Tag Archives: Disney

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R.I.P. Gordon Kent

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Yesterday we lost another one of our own in the Animation industry in Gordon Kent who’d been in the business since 1977. I met Gordon many years ago at Warner Bros. on my very first job working as a character layout artist on the series Tazmania where he was the Story editor and have bumped into him off and on at studios and parties throughout the years. He was a kind and thoughtful man who had a dry sense of humor and he had a unique style of drawing which I really liked(and you can see above). Incidentally, we interviewed Gordon last year about how he got into the business.

I’ve been doing this since 1977… I worked on a show called CBS Storybreak for two seasons. I was associate producer – but my job entailed hiring character and background designers, storyboard artists and story editing (and some writing). I also was the voice director for most of them and worked with the composers and sound effects people as well as working with the engineers on the final mix. I got to learn and do a lot. That was for Buzz Potamkin at Southern Star. I also worked for him years later at both Disney TV and Hanna-Barbera. At HB I got to be Supervising Producer on a couple of movies for TV – Titles change in animation all the time – today that would be supervising director. The Flintstones’ Christmas Carol was my favorite project there. I’ve been an animation timing director since then and have been lucky enough to work on Kim Possible, Teamo Supremo, Billy and Mandy and Bob’s Burgers among dozens of other shows.

Rest In Peace Gordon Kent… you will be missed by many.

You can read the full interview here if you like.

 

 

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Toon Talks Podcast with Eric Goldberg

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Toon Talks has a nice interview with Eric Goldberg up.

From the site:

To anyone who has met Eric, I’m sure you’ll agree that he embodies everything we love about the characters and craft of animation – he really is a ‘living cartoon character’! What a wonderful honour and pleasure to have him on the show!!
In the mid-1970s Eric broke into the industry working on Raggedy Ann and Andy at the Richard Williams studio where he quickly raised through the ranks from Assistant to Director! For a time in the 80’s Eric ran his own studio, Pizazz Pictures before returning to the States to work at Walt Disney’s as a lead animator on the Genie in Aladdin and later co director for Pocahontas, and the lead animator on Phil in Hercules. While at Disney’s Eric began his own short which was set to the George Gershwin’s Rhapsody in Blue. His short later became part of Disney’s Fantasia 2000 after he was allowed to use Disney’s staff which were on down time from The Emperor’s New Groove, to help complete it. He was also director for Fantasia 2000’s “The Carnival of the Animals” segment.
Eric also developed Maurice Sendak’s Where The Wild Things Are as a CG animated feature film and was an animation director on Warner Bros.’ Looney Tunes: Back in Action, as well as providing the voices for Speedy Gonzales, Tweety, and Marvin the Martian.
Eric also directed a short cartoon for a Buddhist cultural centre in Hong Kong, A Monkey’s Tale. A fun lesson about greed. He animated the title sequence of Metro-Goldwyn-Mayer’s 2006 remake of The Pink Panther, with Bob Kurtz of Kurtz and Friends. Later returning to Disney, where he directed four minutes of animation for the Epcot attraction Gran Fiesta Tour Starring The Three Caballeros and contributed to animated short How to Hook Up Your Home Theater. He was the supervising animator for Louis, the Alligator in The Princess and the Frog and Rabbit in Winnie the Pooh and head of animation on Get A Horse!

But all this, is still just a drop in the sea of contribution Eric has added to our industry.

Check it out at this link.

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Randy Bishop

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What is your name and your current occupation?
My name’s Randy Bishop and currently, I work as a freelance illustrator and character designer which is fantastic.

What are some of the crazier jobs you had before getting into animation?

Oh goodness… I’ve worked a lot of jobs before being able to support my family doing freelance. I’ve worked landscaping, retail, construction; I even drove an ice cream truck one summer. That was a cool job.

What are some of your favorite projects you’re proud to have been a part of?

Right now I’m actually working on a project that I’m really excited about. The Thrilling Adventure Hour is a old timey radio performance show that has a great fan base and a lot of great people working on it. I was approached by the creators to illustrate one of their properties into graphic novel form and it’s been a blast to work on. It always helps when you enjoy associating with the people you work with. My very favorite project to work on is a personal project I’ve been collaborating with a friend of mine on for a few years. It’s a property called Monomyth that we’re very proud of and very protective of. We’ve had to put it on the back burner for a while until we get the time and funds to really work on it full time, but once we get started it’s going to be phenomenal. We’re planning on telling an epic story directly influenced and surrounded by multiple ancient mythologies including greek, norse, egyptian, as well as others. It’ll be done in graphic novel form, but we like to think of it in terms of animation. The stylization of the characters as well as the storytelling itself lend it to eventually being made into an animated franchise.

Where are you from and how did you get into the animation business? 
 I’m from Idaho which isn’t a place where you’d Continue reading
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Luis Zúñiga

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What is your name and your current occupation?
My name is Luis Zúñiga, and I’m an artist at Fair Play Labs, what I do there is concept art, illustration, background art,

What is your name and your current occupation?
My name is Luis Zúñiga, and I’m an artist at Fair Play Labs, what I do there is concept art, illustration, background art, UI design, UI animation, UI integration, 3d animation, modelling, rigging, texturing and unity 3d integration.

What are some of the crazier jobs you had before getting into animation?
Well, I’m not the craziest person, but I’ve done handicraft, I worked at a couple of shops, I’ve been a pizza making/delivery guy, a guitarist for tips, and I’ve done some construction work before going to college at age 18, since I began to study digital animation, all work I’ve done has been in the animation/illustration area.

What are some of your favorite projects you’re proud to have been a part of?
I loved to be part of Poster Punch’s second and fourth exhibition, The Pin-up Drink and Poster Punch Open MMXIII, I also loved to be part of El Obsequio, my graduation project, I’m glad we were able to get the work done and to create something we felt and still feel very proud of, that graduation project was under my name only, but I am really grateful to the +20 people that was by my side working on it. At Fair Play I’ve been part of +12 video games and I liked the team dynamics in most of them, but there’s one that I totally loved being part of, mostly because it is till now our most ambitious project of them all, Color Guardians, and its almost done, I love to work on my solo and team projects, all of them have been great and have taught me a lot, but those I mentioned are the ones that comes first to my mind.

Where are you from and how did you get into the animation business?
I’m from Costa Rica, and my insertion to the animation/illustration business came naturally, I was Continue reading

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James Wood

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What is your name and your current occupation?
My name is James Wood.  I am currently employed as a freelance animator under contract with a major Canadian animation studio creating character animation for a tv show.

 

What are some of the crazier jobs you had before getting into animation?
One summer I got a job working in a hospital as a photographer’s assistant.  One of the duties required me to take photos in the operating room during surgeries – usually done on Fridays.  On the day when I was “indoctrinated” into that task, I was assured the surgeon was doing “just a little operation on someone’s hand.  It shouldn’t be very extensive” he said.  Little did I know, they were doing an elbow reconstruction.  When I walked in, I thought the patient was lying on their stomach with their elbow bent out behind them.  Then I realized the patient was lying on his back, and their elbow was opened up and bent (urp) the wrong way.  I didn’t hurl, but I was mighty shaky – not a good state for taking pictures.  Every Friday for the rest of the summer… I hid out in the darkroom!

What are some of your favorite projects you’re proud to have been a part of?
I was fortunate enough to work with the highly-skilled, very clever, fun, very hard-working people at Weta Workshop animating Dragon and other animals on the tv show “Jane and the Dragon”.  It meant I got to spend a year in New Zealand which was pretty interesting.  The work was quite demanding, but I think the end product was pretty darn good.  Also, in the summer of 2012 I did a  short for an animation contest.  We were given sound tracks and six weeks to animate whatever we wanted.  Just a few weeks before the contest I’d finished programming an autorigger, so I whipped up a character model, rigged it, modeled and rigged props and created a location, animated like crazy, added sound effects to the audio and posted the thing about two and a half weeks after starting it.  Sure the model is crude, and the animation is far from wonderful, and even though I didn’t win the contest (no comment) I feel very proud of my work.  The autorigger worked great (it took about an hour to fully rig the character), the animation is serviceable, and the whole thing tells more story than what was conveyed by the audio.  I realized how do-able it was to create a reasonably good short and it was great to hear how well it was received.  I’m eager to do more.

Where are you from and how did you get into the animation business? 
I’m from London, Ontario in Canada.  When I was a kid, I was always drawing and making Continue reading

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Derek Carter

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What is your name and your current occupation?
Derek Carter. Current occupation ? Hmm that’s a little difficult. Basically I’m a humorous illustrator and artist. In animation I was a background designer and art director if you need basic labels.

What are some of the crazier jobs you had before getting into animation?
Well, naturally the craziest job I had was getting into animation. I did stints as a mail room clerk, box boy in a supermarket, working in construction and doing ad campaigns for film enthusiasts group and a tailor’s shop.

 

What are some of your favorite projects you’re proud to have been a part of?
While I’m proud of working as the Background designer on Disney’s “Gummi Bears” and “Winnie the Pooh’s Grand Adventure, the Quest for Christopher Robin” there are projects that I enjoyed just as much only to see the final results turn out as total duds. I’m proud of the work I did, it was such a let down to see some of the final results.

 

Where are you from and how did you get into the animation business?
I’m English from just south of London. Came home one afternoon from my first regular job in an exhibition design studio and caught Halas and Batchelor’s “Tales of Hoffnung ” series (shorts based on the cartoons of Gerard Hoffnung ). As I was looking for something a tad more challenging than making large felt covered plywood figures of British policemen and Yeoman Warders I thought animation looked interesting so I Continue reading