Nurturing Your Creative Houseplant

Whenever you read about a studio closing, your heart immediately goes out to the folks affected.  Your mind can’t help but to think about the droves of artists, shifting focus from doing their best work on a daily basis, to finding a way to put food on the table for their families.  With this at the forefront of an artist’s mind, its very easy to fall into a creative block.

In the past I have described “being creative” to my students as a house plant.  If you become forgetful or distracted, it will wither away and die.  Now ask yourself: “When do houseplants usually die?”  More than likely, it’s during a time of a major life-transition; a move, a death in the family, etc.  So how do you keep your creative houseplant from withering away during hard times?  There’s no right or wrong answer here, but I do have some suggestions.

houseplant

Usually, I’m approaching this topic from the other side of the spectrum – “How do you keep from burning out?”  The irony is that I’ve found the remedy for both issues to be IDENTICAL.  About five years ago, I wrote an entry called “Losing Touch” discussing how to approach the problem of creatively burning out in a studio environment.  It’s so incredibly similar that I’m going to paste the entire post here:

———————————————————————————————————————————————-

LOSING TOUCH.

“Crunchtime”.  The sound of it would make one think that its a fun break during the day where you eat your favorite candybar.  If only that was true.  The reality of it is that we, the animators, are under such pressure to produce the absolute best work we can in as little time possible.

During severe crunch, the concept of “24 hour blocking” goes into full affect, where you have 24 hours to come up with the choreography of a shot and show your choices to the director for approval to continue with the idea.  Sometimes it goes good (“good idea”) and sometimes it goes really bad (“start over and just copy the storyboards”).  The end of every pitch (good or bad) leaves you questioning your worth as an animator and an artist.  After years of doing this type of thing and because of the time it takes to execute an idea to completion (making every frame look amazing @ 24 fps), it’s very easy to fall into formulas and become afraid to take risks for the sake of hitting your deadlines.  This rollercoaster can really do a job on your own personal creativity.

Where am I going with this?? I think it’s important to revisit that kid who was aspiring to become a professional artist as often as you can and ask them for help.  For me, it was 18 years ago when I was in my room doing little flipbooks from exercises I learned in this book:

while listening to these albums:

studying anatomy by drawing from these comics:

xmen274xmen275xmen276

and watching these movies:

When I feel like I’m down and out or losing touch with my creative self, I dig up this stuff and watch/listen/look through it and I feel refreshed afterward.  Another creative gold mine I return to often is thumbing through my old sketchbooks.  It helps to give me perspective of how far I’ve come as an artist and there may be a little doodle or two that gives me an idea.  So never toss anything that may be of creative value someday!!  You never know where your next masterpiece will come from!!

———————————————————————————————————————————————-

It’s amazing how relevant this 2009 post is to the current situation my artist friends and I have found ourselves in.  So remember, to properly nurture your creative houseplant during difficult times, it’s not as important to create as it is to remind yourself why you wanted to create in the first place.  Best of luck to you, my artist friends.  If I can be of any assistance to you, contact me.

Developing Animation Using Traditional Methods

Warner Brothers Studios, Disney Animation, Don Bluth Studios, Charles Schulz, the list goes on and on…. ALL OF THEM were behind my reasoning in choosing animation as a career.  I can remember being a teenager, hanging out in my room, listening to Black Sabbath and making incredibly crude flip books out of typing paper and masking tape while using a desk lamp about 6 inches off the page so I could see the frame underneath.  I cannot tell you how many times I burned my hand using this method, so I advise against it.  🙂  I think I still have one of those flip books around somewhere.

I can remember enrolling at Ringling School of Art & Design in 1995, being heavily advised to join the Illustration program  – even though the Computer Animation students were the only students allowed to take the traditional animation class offered at the school (which NEVER made sense to me).  After a semester at in the Illustration program, I left Ringling and joined the Marines.  (because that’s what every aspiring animator does, right?)

marines

“I will animate the bejeezus out of the enemy.”

When I returned to Ringling in 1999, the “Death of 2D” nonsense was showing it’s ugly face around the industry, so I enrolled as a Computer Animation major this time around.  My traditional animation teacher was the one and only Deborah Healy and I couldn’t have asked for a more encouraging and inspiring animation teacher.  Here are some of the 2D tests I did during the fall semester back in Y2K.



This would be the only exposure I’d have to traditional animation during my time at Ringling – which is pretty sad figuring how detrimental the fundamental concepts were to me in the years to follow.

Flash-forward to 2003, I was a very green animator, fresh out of school and I considered the graph editor in Maya to be the end-all to my success as an animator.  It wasn’t until I sat down with my good friend and mentor James Chiang, that I realized how far I had strayed away from the basic concept of animation – a series of sequential images played in succession to create the illusion of life.  He told me to “forget everything I’ve learned” and get back to basics.  He introduced me to the concept of stepped-blocking while I was animating a test of Rodney (Robots) kicking a tin can down the street.  It was a moment of clarity that matched Anton Ego’s bite of Ratatouille.  Everything just suddenly made sense to me.  I was no longer concerned with how clean my graph editor was and just treated the 3D software as a tool to make traditional style animation.  I wish I had kept a version of that Rodney test because it was an epiphany in my animation career.  Thanks James.

I can remember in the early days of Horton’s production, technology was catching up with traditional animation.  I was playing around with ideas for Horton using a new software called “Plastic Animation Paper”.  I can remember the director enjoying the quick turn-around of ideas the pencil tests would provide, which led to the discussion of getting similar software for the other animators.  The head of R&D at the time convinced us it would be better to develop our own version of 2D animation software.  After a few years of back and forth with engineer Hugo Ayala, the proprietary Blue Sky software “Sketch” was born.  It was an amazing piece of animation software with a solid drawing utility and film-editing functionality.  I still think it should be made available to the public because it would bury everything else available on the market.

This made the idea of creating pencil-tests as previs for animation an extremely feasible option for the animators.  Rather than spending days blocking out a single iteration of a shot, you could literally turn around a few ideas within a day or two to get feedback quickly.  I was also as happy as a pig in $h*t, because traditional animation was once again easily accessible.

It has been a major part of my workflow in film and in game development.  Here more examples of how I used pencil tests to explore ideas in both mediums.

I Am Big Bird.

A former coworker and friend of mine from Blue Sky, David LaMattina, is part of a team of filmmakers known as Copper Pot Pictures.  He has asked me to help the get the documentary I AM BIG BIRD made by being a Kickstarter ambassador to the project.  I AM BIG BIRD is a feature documentary about Caroll Spinney, who has been Big Bird and Oscar the Grouch since Sesame Street first aired in 1969.  At 78 years old, he has no intention of stopping.

The production of I AM BIG BIRD relies on the success of a Kickstarter campaign run by Copper Pot Pictures, the company making the film.  I’m not sure how familiar you are with Kickstarter, but you can read a full explanation HERE.  Essentially, people pledge anywhere from $1-10,000 to support the making of I AM BIG BIRD.  In return, backers get really cool rewards depending on the level of the pledge.  The most basic example is that for $25, a person would get a DVD of the film–so, in essence, they’re pre-ordering it.  Some of our rewards are pretty epic (things like a group video chat with Caroll, the custom film poster, an illustration that he’s done or even a private dinner with Caroll himself).  The only caveat to Kickstarter is that it operates on an all-or-nothing basis.  If a project sets a goal at $10,000, but makes $9,999.99 in pledges, the project receives nothing.

So… how does this concern you?  Well, I want to see this film get made so badly that I agreed to recruit an additional 10 people to pledge to the film, so I’m turning to you.  Your pledge can be any amount–$1 to $10,000.  It doesn’t matter – I simply need 10 people.

The Kickstarter campaign launches TODAY!!  CLICK HERE TO PLEDGE!!  -if you have an Amazon account, you can pay through that.  Your credit card will NOT be charged until the project reaches its goal.  I AM BIG BIRD has a lofty goal–raising $100,000 in 30 days–but I believe we can do it.

I encourage you to visit I AM BIG BIRD’s official site, where you can watch the trailer and learn more about the film, and also to follow @Copper_Pot on Twitter, where the filmmakers will be releasing exclusive content daily from July 16th-August 14th.

About two years ago, my good friend and fellow animator Rich Fournier and I were waiting for the gates to open at the NY Comicon.  Among the sea of cardboard Optimus Prime’s and homemade Stormtrooper outfits, I saw an older gentlemen standing at the door looking quite lost.  In being a tremendous Muppet fan, I knew exactly who he was by his distinct Shakespearean haircut.  I left my place in line and walked over trying to keep my composure over possibly meeting a living legand and introduced myself.  It was indeed Caroll Spinney, the puppeteer behind Big Bird and Oscar The Grouch, and I immediately explained how big of a fan I was and what his work has meant to me as an animator.  It was funny to think of all the attendees who rushed past him, not knowing how big of a celebrity this man was.

Caroll was accompanied by his wife Debra and they were trying to find their point of contact at the convention.  We helped them get situated and they invited us spend some time with them in their booth.  They were incredibly kind and overly willing to answer any questions Rich and I had.  Caroll signed autographs for us as himself and for our children as Big Bird.  It was an experience I will never forget.

Thanks for your support!

The Blue Sky Family

I went back to NY last week for the crew premiere of Ice Age: Continental Drift which opened this past Friday.  One of my best-buds Mike Thurmeier (who happens to be one of the directors) got my wife and I a couple tickets.

It was particularly awesome to see Mike’s daughter Meghan’s debut as a voice-actor in the film.  She played the role of “Baby Bird” asking the mammoth “Ellie” if drinking water from her trunk tastes like boogers.  Meghan also attended the premiere and signed her autograph for many of her adoring fans.

This was the last film I worked on as a member of the Blue Sky family before moving back to MA and switching my animation discipline from film to games.  I use the word “family” to describe the crew at Blue Sky because they are not only top-notch in talent, they are top-notch in character as well.  Upon arrival at the wrap party, I was quite literally stopped every 10 feet by friends who greeted me with big smiles,hugs and asking if I was okay after the closure of 38 Studios.  It was incredibly touching to know that although I was gone, I was never forgotten.  Anyone who is, or ever has been a part of the Blue Sky crew should consider themselves unfairly blessed.

Ice Age: Continental Drift has an estimated $46 million opening-weekend domestically and has grossed $339 million overseas so far.

Taking A Break. (well…kinda)

I’ve been getting a bunch of emails from students asking if everything’s ok with me, since I left AM.  The truth is, production on Ice Age 3 is starting to rain down on me, so I won’t be teaching for at least a couple of semesters.  Thanks for your concern.

This is the official trailer for the new Ice Age.  For those of you interested, I animated the Scrat tumbling down the dino’s back (1:25).

My Influences??

When ever I’m on the recieving side of a Q&A the question of my childhood influences always seems to come up. So I figure its worthy of a post on my site.

The reality is I’ve had a lot of influences in my life. To single one out as the biggest influence to me would be wrongful because everything I have experienced can be credited to making me the artist I am today. So how I’ve decided to approach this question from now on, is to talk about my first major influence who was my father.

My father used to oil paint and his work was found hanging in every family member’s house I can remember. He stopped painting before I was born and, to this day, I’m still after him to get a paint brush in his hand. He was the first person to teach me the concept of perspective in my drawings at the early age of 8 years old. I can still remember being at our dining room table while he drew a sketch of a barn and explained vanishing points to me. The sketch was crude, but in the eyes of an 8 year old it was a masterpiece. Here is my representation of what that sketch looked like:

Some other major influences should be recognizable below. Click on the pictures to learn more about them.

My Hometown Paper

The Standard Times of New Bedford, MA has run an article today about my work on Horton. Unfortunately they misquoted me:

“Working on this movie was a great achievement for me, but when Blue Sky listed the names of my daughters in the credits as ‘Blue Sky Babies,’ it was the proudest moment of my life.”

Those of you who know my kids would be like, “Landon’s NOT a girl.” I guess they assumed because they were twins and one was named Emma, that they were both girls.

Sorry, Bear. Hopefully Emma doesn’t make fun of you too much for this in years to come.


Click here to see the arcticle.

Blog at WordPress.com.

Up ↑