Hultgren, Gray, and Loomis.

More studies, sketches, and exploratory items, should get to some animation soon. This one is pretty long because I forgot to add in some of the sketches from my March folder, so...these are sketches from last month and this month.

I'm also thinking of starting to actually use my tablet. I've been quite reserved about using it mainly because I love the tactile feel and the authenticity that lies in traditional media. But, it seems digital is just more efficient and being used by major studios for that very reason.

Lightbox Updates

Thinking of starting animation soon even if my draftsmanship is not good and even if I haven't read all of my animation books. I have been going over some of Bill Tytla's notes on Forms vs. Forces, which is fantastic, but overall, I do feel I'm going into this a bit premature. My logic is that, if I keep up the mentality of having to have the best draftsmanship skills (a journey people take until they die) I'm never really going to do anything.

Here's to the beginning of a hopefully awesome independent project:

Slipped in a sheet of paper under the peg bar to get a sort that "frosted" under glow. I'm pretty sure staring at a single light source is bad (confirmed by Preston Blair).

What my new set up looks like. Added in some aluminum covered cardboard cut outs in order to provide relief for the pressure I apply while animating. Mostly put it in because I started noticing my box is cushioning in. Also poked some holes towards the top if and when I move to bigger sheets.

Light source no longer Halogen. Thank God. I'm pretty sure the cardboard could not take sessions longer than 3 hours.

Set up a box under the lamp so it would help it stay propped up. Built it with velcro to allow easy servicing.

I also acquired a tripod recently with a hand crank. This is great not just for shooting, but, since it has a crank, it allows trucking in and out of the field, so zooms and pans are way easier than actually animating the zoom and pan.

Scratchings

More studies from Hultgren, reference packs, Muybridge, even Preston Blair and now starting to approach drawing anatomy with a bit of advice I got from a friend I met over at the animation festival:

"The best way to study anatomy is to draw a figure in various positions and angles, then, using references, piece the muscles together. Anatomy is, literally, a three-dimensional puzzle. Just think of it that way!" -Richard Gaines

South Beach Animation Festival

Click for full size, well...at least legible size.

Welp, it has been a week since I attended this marvelous event. Headed out to Tower Theater at about 12pm and got back about 1am.

I really have to give the festival its dues; will try with this post. Not only do I appreciate its gumption in actually holding such an event in South Florida, where "culture" as far as animation goes is very limited, but the fact they got Bill Plympton and John Canemaker was just amazing.

I was able to record all of the lectures, but...don't want to get anyone in trouble, so...if anyone's ever around the Miami area, hit me up for some great sound bites from all the lectures including the local animator that showed up Jesus Bacca.

The other lecture by Michael Ball was a very interesting discussion on HD and what it means for the indie filmmaker. Very technical (at least for me), but for that reason I love it all the more.

The next lecture was, by the local animator Jesus Bacca who, other than what is written in that link, talked about what it means, at least for him, to be an animator.

Bill Plympton's presentation was nothing short of awesome. Really gave a great talk on what it meant for him to be an indie animator despite the pipe dreams probably all animators post disney's first golden age have had: "I want to work for Disney". What was great to hear was how he actually first applied to work for Disney and never got a reply, then when he went big with "Your Face" I believe (correct if wrong), Disney came a knockin', sent out their lawyer to make a million dollar deal with Mr. Plympton. He turned them down after learning they basically would own his creative life from there on out.

Anyway, great presentation and definetely recommend if he shows up around your area, espcially for those that are thinking of going at it themselves.

Best for last (In my opinion), Mr. John Canemaker showed up. Actually, and this was just probably a once in a life time experience, I got to have a great conversation with him before he lectured. I actually wasn't sure if he was who he was, but after I got introduced by one of the coordinators at the festival, I was a bit star struck. You hear these names mentioned on podcasts, in books, websites and when you finally get to meet the actual person, it really is a great burst of inspiration mixed with utter humility.

He gave me some great advice about animation (give, no?) and about what I should try to do, to be an animator. He also introduced me to some fellow animators (which...I honestly had no idea even existed in South Florida), who were actually really serious about their study, certainly most that anyone I've met in person so far, and maybe even more than I.

I guess I have indulged enough in this, but bottom line for me, what I learned:

Work on your art, try your best, submit to festivals, go to festivals, and network. That's all there really is to it, eventually something HAS to happen.

"I have never seen, not succeed a drop of water, against a stone. One doesn't do anything. But if the same stupid water goes *sfx of water splashing*, sooner or later, 5 years or 10 years, it will break the stone."

-Jesus Bacca, South Beach Animation Festival '09