Archive for the ‘Uncategorized’ Category

Friday, February 21st, 2025

RefPack062: Tons Of Great Stuff You Don’t Know About But Should

Reference Pack


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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!


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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…

PDF E-BOOK:
Hokusai Manga

Hokusai Manga Volume 4
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Katsushika Hokusai / 1814
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Katsushika Hokusai was arguably the greatest artist Japan ever produced. Best known for his monumental set of woodblock prints titled Thirty-Six Views of Mount Fuji, his career spanned more than 75 years, and in his lifetime he produced more than 30,000 paintings, sketches and woodblock prints. Hokusai’s fame attracted talented young artists, eager to study under him. He took on 50 pupils over the years. In 1812, he found himself in need of some quick money, and decided to publish an art manual called Quick Lessons In Simplified Drawing. The book was surprisingly successful, so the following year, he published the first volume of a series of sketchbooks known as Hokusai Manga. At that time, the word “manga” meant “random drawings” and that is exactly what his first volume consisted of… scenes of everyday life, animals, plants, landscapes, rendering experiments… the book contained very little text, just lots and lots of amazing drawings.

The volunteers of Animation Resources have taken great pains to insure that Hokusai’s genius is not undermined by poor reproduction. Hundreds of hours of careful digital restoration has gone into this e-book to create the ultimate version of Hokusai’s masterwork. You won’t find a copy of this book in this quality anywhere else.

SD VIDEO:
Hoppity Goes To Town

Hoppity Goes To Town
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Dave Fleischer / Fleischer Studios / 1941

Dave Fleischer’s second animated feature Mr. Bug Goes To Town was a difficult production, some might say it was cursed. But despite its string of bad luck, the film stands as one of the crowning achievements of the Fleischer Studios, and is a model of what a non-Disney animated feature could be. Both Ralph Bakshi and Hayao Miyazaki have praised the film for the same reason. They consider it to be as Miyazaki put it, “the best example of a cartoon movie”.

In Disney films, the animators would go over each scene in passes, adding overlapping action- details reacting against the core motion, or add secondary action, where a character would be doing something else while performing. But in Mr. Bug the action occurs sequentially one at a time, not overlapping, with a focus on putting across the emotion or movement in the clearest and most expressive way possible… no lily-gilding or multi-layered polishing, just presenting the main point of the scene with maximum impact. We hope that the ability to step-frame through these scenes inspires you to focus on directness and focus in your own animation.


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Wolf Seven Kids

The Wolf & The Seven Kids
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Pyotr Nosov / Souyzmultfilm / Russia / 1957
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“The Wolf And The Seven Kids” was based on a Russian fairy tale designed to teach children to be wary of strangers. The film has a great deal of dialogue, but it can be followed by a non-Russian speaker if you know the basic plot. I think you’ll be impressed at the high quality of the animation and backgrounds in this film. It’s amazing that films like this are virtually unknown in the United States.

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Little Checkered Dog

The Little Checkered Dog
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Sophia Oldak / Studio Miniature Filmowych / Poland / 1968

Occasionally, I’m called upon to write about a film that I know very little about. This is one of those cases. This charming film was directed by Sophia Oldak for the Polish animation studio, Studio Miniature Filmowych in 1968. I have been told that this is the first of three films featuring the little checkered dog, but I can’t find the other two films.

The thing that appeals to me about this film is its simplicity. It doesn’t try to be fancy, with complicated animation, elaborate stop motion armatures, and richly detailed backgrounds. It tells a story on a child’s level simply, and with a great deal of appeal. It reminds me that making a film isn’t about working hard, it’s about putting across a character simply, with a maximum of personality.


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SD VIDEO:
Pies Kot I

Dog, Cat And… Ep 06
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Leszek Komorowski / Studio Miniatur Filmowych, Poland / 1972

In this Reference Pack, we are sharing another short cartoon from a series produced by Studio Miniatur Filmowych, Pies, Kot I… which translates to Dog, Cat And… The episode is titled “Stove”. These cartoons are almost devoid of dialogue with the focus on loose, funny animation. In fact, the drawings are often hilarious on their own, even removed from their context within the gag sequence. The facial expressions are well observed, and the poses employ clear silhouettes that form funny graphic shapes.

Dog, Cat And… looks like it was a lot of fun to make. The film makers at Studio Miniatur Filmowych didn’t feel constrained by the ordinary lives of animals. Their characters can drive cars, build their own houses and go to exotic places. That freedom allowed the animators to keep their series fresh, and gave them the opportunity to experiment within a 10 minute format. Simple drawings, funny movement and no rules… these are the kinds of series that would work well as episodic internet cartoons.

SD VIDEO:
Ganso Tensai Bakabon

Ganso Tensai Bakabon Ep. 01 & 10
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Hiroshi Saito / Tokyo Movie / Japan / 1975

Ganso Tensai Bakabon was the second series based on Fuji Akatsuka’s manga, debuting on October 6th, 1975. There were 103 half hour episodes produced by Tokyo Movie.

A lot of people believe the myth that there are 12 principles of animation. Nothing could be further from the truth. There are hundreds of principles, and animators with familiarity with all kinds of animated films know that. One of the principles that is used extensively in early TV anime is the use of exaggerated expressions. The technique involves creating impactful poses by exaggerating the facial expression to an absurd degree, while changing the proportions of the character to enhance the emotion being expressed. When a character expresses fear or surprise, their eyes can become huge and their head enlarges, their body becoming small with stubby legs and arms sticking straight out. A staggered pair of drawings often vibrates back and forth with a shocking sound effect. This series has plenty of great examples to analyze and break down to use in your own work.


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Shock Of The New

Shock Of The New Ep. 03 & 04
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Robert Hughes / BBC / 1980
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In the first 18 years of the 20th century, the world changed more than in the previous 18 centuries. The rise of the machine age that led to the horrors of the First World War was unprecedented. Rapid change has continued since then. Uncertainty and progress continue to go hand in hand into an unknown future.

In the early 1980s, I happened to see a series on PBS that blew my mind. It was titled “Shock Of The New” and it was hosted by Time Magazine’s art critic, Robert Hughes. It told the story of modern art in a different way, organizing the episodes by the meaning of the art, instead of following a strict chronology. The concepts were illustrated not only by images of art, but with footage illustrating the societal upheaval that inspired it. Hughes travelled about 250,000 miles to film the places and people in the series and spent over three years producing the films and companion book. It is one of the greatest pieces of art criticism that has ever been produced.

ANALYSIS:
Breakdowns

Solo Performance Pt. 2
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Curated By David Eisman
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This time, we return to the topic of solo performance. In Part Two, we will, as before, analyze four curated animation sequences and break them down frame-by-frame to best understand how the animation principles of solo performance and screen-presence can be applied in practice.

With these breakdown clips, we will learn about the concepts of solo performance and screen-presence- specifically how to generate and maintain screen-presence and support screen-presence with other elements, be they an additional character or a heap of dramatic effects. We’ll also learn how to use simplicity and purposeful staging to maintain screen-presence in a non-traditional, abstract solo performance. And lastly, we’ll learn how to use cheats to maintain clarity in character acting.


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Bonus Download

As a special thank you to our annual General and Student members, we have created a special page where we will archive past Reference Packs. There will be a new rerun of a complete RefPack between the new ones.

ANNUAL MEMBER BONUS ARCHIVE
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Available to Student and General Members

REFPACK031: December / January 2019-2020

PDF E-BOOK:
Eulenspiegel

Eulenspiegel Volume One
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July 1st to November 2nd, 1963

After the Second World War, satirical caricature magazines experienced a rapid decline. The general public in the post-war years wasn’t as receptive to radical politics and muckraking as they were before the war. One by one, satirical magazines around the world were replaced by illustrated current events magazines like Life, Look, The Illustrated London News and L’Illustration. However, behind the Iron Curtain, satirical magazines didn’t disappear after World War II, in fact, they flourished for a time. Chief among these magazines was Krokodil. It was launched a few years after the Russian Revolution. Political satire in the Soviet Union was a dangerous thing, but Krokodil was given a wide berth to lampoon the inefficiency and lack of initiative of mid level bureaucrats and the sloppiness of labor workers.

Die Muskete Only three East German magazines survived after the Berlin Wall fell, and Eulenspiegel was one of them. It continues to be published to this day. Punch ceased publication in 1991 after more than a century and a half in print, Krokodil closed its doors in 2008, Mad Magazine recently announced that they were ending their print magazine. It may well be that Eulenspiegel is the last of the classic satirical humor magazines still in circulation. Animation Resources was fortunate to Find a batch of these rarely seen magazines in a bookshop in Hungary and had them shipped to us in the United States for digitization. We hope you find them useful.

Click to access the…

Annual Member Bonus Archive
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Downloads expire after February 2025

DVD QUALITY VIDEO:
White Serpent

The Tale of the White Serpent
Toei / Taiji Yabushita & Kazuhiko Okabe / 1958

When Toei Animation undertook to create the first full color animated feature, they pushed their resources to their absolute limit. With a staff of nearly 1,400 people working on the film, and an extremely tight schedule of just eight months to complete it, they succeeded in making a wonderful film that is now considered the first Anime feature.

The copy of the film that we are are sharing with our members here is in Japanese with no subtitles, but dialogue is sparse and the story is easy to follow without words. In particular, pay attention to the excellent color and effects animation, as well as the use of humorous caricature in the crowd shots. There is a great deal to be learned from this film.

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Annual Member Bonus Archive
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Downloads expire after February 2025

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…

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membership@animationresources.org

…and we will credit your membership with the additional time. These bonus downloads expire after January 1st, 2025.


VIDEO PODCAST:
Animated Discussions Podcast

Christian Roman Interview
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Animated Discussions 017 / Hosted by Davey Jarrell with Christian Roman
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NewNewChristian Roman is a storyboard artist and director with over 30 years of experience in both TV and features. He storyboarded on 55 episodes of The Simpsons and on the Pixar classics Toy Story 3, Toy Story 4, Cars 3, Onward, and Elemental. He also directed on the TV series Fillmore, Mission Hill, and The Twisted Tales of Felix the Cat. He’s currently on the faculty at the School of Visual Arts. Listen to Christian talk about his creative process and the nuts and bolts of professional storyboarding in the latest episode of Animated Discussions!


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Whew! That is an amazing collection of treasures! 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.

THIS IS JUST THE TIP OF THE ICEBERG!

Animation Resources has been sharing treasures from the Animation Archive with its members for over a decade. Every other month, our members get access to a downloadable Reference Pack, full of information, inspiration and animation. The RefPacks consist of e-books jam packed with high resolution scans of great art, still framable animated films from around the world, documentaries, podcasts, seminars and MORE! The best part is that all of this material has been selected and curated by our Board of professionals to aid you in your self study. Our goal is to help you be a greater artist. Why wouldn’t you want to be a member of a group like that?

Membership comes in three levels. General Members get access to a bi-monthly Reference Pack as well as a Bonus RefPack from past offerings in the in-between months. We offer a discounted Student Membership for full time students and educators. And if you want to try out being a member, there is a Quarterly Membership that runs for three months.


JOIN TODAY!
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FREE SAMPLES!

Not Convinced Yet? Check out this SAMPLE REFERENCE PACK! It will give you a taste of what Animation Resources members get to download every other month! That’s 560 pages of great high resolution images and nearly an hour of rare animation available to everyone to download for FREE! https://animationresources.org/join-us-sample-reference-pack/

Sample RefPack

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Friday, February 14th, 2025

RefPack062: A Peek At The Featured Downloads

People who aren’t members of Animation Resources don’t understand how comprehensive our Reference Packs are. If you are a member of Animation Resources, click on this post to go to the Members Only page. If you aren’t a member yet, today is the perfect time to join! Our current Reference Pack is one of our best yet, and General and Student Members get access to a special Bonus Archive with even more material from past Reference Packs.

What are you waiting for?
Download Page
JOIN TODAY!
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Reference Pack

Every other month, Animation Resources shares a new Reference Pack with its members. They consist of an e-book packed with high resolution scans and video downloads set up for still frame study. Make sure you download the Reference Pack before it’s updated. When it’s gone, it’s gone!


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REFPACK062: February-March 2025

PDF E-BOOK:
Hokusai Manga

Hokusai Manga Volume 4
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Katsushika Hokusai / 1814
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Katsushika Hokusai was arguably the greatest artist Japan ever produced. Best known for his monumental set of woodblock prints titled Thirty-Six Views of Mount Fuji, his career spanned more than 75 years, and in his lifetime he produced more than 30,000 paintings, sketches and woodblock prints. Japan was closed to the Western world while Hokusai was living and working, but it didn’t take long after Japan’s borders were opened to the world for his fame spread to the West. He is now regarded as one of the greatest artists in the entire history of art.

Hokusai was born in 1760, the son of a mirror maker. At the age of six he joined his father painting decorations around mirror frames. When he was twelve, his father sent him to work at a bookseller, where he was surrounded by books full of beautiful woodblock prints. This inspired him to apprentice with a woodblock carver, which eventually led him to joining the studio of Katsukawa Shunsho, a prominent artist who designed woodblock prints. He worked in Shunsho’s studio and studied under him for over a decade.

Hokusai Manga

Today we think of woodblock prints as fine art. That’s a logical expectation, since the style derived from Chinese fine art painting. But at this time in the history of Japan, woodblock prints were considered to be disposable pop culture. Known as “ukiyo-e”, which translates to “floating world”, the prints depicted popular courtesans and kabuki actors, who were much like the movie stars and pop idols of our time. One series of prints even featured the prettiest waitresses at Edo restaurants. The customers for these prints were citizens of the merchant class, low ranking shopkeepers and dealers who had begun to accumulate wealth and were eager to spend it on “wine, women and song”. The term ukiyo-e started off as a joke. The phrase itself sounded like a Buddhist term meaning “the world of sorrow and grief”. But the “floating world” was actually a nickname for Edo’s red-light district, which was surrounded by canals that made it appear to be floating on water.

Ukiyo-e prints were mass produced in much the same manner… A publisher would commission an artist to create a painting. Then a skilled carver would translate that painting into hand carved printing blocks. A printer would ink the blocks and transfer the image to paper using pressure. There were specialists in each area. Usually the artist had no contact with the people carving and printing his images. However, Hokusai’s experience as a woodcarver’s apprentice gave him an edge; and throughout his career, he kept close tabs on how the prints he designed were being printed.

Hokusai’s master, Shunsho died in 1793. This prompted Hokusai to began searching for a style of his own. He ran across some Dutch and French copper engravings and began to experiment applying Western techniques and perspective to the principles he had learned from Shunsho. At this time, he also took studies at the Kano school, which was a rival to the one he belonged to. This enraged Shunsho’s main follower Shunko, who expelled Hokusai from the group of artists at the studio. Instead of discouraging Hokusai, this gave him added energy. He said of the event, “What really motivated the development of my artistic style was the embarrassment I suffered at Shunko’s hands.”

Hokusai Manga

Hokusai’s subjects began to expand beyond portraits of kabuki actors and geisha. He created illustrated humor books, fantasy novels, erotic art and scenes of everyday life. With Famous Sights Of The Eastern Capital and Eight Views of Edo he explored landscape painting. Hokusai’s draftsmanship was well respected, and his fame grew exponentially over the next few years… but it didn’t go to his head. He always maintained a sense of humor about himself. At a festival he painted a huge portrait of a Buddhist monk named Daruma with brooms and buckets of paint. And at another, he painted a blue curve on a piece of paper, dipped a chicken’s feet in red paint, and had it run across the picture. He then presented the image to the presiding shogun as a landscape of the Tatsua river with red maple leaves floating in it. The unusual painting won first prize in the competition.

Hokusai’s fame attracted talented young artists, eager to study under him. He took on 50 pupils over the years. In 1812, he found himself in need of some quick money, and decided to publish an art manual called Quick Lessons In Simplified Drawing. The book was surprisingly successful, so the following year, he published the first volume of a series of sketchbooks known as Hokusai Manga. At that time, the word “manga” meant “random drawings” and that is exactly what his first volume consisted of… scenes of everyday life, animals, plants, landscapes, rendering experiments… the book contained very little text, just lots and lots of amazing drawings.

Hokusai Manga

In our internet age, it might not be obvious what the purpose of this kind of book would be. If we want reference for what an ox looks like, or how to group leaves on a bush naturally, we just type a search term into Google and we are presented with dozens of options. But in the early 19th century, reference like this was not as easy to come by. Hokusai would go out into the world and draw everything he saw in his sketchbook. He would study the way people interact and move, the anatomy of a goose, how forms overlap on hills and mountains, and the groupings of buildings in a village. These studies would be arranged into books he would refer to when designing a woodblock print that required these sorts of elements. The sketchbooks would then be shared with students as a “copy book” so they could duplicate his sketches to learn from the master by recreating the way he constructed his drawings. The first volume of Hokusai Manga, titled “Brush Gone Wild” was published in 1814 to great success. In subsequent years, he published 13 volumes in total, with his students adding two more to the set after his death.

The importance of these little sketch books can’t be overestimated. In 1831, lithographs made from the pages of Hokusai Manga were published in Germany, and in 1854 when Commodore Matthew Perry opened communication with Japan to the West, importers struggled to fill the demand for the books in European capitals. Even though there were huge cultural differences, and Japan remained a mystery to Westerners, Hokusai’s artistic importance was immediately recognized for its vitality, innovative compositions, naturalism and draftsmanship.

The volunteers of Animation Resources have taken great pains to insure that Hokusai’s genius is not undermined by poor reproduction. Hundreds of hours of careful digital restoration has gone into this e-book to create the ultimate version of Hokusai’s masterwork. If you would like us to share more volumes from this set with you, let us know.

REFPACK057: Hokusai Manga Vol. 4
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PDF / 74 Pages / 163 MB Download


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SD VIDEO:
Hoppity Goes To Town

Hoppity Goes To Town
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Dave Fleischer / Fleischer Studios / 1941

Dave Fleischer’s second animated feature Mr. Bug Goes To Town was a difficult production. The Miami based Fleischer Studio had finally hit its stride, but Dave Fleischer, the creative supervisor was not on speaking terms with his brother Max over a personal disagreement, and Paramount was using their feud to tighten the noose around the problematic brothers’ necks. Dave Fleischer resigned shortly before the film’s release, saying he found it impossible to work with his brother any longer.

The film was previewed two days before the attack on Pearl Harbor, and promotion for the film was cancelled upon news of the attack, effectively tanking hope for any kind of success at the box office. Mr. Bug’s release was delayed a month, and when it was finally released to theaters, it ran for only a week on a double bill before being pulled. Paramount yanked the rug out from under the Fleischers, calling in debts and taking over the studio, reorganizing it as Famous Studios and relocating production back to New York. Mr. Bug was re-released after the war under the title Hoppity Goes To Town, but it flopped at the box office again, and was sold to television as part of the NTA library. It was released on Laserdisc and VHS by Republic Pictures in 1989, but never came out on DVD in the United States, and remains out of print to this day.

Hoppity Goes To Town

Despite this string of bad luck, the film stands as one of the crowning achievements of the Fleischer Studios, and is a model of what a non-Disney animated feature could be. Both Ralph Bakshi and Hayao Miyazaki have praised the film for the same reason. They consider it to be as Miyazaki put it, “the best example of a cartoon movie”.

I had the opportunity to speak with Bakshi about the film, and he spoke of the directness of the animation. He pointed out how the motion in the film is clear and not cluttered up with unnecessary details and distracting layering. In Disney films, the animators would go over each scene in passes, adding overlapping action- details reacting against the core motion, acting like dingle balls on the edge of a sombrero. They would also add secondary action, where a character would be doing something else while performing, like Doc wiping off his glasses, or Captain Hook playing the harpsichord as he speaks to Tinkerbell. But in Mr. Bug the action occurs sequentially one at a time, not overlapping, with a focus on putting across the emotion or movement in the clearest and most expressive way possible. Bakshi described this approach as getting to the guts of a scene… no lily-gilding or multi-layered polishing, just presenting the main point of the scene with maximum impact.

Hoppity Goes To Town

Mr. Bug also finds the perfect way to integrate realistic characters with cartoony ones. In Disney films, there is often a jarring contrast between characters like Tiger Lilly and her father the Indian Chief. It’s odd to see realistic proportions next to a cartoony character with a mouth large enough to swallow up the entire realistic one. Fleischer was guilty of this too. In Gulliver’s Travels, the prince appears to be an entirely different species than his father, the King. But Mr. Bug uses the technique of rotoscoping to divide the world of the human population of New York City from the world of the tiny insects. The difference in scale takes the curse off the strangeness and the contrast in style accentuates the difference between the two worlds that exist side by side.

Hoppity Goes To Town

There are plenty of technical effects to admire as well. The use of 3D sets in the opening titles is fantastic, and the dry brush effects when Hoppity is electrocuted in the nightclub are gorgeous. The backgrounds are excellent examples of balancing detail and color for effect, without feeling overworked. Layout artist Lars Bourne’s beautiful compositions frame the action perfectly, and the focus on cartooniness draws you into the picture- you never get pulled out by a fancy background or design that is complicated for complicated’s sake.

Hoppity Goes To Town

This film was scheduled for release on blu-ray recently, but it was cancelled because of ham-handed digital restoration. It appears that it won’t be released anytime soon. The copy we share with you today is far from perfect. The print is very rough around the reel changes. But it should give you plenty to study and analyze. We hope that the ability to step-frame through the scenes inspires you to focus on the guts in your own animation.

Hoppity Goes To Town

Many thanks to Advisory Board Member Steve Stanchfield for providing this rare film to our digital archive. We all owe him a debt of gratitude for his tireless work rescuing classic animated films from obscurity.

REFPACK062: Hoppity Goes To Town 1941
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MP4 Video File / SD / 1:17:15 / 1.74 GB Download


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Members Appreciation

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.

Dollar Days

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…


JOIN TODAY!
https://animationresources.org/membership/levels/

Members Appreciation Month

PayPalAnimationAnimation 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.


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Sunday, February 2nd, 2025

RefPack061: A Holiday Package Of Amazing Inspiration

TOO LATE! A new Reference Pack has been posted, and this one is gone. Grab the new RefPack before it disappears!

Reference Pack

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!


MEMBERS LOGIN To Download

JOIN TODAY To Access Members Only Content


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…

PDF E-BOOK:
Ding Darling

Ding Darling
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Political Cartoons 1924-1926
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PLEASE NOTE: In 2016 this e-book was scheduled to be part of Reference Pack 012. It was pulled at the last minute because of a copyright claim. The work is now part of the Public Domain, so we are making it a part of this Reference Pack.

Jay Norwood Darling was born on October 21, 1876, in Norwood, Michigan. He enrolled in Yankton College in South Dakota studying medicine in 1894 but was expelled after taking a joy ride in the President’s carriage.

Ding Darling

Darling went to work at the age of twenty-three as a cub reporter for the Sioux City Journal. While writing for the Journal, he continued to draw. He dabbled in photography and one day was sent to photograph an attorney to accompany a piece he had written. The attorney objected and chased Darling out of the courtroom. Darling substituted a drawing that he had already made of the lawyer, and the editor decided to publish it. It was so successful that Darling was engaged to do a series on Sioux City characters called “Local Snapshots” (1901-1902). At the end of 1906, at the age of thirty, Darling began his long career at the Des Moines Register and Leader (later the Des Moines Register). The editor, Gardner Cowles, gave Darling complete artistic and editorial freedom, only sometimes– and rarely– deciding not to publish a cartoon. Darling thrived in this atmosphere, and his reputation grew.

Ding Darling was one of the greatest editorial cartoonists in America. But he wasn’t just a cartoonist. His work for the conservation of migrating wildfowl led to a wildlife preserve in his name.

SD VIDEO:
Jay Ward Commercials

Jay Ward Commercial Reels
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Rocky & Bullwinkle / Captain Crunch

When I was working with Bill Scott at ASIFA, we chatted about his career a bit. He was a storyboard artist at Warner Bros. and U.P.A, and he was a "jack of all trades" at Jay Ward Studios, producing, directing, writing and voicing characters. I asked him what was the most fun to work on, and he admitted that most people know him for his work on The Bullwinkle Show and George of the Jungle, but he enjoyed working on commercials the best of all. They had far fewer limitations due to budget or schedule. The work could all be done in-house. And every one was different.

Jay Ward Commercials

In this RefPack, Animation Resources is sharing reels of Rocky & Bullwinkle and Captain Crunch commercials. Take note of the format of these spots. They are quite different than most commercials today. They’re structured as little cartoons with a setup of a situation, a brief product shot acting as a commercial within the commercial, and a resolution of the story. The audience watches the commercials the same way they watch the shows they accompany. No one can tune them out, because they are self-contained and entertaining on their own.


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SD VIDEO:
The Snow Queen

The Snow Queen
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Lev Atamanov / Souyzmultfilm / Russia / 1957
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The Snow Queen is probably the most famous bit of Russian animation outside of the Soviet Union. It was Soyuzmultfilm’s ninth animated feature, released in 1957 to universal acclaim. The film was dubbed into German, French, Spanish, Italian, Finnish and Swedish, as well as English. This was unusual because the film was released during the height of the Cold War. In 1959 Vice-President Richard Nixon met with Soviet leader Nikita Krushchev at the American National Exhibition with the intention of lowering tensions between the two countries through cultural exchange. The theatrical distribution rights to The Snow Queen was sold to Universal Pictures for $30,000, the first time a Soviet film had been purchased for release in the United States.

Hayao Miyazaki cited The Snow Queen as his favorite animated feature, and one of his greatest inspirations. At the time of the film’s release, he was working at Toei and was unhappy with his job. He seriously considered leaving animation for another career. But a screening of The Snow Queen reinvigorated him and gave him new goals. In particular, it showed him how animation could be used for creating visual symbols and metaphors to put across thematic content. Miyazaki’s Princess Mononoke is his tribute to The Snow Queen. It shares many aspects with the Russian film.

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New Year Night

New Year Night
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Olga Khodatayeva & Pyotr Nosov / Soyuzmultfilm / Russia / 1948

New Years Night was the first animated film made at Soyuzmultfilm in the years immediately following World War II. The directors, Olga Khodatayeva and Pyotr Nosov were already veteran animators, having begun work in the 1920s and 1930s. We presented Khodatayeva’s pioneering film "Interplanetary Revolution" (1924), her burlesque on Hitler, "Kino Circus" (1942), and "A Brave Little Deer" (1957) in earlier Reference Packs.

The simple story centers around an argument between Father Christmas and a Wood Goblin over which mode of transport is better… a magic carpet or an aeroplane. Naturally, Santa Claus wins the bet by delivering a Christmas tree by means of modern technology. There’s good use of rotoscoping as well as pure animation in this short, and the use of color is remarkable.


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Well Just You Wait

Well, Just You Wait Ep.07
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Vyacheslav Kotyonochkin / Soyuzmultfilm, Russia / 1973

We continue the Russian Wolf and Rabbit cartoons with episode 08, “Ski Resort”.

Between 1969 and 2006, Soyuzmultfilm ended up making 22 episodes Wolf and Rabbit cartoons, and in a 2014 poll of audiences all over Russia, Well, Just You Wait! was voted the most popular cartoon series of all time by a landslide. Although the series resembles both Tom & Jerry and the Roadrunner and Coyote series, the director, Kotyonochkin claimed not to have ever seen any of these Hollywood cartoons until 1987 when his son got a video tape recorder and Western tapes began to be imported.

In these Russian cartoons, there’s almost no dialogue, and the action almost always occurs on screen. Static tableaux are rare, as are detailed backgrounds and “on model” drawings. These cartoons focus on expressive poses and movement, and save time and expense by avoiding the careful cleanup required for character model details and overlapping action. The theory here is, if it moves funny, it’s funny… and they are right about that.

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Hakushon Daimao

Hakushon Daimao Ep. 05 & 47
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Hiroshi Sasagawa / Tatsunoko Productions / Japan / 1969

In the Fall of 1969, Tatusnoko Productions debuted Hakushon Daimao (The Genie Family) on Fuji TV in Japan. Tatsunoko had previously produced Space Ace and Speed Racer entirely in-house in their studio in Tokyo. Directed by veteran animation director, Hiroshi Sasagawa, the series ran for 52 episodes.

The show focuses on a boy named Kan who finds a mysterious old bottle. Inside the bottle is a bumbling genie named Hakushon and his daughter Akubi. When Kan sneezes, Hakushon is summoned, and when he yawns, Akubi appears. The genies grant wishes, but Hakushon often messes up his magic due to clumsiness, and Akubi cleverly twists the meaning of the words in the wish to produce unexpected results.


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Shock Of The New

Shock Of The New Ep. 01 & 02
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Robert Hughes / BBC / 1980
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In the first 18 years of the 20th century, the world changed more than in the previous 18 centuries. The rise of the machine age that led to the horrors of the First World War was unprecedented. Rapid change has continued since then. Uncertainty and progress continue to go hand in hand into an unknown future.

In the early 1980s, I happened to see a series on PBS that blew my mind. It was titled “Shock Of The New” and it was hosted by Time Magazine’s art critic, Robert Hughes. It told the story of modern art in a different way, organizing the episodes by the meaning of the art, instead of following a strict chronology. The concepts were illustrated not only by images of art, but with footage illustrating the societal upheaval that inspired it. Hughes travelled about 250,000 miles to film the places and people in the series and spent over three years producing the films and companion book. It is one of the greatest pieces of art criticism that has ever been produced.

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Breakdowns

Solo Performance Pt. 1
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Curated By David Eisman
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Sometimes in art, there comes a moment when a solo performer is able to take center-stage and rapt the audience’s attention for the few crucial moments it takes to demonstrate the mastery of their craft. This moment arises differently in different art forms. In a jazz concert, for instance, the conductor may allow for an extended period of solo play from a particularly talented musician, leading them to rhapsody and improvise to the astonished amazement of the crowd. In a dramatic film, the leading actor may have several minutes of uninterrupted screen-time wherein they occupy the frame with their presence, delivering powerful lines in stirring monologues.

Solo performances can occur in animation as well, though the mechanisms by which that performance occurs are wholly different from the aforementioned two examples. In an animated solo performance, the animator is generating every single action and emotion of the character that occupies the frame – the animated character is not real, and thus, unlike the jazz player or dramatic film actor, does not have the ability to improvise and adapt. As such, in every animated solo performance, it is the animator acting through the pencil. But, crucially, it is not the actor acting as themselves – the solo performance must embody the soul of the character. Therefore, the movements and actions of the character must be in-line with their personality and behavior.


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Die Muskete

Die Muskete Volume Two
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Vol. X Nos. 253-160(August-September 1910)

During the 19th century, society had a totally different relationship with cartoons than we do today. Beginning with artists like James Gillray and George Cruickshank in early decades of the century, cartoons were seen as serious business. They crystalized the image of the rich and powerful in the minds of the masses, and even Kings and religious leaders were forced to take notice of their impact. The pen truly had become “mightier than the sword”.

Die Muskete With the dawn of the 20th century, the lives of people were changing. The modern world was emerging, and with it came pressures brought on by technology, new forms of government, colonialism and war. The gloves were off. Cartoonists no longer limited their satire to Kings and religious leaders. They wielded their power to satirize by skewering everyone and everything around them– religion, ethnicity, the rich as well as the poor, and the power that the government held over the public. Cartooning became a powerful tool for changing hearts and minds, as well as disseminating nationalistic propaganda. The conflicts that these new challenges created began building to a head, and it would eventually result in “The Great War”, World War I.

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I'm No Fool Educational Film

I’m No Fool
Disney / 1955-1956

Animation is not only an entertainment medium, it can also educate. When educational films are overly didactic and dense with content, they often fail to get the ideas across. But animation engages the audience and presents information in a clear symbolic way that remains in the mind long after the film is over. The Fleischers pioneered the idea of using animation to educate with their film “The Einstein Theory of Relativity” in 1923. During WWII, the United States War Department set up the Army Air Forces First Motion Picture Unit whose sole purpose was to create training films to educate soldiers on how to use equipment and how to navigate life in the armed forces.

The Disney Studios also contributed to the government’s wartime efforts in creating educational films. They produced training films for enlisted men, propaganda for audiences in the home front, and even a feature film, Victory Through Air Power. A great deal of research was done at the studio to find the best ways to use animation for education. They experimented with stylization to graphically represent complex subjects in a simple way to clearly communicate to the intended audience. They also evolved an efficient and bare-bones production process to reduce costs.

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Russian Animation

Dead Tsarevna & The Seven Bogatyrs
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Ivan Ivanov-Vano / 1951

Although this film closely resembles the story of “Snow White and the Seven Dwarfs”, this adaptation is based on a Russian fairy tale about the Princess Tsarevna. The film closely follows the poem written in 1833 by Aleksandr Pushkin. If you are interested, there is a synopsis of the story at Wikipedia.

The director of this film, Ivan Ivanov-Vano began his career in animation in 1927 and made three dozen films over his half century career, most of which were based on Russian folk tales. Early on, he was heavily influenced by Disney, but his personal style developed and grew over his career. In 1947 he directed the first Russian animated feature film, The Humpbacked Horse; and he helped establish ASIFA (The International Animated Film Society) in 1961.

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