WanderingInkSplot

The President

The 3200 year old tree so massive that it had never been captured in a single image until recently.

This giant sequoia stands 247 feet tall and measures 45,000 cubic feet in volume. The trunk alone measures 27 feet and the branches hold 2 billion needles (more than any tree on the planet).

This picture took a team of photographers from Nat Geo, 32 days and stitching together 126 different photos to make.

Some inked Papa

Terzo is a Dramatic King: Lounge About

Let's ease into Monday. Sit back, relax and enjoy a chat with Terzo.

I wasn't around for this era but I do like looking back at our dramatic king. I love whatever this is and it feels very him. He really did have a proclivity for flair. I would totally be down for him just stopping, mid show for chats.

Couldn't resist sketching this pose which was perfect for gesture drawing

A plotter acted as sort of a 3D printer but for 2D images. There was a ball point pen that could move up and down, and the paper underneath could be moved in and out. Using CAD based programs you could plot points in 2D space and the plotter would draw the lines between them and even do geometric shapes!

When it came time to do The Great Mouse Detective, the animators at Disney wanted to do more dynamic shots for the climatic battle inside Big Ben. Drawing all those gears and cogs would be a nightmare for the animators, so they experimented with using 3D animation.

But this was still the early 80’s. There was no digital ink and paint program, no way to merge the 2D animated characters with the 3D animated backgrounds digitally. So how did they get the 3D animated backgrounds out of the computer?

By drawing each frame on the plotter.

Every frame was printed out on the plotter, and then xeroxed onto animation cels, and then hand painted like traditional 2D animation cels are.

But why the plotter? If they were gonna have to export every frame anyway, why not use a printer? Well… because printers back then just weren’t very good. A plotter uses points and physically draws the line between them, much like how vector graphics work. It yielded a much smoother and higher fidelity line than if they just printed them out.

This was still a massive undertaking, but it was probably the best solution to getting the dynamic camera moves they wanted out on paper. 2D animation was drawn over top and then both layers of animation cels were filmed frame by frame.

And that’s how you got dynamic shots like this in the mid 80’s! 3D animated backgrounds, printed with a plotter, xeroxed onto animation cels, hand painted, and then re-photographed with the 2D animation on top!