This is a model of Pepe Le Pew that I made a few years ago. Created in Modo, based on some model sheets I found of the 2D character.

This is a model of Pepe Le Pew that I made a few years ago.

Created in Modo, based on some model sheets I found of the 2D character.

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One More Time — Harman-Ising (1931)

I’ve been researching some early animation and I found this. This is by Harman-Ising produced for Warner Bros not Disney. Even though it has an almost-Mickey-Mouse as the main character, A ton of pretty much on model Mickey Mice as actual mice, and an almost Minnie and almost Pluto in there as well. Apparently Warner’s intellectual property department in 1931 was just a sign that said “Yoink!”

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Walt Disney: Hollywood’s Dark Prince - Marc Eliot (1994) This book was controversial when released. It presents Walt Disney’s life in a very critical manner that goes against the image crafted by the Disney family and company. It was very interesting to read, but some parts seem to be unsubstantiated pseudo-psychiatry. 18 The more walt learned, the more he became fascinated with the idea that movement alone could not only project physical performance bit also describe emotion. 53 To try to improve his cash flow, Walt announced a new series of animated shorts under the umbrella title of “Silly Symphonies.” The idea was to make cartoons with musical sound tracks and as little dialogue as possible, to maximise their international appeal. 74 (Chuck Jones) For American animation, The Three Little Pigs was the turning point. Disney’s animation [had at first] defined characters by what they looked like - in films like Steamboat Willie, the villain was the big, ugly guy and the hero was the little guy - and everybody moved the same. In The Three Little Pigs, the three pigs looked more or less the same but each acted differently, each had a different personality. (It also talks about how great Art Babbit and Bill Tytla are, and the ongoing arguments between Babbit and Disney.)  138 Art Babbitt animated the mushroom dance. (A fantastic scene.) 179 With the rerelease of Snow White, Disney discovered the power of drawing a line rather than taking a photograph. His animated films are the only ones I know of that can come back fifty years later and open in a first-run house. In some ways they are the purest form of cinema, timeless, like great paintings. - Jules Engel, Disney staff artist in the forties

Walt Disney: Hollywood’s Dark Prince - Marc Eliot (1994)

This book was controversial when released. It presents Walt Disney’s life in a very critical manner that goes against the image crafted by the Disney family and company.

It was very interesting to read, but some parts seem to be unsubstantiated pseudo-psychiatry.

18 The more walt learned, the more he became fascinated with the idea that movement alone could not only project physical performance bit also describe emotion.

53 To try to improve his cash flow, Walt announced a new series of animated shorts under the umbrella title of “Silly Symphonies.” The idea was to make cartoons with musical sound tracks and as little dialogue as possible, to maximise their international appeal.

74 (Chuck Jones) For American animation, The Three Little Pigs was the turning point. Disney’s animation [had at first] defined characters by what they looked like - in films like Steamboat Willie, the villain was the big, ugly guy and the hero was the little guy - and everybody moved the same. In The Three Little Pigs, the three pigs looked more or less the same but each acted differently, each had a different personality.

(It also talks about how great Art Babbit and Bill Tytla are, and the ongoing arguments between Babbit and Disney.) 

138 Art Babbitt animated the mushroom dance. (A fantastic scene.)

179 With the rerelease of Snow White, Disney discovered the power of drawing a line rather than taking a photograph. His animated films are the only ones I know of that can come back fifty years later and open in a first-run house. In some ways they are the purest form of cinema, timeless, like great paintings. - Jules Engel, Disney staff artist in the forties

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Michael Caine - Acting in Film: An Actor’s Take on Movie Making I have been thinking about what other aspects of animation I should research, and Acting is quite an obvious one that I haven’t yet thoroughly researched. So I have borrowed a few acting books from the Chifley Library. Acting in Film, by Michael Caine is the first that I have read this year. I found the writing to be quite eloquent and approachable, and the information valuable, as evidenced by the copious notes I took while reading it. My Notes with Page Numbers (My own text in parenthesis, the rest is quoted from the book): 3 A film actor must be able to dream another person’s dreams before he can call that character his own. 6 The modern film actor knows that real people in real life struggle not to show their feelings. 8 Screen acting today is much more a matter of “being” than “performing.” By wielding the subtlest bit of body language, the actor can produce an enormously powerful gesture on the screen. 10 You must be thinking every moment because the camera looks into your mind. The real key is in your mental transmission. 11 In movies it is reaction that gives every moment its potency. That’s why listening in films is so important, as well as use of the eyes in the close-up. 29 There may be a key word that triggers you during the sentence the actor is saying. So pick up on that; form your thought and be ready to speak. 30 Or you can bring new life to an apparently mundane reply by planning a thought process based on a key word and then never voicing it. 31 (but) You’ll seem like a maniac if everything sets you off. 43 (Locations that you aren’t supposed to know, don’t get to know well before shooting. Know everything about your characters home or office beforehand so you aren’t hesitant.) 50 (on hitting a mark) … stand on the mark, then say your line at performance pace while walking backward to an earlier position. 53 Here’s a little number I so before a long take: take a slow deep breath in, then bend over and let your arms dangle, really relaxed. Straighten ho slowly, breathing out gently and evenly. This exercise relaxes you, helps concentration and gives you control. If you are going to be shooting a scene where you need extra tuning up, just inhale and exhale quickly for a short time - it gets the oxygen to the brain. 59 (for closer/tighter shots) The film actor knows how to reduce a performance physically but not mentally. In fact, oddly enough, your mind should work even harder in a close-up than it does during other shots because in the close-up, the performance is all in your eyes; you can’t use the rest of your body to express yourself. 61 During a close-up, be especially careful not to change whichever eye you are leading with. It’s an infinitesimal thing, but noticeable on the screen. … I pick the off-camera actor’s eye that is closest to the camera and look at it with my eye that is furthest from the camera. And I don’t blink. Blinking makes your character seem weak. By not blinking you will appear strong on screen. Don’t make faces. Just rely on your character’s thought processes and your face will behave normally. 69 ‘what are you doing in that scene Michael?’ ‘Nothing’ I said. ‘I haven’t got anything to say’ ‘That,’ said the director, ‘is a very big mistake. Of course you have something to say. You’ve got wonderful things to say. But you sit there and listen, thinking if wonderful things to say, and then you decide not to say them. That’s what you’re doing in that scene.’ Listen and react. Your lines should sound like spontaneous conversation, not like acting at all. 71 (from John Wayne) “Let me give you a piece of advice: talk low, talk slow and don’t say much.” 73 Less is more. That’s one of the hottest tips I can give any young film actor. To do nothing at all can be very useful in extreme reactive situations. For example is something terrible happens to you in the script, like you find your wife murdered, and they cut to your close-up, very often you can do a completely blank look. The audience will project their own emotions on your face. 83 When you walk from your center, you will project a solid perspective of yourself. … Sense of strength. A centered walk can be very menacing, too. 84 One important piece of technical advice about movement: don’t rush it. Give the camera operator a chance. James Cagney gave me this tip about running: “When the director tells you to run from over there right toward the camera and past it, run like he’ll when you’re far away, and as soon as you get near the camera, slow down. Otherwise you’ll go by so fast, they won’t know who the he’ll went by.” 88 When becoming a character, you have to steal. Steal whatever you see.  90 Our lives are not comedies or tragedies or dramas. They are a fascinating mixture, an alchemy, really, of all three. 91 In film, a character is a real person. You have to refrain from turning that real person into a type. When you look for qualities to use in building your character, avoid the obvious approach whenever possible. 96 When you flesh out a character to make him real, your tools are the aspects of yourself that you apply, and your role models. 103 “Speak faster; he’s an honest man” - John Huston Honest men speak fast because they don’t need time to calculate. 117 (work ethics) No matter what the reason, if you start to scream and shout, you look like a fool, you feel like a fool, and you earn the disrespect of everyone. (don’t bother watching rushes) Everybody buys their yachts after the rushes and goes bankrupt at the premiere. The director, if he’s any good, will tell you what you were like far more accurately than the rushes will. To my mind, all you can tell from rushes is whether you are in focus, and even then the projectionist may have screwed up.

Michael Caine - Acting in Film: An Actor’s Take on Movie Making

I have been thinking about what other aspects of animation I should research, and Acting is quite an obvious one that I haven’t yet thoroughly researched.

So I have borrowed a few acting books from the Chifley Library.

Acting in Film, by Michael Caine is the first that I have read this year. I found the writing to be quite eloquent and approachable, and the information valuable, as evidenced by the copious notes I took while reading it.

My Notes with Page Numbers (My own text in parenthesis, the rest is quoted from the book):

3 A film actor must be able to dream another person’s dreams before he can call that character his own.

6 The modern film actor knows that real people in real life struggle not to show their feelings.

8 Screen acting today is much more a matter of “being” than “performing.”

By wielding the subtlest bit of body language, the actor can produce an enormously powerful gesture on the screen.

10 You must be thinking every moment because the camera looks into your mind.

The real key is in your mental transmission.

11 In movies it is reaction that gives every moment its potency. That’s why listening in films is so important, as well as use of the eyes in the close-up.

29 There may be a key word that triggers you during the sentence the actor is saying. So pick up on that; form your thought and be ready to speak.

30 Or you can bring new life to an apparently mundane reply by planning a thought process based on a key word and then never voicing it.

31 (but) You’ll seem like a maniac if everything sets you off.

43 (Locations that you aren’t supposed to know, don’t get to know well before shooting. Know everything about your characters home or office beforehand so you aren’t hesitant.)

50 (on hitting a mark) … stand on the mark, then say your line at performance pace while walking backward to an earlier position.

53 Here’s a little number I so before a long take: take a slow deep breath in, then bend over and let your arms dangle, really relaxed. Straighten ho slowly, breathing out gently and evenly. This exercise relaxes you, helps concentration and gives you control. If you are going to be shooting a scene where you need extra tuning up, just inhale and exhale quickly for a short time - it gets the oxygen to the brain.

59 (for closer/tighter shots) The film actor knows how to reduce a performance physically but not mentally. In fact, oddly enough, your mind should work even harder in a close-up than it does during other shots because in the close-up, the performance is all in your eyes; you can’t use the rest of your body to express yourself.

61 During a close-up, be especially careful not to change whichever eye you are leading with. It’s an infinitesimal thing, but noticeable on the screen. … I pick the off-camera actor’s eye that is closest to the camera and look at it with my eye that is furthest from the camera.

And I don’t blink. Blinking makes your character seem weak. By not blinking you will appear strong on screen.

Don’t make faces. Just rely on your character’s thought processes and your face will behave normally.

69 ‘what are you doing in that scene Michael?’ ‘Nothing’ I said. ‘I haven’t got anything to say’

‘That,’ said the director, ‘is a very big mistake. Of course you have something to say. You’ve got wonderful things to say. But you sit there and listen, thinking if wonderful things to say, and then you decide not to say them. That’s what you’re doing in that scene.’

Listen and react. Your lines should sound like spontaneous conversation, not like acting at all.

71 (from John Wayne) “Let me give you a piece of advice: talk low, talk slow and don’t say much.”

73 Less is more. That’s one of the hottest tips I can give any young film actor. To do nothing at all can be very useful in extreme reactive situations. For example is something terrible happens to you in the script, like you find your wife murdered, and they cut to your close-up, very often you can do a completely blank look. The audience will project their own emotions on your face.

83 When you walk from your center, you will project a solid perspective of yourself. … Sense of strength. A centered walk can be very menacing, too.

84 One important piece of technical advice about movement: don’t rush it. Give the camera operator a chance. James Cagney gave me this tip about running: “When the director tells you to run from over there right toward the camera and past it, run like he’ll when you’re far away, and as soon as you get near the camera, slow down. Otherwise you’ll go by so fast, they won’t know who the he’ll went by.”

88 When becoming a character, you have to steal. Steal whatever you see. 

90 Our lives are not comedies or tragedies or dramas. They are a fascinating mixture, an alchemy, really, of all three.

91 In film, a character is a real person. You have to refrain from turning that real person into a type.

When you look for qualities to use in building your character, avoid the obvious approach whenever possible.

96 When you flesh out a character to make him real, your tools are the aspects of yourself that you apply, and your role models.

103 “Speak faster; he’s an honest man” - John Huston

Honest men speak fast because they don’t need time to calculate.

117 (work ethics) No matter what the reason, if you start to scream and shout, you look like a fool, you feel like a fool, and you earn the disrespect of everyone.

(don’t bother watching rushes)

Everybody buys their yachts after the rushes and goes bankrupt at the premiere.

The director, if he’s any good, will tell you what you were like far more accurately than the rushes will. To my mind, all you can tell from rushes is whether you are in focus, and even then the projectionist may have screwed up.

Comments
Johannes Itten - The Elements of Color Here are the notes I took while reading. Great Book, Highly Recommended to anyone using colour in their work. 5 To help a student discover his subjective forms and colors is to help him discover himself. 6 Spontaneity and personal expression 13 Three Directions: Impression (Visually), Expression (Emotionally), Construction (Symbolically). 17 Brighter looks larger (White square on black vs black square on white) 18 Because of simultaneous mutation we should use color first, then form to produce strongest effect. 20 Harmonious colors are those that mix to white (additive color) - 1797 Rumford 28 Rodin: “First I experience an intense feeling, which gradually becomes more concrete and urges me to give it plastic shape. Then I proceed to plan and design. At last, when it comes to execution, I once more abandon myself to feeling, which may prompt me to modify the plan” Intuitive Feeling >better than> calculated plan 29 In examining each color, it is important to view it against a neutral gray background. 32 Color effects are similarly intensified or weakened by contrast Seven Kinds of contrast: Hue Light - Dark Cold - Warm Complimentary Simultaneous Saturation Extension 41 gray next to color looks like the opposite color, except wher the color has different brilliance to the gray. 43 Yellow defaults to bright, all the way down to purple which is darkest. 45 Warm - Cold (red/orange * blue/green) right angles to light - dark (yellow * purple) 46 when a composition is to be done in the style of a particular contrast, all other incidental contrast must be used with restraint, if at all. 49 Complimentary Pairs Yellow-Violet = light - dark red/orange - blue/green = warm - cold red- green = equal in both 52 gray inside/adjacent to a color visually takes on the opposing hue. 54 Test hues using preliminary sketch to see color effects before finished. Four ways to dilute color white -> colder black -> deadens gray -> neutralises complimentary -> good 59 Colors are proportional 9 Yellow : 8 Orange : 6 Red : 3 Violet : 4 Blue : 6 Green 62 Contrast of extension is neutralised when the harmonious proportions are used ratios… valid only when all the hues appear in their maximum purity 72 Color harmony - make any geometric shape on a colour wheel and it will be harmonious like a square, triangle, oblong, pentagon etc. 75 Color:Shape Red:Square Orange:Trapezoid Yellow:Triangle Green:Circular Triangle Blue: Circle Violet: Ellipse Form and Color expressions should support each other Red : Square : Horizontals and verticals: Matter Yellow: Triangle : Diagonals : Thought Blue : Circle : Smooth, Flowing : Spirit 77 Spatial effect of colors light colours come forward from black background dark colours come forward from white background yellow to red/orange, red/orange to blue moves in distance in accordance to the golden section. 80 Itten tells painters to use indirect illumination Coloured shadows do exist and are interesting. 89 “The effect of colors and our subjective individuality in receptiveness to color experience are both extremely variable

Johannes Itten - The Elements of Color

Here are the notes I took while reading. Great Book, Highly Recommended to anyone using colour in their work.

5 To help a student discover his subjective forms and colors is to help him discover himself.

6 Spontaneity and personal expression

13 Three Directions: Impression (Visually), Expression (Emotionally), Construction (Symbolically).

17 Brighter looks larger (White square on black vs black square on white)

18 Because of simultaneous mutation we should

use color first, then form to produce strongest effect.

20 Harmonious colors are those that mix to white (additive color) - 1797 Rumford

28 Rodin: “First I experience an intense feeling, which gradually becomes more concrete and urges me to give it plastic shape. Then I proceed to plan and design. At last, when it comes to execution, I once more abandon myself to feeling, which may prompt me to modify the plan”

Intuitive Feeling >better than> calculated plan

29 In examining each color, it is important to view it against a neutral gray background.

32 Color effects are similarly intensified or weakened by contrast

Seven Kinds of contrast:

Hue

Light - Dark

Cold - Warm

Complimentary

Simultaneous

Saturation

Extension

41 gray next to color looks like the opposite color, except wher the color has different brilliance to the gray.

43 Yellow defaults to bright, all the way down to purple which is darkest.

45 Warm - Cold (red/orange * blue/green) right angles to light - dark (yellow * purple)

46 when a composition is to be done in the style of a particular contrast, all other incidental contrast must be used with restraint, if at all.

49 Complimentary Pairs

Yellow-Violet = light - dark

red/orange - blue/green = warm - cold

red- green = equal in both

52 gray inside/adjacent to a color visually takes on the opposing hue.

54 Test hues using preliminary sketch to see color effects before finished.

Four ways to dilute color

white -> colder

black -> deadens

gray -> neutralises

complimentary -> good

59 Colors are proportional

9 Yellow : 8 Orange : 6 Red : 3 Violet : 4 Blue : 6 Green

62 Contrast of extension is neutralised when the harmonious proportions are used

ratios… valid only when all the hues appear in their maximum purity

72 Color harmony - make any geometric shape on a colour wheel and it will be harmonious like a square, triangle, oblong, pentagon etc.

75 Color:Shape

Red:Square

Orange:Trapezoid

Yellow:Triangle

Green:Circular Triangle

Blue: Circle

Violet: Ellipse

Form and Color expressions should support each other

Red : Square : Horizontals and verticals: Matter

Yellow: Triangle : Diagonals : Thought

Blue : Circle : Smooth, Flowing : Spirit

77 Spatial effect of colors

light colours come forward from black background

dark colours come forward from white background

yellow to red/orange, red/orange to blue moves in distance in accordance to the golden section.

80 Itten tells painters to use indirect illumination

Coloured shadows do exist and are interesting.

89 “The effect of colors and our subjective individuality in receptiveness to color experience are both extremely variable

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Many Hands Proposal

Title: Grief

Conceptual context: I will be using the deformation of light emitting geometric primitives to show the overwhelming strength of grief. I will be working with character animation to express my own experience of this heightened emotional state while avoiding specificity to enable an empathetic reaction and to show that grief is a universal emotion.

Description: 3D animation. A single character on a black backdrop. He lies on the ground convulsing with grief over the loss of a relationship. The scene is only lit by this emotion, shown through a bright colour covering and emitting from the character, visible on the ground.

Equipment (needed or yours): Projector [preferably HD] (needed) Something to play the video from that can handle the high resolution (needed)

Dimensions in time and space: 1920x1080, loop of around 30 seconds, projected to around 2m wide.

Name: Cameron Chamberlain

Mobile Number: 0431993870

School and Department: ANU School of Art, Digital Media

Previous Work (url): cameronchamberlain.com

(Source: manyhandsart.com)

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“Don’t try to be original, just try to be good.”

 — Paul Rand
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