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Tuesday, September 19, 2006

I learned more from ASIFA than I did from art class

It's true too. And I am not just talking about the $100,000 animation drawing course(http://www.animationarchive.org/2006/05/meta-100000-animation-drawing-course.html), but it is included. I volunteered at the ASIFA Hollywood Animation Archive on September 9th, 2006, and the experience has made me more confident in my future and ability as an animation artist.
ORIGINAL PRODUCTION ART:
SEEING IT IN PERSON
The resources ASIFA provides is mind-blowing, and the people involved in the project are amazing people. The exhibit that was up the day I was there was Disney and Fleischer art. I'm not going to put any pictures of the exhibits that I photographed to make my point. Because no photo, scanned image, or even the films these drawings appeared in can do justice to the original pencil drawings that ASIFA has. When I freeze frame cartoons and try to draw them, I used to not be able to understand why my drawing didn't look like the one on the screen. I had the design and proportions correct, but it just did not look the way it does on the screen. The more and more I did this, the less confident I became. But, when I went to ASIFA and saw the pre-cleaned up drawings that were used for animation, I saw that those drawings didn't look too different from mine. It boosted my confidence in my art abilities, knowing that my drawings don't look too different from the professional who drew them. The Disney and Fleischer art taught me a lot, and I wanted to see more drawings. If we all support ASIFA, we can all see more drawings, a lot more drawings.
CONNECTIONS:
ONLY MADE POSSIBLE BY ASIFA
Many animation artists support ASIFA and from time to time visit the archive in Hollywood. By supporting ASIFA, you are putting yourself in the same group as the professionals. According to the book "Your career in Animation" by David Levy, the animation industry is all about making connections. The day I went to ASIFA I made great connections. I now have connections with industry folks such as Stephen Worth, Eddie Fitzgerald, and John Kricfalusi, and other connections with aspiring animation artists that I met at the archive. They are valuable connections that have made me feel more confident in the future. I would love to go back to make more connections, with professional and/or aspiring artists.
I have wanted to do a blog about my feelings after volunteering at the archive. The $100,000 animation course, seeing the original art, and the valuable connections have all been generously given to me for free, and that is the whole goal of the archive. Supporting the archive will bring even more experiences and resources to us for free. I plan on donating money in the future because I am in debt for what the archive has brought to me. I hope everyone else will do the same.
If I don't win the contest, I'm fine with that. It's not why I made this blog. I hope Steve Worth can use this to help promote the archive and I hope it works.

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