Blue Sky Studios’ latest film, Ferdinand, based on the 1936 children’s book The Story of Ferdinand came out December 15th of last year. And today, we learned that it was nominated for an Academy Award! It’s not the first to be nominated, but it’s the first in a while. Ferd is Blue Sky Studios’ twelfth film, and the third one that I’ve worked on. This is the film at Blue Sky that I am most proud of having contributed to, mainly because it’s the one that I definitely contributed the most to, and because of who specifically on the film I was able to support. On Ferdinand, I worked in two departments as a production assistant (PA) where I helped manage those departments day-to-days. This won’t be a full post-mortem, or cover all of my feelings and thoughts, as I am 1) not allowed to discuss certain things 2) don’t feel that it’s my place to discuss certain things, but this is just my own little celebratory post.
Is there an animation fan in your life that you aren’t sure what to get this holiday season? Or maybe you’re like me and you just want everything I’ve listed below. I wanted to give you all some options, so the range is pretty wide. Please enjoy my 2017 animation gift guide!
Art books were in some ways my gateway into the animation pipeline. As a kid, I knew there were different roles in making a film, but wasn’t sure where they split beyond artist, animator, and technical people. Art books showed me, if only briefly, how certain roles varied, and even what kinds of skills would be needed to pursue one. There are sort of two types of art books–the ones that are released to accompany a specific film or ones that cover an artist or time period, such as The Art of Coco or They Drew as They Pleased Vol. 3: The Hidden Art of Disney’s Late Golden Age (The 1940s – Part Two), respectively. Once you’ve looked through one ‘Art of’ book, you generally know what to expect in terms of the type of content. But that doesn’t mean they are all created equally. I especially loved the Coco art book for the higher-than-usual amount of pages that feature storyboards. They Drew as They Pleased is a very cool series that profiles specific time periods in Disney animation. You don’t need to own volume 1 or 2 to enjoy this third volume, though they make a great set.
Many art books were released in 2017 in addition to the two above. More and more are released each year, expanding the range of topics covered. The books below aren’t technically art books so much as informative texts, but are still filled with tons of art and historical photos. These are definitely good for the art book fan wanting a little more substance/text.
Two books that recently came out profile Paul Terry and Max Fleischer, two of the early pioneers of animation. These two, Terrytoons: The Story of Paul Terry and His Classic Cartoon Factory and The Art and Inventions of Max Fleischer: American Animation Pioneer are on my wish list for sure. Another that I’m really excited to read is Ink & Paint: The Women of Walt Disney’s Animation. I’ve heard amazing things about this book, from the heftiness (almost 400 pages) and the large, beautiful photos. This book highlights the oft-overlooked women who worked in animation, in the only department where women were typically allowed.
A few more books that came out this year worth checking out are–big shock–more Disney books. Disney history is the bread-and-butter of the niche world of animation books, and there is no shortage of ideas. The first one up to bat is a book about Oswald, Walt Disney’s first big star who he lost ownership of (prompting the creation of Mickey Mouse). The book, Oswald the Lucky Rabbit: The Search for the Lost Disney Cartoons is written by David Bossert, an 2D effects animator turned author who has written a number of books about Disney. Another famous Disney-alum, producer Don Hahn, wrote the next book, Yesterday’s Tomorrow: Disney’s Magical Mid-Century, about Walt’s interest and influence on mid-century design. This one seems to be a bit hit or miss with some reviews stating that they wished it was a bit more substantial with text, so maybe give this a flip through at the store before buying to see if it’s right for you. Lastly, we have Awaking Beauty: The Art of Eyvind Earle, an art book highlighting the Disney legend most famous for the beautifully detailed backgrounds of Sleeping Beauty (1959). This book is the compilation of pieces that were curated for an exhibition this year at The Walt Disney Family Museum in San Francisco. I was lucky to have seen an exhibition of his work at a different museum while in LA last year, and adore his paintings.
Miyazaki Club pin: Created by artist Martin Hsu, and inspired by the old Micky Mouse Club regalia, this is a super fun way to show off your love for the famed Japanese director in a slightly more subtle way, while adding to your pin collection. This pin is a nice size, and great quality; it’s soft enamel, and has two metal clutches on the back for extra security. This product’s webpage looks a little janky, but I bought this item myself and had no issues.
Official Laika, Aardman Animations, or Cartoon Saloon Merch: This year three prominent yet smaller studios opened up online stores for fans to buy swag. Laika is the stop-motion powerhouse responsible for Coraline, ParaNorman, The Boxtrolls, and Kubo and the Two Strings. Aardman is best known for the character Morph, Shaun the Sheep, Wallace and Gromit, Creature Comforts, the upcoming Early Man, and so much more. Cartoon Saloon created The Secret of Kells, Song of the Sea, and the newly released The Breadwinner. From Laika’s site, I’d recommend the Coraline doll, which is a replica of the doll that Coraline receives from the Other Mother (I have this one!). There’s also a great Pride shirt featuring the characters from ParaNorman. From Aardman, I think the little wooden toys are so cute to have even just sitting on your desk, or their studio art book, “The Art of Aardman,” granted studio art books become outdated quickly. For Cartoon Saloon, they have some limited edition high quality prints for both Kells and Song, but if that’s too much, they have a postcard set containing stills from all three films. Those often look nice tacked up or even with some inexpensive
Mondo pins: While best known for their prints, Mondo also has a fantastic selection of enamel pins, figures, and t-shirts featuring some animated characters we know and love. Properties include Adventure Time, Labyrinth, The Iron Giant, Coraline, ParaNorman, Samurai Jack, Megaman, Over the Garden Wall (pictured right), Ninja Turtles, and plenty of comic book heroes and CG characters.
Cuphead: This new video game, which is inspired by the 2d animation of the 1930’s, features assets that were largely hand-drawn. It’s your standard platforming shoot-em-up and I am so ready to play this game. In fact, the only negative thing that I’ve heard about this game is that it’s almost too hard, which, like, challenge accepted. It’s available on XBox, Steam, and GOG (which is DRM free).
Monstress Volume 1: Awakening graphic novel: Medieval fantasy steampunk epic set in ancient China with monsters and badass women written and illustrated by badass women. Sign me the hell up. But please note that this book is definitely ages 18+. Written by Marjorie Liu and illustrated by Sana Takeda, this series focuses on a young woman named Maika, whose mysterious powers put her in the middle of a war between humans and otherworldly forces. Monstress Volume 1: Awakening is the first several single-issues collectively bound. So far three of these have been released. I’m on volume two and am loving it so far. I’d love love love to see something like this animated.
For the Collector:
A print from Gallery Nucleus: First of all, Gallery Nucleus is amazing. They are a small store in California (and now Portland too) that sells art books, animation-related goodies and prints, as well as a gallery that hosts shows and events. Recent events there, that you can get prints of (or original work, if you’ve got the dough) are a Laika 10th anniversary exhibition, a tribute showcase to Disney directors Ron Clements and Ron Musker, and tribute shows for properties like Power Rangers, Cartoon Network, and Final Fantasy. You can also purchase signed copies of art books or artists self-published sketchbooks too. And they also have a great pin collection as well. The sheer number of prints on offer can be daunting, so maybe start by seeing if there’s a collection to a property you love (i.e. Gravity Falls, Harry Potter, Overwatch, Mary Blair). Just take some time and find something. They have original prints from some pretty famous artists in the comics and animation industry, so there may be someone whose work you love on Instagram that you can find and support. I went crazy at their physical store when I visited California last year and spent like $300 on prints (some signed!) that hang framed in my apartment. And I’d also gotten a signed copy of The Art of the Little Prince. That was the one place in Cali that I knew I had to visit and splurge at–not even Disneyland and Harry Potter World were as big a deal for me merch-wise!
Aspiring Aritsts and Technicians:
Schoolism or Pluralsight online classes subscription: Depending on what you are looking to break into, a subscription to one of these only schools could be an amazing way to supplement your current schooling, or help you jump start an entirely new path. Schoolism is a bit more geared for the traditional artistic roles in animation, such as concept artists, character designers, art directors, and story artists. These classes are taught by leaders of their respective fields. Basically a lot of pre-production. Pluralsight, which used to be Digital Tutors, is a bit more on the technical side, focusing largely on different aspects of the CG pipeline, such as character or environment modeling, lighting, look development (shading/texturing, rendering) and more. Pluralsight has a crapload of courses across multiple programs too. Both of these sites offer monthly subscriptions. They are a bit pricey, with Schoolism offering full self-paced access for $30/month while Pluralsight runs for $300 per year. So they are definitely for the disciplined person, seriously looking to up their game.
Palomino Blackwing Pencils (12 Count): Blackwings are an animation staple, and just frankly a damn good pencil. They are super dark, but smooth, and the grain is perfect for toning and blending. They have a pretty fun history too, if…you want to learn about…pencils…? These pencils are items that you don’t need to spring for, but could be a nice gesture to an artist who might otherwise never consider spending the cash on themselves and their own works in progress. And while Blackwings can be bought by the box (as I’ve listed), you can also often purchase them for around $3 a pop, as well as extra erasers at art, craft, and stationary stores (I get mine at Kinokuniya in NYC). There are a few types of Blackwings, but I’d start with the proper black ones, and then maybe try the others in-person before committing, as their leads are different and not as dark.
Wacom Intuos digital art tablet: If you’re looking to up your skills, consider getting a tablet. Nowadays you can get a small one for around $100–the surface will be smaller, but these make a great starter tablet. You can of course spring for a slightly larger one at around $250, especially if you aren’t ready to commit to a $2k Cintiq. A graphics tablet is definitely a fantastic way to expand your digital art toolset if you are already working towards goals. But don’t feel like you have to buy one, or that you need a tool to be good. Do some research and find the one that suits your needs and price range. The one I listed is the one that I have for digital art and storyboarding, and it’s the perfect size. I’m not ready (artistically or financially) to spring for a Cintiq, so this serves my needs now.
Fantastic Mr. Fox (Criterion Collection) (Blu-ray + DVD): As much as I love the offerings from the Criterion Collection, I can’t help but also hate them a little as they have very little to offer in terms of animated films. It’s like they’ve been ignoring this entire section of film because of the choice of medium. Fantastic Mr. Fox is a notable new addition. It was added by default when ALL of Wes Anderson’s films were collectively added. I imagine that means we’ll eventually get a Criterion blu-ray for his upcoming Isle of Dogs too. I have this blu-ray, and the bonus features (and picture quality of course) do not disappoint. This is one that you want to see in all its glory, as Anderson really leans into the medium with such a variety of textures and materials used.
Cartoon Roots: Halloween Haunts (Blu-ray/DVD Combo): This blu-ray is a collection of newly restored old cartoons all themed around Halloween and the spooky. It’s the third compilation to be released from animation historian and restorer/archivist Tommy Jose Stathes. I’ve had the pleasure of hearing talks from him at an event at the Brooklyn Historical Society and at the Brooklyn-based film festival Animation Block Party, and each time his enthusiasm, knowledge, and reverence is clear. This is one of the best ways you can support someone who is working to preserve the work of creators like Fleischer, Terry, and Disney, all of whom I mentioned in books earlier!
Momotaro: Sacred Sailors + Spider & Tulip Movie (SUB Only) (Blu-ray/DVD Combo): This blu-ray features Japan’s first feature length animated film, and if that isn’t enough I’m not sure what is. I attended a few panels at cons discussing the early history of Japan, as I find it interesting. This is definitely not for the casual fan. Maybe the trailer can help convince you?
Animated Film in Japan Until 1919: Speaking of Japan, how about a super fun and dense book about early Japanese animation history? The blurb on Amazon sold me:
In 2017 Japan celebrates 100 years of anime. 1917 indeed saw the first Japanese animated movies being released in Tokyo cinemas, reflecting years of imports of Western animated movies and knowledge. Yet even earlier local printed animation, inspired by German models, had already been available in Japan for home projectors. This study presents, for the first time in English, a detailed and up-to-date account of foreign and local animation in Japan in the first two decades of the 20th century, also including biographical information on the three Japanese anime pioneers of 1917.
Ema figure from Shirobako: I’ve recently become a figure collector and was thrilled that one of my favorite shows released a figure. You HAVE to watch Shirobako if you’re interested in animation production–it’s available to stream on Crunchyroll. Shirobako follows five friends on their journeys into the animation industry. The girls work to become a producer, voice actress, CG artist, 2D animator, and screenwriter. This figure is Ema, the 2D animator. I bought this for $130, a splurge for me, but I can’t say that I wouldn’t want the other four girls if they ever released the set. 😛
A Sculpture from Andrea Blasich: Andrea is a sculptor who has over 20 years of experience across many of the largest animation studios in the world. I found him through his Robin Hood sculptures, which are based on Milt Khal concept art. His sculptures run from $40-$500 but the Robin Hood ones fall between $200-$350. He offers Robin, Friar Tuck, Sheriff, Lady Kluck, Little John, a rhino guard, and the rooster. I absolutely adore Robin and the Rooster, so I’m having a hard time deciding. At the very least, give his Instagram a follow:
So there you go! Hopefully these will give you some ideas!
I’ve let this site get too precious, so it’s time to make some purposeful mistakes. It’s one thing to want each post to be of a certain quality, to have a standard, but what good is that standard if it prevents you from actually posting? That’s where the idea of purposeful mistakes came up, while I was at a podcasting class at my local library. A woman in the class, who’d never heard of podcasting before (she was tagging along with her daughter) was listening to me discuss my crippling perfectionism. That, when you know what you want but aren’t at that caliber yet, like when an artist has good taste but still doesn’t have the skill to hit it yet. This idea translates across every field, industry, craft, mindset. And in this woman’s case, quilting.
She told me this old wives tale about how mistakes were purposefully made in quilts because it’s apparently almost impossible to make a quilt without making a mistake. So the idea is that quilters would make an intentional one so that it’s over and done with and they don’t fret over it. Done is better than perfect, no sense in working oneself up over perfection.
This site has existed in my mind for many years now, and two summers ago, thanks to the same podcast class (this is my third time taking the class–it’s more a support group with friends than anything, now), it actually exists with eleven posts on it. But eleven posts in the span of fourteen months isn’t very good. Eleven posts where a decent number of them were posts that I bit the bullet to get out due to timing, like a crowdfunding campaign.
Intended as a foray into academic writing, I’ve gotten too self conscious and worried. Frankly, I’m just not at the level with my ability to write and research–to articulate, more specifically–in the way that I want to. In the way that my favorite books and articles are written.
So this very informal, non-academic post is my quilter’s error. This post is my purposeful mistake so that I can get on with things and start to write more consistently and be less rigid to the types of posts and the tone.
There’s a lot of interesting writing about animation on the Internet, and not all of it is easy to find. So what is this link roundup? This first of many will contain articles, videos, and the like that I’ve stumbled across that I think animation fans would enjoy. For now, this won’t be a weekly or consistent series, but rather something I’ll post when I’ve accumulated a decent amount, or found something I just HAVE to share, like this first one:
“The Night Begins to Shine” from Teen Titans Go!
Teen Titans Go! initially felt like a slap in the face for me, as the original Cartoon Network cartoon it’s based off of is SUCH a solid show. But TTG has definitely grown on me, thanks in a large part to its nonstop DC Comics Easter eggs and aforementioned song. NPR recently published an article about how this song went from a sound library to a chart topping single. I’ve been obsessed with “The Night Begins to Shine” ever since I happened to catch the debut of the episode it’s in (“40%, 40%, 20%“) this song for a while, sharing it with people and genuinely liking the song. Below I’ve linked the song by the original artist imposed over the music video that was made to go with the Fallout Boy cover:
TIME Magazine spotlights Jennifer Yuh Nelson
Time Magazine has a new called “Firsts: Women Who Are Changing the World” where they spotlight women across various fields and walks of life who were pioneers in some way. We have firsts for athletes, politicians and…animation. The sad part about this however, as Cartoon Brew aptly puts it, is that Kung Fu Panda 2 director Jennifer Yuh Nelson was the first…and still ONLY woman to direct a major American feature animated film on her own (as in she didn’t have a co-director, like, say Brenda Chapman did on both The Prince of Egypt and technically Brave).
Cartoon Brew already did cover this, but I felt that it was worth another mention. Also the comment sections on these articles are always a little disappointing. But comments like that fuel the fire.
Story Artist Adam Cootes Shares His Career Path
Full disclosure: I work with Adam at Blue Sky Studios, where he’s Head of Story on one of our upcoming projects. I happened to be perusing Twitter when I saw an article from Animation Magazine simply called “How I Landed a Career in Animation” and clicked on it. My eyes skipped the intro and jumped straight in only to notice how familiar it sounded. Looking at the photo I realized that it was someone who sits a few desks away from me! Adam’s story is an absolutely fascinating one. It’s interesting too to read about people who didn’t go the typical film school route, or people who started a bit later than most. Actually inspiring read.
Cuphead’s Animation Process talk at GDC
I have been waiting for Cuphead for forever. This amazing platformer is styled like oldschool 1930s rubberhose cartoons. On top of that, the 2D animation is done traditionally, which, like, sincere kudos to Studio MDHR. Check out the trailer, watch this awesome 30-minute talk below, and pray that Cuphead is actually, finally coming out this month:
Female Animators Redrawing gender lines in LA MAg
The article, “These Female Animators are Redrawing an Industry’s Gender Lines” discusses the disparity between the increasing number of women attending animation schools like CalArts (which is heavily mentioned in this) to how few (comparatively) are working in the industry and/or holding higher positions. (I think some of the commenters from the Cartoon Brew Jennifer Yuh Nelson article should read this, TBH.) It’s worth a read to inform yourself about common issues that exist in the film/animation industry.
Spike & Mike Doc Campaign Revived on IndieGoGo
I posted about a crowdfunding campaign to fund a documentary about the Spike and Mike Animation Festival in a previous post, but between then and now the campaign was cancelled in leu of a new campaign structure. Rather than all-or-nothing, the creators are utilizing Flexible Funding, which will let them keep whatever they raise. A smart move for a cool project whose initial goal was maybe a little too ambitious for such a niche within a niche as an animation documentary. But I am all about this so I’m happy to see it get some help. The campaign only has 3 days left, so support it on IndieGoGo ASAP!
Paragon Sakuga Facebook Group
Not that you need any more clutter in your Facebook feed, but I’d love for you to check out the Paragon Sakuga group, especially if you are a fan of anime, 2D animation, effects animation, or animation process (blocking, clean-up, etc.). Or all of these, of course!
Here’s an example of a recent post:
Why Cartoon Characters wear Gloves
Vox is a news company that constantly impresses me with the range, depth, and production quality of their work. Every video they produce is a mini-masterclass in motion graphics and editing. I highly suggest scouring their backlog for the various pieces they’ve done about animation/film/art. This one is my favorite, obviously:
Crash Course Computer Science: 3D graphics
While this is episode 27 of an ongoing computer science series, I wanted to single this one out in particular as it gets into some background info about computer graphics. Crash Course as a whole is amazing, and I definitely recommend you also check out Crash Course Film History & Production, and Video Games (among others). I’ve also previously profiled the animation/mograph studio that works on Crash Course, Thought Cafe!
Tyrus focuses on artist and Disney Legend Tyrus Wong, and is a remarkable and humble film directed by Pamela Tom. I initially came across this film when browsing Kickstarter and knew that animation fans would help her raise the funds for this incredible story to be told. Since then, the film has screened in many festivals. Under-credited and treated poorly at the time, this film serves as a much needed reminder of the struggles that even the most talented people of color faced in America while trying to have their own “American dream.”
The film aired on PBS last week, and will be streaming on their site until October 8th, 2017 under the PBS “American Masters” series. Under this umbrella, the screening now concludes with a new interview by former Pixar artists and founders of studio Tonko House, Dice Tsutsumi and Robert Kondo, as well as an excerpt from their 2014 Oscar-nominated short The Dam Keeper. I also recommend you check out the PBS site, as it contains lots of additional informative content.
Streaming For Free until October 8th!
Tyrus was a prolific artist across multiple mediums and industries, right up until his death last December, and I highly encourage you to learn about his life and let it inspire you to persist.
You can learn more about the film at its official website.
There are a number of large-scale crowdfunding efforts underway that benefit the animation community, and I couldn’t help but want to highlight them all in a post. Maybe in the future this will become a series. But for now, please consider checking out these different campaigns. Each title links to that project’s Kickstarter or IndieGoGo.
The Animation Show of Shows (ASOS) is an annual film festival that tours in theaters around North America and showcases animated short films. Curated and run by Ron Diamond, the organization recently became a non-profit and has gotten involved in helping to restore old films while hosting these screenings to help further the art. While this program is family-friendly, it aims at showing a more nuanced side of animated filmmaking than what many audiences (especially in the US) are used to. The films, which are from all over the world, range from the light-hearted to a few MA shorts (shown at the end with a disclaimer), and range from student works, independent artists, to big studio pieces from staples like Pixar.
A few days ago, the ASOS’s Kickstarted ended just short of their $100K goal, but I’m happy to see that Ron, undeterred, has launched a new one with a smaller goal that has quickly been surpassed. While the goal this time around is unrealistically small, I know that Ron is depending on all of us to help get as close to that initial $100K as possible–so don’t let the success of this smaller goal fool you. It costs an arm and a leg to do what Ron does, and we’re all better off for it. I personally have been fortunate to see the ASOS for the last six years, and I’ve even helped him out by working at the table he sets up where he sells boxed collections of the works on DVD. You can also get DVDs with a few shorts on them, as well as a few other DVDs. When I was an animation student trying to think of a short film, it was invaluable to watch through these award-winning films (my school had the box-sets in their resource library) and see how so many different creators told their stories.
What I appreciate the most about this larger and ambitious campaign is the fact that more than a quarter of the funding goes towards securing the rights from the filmmakers, as most of the films will then be distributed on DVD. While this should be the norm, I imagine it can be tough to earn money from short films. This program offers lots of people the chance to see animation that they normally wouldn’t get a chance to, and that in itself enough to get my support.
The Kickstarter for the Animation Show of Shows only has 4 more days, so back soon!
Full disclosure: I was super unfamiliar with this festival until a couple weeks before this crowdfunding campaign to make a documentary about it. I found out about this effort through an email from a co-worker who knows someone on this project, and spoke highly of the cause:
“I fell in love with this festival while I was working on Nightmare Before Christmas, when you still had to go to the theater to see cool, non-commercial animation… Spike and Mike are two very cool guys who have devoted their lives to sharing amazing animation with the world and their story deserves to be heard and preserved.”
Good enough for me.
The team plans on using classic 2D cel animation, stop motion animation and computer generated animation to set the scene for a 90 minute documentary about the impact of two very unlikely heroes of animation. Though, to be honest, having each of the three acts of this documentary told via a different art style sounds cool in theory but tough to pull off. I’d have liked to have seen some tests footage from each act, especially the CG at the end. While I appreciate and love that they want to use different animation mediums for this documentary, I hope that it doesn’t become a distraction, since, although the IndiGoGo is only for $100,000, the description budgets the entire film at $550,000 with no mention of where the rest will come from. The interviews, which will likely be the tentpoles of the doc, will ideally include all different kinds of participants of the festival since 1977, from directors to the flyer and poster artists, fans and film critics. Seems they got quite a few interviews at San Diego Comic Con last week!
Another co-worker who has attended past screenings added:
“They show weird stuff.”
Also good enough for me. One quick look at their website confirms this, of course. This fest seems perfect for fans who grew up loving the kookier, oft-forgotten underbelly of animation. For an American animation festival to have been around as long as this one (over 30 years) it has to have some interesting stories, apart from the animated ones that they showed. And it sounds like they’ve helped some big names get their earlier work out there. So I would love to learn about how this festival grew into the strange, strange event that it is remembered as.
Speaking of kooky and underbelly, we have what may be our most mainstream example: Ren & Stimpy. Despite the fact that Ren & Stimpy absolutely GROSSED ME OUT as a kid, I’ve come to appreciate that strange, strange show for what it is, what it did, and what it continues to do. For so many people, Ren & Stimpy was a gateway drug to more subversive, often independent animation. It’s also one of the first shows where I, as someone interested in the physical production of animation, heard not-so great stories, and vastly different takes depending on if you hear a story from Nickelodeon, show creator John Kricfalusi (or simply John K), or anyone on the crew or voice talent. Regardless of whose (if any) side you’re on, Ren & Stimpy and creator John K, much like Walt Disney and Oswald the Lucky Rabbit serve as a cautionary tale to creators who lose their characters to studios (for one reason or another).
I’m curious how this tail will be spun, as I’ve heard some horror stories from a co-worker who worked on the production. It’s also just common knowledge in the industry that this was an at-times tumultuous work experience. Similarly, a 2013 book on the very subject–one of those “unauthorized” matter was re-released a few days ago and I’m excited to get my hands on that to get the dirt on what sounds like roller-coaster production in every way.
I was happy to read that the documentary would focus on the artists who brought this ground-breaking and controversial show into existence, and expand on its lasting impact on TV animation in the United States. So many of the artists involved in the show will be back to be in and help out on this film, including with some of the perks, like a private lesson with Jim Smith, one of the artists largely responsible to the stylization of the show.
It’s worth noting that while John K has turned down interviews for this doc, he has okay’d several people close to him for interviews. It’s also worth noting that while Nickelodeon is not backing this film, they did grant the filmmakers permission to use the characters (available at the $150 tier).
There’s always a slight risk when going in on a short film or game where the creator doesn’t have previous experience in the area they are working in. But a very quick glimpse at this campaign removes any doubts: writer and director Matthew A. Cherry, an experienced live-action director, certainly did his homework when it came to finding a team to support him and his existing team, including bringing on a co-director, Jason Marino, who’s animated short film Tamara, caught Cherry’s eye.
Two other notable names in animation that Cherry has brought onto the project are Peter Ramsey and Frank Abney, who will serve as executive producers!! Peter Ramsey became the first African American director of a feature animated film when he made DreamWorks Animation’s Rise of the Guardians. He’s also currently co-directing Sony’s new feature-length animated Miles Morales (finally!) Spider-Man film. Frank Abney, one of Variety’s 2016 10 Animators to Watch, is an animator who has worked at Disney, DreamWorks, and Pixar.
Cherry’s efforts to seek out experienced artists–particularly artists of color–is a responsible and fantastic display of good leadership. I’ve seen enough attempts at crowdfunding animation, video games, comics and more amount to nothing, so starting off on the right foot will do wonders for Hair Love.
The Kickstarter does a great job of breaking down this project, including a summary of it:
Hair Love, is a 5 minute animated short film that centers around the relationship between an African-American father, Stephen, his daughter, Zuri and her hair. Despite having long locks, Stephen has been used to his wife doing his daughter’s hair, so when she is unavailable right before a big event, Stephen will have to figure it out on his own. This sounds simple enough, but we soon come to find that Zuri’s hair has a mind of its own.
This story was born out of seeing a lack of representation in mainstream animated projects, and also wanting to promote hair love amongst young men and women of color. It is our hope that this project will inspire.
The short initially was seeking $75k but now are shooting for $200,000 in the hopes of making a Pixar-quality short, with the budgets for most steps in the pipeline ranging from $5-15k, with the largest chunks going to administrative/auxiliary services. It also looks like they are partnering with Nimble Collective, which will hopefully remove much of the guess-work out of their pipeline. It’s always wonderful to see animated short films being used to showcase underserved stories and groups of people.
The Animation Show of Shows has been operating under this crowdfunding method for a few years now, and since the show is annual, I know that I will be seeing it soon. I’m curious when the other three projects will deliver. As long as the creators supply consistent updates to backers, I don’t mind the occasional hiccups that come with production. Best of luck to all the projects! I encourage you to lend them your support if possible. And if you can’t, I’m sure even a retweet would be appreciated by them.
For the uninitiated, Nerdfighteria is the community that has grown up around YouTubers John and Hank Green–known as the vlogbrothers–for the last decade. This past February, I had the joy of attending Nerdcon: Nerdfighteria, which was a convention intended to celebrate those 10 years, along with fellow Nerdfighters from all over the world. The basic principles of the community are acceptance and empathy, un-ironically enjoying the nerdy things in your life, being kind to others, decreasing the amount of suckiness in the world, and reminding yourself that every other person you meet is just as complex as you are. Also that we are made of awesome. The number one rule in Nerdfighteria? Don’t Forget To Be Awesome.
What does this have to do with animation? Getting there!
Of all the great things to come from the vlogbrothers’ early start in online video, one of the best was a grant they received from YouTube (back when they did that) that allowed them to create an educational show called Crash Course. And what makes Crash Course stand out among the droves of online video? It’s animation, brilliantly done by a small Canadian studio called Thought Cafe. While fantastic, accurate writing, and complex educational concepts are why we tune into Crash Course, the animation is 100% what makes it so successful; it’s what ties all of the best qualities of an educational show together and really helps the material stick in your brain.
Animation was not always something that I looked at so rigorously. It wasn’t until I got to college and began studying animation–both as an artist and as an academic–that I began to see it from a brand new point of view, and my love for it deepened and expanded in so many ways. This site is a direct response to that, so I’m so happy and proud to share the first in what I hope are many, many videos delving into the wide expanse of this artform that I love so much. Please check it out, and let me know what you think!
While there is a lot more I could say on this topic, I tried to keep this video short (though it’s still a bit longer than your average video). I thought that this would give people a good idea about the angle that I am approaching animation from, as well as (hopefully) some new ways to think about the medium. If you want to hear more about my goals with this website, you can listen to a short podcast I recorded explaining it in our very first blog post.
What a time to be alive and in love with animation. This year saw a record number of film qualify, and I know that we’ll just continue to see each year yield a larger pool of contenders. We’re seeing more diverse films, more innovation, bigger budgets, smaller budgets and a more global representation. Not saying that in previous years we weren’t, as indie films have been cracking the nominations a number of times in the award category’s sixteen-year history. That’s a whole other post I’m excited to dive into! But for now, let’s take a look at the 2017 Oscar nominations.
I have to be honest. I love the Oscars. But it’s also one of my biggest pet peeves as an animation fan. There have been a lot of debates about the validity of the animation categories, particularly feature animation, and how votes are cast. They have tried to fix this by adding more voting members, but one can’t help but continue to be a little cynical about it all. Again, I do enjoy watching the Oscars–for me personally, growing up, it was always a yearly motivation. It’s a very self-indulgent night for film. It also tends to be a fun night to poke fun at animation, either by having a comedian introduce the section with disparaging jokes, or have a director whose film is 95% VFX win and then thank everyone except for the artists who literally made it. It’s also been dominated by the same company for years, which, as the article I linked previously highlights, does have you asking questions. And that issue doesn’t just plague the Oscars, but rather every awards show. Even the Annie Awards–a show specifically for animation–has had its share of controversy in the past, and like the Oscars, have taken steps to remedy it, such as revamping the voting and adding an Independent Animated Feature category, a debatable move in itself.
Another thing that often irritates me during awards season is, sadly, the fans at times. I have had enough debates with animation fans of forums such as ASIFA-Hollywood president Jerry Beck’s Cartoon Research Facebook group to know that there are many self-proclaimed “Disney purists” out there who will blindly support the company. I think we’ve all seen that in some degree, whether someone says they loved the new Star Wars because they just love Star. And we are all very guilty of it too. I love Disney, but I’m not so blinded that I can’t criticize it.
I think the thing that frustrates me about these types of people is that their mind is made up before it even gives any other options a chance. Or even worse, they pick their clear winner without having actually seen all of the nominated films. That, in my mind, immediately invalidates your opinion. You can’t be a fully-informed voter if you are NOT fully informed. You can’t judge based on some of the information. You may have loved Moana, but perhaps The Red Turtle will blow you away. You can’t know that unless you see it. I remember sitting with friends after seeing Inside Out wondering how any Disney/Pixar film could top that, and then Zootopia came along and knocked me completely on my ass. I saw pictures for My Life as a Zucchini and didn’t know what to make of it at first, but gave it a try, only to realize that it was one of my favorite films–animation or otherwise–of the year.
Founded in 1997, the New York International Children’s Film Festival (NYICFF) has become a staple of the NYC animation scene. What started as a single weekend with a few screenings has blossomed into a massive, weeks long event featuring sold-out screenings of films both old and new, short and feature length, and animated and live-action, as well as workshops, Q&As with filmmakers, awards, and parties. They’ve just posted their full 2017 festival line-up, and I’m so excited for their animation offerings! I’ll be highlighting a few below.