ANIMATION WORLD MAGAZINE - ISSUE 3.7 - October 1998
Joe Bev is Tooned-In
Just wanted to let you know how much I enjoyed the article "Tooning in the 1998 Fall Season" (Bevilacqua 3.6), which described the upcoming season of new cartoons, by Joe Bevilacqua on AWN. With a four-year-old son who loves cartoons, it helped me to identify which shows were most appropriate and would be most beneficial and educational for him--and also to know which ones I might want to avoid.
Mr. Bevilacqua obviously knows his stuff.
In Memory of Dusan Vukotic
Thank you for publishing the text on the passing of Dusan Vukotic (News 3.5). However, please allow me to correct some of the information that was obviously given by incompetent sources or people. I am one of the pioneers of Zagreb animation from the very beginning in 1950, and was Vukotic's colleague and close friend for the past fifty years.
Dusan Vukotic was a great artist, so it's not necessary to magnify his role in Croatian (Yugoslav) animation. He was never the "former head of the animation unit of Duga Film." He started learning animation at Duga Film in 1951, and made his first films there in 1952. Duga Film was founded in 1951, after the first professional Croatian/Yugoslav film The Great Meeting was made by the brothers Neugebauer and a group of colleagues/cartoonists from the humorous magazine Kerempuh. Vukotic joined us at Duga Film, along with all the other artists who wanted to try making animation as a new art.
Duga Film was not "known as the Zagreb Animation Studio," because it existed for only one year (1951-1952) and was virtually unknown abroad. It was Zagreb Film, founded later (1956), that was known as "the famous Zagreb 'school of animation.'" Vukotic was exceptionally important in the founding of the animation studio within Zagreb Film, where the so called Zagreb school of animation originated after 1957.
Borivoj Dovnikovic Bordo
From the Editors: We apologize for the incorrect information that was published. We took our information from well-respected printed historical sources. However, this goes to show that there isn't anything like first-hand information from the people who were there. Thank you.
More Info on Fantasia
I was very interested in Charles Solomon's "An Afternoon with Ollie Johnston, Frank Thomas and Pinocchio" (Solomon 3.4) by the portion of the article where he spoke about Walt's love of Fantasia and what he would have wanted to do with it in the future as a continuing film. Mr. Solomon mentioned that Disney and animation itself would be extremely different today if Walt had been able to continue reworking Fantasia.
I'd like to know what Mr. Solomon's continued thoughts on the subject are. What differences would we see if Walt was able to continue on Fantasia? Has he already published more on these thoughts elsewhere?
Charles Solomon responds:
Thank you for your comments. What if Fantasia had been as successful as Snow White is one of the great "what-ifs" of American animation history. I've written about it in a couple of Los Angeles Times articles and in two of my books, Enchanted Drawings: The History of Animation and The Disney That Never Was. John Canemaker has also written on this subject. I'm not sure where Frank's comments have appeared. However, the consensus is that if the film had succeeded, the entire subsequent history of the medium would be different. Walt would have been able to continue experimenting in styles, technology, multi-media, etc., which would have kept him interested in animation. He might have gone into television and the amusement parks as well, but he certainly would have expanded the medium in ways we probably can't imagine, instead of returning to the fairy tale formula that soon bored him.
I hope this proves helpful.
Home Studio Info
Thanks Michelle Klein-Häss for your article "Small Studio/Home Studio: An Overview of Low-End Computer Aided Animation Choices" (Klein-Häss 3.5) In the passage about punching your own paper, you mention, and rightly so, the difference an animator will experience going from 12-field to letter-size paper. However, there is another option.
Instead of buying 8.5" x 11" paper, you could pick up and punch a ream of 11" x 17." If you like, you can use it at its full size (which is actually pretty close to 16-field), or take it to your local Kinko's copy center and have them trim it to 12.5" so it more closely approximates 12-field paper. The paper is usually a little thicker than the bargain brand letter size and slightly more expensive, but it's usually better quality.
And when it comes to punches, you don't necessarily need an Acme punch, if you're working solo and don't mind doing a little setup work. In the past, I've rigged up a perfectly serviceable pegging system with a standard 3 hole punch and some plastic dowel. Let me know if you'd like the details. It's a little involved, but beats spending $400 on an Acme. Plus, it's more stable than using a 2-hole punch.
Thank you again,
Michelle Klein-Häss responds:
The difficulty I was telling people about is that the standard scanner is usually 8.5" to 9" wide, which is insufficient space for 12-field paper.
Since I wrote the article, however, there is a *new* oversized scanner out from Plustek which is less than $300. The model is the OpticPro A3-1 and it has a 12" x 17" scanning area...more than enough for a 12-field area. I am not sure whether this is a SCSI scanner, and can be used cross-platform, or a Parallel Port scanner which can only be used with PCs, but it is available through PC Zone in Seattle, WA.
Another thing is that with the intelligent use of a custom field guide under your work blocking out your 8.5" x 11" "window," you can use standard 12-field paper in a pinch. The working area winds up being a little smaller than the drawing area constraints for TV.
It would make perfect sense to use a 3-hole punch. A good 3-hole punch can be had for about $11 at Staples or Office Depot...and this is for the kind with an offset lever that doesn't even strain the hands.
Hope this clarifies things.
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