Thought Bubbles

Wandered into an article with 140 iconic cinematic shots, the comments complained there was no explanation to their composition. Decided to give it a run down and keep it to myself. 

Hey friends!

Hi there!

That’s a question with lots of possible answers, but I’ll do my best.

I’ve always been one to sign up for classes when I want to learn more about something (animation, acting, gesture drawing, etc.) and I’d highly recommend doing the same.

Online schools for animation are amazing and there are a lot of places to look into. For animation, check out places like Anim Squad, iAnimate, Animation Mentor, or AnimSchool, etc. The instructors are all working animators in film, tv, and games and they know their stuff.

For character design and drawing, look into classes at Schoolism, or Stephen Silver, or Aaron Blaise for example. I don’t know as much about character design and drawing schools, but I’m sure some additional Google searches will return some awesome resources.

Here are some book recommendations that I love that might also help.

Drawn to Life, Vol. 1 &2, by Walt StanchfieldSimplified Drawing for Planning Animation, by Wayne Gilbert100 Tuesday Tips, by Griz and Norm

The Disney Elite Interviews: Thomas Estrada

Over the past 19 years, Thomas Estrada has animated on such films as The Emperor’s New Groove, Treasure Planet and The Prince of Egypt, as well being the Lead Cinematic Animator/Supervisor on the video game, Disney Infinity.

This week, The Disney Elite has been holding an extended interview with Estrada, as well as showcasing numerous original art posts from him. It’s been a lot of fun, but now we’ve reached the end. Oh, but what a way to end it!

Part 5: Advice for Aspiring Animators

(Note: To read parts 1 - 4 of this interview, click here.)

The Disney Elite: Okay, so I purposefully saved the BIG QUESTION for last. It’s probably the number one thing every aspiring animator want to know – What words of wisdom can you share with our readers hoping to make art their life? 

Thomas Estrada: I think as far as younger people – or people starting out wanting to do art or animation for a living – it’s kind of cliché, but it just holds true: Show your work as much as you can.

There’s so many resources out there nowadays – with tumblr, Instagram, LinkedIn – where you can find professionals that are willing to look at your stuff and give you notes. It’s so important to take critique and learn from it and grow. Learn to allow yourself to throw stuff out if someone suggests to you that it might not be your strongest piece. Always be in that kind of attitude of learning and being a student and growing. I mean, even after all these years – I’ve been in it since ‘97 – I still feel like there’s so much of it that I can learn. I always want to have the attitude that I don’t know it all, because I certainly don’t. And this is such an important thing to have.

Too many young artists…sometimes they come in thinking they have it all in their head already and they already know what they’re doing because they’ve gone to school and have a degree – and it’s just not the case. If you come in with that attitude, it’s really difficult for anyone to work with you. It’s difficult if you’re not willing to learn, or not willing to let go of stuff because you think it’s great when people say it’s not as great as you think.

So being able to work with others is such an important thing. I think it’s more important than talent or skill. [Animation is] such a highly collaborative field, it’s important to be able to do that.

It’s important also that you really start to focus on the discipline that you want to get into – whether it’s modeling or lighting or rigging or animation. It’s great to learn all of those and have a general knowledge of all of them, but it’s so important to focus on one.

Especially when you’re applying to a medium or large sized studio, you have to be able to focus your demo reel on one of those disciplines – whether it’s concept art or whatever. It’s so difficult when you have a generalist apply, and they just say, “I’m a generalist. I can do everything.” We’re looking at their demo reel thinking, ‘Well, we don’t even know where to put this person because they’re all over the place.’

So it’s important to really try to focus in on one discipline that you can get really good at. [Animation] is so competitive that it’s going to take all of your effort and time on that one discipline to get really good at it. If you’re spending too much time covering all of them, you tend not to get really good at any of them.

Also, sell yourself as that. Put out your demo reel saying, “I’m an animator.” Or, “I’m a modeler.” Or, “I’m a rigger.” Or whatever that is. Defining that and letting the studios know that this is what I do and this is what I want to do, so that they can see that and put you in that right spot.

I hope this helps. 

The Disney Elite: Wow. Thanks so much, Thomas. That was great.

I know that one of the hardest parts of being an artist is building up one’s self-confidence to an almost unreasonable level so that you can then summon the courage to show your work. It’s interesting – and enlightening – to read that artists must then balance that heightened self-confidence with a deep humility and willingness to apply the critique of those who offer feedback.

Turns out, this willingness to bend, to listen to the advice of those further along their artistic paths than you, will not only make an aspiring artist’s work better, it will also make them much more likely to get hired and be a good collaborator.

I also really appreciated your advice on focusing one’s demo reel. I’d have thought that showing a wide range of skills would be the way to go. But your line, “We don’t even know where to put this person because they’re all over the place” makes sooo much sense!

One last bit of thanks to Thomas Estrada:

THANK-YOU SO MUCH FOR DOING THIS INTERVIEW! I’ve been meaning to start doing interviews on The Disney Elite for a while now, but couldn’t seem to summon the courage or commitment. But thanks to your kindness – and generosity with your time + thoughts – I was finally able to get them going. I hope to do a lot more interviews in 2017, but you will forever remain our first and most inspiring.