Archive for the ‘Uncategorized’ Category

Friday, June 14th, 2024

RefPack058: A Peek At The Featured Downloads

People who aren’t members of Animation Resources don’t understand how comprehensive our Reference Packs are. Over the next couple of weeks, we will be posting what each section of our current RefPack looks like, starting today with the Featured section. 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!
https://animationresources.org/membership/levels/

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!


MEMBERS LOGIN To Download

JOIN TODAY To Access Members Only Content


REFPACK058: June – July 2024

PDF E-BOOK
Willard Mullin

Willard Mullin Dailies 1941-1946
Download Page
New York Daily World-Telegram
Download this article

Willard MullinTell A FriendBefore the era of live TV broadcasts with instant replay to capture every nuance of the action, low light photography for night games, and long telephoto lenses to capture the plays close up from a long distance, sports fans depended on the newspaper for their daily sports fix. Sports columnists rattled off play by play of the previous day’s games in great detail, and put the scores in context with complex statistics. But those were just words… the fella responsible for putting a face to the facts and figures was the sports cartoonist.

Today, only a tiny handful of sports cartoonists remain working, but in the post-war era, every paper had a great artist who filled the sports pages with caricatures, likenesses of famous figures in the news, and funny gags involving the team mascots. A few years ago, Richard Sandimir wrote in the New York Times…

They blended the skills of a caricaturist and the mind-set of a columnist. They were entertainers and ink-stained jokesters. They were newsroom denizens and deadline artists who churned out five or six cartoons a week that received prominent display. If they possessed power, it was that they drew players, owners and managers in ways that reporters could not with their words. Sports cartoons were usually more amusing and informative than critical, which reflected the times when the sports section was the fun-and-games department.

Willard Mullin

One sports cartoonist stood out above all the rest… Willard Mullin. In his twenties, Mullin worked for the Los Angeles Herald Examiner, but in 1934 he joined the staff of the New York World-Telegram where his work was syndicated across the country by the Scripps Howard News Services. He worked there until 1966 when he began drawing cartoons freelance for magazines and ads. He was widely published throughout his half century long career, with cartoons appearing in many publications, such as Colliers, Life magazine and Time, as well as numerous team programs and advertisements.

Mullin produced six cartoons a week, and they were printed large across a full page in the sports section. They usually were centered around the likeness of a famous athelete or a humorous depiction of a team mascot. Mullin was called upon to draw every form of animal as a team mascot, except perhaps elephants and donkeys, which were relegated to the editorial pages. He was famous for creating the character known as the Brooklyn Bum. Sporting a tattered and patched suit of clothes, a stub of a cigar and a big belly, the Bum perfectly represented the rough and tumble Brooklyn Dodgers.

Willard Mullin

Mullin was a genius at depicting the human form in motion. His characters seemed to spring off the page with life and vitality. Mullin’s characters ran the gamut from heroes to everyman characters. His influence extended far beyond the newspaper world to cartoonists like Jack Davis and the Disney animator John Sibley. For animators, Mullin’s sketches are a revelation because they appear to be already in motion. His knowledge of anatomy merged perfectly with the spirit of the action to create gesture drawings of the highest order. Best of all, his drawings are steeped in fun. They encapsulate the spirit of casual camradery shared by all of the sports fans in the bleachers on a sunny afternoon.

Willard Mullin

Between 1947 and 1952, Mullin created a comic book for Spalding which was given away to customers of sporting goods stores. We featured that in an earlier e-book. This time we are presenting daily comics from the 1940s, the absolute peak of Mullin’s career. These fragile scraps of newsprint were crumbling as we scanned them. Parts of the edges on some had chipped away. You’ll notice missing bits, but plenty of wonderful drawings remain intact. We hope you find them useful.

REFPACK058: Willard Mullin Vol. 3
Download Page
Adobe PDF File / 124 Pages / 827 MB Download


MEMBERS LOGIN To Download

JOIN TODAY To Access Members Only Content


SD VIDEO:
Milton The Monster

The Milton The Monster Show
Download Page
Episode 1 / Four Stuffy Durma Shorts 1965

The Milton The Monster Show was produced by Hal Seeger and aired on ABC for two seasons starting in 1965. There were 26 half hour episodes made, and along with the Milton The Monster cartoons, there were shorts featuring Fearless Fly, an insect superhero, Flukey Luke a cowboy whose dumb luck allowed him to solve mysteries, Stuffy Durma, a hobo who had stumbled into becoming a millionaire, Muggy Doo the boy fox, and Penny Penguin.

Milton The Monster

Hal Seeger began his career working as an animator at the Fleischer Studios, drawing newspaper comics and writing scripts for live action films. In 1962 he formed a studio to produce cartoons for television, and his first series was based on the Fleischers’ Out Of The Inkwell cartoons starring Ko-Ko The Clown. He was tapped by ABC to be the Executive Producer of The Porky Pig Show in 1964 and that led to Milton The Monster in 1965 and Batfink in 1967. A couple of years after the end of Milton The Monster, Filmation stole the concept, crossed it with The Archies and sold it to CBS as The Groovy Ghoulies.

Jim Tyer Stuffy Durma

I’m including the premiere episode of Milton The Monster here for you to see, but I have to admit, it isn’t very good and there isn’t much to glean from it as an artist. But there was one segment in four of the episodes that really stand out… Stuffy Durma. Seeger jobbed out the animation of these shorts to the legendary Terry-Toons animator, Jim Tyer. From the look of them, Tyer animated them all by himself. It’s very simple television animation, but it’s full of delightful Tyer touches that raise it up above the other segments in the show.

Jim Tyer Stuffy Durma

Tyer utilizes some interesting techniques in the Stuffy Durma cartoons. One particularly brilliant idea is eye pupil lip-sync. As the character speaks, his pupils expand and contract and form expressions and eye blinks on their own. Viewers of cartoons tend to look at the eyes and hands of a character when it acts, so animating the pupils takes the curse off of the long holds required for TV budgets and makes the character always feel alive. Tyer also makes fun of the flat character designs by animating head turns as literally flat. And fast movements are emphasized by elongated stretches that create flow with a bare minimum of frames. Fun short cycles are used and reused over and over, and the models of the characters are allowed to morph into funny exaggerations. Even though the cel count is very low, Tyer squeezes out a lot of bang for the buck when it comes to fun.

Jim Tyer Stuffy Durma

It’s easy with limited to animation to get carried away with the mechanics of breaking off limbs and mouths and eyes and forget the joy of movement. This is especially true of library based Flash cartoons. With Stuffy Durma, Tyer reminds us of the value of special poses, even ones that only appear on the screen for two frames in fast action. If you are trying to create quick, inexpensive internet cartoons, there isn’t a better group of shorts to study than this.

Jim Tyer Stuffy Durma

REFPACK058: Milton The Monster Ep01 1965
Download Page
MP4 Video File / SD / 22:16 / 292 MB Download

REFPACK058: From Wrecks To Riches
Download Page
MP4 Video File / SD / 6:02 / 99 MB Download

REFPACK058: Suit Yourself
Download Page
MP4 Video File / SD / 6:10 / 87 MB Download

REFPACK058: Hobo Hootenanny
Download Page
MP4 Video File / SD / 4:53 / 81 MB Download

REFPACK058: Nuggets To You
Download Page
MP4 Video File / SD / 6:23 / 78 MB Download


MEMBERS LOGIN To Download

JOIN TODAY To Access Members Only Content


Haven’t Joined Yet?

Check out this SAMPLE REFERENCE PACK! It will give you a taste of what Animation Resources members get to download every other month!

Sample RefPack

CLICK TO DOWNLOAD A Sample RefPack!

Animation Resources is a 501(c)(3) non-profit arts organization dedicated to providing self study material to the worldwide animation community. Every month, we sponsor a program of interest to artists, and every other month, we share a book and up to an hour of rare animation with our members. If you are a creative person interested in the fields of animation, cartooning or illustration, you should be a member of Animation Resources!

It’s easy to join Animation Resources. Just click on this link and you can sign up right now online…


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

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.

FacebooktwitterredditpinterestlinkedinmailFacebooktwitterredditpinterestlinkedinmailby feather

Thursday, June 13th, 2024

Exhibit: Grim Natwick In The Modern Age

PART THREE: GRIM NATWICK AND MODERN ANIMATION

Grim Natwick

Studio gag drawing from UPA depicting an animator being laid off, replaced by children cutting out paper dolls.

It’s important to keep in mind Grim Natwick’s age when you look over his career. When he animated Snow White, he was one of the oldest artists at the Disney studio- 49 years of age. When his former assistant from Iwerks, Stephen Bosustow convinced him to join UPA in 1950, he was sixty. Most animators of his generation were thinking of retirement, or coasting on their past accomplishments until their pensions came through… but not Grim. He dove into the stylistic revolution of UPA with both feet. Grim animated on the early Magoo cartoons, as well as one-shots like "Rooty Toot Toot" and "Gerald McBoing Boing". In the early 50s, he was sent to New York as the keystone animator for UPA’s East coast office, where he animated many commercials and industrial films for the company, along with his assistant Tissa David.

Click to see Grim's  UPA model sheets

When UPA NY shut its doors, Grim worked at various New York commercial studios like Ray Favata and Robert Lawrence Productions. He animated on the first television cartoon series, Crusader Rabbit, and later took in work from Jay Ward and Bill Scott on the George of the Jungle program. He freelanced for Melendez and Duane Crowther’s Duck Soup Producktions, eventually settling in with director, Richard Williams. He animated on Raggedy Ann & Andy and travelled to the UK to teach while working on Cobbler & the Thief. He continued to draw into his early 90s, until his failing eyesight made it difficult.

Click to see Grim's post UPA commercialsClick to see Grim's post UPA commercialsOne afternoon, as I sat with Grim on his front porch, he casually mentioned that he had been told that there were machines that animated- computers. He wondered aloud "how they manage to get the machines to hold a pencil" and expressed an interest in finding out more about it. So I called my friend Charlie Gibson, who was a partner at Rhythm & Hues in Hollywood. I arranged for Grim to take a tour of their studio the following week.

50s TV Commercial50s TV CommercialWhen we arrived, we found the entire staff of R&H standing in the lobby waiting for us. Charlie showed Grim their machine room and demo reel, and sat him down at a workstation to see how wireframe characters are posed. After a few minutes working with the mouse, Grim leaned back in his chair and said, "I’ve seen some amazing things here today that I never would have imagined possible. I don’t pretend to understand everything I’ve seen, but I have a basic idea of what you do here. I have just one question to ask you… When I animated Snow White or Mickey Mouse, I had certain tricks to put the personality of the character across… a gesture, the raising of an eyebrow, a bit of acting… How do you do that sort of thing with your computer?"

50s TV Commercial50s TV CommercialThe room went silent. Charlie paused for a moment and replied, "Well, Grim, you just put your finger on the thing we struggle with every day… Computer animation is still very new. We’re constantly learning as we go. To answer your question, we study classic cartoons to learn those secrets from great animators like you."

In the space of an afternoon at nearly 100 years old, Grim had gone from "How do they get the machines to hold a pencil?" to putting his finger on the main issue facing CGI animators. His mind was always nimble and able to see the challenges facing animation in the future. He was truly a remarkable man.

EXHIBIT CATALOG: GRIM NATWICK IN THE MODERN AGE

Grim Natwick

Top Row: A Selection Of Natwick Animals (left to right) Chicken character designs from "Solid Ivory"* (Lantz/1947) / Lion doodle (after Jones’ "Inki & The Lion")* (ca. 1947) / Tiger studio gag drawing* (ca. 1944) / Character design for Lantz Wartime cartoon (ca.1943) / Concept for children’s book* (ca. 1947)

Middle Row: 1950s Commercials (left to right) Character design (ca.1959) / Self caricature of layout artist Art Heineman (UPA ca.1952) / Studio gag drawing depicting an animator being replaced by children cutting out paper dolls (UPA ca.1952) / Model drawing of Bert Piels (Piels Beer) by Tissa David from Grim Natwick animation (UPA ca. 1955) / Model drawings from unknown commercial by Tissa David from Grim Natwick animation (UPA ca.1955)

Bottom Row: Studio Gag Drawings Self caricature by Bill Melendez (ca. early 60s) / Studio gag drawing depicting Bill Scott explaining to a West coast animator how to dress like an East coast animator (UPA NY ca. 1952) / Three studio gag drawings by Bill Scott depicting the relationships between Grim Natwick, John Hubley and Scott (UPA NY ca. 1952)

* denotes a drawing by Grim Natwick

Next Chapter: THE GREATEST ANIMATOR WHO EVER LIVED (Studio Gag Drawings & Caricatures)


Grim Natwick Exhibit
Assistant Archivist, Joseph Baptista views the exhibit.

GRIM NATWICK’S SCRAPBOOK

This travelling exhibit has appeared at the ASIFA-Hollywood Animation Archive in Burbank, CA and at the South Wood Historical Society Museum in Wisconsin Rapids, WI, birthplace of Grim Natwick.

Stephen Worth
Director
Animation Resources

TheoryGrim Natwick

This posting is part of an online exhibit entitled Grim Natwick’s Scrapbook.

FacebooktwitterredditpinterestlinkedinmailFacebooktwitterredditpinterestlinkedinmailby feather

Monday, May 27th, 2024

REFPACK057: A Peek At The International Downloads

You have one more week to download REFPACK057. In the beginning of June, a new RefPack will be uploaded and the current one will be deleted. JOIN TODAY To Access All The Members Only Content

People who aren’t members of Animation Resources don’t understand how comprehensive our Reference Packs are. Over the next couple of weeks, we will be posting what each section of our current RefPack looks like. 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!
https://animationresources.org/membership/levels/

International Animation

The world of animation is much bigger than it might appear to us at first glance. We are all familiar with the films we grew up with, but Hollywood wasn’t the only place that produced great cartoons… Poland, Japan, Russia, China and Europe all have their own traditions and a rich history of animated film making. Animation Resources’ archive contains many foreign films that are rarely seen in the United States. We feature a sampling of interesting animation from around the world in each Reference Pack.


MEMBERS LOGIN To Download

JOIN TODAY To Access Members Only Content


SD VIDEO:
Baron Munchausen

Two Films By Hans Held
Download Page
The Troublemaker 1940 / Baron Munchausen 1944
Download this article

In previous Reference Packs, we’ve featured films by the German animator Hans Fischerkoesen. Drafted by Joseph Goebbels to produce animated films for the Nazi regime and charged with building a studio to rival Walt Disney, Fischerkoesen succeeded in making some remarkable cartoons that largely avoided straying over the line into being outright propaganda. Today we feature one of Fischerkoesen’s peers, Hans Held, who wasn’t quite as lucky or successful.

Held was born in Bavaria in 1910 and worked at the Brandenberger Theater as a designer when the Nazis rose to power. He was drafted by Goebbels to work at UFA as a design and color consultant and assistant director for live action films. Because of Goebbels’ and Hitler’s interest in animation, Held established an animation studio in Bavaria. He produced several films, but none were as execrable in their propaganda content as “The Troublemaker”.

The Troublemaker

The story is simple and blunt in its purpose. A magpie spots a fox lurking in the forest and notifies the police and her rabbit neighbors. A group of hedgehog soldiers alerts a squadron of wasps and war erupts. The fox threatens a rabbit girl, but is eventually killed by a catapult. The animals of the forest rejoice at the fox’s death. Held rams home the analogy to the Nazi militarism of the time, by making characters run in a goose-step and by using the sound of contemporary fighter aircraft for the wasps. I don’t need to point out what group of people the fox is meant to represent.

Held’s experience in the theater is a limiting factor here. The entire film is constructed of medium long shots that are stagey and devoid of any cinematic interest. The backgrounds are painted like theatrical backdrops, and the character movement is blocked without expressing any personality. Goebbels learned from his mistake. After this first attempt, he instructed the animators he supervised to focus on core cultural virtues, rather than direct propaganda. The films that followed, specifically those by Fischerkoesen were much more successful.

The Troublemaker

In 1943, the UFA studio released a large scale color live action film, designed to compete with MGM’s lavish musicals and adventure films like Alexander Korda’s “The Thief of Bagdad”. No expense as spared to make this film the biggest and most elaborate film Germany had ever produced. Because of his relationship with UFA, Goebbels called on Hans Held to make an animated short featuring the character with an eye to perhaps create a series of animated Munchausen adventures. The result was an abject failure. The war effort had drained the resources of Held’s studio and the Nazi regime was beginning to crack. Held had learned very little since “The Troublemaker”, and “The Adventures of Baron Munchausen” succeeded in being even more stiff and devoid of personality than its predecessor.

Sometimes we can learn as much from bad examples as good ones. Hans Held is an example of an artist who was skilled in the medium of live theater and live action movies, but was wrongly cast as an animator by Goebbels. These films also show that as persuasive as animation can be, there needs to be a certain core of humanity if one wants the audience to embrace the idea. The Nazis were ill suited to compete with Walt Disney, who had his finger on the pulse of middle America and strove to serve his audience, not force his audience to serve his ideology.

Baron Munchausen

REFPACK057: The Troublemaker 1940
Download Page
MP4 Video File / SD / 12:06 / 402 MB Download

REFPACK057: Baron Munchausen 1944
Download Page
MP4 Video File / SD / 07:11 / 98 MB Download


MEMBERS LOGIN To Download

JOIN TODAY To Access Members Only Content


SD VIDEO:
Well Just You Wait

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

We continue the Russian Wolf and Rabbit cartoons with episode 07, “Cruise Ship At Sea”.

The premise of Nu, Pogodi! (which translates into English as Well, Just You Wait!) was pitched by a writing team of satirical humorists to many directors at Soyuzmultfilm, but was rejected every time. Finally in 1969, Gennady Sokolsky agreed to direct a 2 1/2 minute pilot for the series in an omnibus film called “Happy Merry Go Round”. The general consensus at the studio was that the cartoon was “low class” and beneath the dignity of Soyuzmultfilm, but director Vyacheslav Kotyonochkin strongly believed in the concept, so the studio decided to take a chance and allow him to direct a few episodes… and then a few more… and then more.

Well Just You Wait

Kotyonochkin was proven correct. The cartoons were a huge success. Between 1969 and 2006, Soyuzmultfilm ended up making 22 episodes, 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.

Well Just You Wait

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.

Shamus Culhane once lamented that television animation consisted of mostly lip-sync animation. He would have preferred to do away with lip-sync entirely and just have simple drawings that really move. Well, Just You Wait proves that he was correct.

We will have more Wolf and Rabbit cartoons in upcoming Reference Packs.

REFPACK057: Well Just You Wait Ep. 07
Download Page
MP4 Video File / SD / 09:32 / 116 MB Download


MEMBERS LOGIN To Download

JOIN TODAY To Access Members Only Content


SD VIDEO:
Pies Kot I

Dog, Cat And… Ep 06
Download Page
Jaroslaw Jakubiec & Jan Siupik / 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 "Vacuum Cleaner".

This series is a different sort of take on the Tom & Jerry model, with the opponents outsmarting each other instead of just chasing each other out of hate or hunger. There is more to the relationship between the characters than just rivalry. The relationship of the characters makes it easy to see how it relates to slapstick comedy teams like Laurel & Hardy and Fatty Arbuckle and Buster Keaton. The dog and cat are not just generic animals, but individual personalities with a dynamic relationship that is much more engaging than most “cat and mouse” or “dog and cat” cartoons.

Pies Kot I

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.

Well, Just You Wait!, and Dog, Cat And… both are very efficient at what they do. They could easily serve as a model for internet animation. The internet encourages repeat viewing more than television does. When you watch a dialogue driven cartoon on TV, once you’ve heard the jokes, you don’t need to watch it again. However, a short cartoon that looks and moves funny is entertaining no matter how many times you watch it. And for the animator who is making the cartoon, it’s a lot more fun to animate simple funny characters than it is to animated a lot of tedious lip-sync.

Pies Kot I

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.

We will have more episodes from this series in upcoming Reference Packs.

REFPACK057: Dog Cat And… Ep06
Download Page
MP4 Video File / SD / 09:16 / 212 MB Download


MEMBERS LOGIN To Download

JOIN TODAY To Access Members Only Content


SD VIDEO:
Monkey King

Goku no Daiboken Ep. 1 & 11
Download Page
Giasaburo Sugii / Japan / 1967

Goku no Daiboken (aka Adventures Of The Monkey King) was an animated series released in 1967 made by Mushi Productions. It was supervised by Giasaburo Sugii, and directed by several artists including Osamu Dezaki, Hideaki Kitao and Sad Tsukioka, among others. The 39 episodes were loosely based on the 16th century Chinese epic tale, Journey to the West. Ostensibly, Osamu Tezuka was the creator of the series, but he had very little to do with the production of the series, since he was completing the final episodes of Mighty Atom (Astro Boy) while Goku no Daiboken was in production at Sugii’s studio. Tezuka had published a manga comic based on Journey To The West, but this animated version is quite different in tone.

Monkey King

Sugii’s take on the characters was more “rough and tumble”. The focus was on the animation, with extreme takes and reflexive gags. Pay attention to the design as well. There are some very attractive layouts and color schemes. One scene even references Hanna Barbera’s The Flintstones!

The main character, Goku wasn’t portrayed as the eager student like in the manga; instead he was an obnoxious brat. In fact, the show received so many complaints from teachers, the character had to be toned down in later episodes. Along with Goku, the cartoons star his girlfriend Tatsuko, Hakkai the pig and Sha Gojo, the monk. The series debuted as a replacement for Astro Boy which had just completed its final season.

Monkey King

In the first episode, Goku is born at Mt. Kaka. He becomes a bratty pest and decides to take over the local castle just for fun. In episode 11, the characters visit a town where an election is taking place. Two political parties are facing off, the votes of Goku and his friends look like they will decide the election, but the campaigning gets out of hand.

We will bring you more early anime in upcoming Reference Packs.

REFPACK057: Monkey King Ep. 1
Download Page
MP4 Video File / SD / 26:59 / 374 MB Download

REFPACK057: Monkey King Ep. 11
Download Page
MP4 Video File / SD / 26:04 / 329 MB Download

Download Page
Get your friends to join Animation Resources!
Download Page
More members mean we can bring you more special downloads.


MEMBERS LOGIN To Download

JOIN TODAY To Access Members Only Content


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

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

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.


FacebooktwitterredditpinterestlinkedinmailFacebooktwitterredditpinterestlinkedinmailby feather