"The Pencil Test Depot blog is for the people who love pencil tests. It can also be used as a resource for animators who are looking to study another animators work."
"It’s also worth noting that (Wall Street) analysts are always bullish about any studios whose production slates are loaded with sequels, remakes, and “re-boots”.This particular poverty of imagination is absolutely mainstream thinking when it comes to businessmen, who are all about recognizing patterns of success that they assume are repeatable… no matter how often that very approach fails.They always try to copy the original THING rather than the CONDITIONS that allowed the original thing to come into being."– Brad Bird
Lesson Five: High Morale Makes Creativity CheapThe Quarterly: It sounds like you spend a fair amount of time thinking about the morale of your teams.Brad Bird: In my experience, the thing that has the most significant impact on a movie’s budget—but never shows up in a budget—is morale.If you have low morale, for every $1 you spend, you get about 25 cents of value. If you have high morale, for every $1 you spend, you get about $3 of value. Companies should pay much more attention to morale.
The animation industry is the business of creating myth and magic. As such, it's not surprising that a myriad of meta-myths have arisen—easy-to-believe falsehoods about the industry itself. In preparing for their future careers, the next generation of animators and artists need not be waylaid by such rumors. Below are five common myths about the world of cartoons and the realities behind them.
Myth: 2D animation is a dying art -
Nothing could be further from the truth. While 3D animation is filling theaters across the globe, 2D art endures. Internationally, films such as Sony Picture's Persepolis ,Paprika , and The Secret of Kells continue to astound audiences with engrossing, hand-drawn cinema. In Scotland director/animator Sylvain Chomet (The Triplets of Belleville) is nearing completion on his next hand-drawn animated feature , The Illusionist. In the U.S. , Walt Disney Animation is hard at work on its new 2D feature, The Princess and the Frog, while shows such as Nickelodeon's Avatar: The Last Airbender and Cartoon Network's Chowder provide bright futures for the traditional style. Beyond television, the Internet has spawned numerous opportunities for vector animation (Flash and Toonboom) 2D projects as well.
Myth: It's essential to be adept at every facet of the animation process -
To quote G.I. Joe, "Knowing is half the battle." The other half is being good at what you do. Familiarity with the entire animation process can only help you, but you are being hired for a specific position. In the words of Knowledge Adventure 3D Artist Chris Marsh, "Fanning your effort and skills out to do everything the process demands only decreases your quality of work and increases production time, and that's never good." The animation process requires the efforts of many specialized individuals. Walt Disney didn't achieve his whimsical empire by being the greatest animator ever. He did so by assembling the greatest animation team ever. Discover what you do best and strive to do it better.
Myth: You want to work for a big studio -
Certainly there's no shame in working for a large studio. Who wouldn't want to have Mickey Mouse on their business card? But smaller studios have their share of perks too. A smaller company gives a great artist more opportunity to shine. Networking becomes easier, and there's more room to expand your personal style.
Myth: You should stick with a single studio for as long as possible -
Ladders: We all have the urge to climb them, especially corporate ones. But in the animation industry, sometimes it's important to spread your artistic wings. Surely no one wants an artist who never sticks around to finish a project, but by changing studios and production companies from time to time, you make yourself better known to the animation community as a whole, networking, and becoming associated with your body of work rather than your company's. "A good stint at a company is one to three years," says Big Bad Tomato digital storyboard artist Sylvia T. Leung, "it shows you are committed enough to stay, but ambitious enough to leave."
Myth: You don't need to know how to draw-
While drawing is not necessarily a key skill in today's world of texture mapping and wire framing, it's still a valuable technique in almost every step of the animation process. Putting pencil to paper, breaking down complex objects into simple shapes, and translating them into graphite blueprints will help artists of all fields better their craft. This ability will also make you more attractive to a wider number of prospective employers. Remember, even Rodin roughly sketched his figures before casting clay.
Just as 24 drawings a second creates the illusion of motion, assumptions and opinions give the illusion of industry facts. Fortunately, the truth is usually quite optimistic and should give any budding artist hope for their creative and professional future.
"Even though the Disney animator Marc Davis has said: 'Animation is an anachronism; it is that rarity, a handmade product in a mechanized age', the satisfaction gained from doing it well is the kind of satisfaction that can only be gotten by creating something with your own hands that no one has ever done before. It's a sublime feeling ... you'll see !!"
Abe Levitow animation drawing :
