunity to speak with the organization’s President, the legendary cartoon Producer, Story Man and Voice Artist, Bill Scott. Scott shared with Worth an idea he was nurturing. He described his plans to create an “Animateque”- a research facility for animation professionals and students. Steve never forgot that meeting. “The resources weren’t there to pull it off during Bill’s tenure as President of ASIFA-Hollywood. But a few years ago, I remembered Bill’s idea and realized that computers had made organizing educational material much easier. The concept of a “digital Animateque” excited me. I guess you could say that when Bill passed away, his passion for the idea was transferred to me.”

Bullwinkle J Moose

Bill Scott, the voice of Bullwinkle J. Moose, came up with the original idea of an “Animateque” devoted to the art of animation.

After 20 years as an animation Producer, Stephen Worth decided it was time to give back to the muse. He went to work full time at ASIFA-Hollywood to try to build support for Bill’s concept of the Animateque. “The animation business is in dire need of inspiration and new ideas,” Worth explains. “I kept reading in the trades that traditional animation techniques were dead and artists would soon be replaced by technology. But I know from working with innovative filmmakers like Ralph Bakshi and John Kricfalusi that the principles that created Pinocchio and Bugs Bunny are the same ones that will lead new technologies to the same heights reached in the ‘golden age’ of animation. The technology is just a tool. The artist is the one who creates. We need to invest in artists.”

Stephen Worth assists artists at the archive.

Katie Rice, Stephen Worth and David Gemmell refer to artwork in the collection of Animation Resources. (photo: Lori Shepler)

Almost overnight, Worth established a world class facility for self-study and research into the art of animation. Housed in a storefront in Burbank, the ASIFA-Hollywood Animation Archive provided information, digitized animated films, assembled biographical information and prepared high resolution scans of artwork for use by countless animators, educators, art students and researchers. The facility became world famous through its exhaustive website and extensive collection of material from the personal files of legendary animators like Grim Natwick, Les Clark, Michael Lah, Herb Klynn and John Kricfalusi. A dedicated group of volunteers worked tirelessly digitizing and cataloguing the material, guaranteeing that future generations will be able to benefit from the valuable information.

Natwick's Assistant Chuck Jones

Studio gag drawing of Grim Natwick at the Ub Iwerks Studio with his "kid assistant" Chuck Jones. Jones would go on to become one of the most influential directors in the history of animation.

In January of 2011, ASIFA-Hollywood informed Worth that regrettably they were no longer able to sponsor his project. Worth wasn’t willing to let Bill Scott’s dream end there, so he scrambled to create a permanent organizational umbrella for the collection. He established Animation Resources, a 501(c)(3) California non-profit organization dedicated to supporting and encouraging animation education. The core of Animation Resources’ offerings is Stephen Worth’s valuable research and curation efforts and the generous efforts of the dozens of dedicated volunteers who dedicated their time and energy to creating this resource.


Do You Know This Man?

Ub IwerksUb IwerksThough few would recognize his name, and even fewer his face, nearly every person on earth knows of this man’s work. This is Ub Iwerks, the man who created Mickey Mouse.

This self portrait from 1931 was found in a trash can at a local TV cartoon studio. No one knows how the drawing got there and no one at the studio could identify him. At a reunion of animators from the most successful animated feature of recent times, this sketch was shown to a hall full of employees from the studio this man made famous- not a single person recognized him.

Read more about Why We Need an Animation Archive.




About the Collection

Mary BlairMary BlairThe archive database of Animation Resources consists of biographical information, images and filmographic data culled from from a variety of sources. In a remarkably short span of time, the collection grew to contain over 6,000 digitized animated films and over 125,000 high-resolution images. These assets are searchable by keywords, and all of the data is cross-linked within the database structure.

This means that it is possible to search for an artist’s name and find his biography and filmography, then click through to watch a digitized movie file of a film he worked on. One more click reveals animation drawings by that artist from that particular film. “It’s a way of organizing information that’s never been attempted before,” says Worth. At this point, the database is not available on the internet, but plans are in the works to build the infrastructure required to share the entire collection online with the world.

Gustaf Tenggren
In the "golden age" of animation, production designers didn’t look to other cartoons for inspiration on how their films should look… they looked to classic illustration, like that of Gustaf Tenggren. Animation Resources’s archive database includes hundreds of illustrated children books, each one bursting at the seams with new ideas for how animated films can look.

Eldon DediniEldon Dedini“The purpose of Animation Resources is to be an archive FOR animators, not just an archive OF animation.” Worth explains. “Because of this, the collection doesn’t just include animated films and related artwork, but art instructional material and a wide range of items dealing with the history of cartooning and illustration as well.” The collection is basically the world’s largest artist’s “clip file”- children’s book illustrations by Rackham and Dulac, magazine cartoons by Virgil Partch and Erich Sokol, superhero comics by Jack Kirby and Jack Cole, newspaper comics by Cliff Sterrett and Milton Caniff, drawing instruction by Preston Blair and Willy Pogany… a whole world of inspiration for artists and cartoonists.

Animation Resources www.animationresources.org

The animation related material in the collection includes storyboards, animation drawings, production correspondence, exposure sheets, publicity materials, production photos, model sheets, pencil tests, background paintings, and more.

Animation Resources www.animationresources.org

Digitized films in the collection include rare cartoons by the Fleischers, Terry-Toons, Iwerks, Lantz and Columbia studios. “These are primarily films that have never been released to home video. Many of them haven’t been broadcast on television since the 50s or 60s. We’re specializing in the studios that don’t currently have extensive commercial distribution.” says Worth. Animation historians like John Canemaker, Leonard Maltin, Jerry Beck and Mark Kausler have been supporting the project as well by sharing valuable research and helping to acquire rare animated films for digitization.

Lotte Reiniger Prince Achmed

Animation Resources’s archive database contains information on influential women animators like Lotte Reiniger, the creator of the oldest surviving animated feature.

A Non-Traditional Approach

A Typical ArchiveA Typical ArchiveTraditionally, libraries and archives have limited access to their collections in the interest of preservation. Delicate paper and film stock requires special handling and cannot stand up to the rigors of general circulation among artists and students. In most archives, collections are donated unsorted by the boxload. An archivist must go through piece by piece inventorying, stabilizing and storing the items before they can begin to be utilized. This process typically takes several years. Once the collection has been inventoried and shelved, a curator is brought in to examine the holdings and determine a contextual format- a book, an exhibit, an article- that will make the public aware of the collection and its importance. Curation can take another year or longer, and by this time five or six years may pass before the public is even aware that the collection exists.

Animation Resources www.animationresources.org

In the era of YouTube and Google, this is beginning to change. Digital technology removes the problems associated with storage and preservation of vintage artifacts. Once digitized, a film or piece of artwork can efficiently and inexpensively be backed up and distributed, making open access a possibility. Without physical objects to catalog and store, archivists are able to shorten the time it takes to prepare a group of items for public access. This allows the collection to be curated as it is assembled. The curator isn’t limited by the pool of material that he has to work with. He is free to actively solicit outside sources for material that fills in gaps in the rest of the collection and relates to the concepts he is trying to put across. Most collectors are more than happy to share a digital copy of their items.

Storyboard by Louise Zingarelli

Ralph Bakshi, the animator who was responsible for bringing about the modern age of animation has written several inspiring articles for the Animation Resources blog and has contributed material to the collection. The storyboard section above is from Bakshi’s "Cool World" and was drawn by Louise Zingarelli.

Supplementing Animation Education

The Archive DatabaseThe Archive DatabaseAnimation Resources is intended to serve creative professionals and students of the artform who are looking to develop the necessary skill set to become an accomplished animator. These artists have a tough road to haul. They are facing an industry where the quest for technical knowledge has often times eclipsed the need to develop artistic proficiency. Schools and universities don’t have the time and resources to provide their students with all of the experience required to be a professional animator. So they focus on the most immediate and practical elements and expect the students to acquire the creative and artistic aspects of their education on their own.

In tough economic times, the studios cut budgets for in-house training, so the young artists aren’t able to pick up the fundamentals on the job either. It’s a difficult situation, and many students of animation aren’t even aware of the vital need for self-study until after they have graduated and joined the ranks of job hunters. By that time, it may be too late for them to pick up the creative skills they need to be a productive employee in animation.

Animation Resources www.animationresources.org

Story artist Eddie Fitzgerald offers storyboarding tips to volunteers Michael Fallik, Max Ward and Art Fuentes.

Joseph Baptista, a student intern on the project who is now a professional animator comments, “Doing an exercise for a class at school, you’re not really sure how it fits in functionally and how those principles apply to a real world job. You just do it for a letter grade and you move on. But if you are trying to learn to animate, the best way is to first learn about the principle, and then to try to understand how it was applied through analyzing and imitating the work of great artists.” Worth set out to fully integrate an educational mission into the structure of Animation Resources. Educational material is accompanied by contextual information to help a student fully understand and absorb it and is accompanied by real-world examples of the principles in use. Through self-study, a student learns to recognize principles among the art in the vast collection and, with practice and determination, begins to master the techniques for themselves.

Animator  Carlo Vinci

The family of legendary animator, Carlo Vinci has been sharing artwork from Vinci’s fifty year career in animation. The collection includes a number of class assignments from his studies at the prestigious National Academy of Design, documenting the education of a golden age animator.

Byrnes on SketchingByrnes on SketchingThe animators who created the classic cartoons of the 1930s and 40s did not attend animation schools. They studied fine art- life drawing, sculpting, and painting- and learned the nuts and bolts of animation after graduation on the job. In those days, animators were trained as a part of apprenticeship systems. An experienced animator would take fledgling artists under his wing and train them to assist his scenes as they worked their way up the ladder of production. A young artist would start as an assistant, then graduate to animator, and perhaps eventually to director, learning as he worked.

National Academy of Design in the 20s

Students at the National Academy of Design in the early 1920s. Traditional art studies from the past form the foundation for artists of the future.

However, changes in the business environment in animation in the 1960s and 70s stopped this system in its tracks. Studios were downsizing and sending work overseas. Experienced “old timers” who possessed the accumulated knowledge of decades of experience were retiring without passing along their techniques to the next generation. By the mid 1970s, it looked as if animation was a dying artform in the United States. A few animators, most notably Eric Larson, Ralph Bakshi and Richard Williams refused to let the artform die, and acted as a bridge across the gap, instituting training programs at the studios where they worked. Most successful animators today who got their start in the early 1980s have one of these three men to thank for their careers.

Bill Nolan Cartooning Self Taught

In the 21st century animation business, the employment of an animator only lasts the life of the project, and the ladder of upward mobility is either weak or non-existent. Art schools have largely shifted towards a “trade school” approach, focusing on technical skills like proficiency in Flash and Maya instead of classical art training. This leaves young animators without a means of developing their craft and growing as an artist. Animation Resources steps into the breech, acting as an adjunct to animation schools and training programs, encouraging students to begin an organized program of creative self-study early on so they will be prepared when the time comes to find a job in the industry.

Preston Blair's Animation

Animation Resources hosts an online drawing course based on Preston Blair’s "Advanced Animation".

“Everything an animator needs to know is in those old films and sketches.” Worth explains. “The great animators of the past may no longer be with us, but that doesn’t mean that we can’t still learn from them. It doesn’t matter if artists animate using a pencil or a computer. The fundamental principles are the same. All a student of animation today needs is access to the material, a mind for analyzing what makes a scene work, and lots and lots of practice.” Animation Resources is trying to help fill the gap by providing a facility for artists to study core art skills and encouraging them to carry the art form forward.

Mickey Mouse Poster Design

Animation Resources’s archive database contains many one-of-a-kind treasures from the estates of legendary animators like Les Clark and Grim Natwick.

Future Plans

You might wonder where the funding to accomplish all of the things Animation Resources is doing is coming from. “We’re very much flying by the seat of our pants.” Worth admits. “Thankfully, there are a lot of great people who believe in this idea who are willing to support it through individual donations. The student volunteers are enthusiastic too and are willing to roll up their sleeves and make it happen. Everything is on an achievable level and momentum is building to allow us to take on even more in the future.”

Milton Caniff in his studio

Milton Caniff at work in his studio in the late 40s. The estate of Caniff, the creator of Steve Canyon and Terry and the Pirates, has shared original artwork and biographical material with Animation Resources.

rotoscoperotoscopeThe full collection is not yet able to be shared online, but a wonderful selection of images and information are available on the Animation Resources blog, which can be found at www.animationresources.org. The website contains thousands of images and streaming videos, along with biographical articles and information on the progress of the project itself. According to Stephen Worth, the blog serves over a quarter of a million articles a month to over 1.5 million unique visitors. “Our web traffic comes from around the world. We’ve heard from artists as far away as Japan, Kazakhstan and Italy who follow our progress on the internet every day.”

Tony the Tiger

“The next step for us is to establish a steady stream of revenue to fund the sustained growth of the project,” says Worth. “I see in my head a full brick and mortar museum dedicated to animation with satellite facilities all over the world. I’m willing to do whatever I can to make this a reality. There are a lot of other people here who love animation and are happy to help. I don’t think it’s an unattainable goal.”

Conclusion

Classic Illustration by Edmund DulacClassic Illustration by Edmund DulacPart of what makes Animation Resources so unique is that they are so progressive and yet so willfully different from other archives. Their unique vision is encapsulated in a remark from Worth, “I’m not a library science person, I’m an animated film-maker, so I don’t know what normal is for a facility like this. I do know what animators need and how they need it organized so they can use it. That’s what I’m trying to build.” This pro-access and pro-digital approach is refreshing. Animation Resources is clearly designed by and for animators. These specialized artists not only need to understand the basic elements of form, design, and nuances of character performance, but how to rigorously time and structure the creation of their art down to 1/24th of a second. It’s a big challenge and it requires a good education.

Certainly the professional world contains a scattered sampling of people as committed to their medium as Stephen Worth and his group of dedicated volunteers, but it’s extremely rare to find such a concentrated few in any one place. Their passion and co-operation are achieving great things. Archivists and librarians might have a lot to learn from these animators. Animation Resources is rapidly becoming the model of what the “21st century archive” must become.

Milt Kahl Pinocchio Drawing

A rough animation drawing by the legendary Milt Kahl. The animation of the past is being put back to work, educating and inspiring the animators of the future.

Hopefully, seeing the incredible work of artists of the past will inspire current artists to set the bar higher. There is no reason why animation can’t be better than classic cartoons. The technology is better and there’s no lack of talent. All young cartoonists need is a foundation of knowledge to build upon. Worth expands upon this point, “What point is there pickling the past in formaldehyde and setting it up in bottles on a dusty shelf? The past should be put to work informing the present and helping to improve the future.” It’s clear that the people behind Animation Resources don’t think small.

Paul Terry's Famer Al Falfa

Animation Resources depends on the support of the people who benefit from it. If you feel that this website is of value to you, we encourage you to contribute, volunteer and support the project. With your help, Animation Resources can grow. Together, we can take the project forward.

CLICK TO JOIN ONLINE TODAY!

Other Articles About Animation Resources

Animation Resources’ Goals and Projects

The Officers and Board of Animation Resources

Animation Resources 2015 Annual Report

KCET: Animation Resources Aims To Build A Massive Digital Archive Of Cartoon Art

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Tuesday, February 26th, 2019

Meta: Animation Resources’ Goals and Projects

gpals

Animation Resources is a 501(c)(3) non-profit organization dedicated to serving the worldwide animation community. Through our various online and in-person projects, we educate and inspire professional animators, cartoonists, illustrators and students. If you are a creative person in animation or an allied field, you should be a member of Animation Resources!

The Goals of Animation Resources

  • To support and encourage animation education
  • To support the preservation and critical evaluation of animation history
  • To recognize the achievement of excellence in the art of animation
  • To increase public awareness of animation
  • To act as a liaison to encourage the free exchange of ideas within the animation community
  • To encourage journalism documenting current trends and activities in animation
  • To encourage the social interaction of professional and non-professional animation enthusiasts
  • To encourage the development and expression of all forms of animation

projects

Animation Resources’ Projects

ANIMATION ARCHIVE PROJECT

We are in the process of developing a database of material designed to educate and inspire artists working in the fields of animation, cartooning and illustration. Included in the collection are hundreds of thousands of high resolution scans of rare artwork and instructional material related to the subject, as well as thousands of digitized animated films and biographical data on great artists. All of this information is combined in a database where the collection can be sorted and searched in an incredibly flexible manner. Currently, the collection occupies dozens of hard drives and measures in the terabytes, but our eventual goal is to be able to house it on cloud servers and make the information available over the internet. More About the Animation Archive Project

ANIMATION CREATIVE LEAGUE

The Creative League currently meets once a month for networking, informal discussion, screenings, friendly critique of work in progress, and guest speakers. The topics of the meetings cover the full spectrum of creativity- music, art, cartooning, dance, filmmaking, animation, comedy and drama. The purpose is to inspire and empower independent animation creators and build a community of independent artists in the Los Angeles area. More About the Animation Creative League

PODCASTING PROJECT

Animation Resources has embarked on an exciting podcasting project to expand our services to the worldwide animation community. We live stream our events to Facebook and present a wide range of interviews, lectures and screenings from our headquarters in Los Angeles. Our intent is to use state of the art technology to encourage communication between Animation Creative League chapters in other cities. More About the Animation Resources Podcasting Project

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Monday, February 25th, 2019

The Officers, Board and Committees of Animation Resources


THE OFFICERS AND BOARD
OF ANIMATION RESOURCES


STEPHEN WORTH
President
sworth@animationresources.org

Stephen Worth has worked as an animation producer for over thirty years. He is the recipient of three Annie Awards, including the June Foray Lifetime Achievement Award for Benevolent Service to the Art of Animation. His credits include Alvin & the Chipmunks, Cool World, Yogi Bear, Ren & Stimpy, Bravest Warriors and Bee & Puppycat. He is a well known figure in the Hollywood animation community, having produced the first animated cartoon series created exclusively for the internet, as an authority on vintage animation art, and as the person responsible for establishing the Animation Archive, a digital reference library that serves animation professionals and students, as well as cartoonists and illustrators.

Stephen oversees the day to day operation of Animation Resources, and is chairman of the committee that oversees the Animation Archive.

TABER DUNIPACE
Vice President
tdunipace@animationresources.org

Taber Dunipace is a southern California freelance artist and educator specializing in 3D art and animation. For the last five years, he has taught a wide range of digital arts subjects, including character animation, digital painting, game development, and Flash animation. He also frequently does freelance work for both commercial animation and mobile games. He is currently teaching at Mt. San Antonio College and Riverside Community College, Norco.

As Vice President, Taber represents Animation Resources to the membership and communicates with the Executive Board in order to receive their invaluable guidance for the future growth of our organization.

PAUL ANDERSON
Secretary
panderson@animationresources.org

Originally from Minnesota, Paul arrived in Southern California in 2006, with dreams of someday entering the animation industry. Unexpectedly, he soon found a niche working on the production side. Currently, he can be found working on coordinating the production of a traditionally animated TV series, but also has experience in helping to produce CG content, stereoscopic 3D, live action, flash animation, and enhanced ebooks. He continues to develop his own art, both in classes at the Animation Guild, and in his own projects.

Paul is responsible for taking meeting minutes, cataloging and coordinating records, and distributing material to the rest of the board.

JOSEPH BAPTISTA
Treasurer
jbaptista@animationresources.org

Joseph “JoJo” Baptista is an animator from San Diego, California. He has worked for John Kricfalusi, Ralph Bakshi, Cartoon Network, Wild Brain and Frederator Studios as an animator, designer and storyboard artist. When JoJo was in college, he volunteered and studied at Animation Resources, where he found its treasures were invaluable. He has much to thank Animation Resources for helping him break into the animation industry, and feels that it is important for him to help others as the head of the Education Committee.

Joseph oversees the financial operations of Animation Resources, as well as chairing the Education Committee.

Mike AmatoMIKE AMATO
Director of Technology
mamato@animationresources.org

Surviving in LA as a New Jersey transplant, Mike Amato is currently part of a college training cohort for marketing and promotion production, where he does work at an editor, graphic designer and voice actor. He has done stereo 3D compositing on films such as “Guardians of the Galaxy,” “Mad Max: Fury Road,” and “The SpongeBob Movie: Sponge Out of Water.” He also works on his own art, and is very passionate about the history of animation and art preservation.

Mike is responsible for maintaining the Animation Resources digital archive, and is constantly adding new amazing artwork and films to its already immense collection.

DAVID HOFMANN
Director of Communications
dhofmann@animationresources.org

David Edward Hofmann, also known as Pez, has worked in the animation industry since 2006. At a very young age he developed a love of classic animation, leading to a career in 2D based Television Animation in Los Angeles. David has worked with Cartoon Network (Stan Bayou), Wild Brain (Umigo), HBO’s “The Ricky Gervais Show”, Nickelodeon’s “Breadwinners” and Warner Bros’ new Bugs Bunny series “Wabbit”. David also passionately supports the preservation of classic works, so future artists can advance the art of animation for years to come.

David Hofmann serves as the Director of communications. He is responsible for representing Animation Resources to the worldwide animation community.


ADVISORY BOARD


RALPH BAKSHI

Ralph Bakshi is an American director of animated and live-action films. In the 1970s, he established an alternative to mainstream animation through independent and adult-oriented productions. Between 1972 and 1992, he directed nine theatrically released feature films, including “Heavy Traffic”, “Wizards”, “American Pop”, “Lord of the Rings” and “Fritz the Cat”, which upon release was the highest grossing animated feature to date. He has been involved in numerous television projects as director, writer, producer and animator.  He created and directed the “Mighty Heroes” TV show and produced “The New Adventures of Mighty Mouse”, among others. Currently, he is living in New Mexico, drawing, painting and animating a personal film, “Last Days of Coney Island”. Link: RalphBaksi.com

DAVID CHAI

Award winning filmmaker David Chai, brings artistic excellence and technical know how to every project that he is involved in. David has been animating for over 14 years, on productions ranging from from educational software, animation for television and video, commercial advertising, to independent films. He is currently an Associate Professor of Animation and Illustration at San Jose State University in California. Link: House of Chai

SHERM COHEN

Sherm Cohen has helped bring to life some of the biggest animation hits of the past twenty years: His storyboarding, writing and directing credits include SpongeBob SquarePants, Hey Arnold, Disney’s Phineas & Ferb, Fish Hooks, and Kick Buttowski (for which he received an Emmy nomination). Sherm is the creator of  “Storyboard Secrets”, a comprehensive university-level video course at http://StoryboardSecrets.com

WILL FINN

Will Finn is an animation director and animator. His work includes films by Disney and Don Bluth, such as The Secret of NIMH, Oliver & Company, and Pocahontas. His characters include Laverne (The Hunchback of Notre Dame), Iago (Aladdin), and Cogsworth (Beauty and the Beast). Finn co-wrote and co-directed the 2004 film Home on the Range and did voice acting in Chicken Little. In 2006, Finn directed the computer animated short Hammy’s Boomerang Adventure, a spin-off of Over the Hedge. And in 2014, he directed Legends of Oz: Dorothy’s Return. Link: Will Finn Blog

J. J. SEDELMAIER

As the director and creative force of J. J. Sedelmaier Productions, J. J. Sedelmaier oversees everything that is produced by the studio. He is known in the industry as an all-around expert on the history of film and cartoons, animation, graphic design and illustration. His forte is translating print/illustration into film, and over the years has collaborated with many of the country’s foremost illustrators and artists, including David Levine, Al Hirschfeld, Garry Trudeau, Alex Ross, Don Martin, Neal Adams, Douglas Fraser, Gary Baseman, and many others. His unique abilities have contributed, over the years, to the studio’s extraordinarily diverse and entertaining collection of work. Link: J. J. Sedelmaier Productions

STEVE STANCHFIELD

Steve Stanchfield is an award winning character animator, educator, animation director and animation historian. His experience includes working for many of the major animation studios on projects that include television shows, commercials, educational programming, original short films, interactive games and feature animation. He is the co-owner of Thunderbean Animation, a studio based in Ann Arbor, Michigan that produces animation as well as compilations of classic animation on DVD. Link: Thunderbean Animation

MIKE VAN EATON

Mike Van Eaton is the owner and gallery director of Van Eaton Galleries, a full service animation art gallery and resource center featuring production artwork, limited editions, sculpture, videos, and books. He has hosted many special events in the Los Angeles area, and his gallery is the a hub for the animation community. His gallery represents both established and up and coming artists, as well as a wide array of vintage artwork from all the major studios. Link: Van Eaton Galleries


COMMITTEES


ARCHIVE COMMITTEE:
Stephen Worth (Chair) sworth@animationresources.org
James Sanders
Benny Mercader
Graham Porter

ANIMATION CREATIVE LEAGUE:
Taber Dunipace (Chair) tdunnipace@animationresources.org
Stephen Worth

EDUCATION COMMITTEE:
Joseph Baptista (Chair) jbaptista@animationresources.org

PUBLCITY COMMITTEE:
David Hofmann (Chair) dhofmann@animationresources.org
Nicholas Pozega

EVENTS COMMITTEE:
David Hofmann (Chair) dhofmann@animationresources.org
Stephen Worth

WEBSITE COMMITTEE:
Alex Vassilev (Chair) avassilev@animationresources.org
Stephen Worth, Nicholas Porzega

Animation Resources Board

The Board of Directors of Animation Resources browses through the precious reference material donated to our digital library by Advisory Board Member Ralph Bakshi. Standing L to R: Stephen Worth (President), Taber Dunipace (Membership), David Hofmann (Public Relations), JoJo Baptista (Treasurer), Seated L to R: Sherm Cohen (Advisory Board), Paul Anderson (Secretary), Michael Woodside (Vice President).

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