Animators of Film and Television: Nineteen Artists, Writers, by Noell K. Wolfgram Evans

By Noell K. Wolfgram Evans

Within the phrases of Walt Disney, "Animation can clarify regardless of the brain of guy can conceive." half biography, half historical past, half inventive statement, this quantity seems at numerous significant figures within the box of animation and discusses how their contributions to the artwork of animation have affected the process the industry--and in lots of circumstances, had an immediate influence on pop culture as a complete. those talented artists are divided into numerous classifications: Idealists (Art Babbitt, John Hubley); Mavericks (John Kricfalusi, Terry Gilliam); Technicians (the Fleischer Brothers); impacts (Frank Tashlin, Matt Groening, Ray Harryhausen, Ed Benedict); Trailblazers (Lotte Rieniger, Lillian Friedman); Teller of stories (Henry Selick); academics (George Newall, Tom Yohe, the FMPU); and Storytellers (Joe furnish, invoice Scott, Michael Maltese). each one animator is represented by way of an inventory of his or her key movies and awards.

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He was, in fact, the first animator of stature to look at the Internet as a viable content-delivery medium, using his animation studio, Spumco, to explore the options, and in 1997 the result was unveiled. On October 15 of that year Spumco launched The Goddamn George Liquor Program. Created in Flash, the show became the first cartoon series to be created exclusively for the Internet. 29 30 THE MAVERICKS Back to School Others followed, as did some sporadic television work, but as the twentyfirst century moved forward, Kricfalusi had a new plan.

Nowadays, they just design the characters from a couple different angles, take them into Flash and then move the still pieces around like paper doll puppets. I can’t make my kind of custom stories and acting using that system. I need talented and SKILLED people to help. It’s worth it to me to help out before a production begins, but it will be up to you to practice and apply and critique yourselves according to what you learn. — John Kricfalusi about starting his “Cartoon College”2 Kricfalusi can be tied back to Art Babbitt by more than just a desire to impart animation techniques, though; both are idealistic artists in an industry that claims to want art but treasures commerce and control.

He had a great reverence for the music style as a fan and a fellow artist, and jazz musicians loved to work with him because he wasn’t looking for a song to simply mark time or act as an underscore. For Hubley, the music was the key to the animation, not the other way around. I feel that the composer has to have freedom and I think that the music has to go first. Then the artist isn’t burdened with having to do everything to the split second. So the first thing we did was throw the click-track in the garbage and let the composers work the way they used to when they created the great scores in film history.

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