"I used to think that animation was about moving stuff. In order to make it really great, you bounce it, squash it, stretch it, make the eyes go big. But, as time went on, I started loving animating a character who had a kind of burning passion in her heart. Suddenly, animation became for me not so much about moving stuff as it was about moving the audience."
(Source: lipsredasroses)
Glen Keane Animates a Scene - Part 1
Children’s Shows Don’t Belong to You
We’ve all seen the theories, repeated and twisted ad nauseum to fit nearly every children’s show. Angelica dreamed up the other Rugrats. Even the humans at Foster’s Home for Imaginary Friends were imaginary. The events that took place in Codename: Kids Next Door were just kids playing make believe. Phineas and Ferb exist only in Candace’s head. Ash Ketchum was just in a coma. Harry Potter dreamed Hogwarts because he couldn’t handle his abuse by the Dursleys. And on and on and on.
There seems to be a compulsion among young teens and adults to reclaim these shows for themselves, and for them, that means placing these stories within a tragic context that better fits their worldview, a paradigm in which optimistic stories centered around children could not possibly, believably exist in the real world. When these theories crop up, they go viral, usually with accompanying comments uttered in reverent tones along the lines of “I can never look at this show the same way again,” as if the theory has pulled back the curtain and revealed The Truth about an innocent show that many internet users enjoyed as children. In other words, the theory becomes more valid than the text or the show itself. We substitute the humor, the hope, and the ideology of children’s fiction with run-of-the-mill “it was all a dream” psychological horror, and by doing so, we throw a giant middle finger to the critically important messages these shows convey.
The whimsical tone of Rugrats centered around kids who never quite understood the adult world; they misconstrued words and events and spun their own ideas out of them, and it was a better world, simply because we as the audience were allowed to look at mundane adult things like taxes and car washes in fresh, ultrapositive ways. Phineas and Ferb is a joyously optimistic show about the power of invention and creativity, a world in which children are never asked to hold themselves back and are never cruel to one another. So many fantasy series allow us to find an essential truth of human experience, that hope and friendship and good will can overcome darkness, by showing us a world we can’t always see but is always there, just as Hogwarts is hidden from our Muggle eyes. These stories are equally as valid, if not more so, than our “adult” stories that show the world as a more brutal place. They can both be true, but stories only have the power that we assign to them. If we continue to insist that positive, hopeful stories are unbelievable, then we create a world in which those stories lose their power, and our world reflects that change.
The stories we tell children shape our future. There’s a reason we need those happy endings, and it’s not because children are too weak to handle the “truth” about the world. It’s because we as a society need to be reminded that kindness and hope have power. Children need stories that allow them to be heroes, that value their insight, their ideas, and their narratives. We need stories that empower, not stories that dwindle away into hopeless cynicism. We do not need to insist that fictional stories cannot exist on their own terms, that even fantasy worlds must be fantasies within their own story. It’s backwards, it’s hopeless, it’s wrong-headed. These stories aren’t yours to claim. They aren’t yours to “correct.” These stories belong to children, and thankfully, they’re stories full of more hope and power than anything the internet could ever come up with. Why would you ever try to tear them down?
Tom N Jerry - Brian Jin
5 Habits of Happy Artists
1.) Feed your Inner Artist
It’s important to get outside your own head once in awhile and see the world from someone else’s perspective.
Like an apprentice you need to find a way to study and absorb the work of the masters in your field. This means, if you are a writer, you need to read the work of as many different authors as you can. Sure it can sometimes feel like you are just wasting your time reading when you should be writing, but don’t underestimate the importance of constantly replenishing and enriching your creative well. As a writer you need to be immersed in words. You need to see how others have put them together and taken them apart. You need to have them wash over you with their imagery and subtle shades of meaning.
The same is true if you are a visual artist. You need to immerse yourself in the works of those who have come before you. See it as an opportunity to discover what you like and what doesn’t work for you. The more work you expose yourself to, the more tools you will have in your creative arsenal when it comes time to create your own artwork.
I understand that being exposed to the work of others can be a little disheartening or even unleash the green-eyed monster of jealousy (why didn’t I think of that?!) I’m with you, there are still days when I read something and feel like I’ve missed out on yet another great idea and one more nail has been pounded into my creative coffin. But there has never been a time when an artist hasn’t been jealous of another artist at some point in their career. It’s simply part of the game.
As artists, we must learn to be self-nourishing. We must become alert enough to be consciously replenishing our creative resources as we draw on them. -Julia Cameron
Regardless of what type of creative artist you are you need to find the time to read, and visit, and explore the work of other artists both inside and outside of your chosen genre. You need to find a way to constantly expand your creative horizons. Also don’t just limit yourself to reading method and technique books, but consider reading artist biographies as well. Some of the most inspirational books I’ve read have been the stories behind the artists — their struggles, their doubts, their fears along the way, and ultimately their ability to overcome them.
Be sure to read outside of your creative field as well — too often we end up getting ourselves trapped in our little creative niche in the world and can sometimes lose sight of the bigger picture. It’s a big world out there and so much of creativity comes from making connections between subjects that may appear completely unrelated on the surface.
Of course reading, viewing, and listening to the works of others is not a substitute for putting in your time and creating your own work, but it is an important part of the creative process.
You have a strength
Its really easy to compare yourself to other people in the industry and in school. There is talent as far as the eye can see and when you’re starting off ( and hell, when you’re in the thick of things as well ) its easy as an artist to question where you stand.
Its kind of inevitable, but there are pros and cons. We should be inspired to work harder, to try new things, and to rise above our levels. We should get a little healthy dose of competition because it is a competitive field and it helps prepare you - but dont make the mistake of thinking that you have nothing to offer if someone is better at you then something.
There are a whole bunch of things that make up an animator, and its not about solid timing or draftsmanship. Just because someone is a stronger animator then you , or you view them as having stronger drawing skills, doesn’t mean you are worthless or have failed in some part of your artistic journey. Everyone has strengths and weaknesses, not all of us are strong at drawing, or have really clicked with animation timing , but we all have something unique to offer.
For myself I found that my strength and weakness is my analytical kind of thought process. It made for a struggle when it came to character acting and timing , because it could come off very formulaic - but it also allowed me to problem solve very quickly. Because of this I’ve been able to get things done in a pinch, as well as help out on many shows that need animation fixes in a very short amount of time. Being able to hit deadlines and taking on quick last minute jobs became one of my strengths because of this. ( of course i’m still working on the character acting thing , we all gotta push ourselves still!)
You may have a keen sense of comedic timing, or the ability to make someone laugh. You may be able to get into a characters head and under stand their thought process. You may be a great communicator and be able to understand critiques and directions or may be able to explain the technicalitys of animation in a clear way to others. Maybe you’re like me , problem solver to the end .You may be an absolute joy to work with and have an attitude that people want to be around.
some of you may be thinking well thats …just basic work stuff -good attitude? cant everyone offer that? UM NO. I’ve worked with some people who have piss poor attitudes - we all do have weaknesses after all and that is not some peoples strong suit. My point is there’s something about you that is going to excel in the work place. Sometimes it just takes awhile for people to realize it , but its there.
Be aware of your weaknesses, but be aware of your strengths as well and use them to your advantage.
go get ‘em tiger
Shading art director Tia Kratter has a habit of quitting on April Fools’ Day over, and over, and over again.
Classic Sesame Street - Man/ Dog Discussion
