Animation Obsessive

@ani_obsessive • 201,505 subscribers

Animation tidbits from around the world, including rare and underappreciated material you won't find elsewhere. Newsletter: https://t.co/CyPMPN0kqV

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Animation Obsessive

Shorts

In the '70s, Hayao Miyazaki tried to revive the cartoons of his youth. And he kept mentioning Fleischer's Mr. Bug Goes to Town. He loved its animation and use of "space," and the physical way its characters navigate its world. We look into the story: ─➤

Run and walk pencil tests by William Salazar for Balto (1995), dir. Simon Wells, Amblimation

From: The Hand (1965), dir. Jiří Trnka, Krátký Film Prague

Pencil tests by Hyun-min Lee for The Princess and the Frog (2009), dir. Ron Clements and John Musker, Walt Disney Animation Studios

2D animation is booming in theaters. In China, the film Nobody is outgrossing many of Hollywood's recent CG films—on a $10&lt; million budget. It's only one example. As 2D films rise, Hollywood's decision to kill them off looks shortsighted, as we explore: ➤

Breaking down a shot from Children of the Sea (2019), dir. Ayumu Watanabe, Studio 4°C A complex blend of 3D and 2D animation created this film's vibrant, painterly look

A pencil test progression by Sergio Pablos for Treasure Planet (2002), dir. Ron Clements and John Musker, Walt Disney Feature Animation

From: The Glass Marble (1963), dir. Hermína Týrlová, Filmové Studio Gottwaldov

Building the highwayman shot from Over the Garden Wall (2014), created by Patrick McHale, Cartoon Network Studios Storyboards by Patrick McHale, animation by Nick Cross

Japanese animation was popular in the USSR -- even Andrei Tarkovsky watched it. And Soviet artists wanted to compete. The recently restored Mystery of the Third Planet was an odd, wonderful attempt to do so. We explore: ─➤

It wasn't deep. It didn't have much to say. But Xiao Xiao inspired millions to try Flash animation for themselves. A Beijing artist made this series -- and turned stick fights into a phenomenon. We're exploring why and how he did it: ─➤

A Studio Ghibli commercial (2009) for a Japanese newspaper, directed by Goro Miyazaki This is a tribute to the work of Shigeru Sugiura, a surrealist manga artist who influenced Ghibli

Pencil and final animation: Tokyo Godfathers (2003), dir. Satoshi Kon, Madhouse Key animation by Shinji Otsuka

Pencil tests by David Zach for Lilo &amp; Stitch (2002), dir. Chris Sanders and Dean DeBlois, Walt Disney Feature Animation

The Dojo (2018), an animation by Rachel Reid for the School of Motion

From: Night on Bald Mountain (1933), dir. Alexandre Alexeieff and Claire Parker

Dahufa (2017) is a weird, beautiful, ultraviolent cult film from China, and a must-watch for people into action animation. There's a subtitled copy on YouTube. Full film➡️

In the '70s, Hayao Miyazaki and Isao Takahata did a small movie about pandas. It set a course for their careers—and for Ghibli. Although he worked on it himself, Miyazaki named it one of his favorite animated films. Its impact was real, as we explore: ─➤

The Powerpuff Girls have three of the most memorable character designs in cartoon history. But how did they come to be? Craig McCracken spent years refining Blossom, Bubbles and Buttercup -- until they became iconic. We explore the process: ─➤

The Clint Eastwood music video is iconic—it helped to turn Gorillaz into a phenomenon. But how was it made? Director Pete Candeland goes deep into that process in our new issue, talking anime influence, early CGI and three months with almost no sleep: ─➤

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The Pixar clothing ad Pinheads (1995), dir. Jan Pinkava An early Pixar experiment in dropping photorealism and using "the medium of computer graphics much more creatively, not just to reproduce reality" (according to Pinkava)

From: The Tale of the Fox (1937), dir. Ladislaw Starewicz and Irène Starewicz

From: A Midsummer Night's Dream (1959), dir. Jiří Trnka, Loutkový Film Praha

A pencil test by Kristof Serrand for The Prince of Egypt (1998), dir. Brenda Chapman, Steve Hickner and Simon Wells, DreamWorks Animation

From: The Little Prince and the Eight-Headed Dragon (1963), dir. Yugo Serikawa, Toei Doga

Bread, Milk and Butter (1972), dir. Jim Simon, Wantu Studios

From: Miracle (1973), dir. Anatoly Petrov, Soyuzmultfilm

From: Wolf and Calf (1984), dir. Mikhail Kamenetskiy, Soyuzmultfilm

From: Patlabor 2 (1993), dir. Mamoru Oshii, Production I.G

From: Cloud (1987), dir. Manabu Ohashi, APPP

From: The Good Soldier Švejk (1954), dir. Jiří Trnka, Loutkový Film Praha A really charming and funny stop-motion film we've been loving lately

Ernest &amp; Celestine is an incredible film. And it looks like a watercolor sketch in motion. Its style was a risk, and it took time and care to get it right. We explore how it happened: ─➤

A bumper for Nickelodeon India, made with incredibly creative stop-motion animation From: Mom and Brat (2018), dir. Anand Babu and Vaibhav Kumaresh, Vaibhav Studios

From: Citizen Harold (1971), dir. Hugh Foulds, National Film Board of Canada

From: Glass Harmonica (1968), dir. Andrei Khrzhanovsky, Soyuzmultfilm

This style of light doesn't really appear in animation anymore. You know it when you see it -- it's bright, hot and almost dangerous. Our new issue explores the tricks behind it, and how one artist has revived the look for the digital age: ─➤

From: On-Gaku: Our Sound (2019), dir. Kenji Iwaisawa, Rock'n Roll Mountain/Tip Top

From: Franz Kafka's A Country Doctor (2007), dir. Koji Yamamura, Yamamura Animation

From: Raggedy Ann &amp; Andy: A Musical Adventure (1977), dir. Richard Williams, Richard Williams Productions Animation by Tissa David

From: Dore Dore no Uta (2005), dir. Osamu Tanabe, Studio Ghibli

2D animation is booming in theaters. In China, the film Nobody is outgrossing many of Hollywood's recent CG films—on a $10< million budget. It's only one example. As 2D films rise, Hollywood's decision to kill them off looks shortsighted, as we explore: ➤

Pencil tests by David Zach for Lilo & Stitch (2002), dir. Chris Sanders and Dean DeBlois, Walt Disney Feature Animation

Ernest & Celestine is an incredible film. And it looks like a watercolor sketch in motion. Its style was a risk, and it took time and care to get it right. We explore how it happened: ─➤

From: Raggedy Ann & Andy: A Musical Adventure (1977), dir. Richard Williams, Richard Williams Productions Animation by Tissa David