ANIMATION WORLD MAGAZINE - ISSUE
3.7 - October 1998
editor@awn.com
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.
Regards,
Gina Hogan
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.
With regards,
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?
Sincerely,
Danny Keller
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.
Charles Solomon
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,
Paul
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.
Michelle
Note: Readers may contact any Animation World Magazine contributor by sending an e-mail to editor@awn.com.
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