Cinematic Storyboard Class Syllabus

I posted this back in 2009 and decided to re-post it because his work is so good...

If you are a rising storyboard artist, you are making your own film or are interested in how to set-up and stage storyboards, check out Jay Oliva classes. I have heard great things!

One thing many people forget or do not recognize is that drawing is a minor skill when it comes to storyboards. It's storytelling that is king.

Cinematic Storyboard Class Syllabus

Kyle's HB TILTERRIFIC Pencil for Photoshop CS6+

OMG these brushes are pure awesome sauce!!!
Get them now!!!


Enter promo code: TILTKTW and get this set for only $1!!!

CS 6 or higher is required, along with a pen tablet that recognized Tilt.

Karl Gnass Seminars

Karls Fall Classes

Karl Gnass Photo

Karl Gnass
Figure Dynamics Instructor
Master Figure Artist currently working at
Dreamworks and Disney Animation.

Greetings Artists!

Fall Classes begin soon at the 
American Animation Institute (AAI)

in Burbank (Part of the Animation Guild.)

These Art Classes are...

  • Open to All
  • Great for Learning some New Tricks,
  • Are very Reasonably Priced!

Classes Fill Up Fast so...
Register soon to save your spot!

Classes will be held at the Animation Guild in Burbank. 
September 9th - December 12th (12 weeks classes)
  To Register, CALL 818-845-7000
*If the flyer below is not showing up, please check:

Drawing Demo - Rad Sechrist

Rad Sechrist is a storyboard artist over at DreamWorks

There is a great demo posted from him Free Online.

Check out his Blog's

Also he has an online school:

Nick Ranieri - Wreck-it Ralph Ralph 2d Animation Test

hate the neck rub, but the hand animation is gorgeous...
the last 2d animation done at Disney Studios for a feature film, drawn by Nick Ranieri.

Disney turns away from hand-drawn animation

Studio says none of its animation companies are working in the traditional 2D format, and there are no current plans to do so again.

Speaking at an annual shareholder's meeting in Phoenix, Arizona, on Wednesday, chief executive Bob Iger revealed that none of the studio's animation companies was working on 2D, hand-drawn material for the big screen. While Iger did not rule out returning in the future to the style which made the company famous, the long gestation period for Hollywood animated productions means a gap of several years before any new film might emerge.

"To my knowledge we're not developing a 2D or hand-drawn feature animated film right now," said Iger. "There is a fair amount of activity going on in hand-drawn animation but it's largely for television at this point. We're not necessarily ruling out the possibility [of] a feature but there isn't any in development at the company at the moment."

Read more here... 

3D Doodler Pen


3Doodler, the world's first 3D printing pen that will enable you to draw three-dimensional plastic objects and turn the world into your own canvas. Since the launch of the Kickstarter campaign, the project has raised more than $750,000, easily surpassing its original goal of $30,000. 

The standard $50 package, which includes the 3D pen and a bag of mixed colour plastic, will begin shipping to pre-order customers in September 2013.

Character Performance Workshop

Tom Bancroft
WORKSHOP #6 is on

Jan 29 at 05:00 PM - Jan 29 at 07:00 PM

(UTC -08:00) Pacific Time (US & Canada)

Location:  Franklin, Tennessee, United States

Event Summary:  A series of character design workshops that Tom Bancroft (Disney Animator - Lion King, Mulan, etc.) is doing. Worth checking out!

Character Performance

CHARACTER PERFORMANCE is job one as an animator/storyteller.  Giving your character a personality that you clearly communicate is the basis of all acting in animation.  With a character that ACTS, animation (movement) is secondary to establishing the personality of the character through its design, poses, expression and clear staging.  This subject will be discussed with many illustrations and reference.  Assignment draw over/ review will happen after the lecture. 

Come be part of the community of artists trying to make their characters the best they can be!
PLUS: a preview of Tom Bancroft’s new Kickstarter comic project coming in FEB!If we have time for Q and A, we will do that. Please email questions to Taylor before the webcast so we can review them. Her email is:

This week’s (optional) assignment:
Create a sketch (no color or inking needed please) using the character design of EMMA here:
Draw a full body pose of Emma looking at something in her hand.  -The goal here is to create a clear pose and expression that tells a clear story.  Is she scared of what she is holding?  Fascinated?  Enamored?  Mad?  Draw it big enough so we can see her face, but remember that her body language should push the attitude.

I am looking forward to seeing what you come up with!
Please make HIGH RESOLUTION scans at 300dpi and save them as jpegs.   Make sure your first and last name is part of the file name.  (Example: JohnSmith.jpg).  I would prefer if your email was somewhere on the artwork also.  The reason is that I am preparing a future book and I may ask to use some of these contributions at a later date.  Email those scans


Anything could happen if You are drawing!

11 Second Club October 2009 Competition Winner (out of 207 entries)
Anything could happen if You are drawing!
Created & Animated by: Péter Nagy
Sound: Péter Nagy
Post Works: Csaba Pépp
(Thanks to Péter Erdélyi)

9 Tips For Breaking Into Feature/Visual Effects

9 Tips For Breaking Into Feature Animation and Visual Effects

I had write my own version of tips to animators who want to enter feature animation and visual effects.  I found the list provide on movie line very 'out of touch.'

1. Develop your foundational artistic muscles as much as your technical savvy.  If you do not have an artistic eye and a creative soul, your work will only satisfy the needs of scene... and, never explore the potential of each shot.  In addition, if you do not learn everything you can technically about your job, you will be banging your head trying to solve simple technical issues.  A understanding of both artistic and technical makes for the most marketable CG artist.

2. Plan before you pick up the mouse.  I understand that production schedules are not what they used to be, but even a couple hours of planning before starting a shot - using drawing, reference, observation, and critical thinking will save you tons of time in the long run.  Create your own work flow that resonates with how you think.  This will help you get to the final execution quicker than the competition.

3. Handle your paper yo...  Budget your income so you can handle working only 60-70% of the year.  The key word is "utilization."  If you want to make 80k a year and you are only working 60% of the year (without any overtime)... you will have to either be making 100$ an hour (not likely for an entry level position) or live as if you are making half of 80k a year.  Plan for times when there is no work, financially and save, save, save.

4. Be ready to live out of your suitcase.  The world is flat and globalization is here.  You may work 6 months in London, 2 weeks in Sydney and  3 months in Vancouver.  Many studios do not pay for relocation or housing either, so make friends where you can couch surf.  This is the reality.

5. Get a great accountant and a EIN NumberA good accountant can work magic around globe trotting and your taxes.  'Nuff said.

6. Learn about all of the trade organizations, job boards and social networking sites.  Social networking like Facebook and linked in are invaluable for creating new opportunities.  Connect with as many people as you can and be polite and cordial if you do not know the person you are approaching or have anyone to introduce you.  Job boards like VFX Pro, Creative Heads, AWN and the like are important places to start.  DO NOT apply to just any job.  "Hand pick" the places you really want to work and learn everything you can about the studio before approaching them.  Finally, the briefest encounter at a Siggraph meeting or a night out with coworkers can have the most profound affect on your career, so respect all conversations.

7. Pay attention to the details.  If you want your work to stand out, you have to be hyper critical.  If there is any shot on your reel you feel the need to make excuses for, dump it.  It shouldn't be there.  You are only as good as your weakest shot, so don't put weak work on your reel or out there in production.

8. Remember Karma.  Many production environments have become toxic with the new landscape of small budgets and backstabbing to get that job.  Do not engage.  It may take longer to move up, but your integrity will be in place if you handle ever conversation with professional courtesy and treat people how you would like to be treated.  If you hear about a job opportunity that you cannot take, pass it on to someone you know will do well there.  The producer will remember you helped them get the job done through a reference.  You want everyone to have a "good taste in their mouth" when your name comes up.  No matter what, there's always an asshole who will have a problem with you.  Forget him, he will gets his one day.  Do what you got to do to make each day positive and rewarding.  Remember what JT said - "What Goes Around... Comes Around."

9. Potential.  Every shot has the potential to be amazing.  You may not think so, but every shot has that potential!  It's up to you to bring it. Let me tell you a little story.  I was working on a show once... where I was given the crappiest shot in the commercial.  The character was so far away, you wouldn't have seen anything he was doing.  The shot was part of the introduction of where the characters were and what they are doing, so it didn't seem to be that important.  I was bummed. The plates weren't really ready, so we were just doing tests with the rigs.  I decided I would do more than just calisthenics and run cycles.  I animated my character doing something within the context of the shot I would be working on, but bigger and following the story and the character.  The director saw it.  He liked it so much, he went out and RE SHOT the plate to make this particular scene the hero of the commercial!  I was made animation supervisor for the next 3 commercials.  Think big and explore the potential that is there and people will notice.

~ my two cents on the subject

Acting Simplify

Learning - Ten Things to Think About - #6 Simplify

10 Things to Think About - from the book Thinking Animation by Angie Jones and Jamie Oliff.
This is one of the lectures I use at the online school  I created this list for my book Thinking Animation to help animators create a clear and solid message with their work.  I will post the 10 Things to Think About over the course of the next 10 weeks.  ~Enjoy!

The story goes... There is one shot in this sequence that was kicked back by lighting because they though the animation was lost.  The animator set one pose for the entire shot because that is all the shot needed, but it confused the lighters.  When they sent it back to animation, fearing somehow the animation curves had been lost, they discovered - "no" the pose was approved as the animation.

Can you get which shot it is?
It starts around 1:29 of this clip.

The point is not to stop animating your characters for your shots, but to understand that simplifying your ideas to create the clearest message is the best way to communicate with your audience.

#6 Simplify:

  • Too many poses and acting choices just muddle up the idea.
  • A memorable character is animated through strong, deliberate acting.
  • Simplicity will give the viewer time to rest and appreciate the moment.
  • The eyes follow what is moving most if the scene is quiet.
  • The eyes follow what is moving the lest if the scene is busy.
  • Be clear fist, add interest second.
  • Draw focus to the one thing that matters - heart of the scene.
  • Simplicity results when you have exhausted all other steps.

Rhythm in Animation

Learning - Ten Things to Think About - #4 Rhythm

cover of the book Getsure Drawing

by Ryan Woodward

10 Things to Think About - from the book Thinking Animation by Angie Jones and Jamie Oliff.
This is one of the lectures I use at the online school  I created this list for my book Thinking Animation to help animators create a clear and solid message with their work.  I will post the 10 Things to Think About over the course of the next 10 weeks.  ~Enjoy!

#4 Rhythm in Storytelling and Timing:  No matter how short a scene is, there is always a beginning, middle and end.

  • 3 points, ideas or emotions.
  • Rhythm helps build excitement.

Observe the rhythms throughout this first scene when mr. Incredible comes home from work.  Mr. Incredible shows us timing that builds as the scene heightens with his movements.  The bubble pop at the end is like the exclamation point, on the sentence.  If you were listen to this scene like it were a piece of music, what type of music do you think it would be?  Where is the scene quiet and where is it overly active?

  • Caesura: a poignant beat in music, break in flow of a melody making a point of division.  The quiet moments are as important - if not more important - than the active ones.

Another great example of rhythm throughout a story is Mickey's little Whirlwind.  From the innocent beginnings to the onslught of the whirlwind itself making Mickey look bad, this story takes you through highs and lows.  When choosing ideas for acting, remember that every GREAT scene, no matter how short has rhythm moving through it.

There is also Rhythm in Poses:

  • Arc one way and flow to the opposite pose.
  • Physics play a part, but you determine what the driving forces and physics of your scene are to keep the flow of the lines clean.
  • You are not a slave to the physics. You are manipulating the physics to the point where they still work, but everything is contributing to your pose.

There is a new book in town and I think every animator should grab one.  This is a great example of learning how gesture and rhythm work together to create an emotional pose. This book is a great resource for understanding rhythm in a gesture drawing.  You can get Ryan Woodward's 222 page paperback at

The book is available at in both paper and digital format.
And, below is his beautifully animated short film.

Simon Draws: Simon's Cat

If you are a fan of Simon's cat, here is Simon drawing him...


Learning - Ten Things to Think About - #1 Listen

10 Things to Think About - from the book Thinking Animation by Angie Jones and Jamie Oliff.
This is one of the lectures I use at the online school  I created this list for my book Thinking Animation to help animators create a clear and solid message with their work.  I will post the 10 Things to Think About over the course of the next 10 weeks.  ~Enjoy!

If you animate without a plan, you will waste bucket loads of time.
Think and Plan Your Shot Out:
  • Create and/or find reference, act the scene out
  • Take notes on what you see from these experiences
  • Draw gestures and make thumbnails for the most important storytelling poses
  • Use at least 3 words to describe the arcs going on in the scene - try to make them verbs, or action words
  • Share your ideas with others
It’s best to analyze for at least a day if you can... to figure out what the character’s desire is and what the obstacle to that desire might be.  Deadlines, may be looming, but the time you spend planning will create a more clear path for you once you pick up the mouse.
Simplicity is the key to creating a clear idea.  Until every idea is out of your system, overused and cliche poses will continue to arise as you animate.  Do not clutter storytelling poses with too many ideas.  Your first idea is usually too obvious and not as interesting as your 50th.  Try to see the entire shot in your head. before you ever pick up the mouse.
Improv actors play games b4 they go on stage to warm up.  This helps them work out all the trite and overused ideas.  Drawings also help you think about your ideas more deeply.  I encourage you to draw.  Take the most important idea in the scene and work out from there.
Questions to ask yourself…
  • Is the most interesting and clearest possible way?
  • Does the idea fit this character's personality?
  • Am I exploring the possibilities of the scene?
  • Is my ego too involved?
  • What is being said between the lines of dialog - is there subtext?
  • What significance does the scene have to previous and later shots?
  • What is the purpose of this scene in the movie?

1. Listen:
  • Listen to what your lead, sup and/or director tells you closely.  I have sat next to many newbie animators on a show and heard what they were told for art direction, only to come to dailies the next day and see that they didn;t heard a word they were being told.  Your supervisors know what is expected fo the scene so LISTEN.
  • Listen to the dialog and observe the pauses and accented points that you might not catch when you are actually listening to what is being said.
  • Loop the dialog and listen to it over and over. Stories unfold themselves if we really listen. Detach yourself from the shiny parts and let the story tell you what is essential.
  • Stream of consciousness notes: write down trigger words as you listen to the dialog with your eyes closed.
  • If you have an improv class nearby you can take, I highly encourage you to do so.  95% of improv is listening.  You have to listen to what the other person is saying to plus or heighten the scene beyond what it is.

Life Drawing in Los Angeles

drawing by Rebecca Kimmel

My USC Students were asking where they could get more experience in Life Drawing here in los Angeles.  There are several drawing clubs that meet weekly and are from cheap to free in cost.  Below are some of those groups.

Gallery Girls -
Sign up for their newsletter to stay up on events
Salons take place on the first Friday of every month at Gallery Godo, 6749 San Fernando Road, #C, Glendale, 10 p.m.-1 a.m., and on select evenings at PoptArt Gallery, 3023 W. 6th St., downtown. Turkish Delights V is set for Nov. 11.

Dr. Sketchy’s -
Events are every first Tuesday of the month at Titmouse Inc., 6616 Lexington Ave., Hollywood, and every third Sunday of the month, 7-10 p.m., at Studio Servitu, 800 McGarry St., downtown.

The Drawing Club -
Sketch classes are held every Thursday, 7-10 p.m., and there’s a three-hour pose session one Sunday a month, 10 a.m.-1 p.m., at 3235 San Fernando Road, #2C, Atwater Village.

Drink and Draw -  and
Drawing events take place every Thursday, 8 p.m.-2 a.m., at Casey’s Irish Pub, 613 S. Grand Ave., downtown.

Karl Gnass
I was taught by Karl Gnass at Sony.  He is an amazing instructor.  he tacjes at the Animation Guild in Hollywood.  AAI LOCATION: 1105 N. Hollywood Way in Burbank, CA 91505

If you are really serious about drawing skills and can get some scratch together to pay for classes at these schools, they are all fantastic.

Finally, a great book to learn how to draw from for animation is Draw the Looney Tunes.  You will learn everything you need to know about character design.

Stephen Silver has several great books too.
and online school and podcast.

Another great book to learn from is Creating Characters with personality

So, to become a better draftsman... I encourage life drawing and these others studies. You could even get Disney coloring books and learn from the posed drawings in there.  Draw everything you can see.  Keep a sketchbook.  Don't worry about performance.  If someone asks to look at it, just say no... it's personal.  Then, you don't have to worry about anyone judging your work.  It's for you and you only as a learning tool.

12 Drawings a Day - 12 Dessins par Jour

12 Drawings a Day, an animated diary:
The 23rd of June 2008, Denis went to the copy room. He found a hole lot of paper printed one side and blank on the other side, he thought he would do something with it. The same day he drew 12 drawings of animation. Since that day he has made 12 drawings every day. This project has no script, no storyboard, they are all drawn with none erasable pen, and I have not changed the rhythm of the animation afterwards.

Innovation lessons from Pixar

Hayagreeva Rao, Robert Sutton, 
and Allen P. Webb

Brad Bird makes his living fostering creativity. Academy Award-winning director (The Incredibles and Ratatouille) talks about the importance, in his work, of pushing teams beyond their comfort zones, encouraging dissent, and building morale. He also explained the value of “black sheep”—restless contributors with unconventional ideas. 
Steve Jobs hired him, says Bird, because after three successes (Toy Story, A Bug’s Life, and Toy Story 2) he was worried Pixar might struggle to stay innovative. Jobs told him: “The only thing we’re afraid of is complacency—feeling like we have it all figured out,” Bird quotes his boss as saying “…We want you to come shake things up.” Bird explains to McKinsey how he did it — and why, for “imagination-based companies to succeed in the long run, making money can’t be the focus.”
The piece is behind McKinsey’s pay wall, but we extract its 9 key lessons below.
Lesson One: Herd Your Black Sheep
The Quarterly: How did your first project at Pixar—The Incredibles—shake things up?
Brad Bird: I said, “Give us the black sheep. I want artists who are frustrated. I want the ones who have another way of doing things that nobody’s listening to. Give us all the guys who are probably headed out the door.” A lot of them were malcontents because they saw different ways of doing things, but there was little opportunity to try them, since the established way was working very, very well. We gave the black sheep a chance to prove their theories, and we changed the way a number of things are done here.
Lesson Two: Perfect is the Enemy of Innovation
The Quarterly: What sorts of things did you do differently?
Brad Bird: I had to shake the purist out of them—essentially frighten them into realizing I was ready to use quick and dirty “cheats” to get something on screen… I’d say, “Look, I don’t have to do the water through a computer simulation program… I’m perfectly content to film a splash in a swimming pool and just composite the water in.” I never did film the pool splash [but] talking this way helped everyone understand that we didn’t have to make something that would work from every angle. Not all shots are created equal. Certain shots need to be perfect, others need to be very good, and there are some that only need to be good enough to not break the spell.
Lesson Three: Look for Intensity
The Quarterly: Do angry people—malcontents, in your words—make for better innovation?
Brad Bird: Involved people make for better innovation… Involved people can be quiet, loud, or anything in-between—what they have in common is a restless, probing nature: “I want to get to the problem. There’s something I want to do.” If you had thermal glasses, you could see heat coming off them.
Lesson Four: Innovation Doesn’t happen in a Vacuum
The Quarterly: How do you build and lead a team?
Brad Bird: I got everybody in a room. This was different from what the previous guy had done; he had reviewed the work in private, generated notes, and sent them to the person… I said, “Look, this is a young team. As individual animators, we all have different strengths and weaknesses, but if we can interconnect all our strengths, we are collectively the greatest animator on earth. So I want you guys to speak up and drop your drawers. We’re going to look at your scenes in front of everybody. Everyone will get humiliated and encouraged together…
Lesson Five: High Morale Makes Creativity Cheap
The 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. [what’s true for a movie is true for a startup!] 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.
Lesson Six: Dont Try To “Protect your success”
The Quarterly: Engagement, morale—what else is critical for stimulating innovative thinking?
Brad Bird: The first step in achieving the impossible is believing that the impossible can be achieved. … “You don’t play it safe—you do something that scares you, that’s at the edge of your capabilities, where you might fail. That’s what gets you up in the morning.”
Lesson Six: Steve Jobs Says ‘Interaction = Innovation’
The Quarterly: What does Pixar do to stimulate a creative culture?
Brad Bird: If you walk around downstairs in the animation area, you’ll see that it is unhinged. People are allowed to create whatever front to their office they want. One guy might build a front that’s like a Western town. Someone else might do something that looks like Hawaii…John [Lasseter] believes that if you have a loose, free kind of atmosphere, it helps creativity.
Then there’s our building. Steve Jobs basically designed this building. In the center, he created this big atrium area, which seems initially like a waste of space. The reason he did it was that everybody goes off and works in their individual areas. People who work on software code are here, people who animate are there, and people who do designs are over there. Steve put the mailboxes, the meetings rooms, the cafeteria, and, most insidiously and brilliantly, the bathrooms in the center—which initially drove us crazy—so that you run into everybody during the course of a day. [Jobs] realized that when people run into each other, when they make eye contact, things happen. So he made it impossible for you not to run into the rest of the company.
Lesson Seven: Encourage Inter-disciplinary Learning
The Quarterly: Is there anything else you’d highlight that contributes to creativity around here?
Brad Bird: One thing Pixar does [is] “PU,” or Pixar University. If you work in lighting but you want to learn how to animate, there’s a class to show you animation. There are classes in story structure, in Photoshop, even in Krav Maga, the Israeli self-defense system. Pixar basically encourages people to learn outside of their areas, which makes them more complete. [and more creative].
Lesson Eight: Get Rid of Weak Links
The Quarterly: What undermines Innovation?
Brad Bird: Passive-aggressive people—people who don’t show their colors in the group but then get behind the scenes and peck away—are poisonous. I can usually spot those people fairly soon and I weed them out.
Lesson Nine: Making $$ Can’t Be Your Focus
The Quarterly: How would you compare the Disney of your early career with Pixar today?
Brad Bird: When I entered Disney, it was like a classic Cadillac Phaeton that had been left out in the rain… The company’s thought process was not, “We have all this amazing machinery—how do we use it to make exciting things? We could go to Mars in this rocket ship!” It was, “We don’t understand Walt Disney at all. We don’t understand what he did. Let’s not screw it up. Let’s just preserve this rocket ship; going somewhere new in it might damage it.”

Walt Disney’s mantra was, “I don’t make movies to make money—I make money to make movies.” That’s a good way to sum up the difference between Disney at its height and Disney when it was lost. It’s also true of Pixar and a lot of other companies. It seems counterintuitive, but for imagination-based companies to succeed in the long run, making money can’t be the focus.

Milt Kahl: The Animation Michelangelo

Dear Readers,
I apologize for being so absent. My new job has kept me quite busy, but I am coming up for air to tell you about this great event!!! I am HUGE Milt Kahl fan and the rest of the panel is definitely one you don't get to hear from every day!!! Hope to see you there!

As part of the Marc Davis Celebration of Animation,

the Academy presents a centennial celebration of

“Milt Kahl: The Animation Michelangelo”

Hosted by Andreas Deja.
Panel moderated by animation critic Charles Solomon.

Featuring Kathryn Beaumont, Brad Bird (F/V 76), Ron Clements, John Musker (F/V 77), and Floyd Norman.

Renowned for his unparalleled draftsmanship as well as his exacting nature, Milt Kahl (1909–1987), one of the “nine old men” Walt Disney relied upon to bring his creative vision to the screen, was the animator to whom the other eight turned when they had trouble with a character or scene.

Two of Kahl’s renowned colleagues, Frank Thomas and Ollie Johnston, write in Disney Animation:The Illusion of Life, “Unlike many irascible temperaments who have filled the halls of history, Milt had a very sweet helpful side, when he chose. He gave unstintingly of his time and talent when it was to help the picture and almost as often to help a fellow artist who had a problem. However, he expected everyone coming for help to have worked hard and tried everything – to have done his best before coming.”

Throughout the ’50s and ’60s, when Kahl was responsible for the final design of many characters, he complained of being “saddled” with the animation of challenging, non-comic human characters such as Alice, Peter Pan, Wendy, and Sleeping Beauty’s Prince. But Kahl secretly relished the fact that it was his talent and drive that made these characters come alive.

This celebration of Milt Kahl will feature an insightful analysis of his animation drawings, rare film interviews with Kahl himself, and clips of his work from such Disney favorites as “Mickey’s Circus,” “Pinocchio,” “Bambi,” “Peter Pan,” “Sleeping Beauty,” “The Jungle Book” and “The Rescuers.” The clips will be interspersed with commentary from those who worked beside him and were inspired by him, revealing the rigorous process and fiery personality of a true animation legend.


ANDREAS DEJA, one of the top animators of his generation, brought to life characters as diverse as Gaston in “Beauty and the Beast,” Scar in “The Lion King,” and Lilo in “Lilo & Stitch.”

KATHRYN BEAUMONT was the voice artist for Alice in “ Alice in Wonderland” and Wendy in “Peter Pan.”

BRAD BIRD has won the Animated Feature Film Oscar® twice, for his work on “The Incredibles” and “Ratatouille.”

RON CLEMENTS and JOHN MUSKER served as co-directors and writers on “The Great Mouse Detective,” “The Little Mermaid,” “Aladdin,” “Hercules” and “Treasure Planet.”

FLOYD NORMAN preceded his lengthy television animation career with experience as an apprentice/assistant to Milt Kahl on “Sleeping Beauty,” “The Sword in the Stone” and “The Jungle Book.”

All guests subject to availability.

Event Information


Monday, April 27, at 7:30 p.m.
Doors open at 6:30 p.m.


Samuel Goldwyn Theater
8949 Wilshire Boulevard
Beverly Hills , CA 90211

Directions, Parking & Theater Policies

All seating is unreserved.

Babies in Color

Micheal Sporn posted on his blog a reconstructed board for the sequence eliminated from Fantasia. Baby Ballet was to be set to Chopin’s Berceuse. Sylvia Moberly-Holland was the principal designer of this piece and Mary Blair worked with her in many of the pastel images on the board.


Andy Helms draws a dude a day.
Pretty awesome.

ASIFA Animation Archives

If you do not know about this blog/website - you should. The ASIFA Animation Archives has one of the largest online archives of hand draw animation I have seen. They just posted a bunch of amazing scans of drawings from MGM productions. I love Tom and jerry, but this is just a tiny peek into what they have there.

Geisha Vampire Workshop 12.16.2008 - UPDATE NEW PRICING!!!!

Drop-ins Welcome! 25$
Get The Lead Out

Tuesday night 12.16 features a Geisha Vampires inspired theme thanks our model KJ and to the Gallery Girls. Fun dramatic poses. 5 to 15 minute poses and a long pose if the majority of the class desires.Drop-ins are welcome for 25$ or you can pre-buy classes 4 at a time (80$). You may use the 4 sessions anytime over the next two months. You do not have to have a PayPal account, Credit Cards accepted. If you cannot afford classes right now because of the holidays? We added a gift certificate button that you can send to friends and loved ones and a little hint!

Get The Lead Out Workshop
25 $ per session for walk-ins
20$ if you buy 4 sessions (80$)

7:30pm to 10:30pm
Tuesday Nights
Bring your own supplies.
All media is welcome including laptops.
Please email angie@sticksand
if you are bringing a laptop,
so we are sure we have juice for it.

Place: Kline Academy of Fine Art
3264 Motor Ave.Culver City, CA 90034
(310) 927-2436


Buy 4 classes here! 20$ a class!


Buy one class to reserve a spot...25$


Can't afford the classes right now? Give your loved ones ideas of the gift of drawing classes for this holiday!

How to Draw Manga

Mark Crilley demonstrates how to draw Manga.
I love that he uses a simple writing pencil to do it.

It's not the tool, it's what you DO with it.

His YouTube page has more stuff there.

Skine Art

If you are fan of sketch books...
This website if for you!

Skine Art

Art Blogs

As an animator, I think it's very important to ground yourself in the arts...outside of using a mouse and computer. I talk about this on the blog often. I have been working on my painting skills for the past year - getting back to basics and studying at traditional ateliers. Everything about painting and art relates to working as an animator. Lighting, kinetics, anatomy, photography, line of action,'s all there. I started at the Los Angeles Academy of Figurative Art, but found them to be a bit stuffy in approach and it was also such a far drive to Van Nuys from the west side after work I couldn't make the trip anymore.

I have been studying at the Kline Academy for a little over 4 months now. I finished my copy of a master - The Girl With A Pearl Earring and have moved onto my own painting called Charge. This has been such a rewarding journey and I know the process is refining my eye and vision even more to create more inviting and better animations.

Above is a Photoshopped file being used as reference for the Charge painting.
Two canvases of 4 feet x 3 feet make the whole image.

For more about this painting go to
Underpainting for Charge

If you live in the Los Angeles area, I encourage you to check out the Kline Academy. Cheryl is an inspiration to me and I want to spread the word. If you are not in LA and still are interested in the atelier style of learning how to paint and draw I encourage you to google ateliers in your area.

Silly Pink Bunnies

Jeremy Fish of Silly Pink Bunnies has joined forces with Aesop Rock, Ordinary Kids to bring you a new music video that is just too much fun. I love when people who think outside the box approach animation with a new look, design and vision.

Oh, I want an owl suit like the girl with glasses in the video.

Disney to animate film by hand Again...

Disney to animate film by hand, not computer
It plans a 2009 movie that will be animated the old-fashioned way instead of by computer.

By Joseph Menn,
Times Staff Writer

March 9, 2007

It's back to the drawing board for Walt Disney Co. Disney plans to release a 2009 movie that will be animated the old-fashioned way, by hand-drawing the images rather than letting computer wizardry do the job, the company announced Tuesday at its annual shareholders' meeting in New Orleans. Although other Disney animated movies will open between now and then, "The Frog Princess" is the first to be conceived since Disney's 2006 acquisition of Pixar Animation Studios, the outfit behind such blockbusters as "Toy Story," "A Bug's Life," "Finding Nemo" and "Cars."

So why would Disney return to its roots after spending $7.4 billion to buy the pioneer of computer animation, which has since become the dominant form for these movies in Hollywood?

Disney did not return calls Thursday, but industry executives said the move could signal the company's strategy for distinguishing its two animation arms, which remain separate units. Or Disney could be planning to leave the heavily technological animation to its Bay Area sibling.

"We're really proud and excited about this," said John Lasseter, Disney and Pixar chief creative officer, at the meeting, which was held in New Orleans in a show of support for the storm-ravaged city.

"The Frog Princess" will be a musical set in New Orleans, with songs composed by Randy Newman. The central figure, Maddy, will become the first African American among the Disney princesses, the company's collection of heroines responsible for more than $3 billion in annual retail sales.

Disney dropped the hand-drawn animation that made it famous after 2004's "Home on the Range," which capped a series of disappointments in the genre. It turned instead to the now-crowded world of computer-generated imagery, or CGI.

When Disney's CGI efforts failed to capture the public imagination, the company bought Pixar and gave Pixar's Lasseter creative control of Disney's feature-length cartoons.

Full Article...