Luc Desmarchelier

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What is your name and your current occupation?
My name is Luc Desmarchelier. I am currently a full time faculty at the Laguna College of Art and Design where I teach Visual Development and Illustration. I am also working as a free-lance artist in the animation industry.
What are some of the crazier jobs you had before getting into animation?
As an Art Director for an Advertising agency in the french caribbean islands, I had to design and supervise many commercials on such small budgets that I had to do a lot more than is usually expected from the art director. This included appearing in one of the spots in full make-up, with my teeth painted white with nail varnish… Not something I would do today.

What are some of your favorite projects you’re proud to have been a part of?
The ‘Corpse Bride’ was a wonderful project. All of Dreamworks animation early projects were exciting; among them ‘Spirit’ is the one to which I made the greatest contribution.

How did you become interested in animation?
I was always interested in animation as an art form, but I didn’t realize Continue reading

Ted Stearn

What is your name and your current occupation?
Ted Stearn Director Beavis and Butthead
What are some of the crazier jobs you had before getting into animation?
No “crazy” jobs! Just dull ones. I used to do paste up and mechanicals for advertising and publishing. Yawn.
What are some of your favorite projects you’re proud to have been a part of?
I drew storyboards for a little known show for Cartoon Network, called “Squirrel Boy.” I had a lot of creative freedom and enjoyed being able to work with the writers on the story. It was very satisfying to create an entire chase scene, for example, without specific direction from the script. I think storyboard artists should be trusted to integrate more of their visual ideas by actually working with writers and not just be confined to following a script to the letter.  I also enjoyed directing Beavis and Butthead, because these are two characters who are actually funny. When I can get them to do physical humor, it’s great fun. The new shows that will be coming out are a bit more complex than those early shows.
How did you become interested in animation?
I was a fine art major, and even went back to graduate school in fine art, but I started getting into drawing my own comics, which made the transition to animation a little less abrupt.

Where are you from and how did you get into the animation business?
I lived in New York for most of my adult life. I was a latecomer to animation- I did not get my first job until I was 34. A friend of mine who worked at MTV Animation told me they were looking for storyboard artists, so I showed them my sketchbook and my comics, and I was hired as a storyboard revisionist for Beavis and Butthead. I probably could not have gotten hired if it had been a more sophisticated show!

What’s a typical day like for you with regards to your job?
As a storyboard artist, I spend a lot of time drawing on a cintique, with the script and designs in front of me. Sometimes I have to meet with the director and the supervising director to go over my thumbnails and make necessary changes.  As a director, I spend more time coordinating my ideas with the design department. I look over the storyboards and make necessary revision notes. When I have time I draw out some thumbs for storyboard artists for specific sections. And I give specific directions to the timer, and review them when I get the exposure sheets back from the timer.

What part of your job do you like best? Why?
I like being paid to draw and I love the art of film, so it’s nice to get paid to do it.

What part of your job do you like least? Why?
I don’t like working on scripts have formulaic plots and uninteresting characters, but that seems to come with television shows sometimes. I don’t like it when I have to draw what I consider ugly character designs, because I have to do it many, many times when storyboarding.

What is the most difficult part for you about being in the business?
Finding steady work!

What kind of technology do you work with on a daily basis?
I work with Storyboard Pro on a Cintique almost exclusively.

In your travels, have you had any brushes with animation greatness?
It’s been interesting working with Mike Judge and Matt Groening, I get to see how show creators work and think.

Describe a tough situation you had in life.
I would say…. a couple of years ago, I simply could not find work. I was on unemployment for a long time, and it was affecting me in a bad way, I was very nervous about money. I was taking many storyboard tests, and I even took a test for a show that I had already worked on. I couldn’t get a hold of anyone to confirm that I could e exempt from a test. They said I had to take a test because the show no longer had layout artists (as is the case everywhere nowadays.) Imagine having to prove yourself as if you were a newcomer, though you were not. This is why it is so important to network with friends and let everyone know your status. It’s much more difficult to get a job from the outside. And save, save, save, because you will get laid off, if not sooner, then later. Be prepared.

Any side projects you’re working on you’d like to share details of?
I draw and write my own comics, it’s called “Fuzz and Pluck.” You can find it online at my website tedstearn.com, or go to my publisher’s site, fantagraphics.com, and look up my name under “artists.” It’s about a teddy bear and a plucked chicken and their adventures. I think it is important to always have one’s own projects in the works, it helps balance out working under others’ ideas. With my own work, I have complete freedom to do what I want. I’d like to think of myself as an auteur, and I want to stay that way!

Is there any advice you can give for an aspiring animation student or artist trying to break into the business?
Before you apply for a job:  1) Try an internship if possible. Nothing beats it for getting your foot in the door, and seeing the industry from the inside. (I wish I did it!!)  2) Make sure you have the strongest portfolio possible. Show it to your friends and/or teachers and ask their honest opinion.  3) Learn as much as you can about the craft of animation. Find the experts and learn from them any way you can.  4) Be familiar with the software that is used in your area of interest. Although, animation savvy is more important than software knowhow, in my opinion.  5) Try to meet people in the industry, and don’t be afraid to ask for their advice and help. That said, connections to people in the industry is important, but if you don’t have the chops, it still won’t get you where you want to be.

tedstearn.com

fantagraphics.com

Gordon Hammond

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What is your name and your current occupation?
Hello, my name is Gordon Hammond. I am a Character Designer at Nickelodeon where I have been since 2002. I have worked with Butch Hartman on all three of his shows, Fairly OddParents, Danny Phantom and now Tuff Puppy…it’s a blast! I have been in the industry since the fall of 1996.

 

What are some of the crazier jobs you had before getting into animation?
Well like all of us I guess I have had some wacky jobs. My very fist job back in 9th grade was as a dish washer. All my buddies were working at this Italian restaurant and they got me in. They all made fun of me because I was slow, but I was persistent. I never gave up…sometimes I would be standing with stacks of dirty dishes up to my waist but I always finished, something that I realized would pay off later in life. To all my friends surprise out of the blue one day I was promoted to “Pizza Guy”. When the boss pulled me aside and told me I was so shocked, he said he liked me because I never  gave up!  I told him according to my friends I was slow, he said ” screw those guys, they’re losers…” (haa) Soon after all my friends realizing they had been left behind all applied for Bus Boy jobs. I only worked there for about another year and then quit to focus on School…but there were some great lessons learned.  In the years that followed I worked for a lawn service which was grueling, cut grass at a golf course which as grueling, and worst of all cleaned stables at the local horse track for a buck a stall…not fun and stinky!  After I started Junior college I landed my first Art job at a small studio as a key liner and graphic artist and have worked as Artist ever since, I was 19.

 

What are some of your favorite projects you’re proud to have been a part of?
Hmm, actually I have enjoyed everything that I’ve worked on. But I’d probably have to say Fairly OddParents and now Tuff Puppy. Mainly because I know how happy it makes our fans and especially in the case of FOP (Fairly OddParents) how it’s almost a cultural phenomenon.  Above and beyond the work I do on the show I must say the most gratifying part for me is when Continue reading

Reviews- Thinkpad Yoga 14 and Surface Pro 4

Lenvo-ThinkPad-Yoga-14-Review-1

By Jason Kruse

Thinkpad Yoga 14:
I wanted to love both the Thinkpad Yoga 14 and the Surface Pro 4. I really did but unfortunately, both fell short.

I can only do a micro-review on the Yoga because, frankly I didn’t keep it long enough to do a full-blown review. First, the good:

It’s very affordable at around $1099 (and I had a 10% Movers Coupon at BB + $100 off for the holidays so it came to $899). It has a small Wacom pen built-in to the lefthand side which uses Wacom’s new AES technology. Plus, unlike a lot of the other new Wacom pens, it’s rechargeable when you place it back into its silo. Big, bright 14” screen with a number of viewing modes (laptop, tent, tablet, etc—though I generally draw in plain old laptop mode to easily hit the shortcut keys) and it was very solidly-built.

And now the bad which caused me to return it. First, Adobe apps tend to run at the wrong scale on the screen. They’re tiny but with a tweak to the program files, it was fixed. Annoying but not a deal-breaker.

There were, however, two showstoppers for me which rendered it fairly unusable for me. There’s a bug, I believe with the new Wacom tech, which makes only around half the pen strokes in Adobe Illustrator register. I’ve heard there’s a fix coming but I had too much work to do and couldn’t wait. The other—and this one really drove me crazy—was the touchpad. For some reason Lenovo made the decision to switch from Synaptics to Elan for their touchpad. At first I thought I could deal with it but the more I used it the more it drove me crazy. The cursor had a tendency to jump all over the place, the “right click” function would pop up when I was on left side of the pad and randomly while I was working. It drove me crazy. Even after I updated the drivers when it was suggested on the tablet forums they could help. I thought I could deal with it but after 4 nights of practically screaming, it went back.

Microsoft-Surface-Lumia-Event-2015-8-1200x800

yoga-14

Surface Pro 4:
Now, onto the Surface Pro 4. It’s such a gorgeous, powerful and well-built machine. I’ve also been rooting for someone (n-trig in this case) to take on Wacom successfully. It was so very close this time. So, so close but no cigar.

So, the model I’d gotten was the Surface Pro 4, core i-7 with 8gb of RAM. I also bought the Type Cover (which I still think should come standard). The kickstand is nice but I bought a case from Amazon which rendered it useless. I also bought the extra set of nibs that change the hardness or softness of the pen tip.  And, unless you like the feel of drawing on very smooth glass, get a screen protector with some tooth. I got one from Photodon which  made it feel similar to my Cintiq at work.

My first thoughts were that the display was stunning, the digitizer was  responsive and all the programs I installed ran quickly and at the right resolution. It’s easy to pair the pen and holding the eraser button down launches OneNote (which I never use but it’s nice for those who do).  I’ve heard that older versions of Adobe have the same difficulty as I’d had on the Lenovo where certain apps run way too small but CC installed just fine. I was shocked at how much power they crammed into such a lightweight machine. It’s truly impressive.

Now, onto more specifics.

First up, the pen. I have mixed feelings on it, honestly. At first it seems like a really nice piece of hardware. It’s built of the same metal as the computer itself and this time has 1024 levels of pressure sensitivity whereas the Surface Pro 3’s pen had 256. Normally, I’ve found that increasing levels of pressure sensitivity is akin to increasing megapixels in cameras—it’s the law of diminishing returns—but in this case it’s noticeable. Even better, the Surface App (downloadable from the Microsoft Store) enables you to adjust the sensitivity curves which really helps particularly with initial activation force on the pen. Basically, that means if you want to you can put down more “ink” with less pressure or vice versa. It’s really personal preference. The pen nibs are also a very cool option but I think most people will prefer the standard nib it comes with which they say is HB. Honestly, none really feel like a true pencil but I have yet to try a stylus that does. One really cool thing is that the eraser does feel like an actual eraser. Oddly, I’ve found when I’ve used various tablets I rarely turn the pen over to erase. I usually just hit the eraser tool. Unfortunately, for some strange reason, there’s no pressure sensitivity with the eraser. Not sure why Microsoft did this.

Now, while the pen is a step forward from the Surface Pro 3’s version, it still fell short for me. For one thing, though the metal is premium, it’s actually too heavy. I like some weight but this was too much. Another thing I hadn’t noticed while at the store was that because the pen is not circular (it’s edged) around, it started to dig into my fingers. I’d say within an hour it felt like I’d been drawing all day. My fingers got sore and it was fairly annoying. A rubber grip of some kind would’ve been helpful. Most of my fellow professionals think I’m crazy but I never use the side buttons on my tablet pens. I have a nasty habit of accidentally hitting them so unfortunately I can’t comment on how good they are. Apparently, you can customize them now too which is nice.

I spent most of my time sketching with Manga Studio which has usurped Photoshop for me, personally. A common complaint with the Surface Pro 3 was the strange jitter that inking using the N-Trig pen caused, particularly when going slowly. A number of reviewers have stated that while it’s been mostly alleviated, it’s still there. I can confirm it. I found sketching quickly to be okay but when I went to final inks I found it very difficult to get the line-quality I wanted. Even with Manga Studio’s “line stabilization” feature, I didn’t care much for it. It felt like it took more effort to get the line to look the way I wanted. Maybe I ‘m just too used to Wacom. For me it was a step up from the Pro 3’s pen but it’s still not there.

Another strange thing that N-trig does is it leaves strange “tails” on the end of the line. I’ll see if I can find a pic (forgot to take a screen cap, sorry) but it kept bugging me the more I used it. It happens in both Photoshop and MS. Hopefully, N-trig is working on the problem. I will say N-trig has better “edge accuracy” than Wacom’s EMR tech so that’s a plus.

One thing I absolutely loved and hated to give up was the Type Cover. It’s so vastly improved from its previous incarnation. I really have no complaints about it. It was responsive and nice and “clicky”.

As I said earlier, the screen was gorgeous and I didn’t miss going from my 13.3” Fujitsu t901 screen to the Surface’s 12.3”. Oddly, the glass is so thin that it kind of “bends” while you’re drawing on it. I believe it’s Gorilla Glass and I tend to have a heavy hand when drawing so I really don’t think anyone’s in danger of breaking it easily.

I was also very impressed how cool the machine managed to stay. I mean, it gets fairly warm but not uncomfortably so. The speakers also seemed to be loud and clear so that was nice and my bluetooth headset paired easily with it.

The final reason I decided to return the unit though was Adobe Illustrator—it had a similar issue/bug to  Wacom’s AES tech. It was only registering half my pen strokes. I thought that maybe it was the screen protector but it turned out not to be the case, unfortunately. It seemed to be only the pen tool though. I looked into it more but there doesn’t seem to be a fix. So, between this issue and the others I’ve mentioned I decided that as nice as the Surface is it’s just not there yet. Not for me, at least. I know a number of other professionals using it may disagree but it just wasn’t for me. Maybe the next iteration will fix my complaints. I know I’m hoping so but right now it’s simply too expensive a purchase to wait beyond the return window I had for fixes.

One bug I encountered that is apparently something with Windows 10 and not exclusively the Surface line is that the MS Store App wouldn’t open. I found a number of work-arounds but ultimately to get it working again I had to do a reset that kept my files but forced me to re install my programs. On the plus side, I didn’t encounter any blue screens or sleep bugs that I’ve read about.

Surface Pro 4

 

 

A Plethora of Batman the Animated Series background art on Imgur

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You can see the whole post here of a ton of background art from the critically acclaimed show “Batman the Animated Series”

I was fortunate to work at WB during this time on Animaniacs and had many friends working on BTAS. It was truly a huge amount of incredible talent collected together. One of the coolest concepts they used to give the art that brooding night time feel, was to paint on black poster board instead of white poster board so that everything had this dark feel right from the get go. Truly amazing artwork in this show… hurry and check it out now before someone makes them take it down.

 

 

Mick Cassidy

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What is your name and your current occupation?
Mick Cassidy. I am currently one of Family Guy’s character designers.


What are some of the crazier jobs you had before getting into animation?
I’ve only ever worked in the animation industry. I mean, there was a brief foray in a model kit store in Dublin in 2001 but thankfully that didn’t last long. I missed the sun. And a wage. And a life.

 

What are some of your favorite projects you’re proud to have been a part of?
The Land Before Time and All Dogs Go To Heaven were fun. I loved working on Sinbad at Dreamworks. Great environment and great artists. Lot of good work on that one.
How did you become interested in animation?
I was always interested in it as an observer but never really saw it as any kind of career possibility until Bluth arrived in Ireland in the mid-eighties. Up to that point it was comics and illustration that I immersed myself in. I had vague notions about Continue reading