#animal wall art australia

[allisonperryart]

A small, fun bit of visual development from Netflix's "Back to the Outback:" I designed a wall that each of our characters could climb in unique ways during their escape from the zoo - highly inspired by stonework from the Getty, actually! Thanks for looking!!

[iwtvfanevents]

Rewind the Tape —Episode 1

Art of the episode

During our rewatch, we took note of the art shown and mentioned in the pilot, and we wanted to share. Did we miss any? Do you have any thoughts about how these references could be interpreted? How do you think Armand and Louis go about picking the art for their penthouse in Dubai?

The Fall of the Rebel Angels

Peter Bruegel the Elder, 1562

This painting is featured in the Interview with the Vampire book, and it was important enough to be included in the draft pilot script!

Bruegel the Elder was among the most significant Dutch and Flemish Renaissance artists. He was a painter and print-maker, known for his landscapes and peasant scenes.

Three Studies for Figures at the Base of a Crucifixion

Francis Bacon, 1944

Bacon was an Irish figurative painter, known for his raw, unsettling imagery and a number of triptychs and diptychs among his work. At a time when being gay was a criminal offense, Bacon was open about his sexuality, and was cast out by his family at 16 for this reason. He destroyed many of his early works, but about 590 still survive. The Tate, where these paintings are displayed, says this about the work: "Francis Bacon titled this work after the figures often featured in Christian paintings witnessing the death of Jesus. But he said the creatures represented the avenging Furies from Greek mythology. The Furies punish those who go against the natural order. In Aeschylus’s tragedy The Eumenides, for example, they pursue a man who has murdered his mother. Bacon first exhibited this painting in April 1945, towards the end of the Second World War. For some, it reflects the horror of the war and the Holocaust in a world lacking guiding principles."

On the Hunt or Captain Percy Williams On A Favorite Irish Hunter and Calling the Hounds Out of Cover

Samuel Sidney, 1881 [Identified by @vfevermillion.] and Heywood Hardy, 1906 [Identified by @destinationdartboard.]

Sidney was an English writer, and his prints usually accompanied his publications about hunting, agriculture, and about settling Australia during the colonial period. Hardy, also British, was a painter, in particular an animal painter. There's also a taxidermy deer, ram, and piebald deer on the wall.

Iolanta

Pyotr Tchaikovsky, 1892

The opera Louis and Lestat go to was composed by Tchaikovsky, another gay artist. The play tells a story "in which love prevails, light shines for all, lies are no longer necessary and no one must fear punishment," as put by Susanne Stähr for the Berliner Philharmoniker.

Strawberries and Cream

Raphaelle Peale, 1816 [Identified by @diasdelfuego.]

Peale is considered to have been the first professional American painter of still-life.

Outfits inspired by J.C. Leyendecker

Leyendecker was one of the most prominent and commercially successful freelance artists in the U.S. He studied in France, and was a pioneer of the Art Deco illustration. Leyendecker's model, Charles Beach, was also his lover of five decades. You can read costume designer Carol Cutshall's thoughts on these outfits on her Instagram.

The Artist's Sister, Melanie

Egon Schiele, 1908 [Identified by @dwreader.]

Schiele was an Austrian expressionist painter and protege of Gustav Klimt. Many of his portraits (self portraits and of others) were described as grotesque and disturbing.

A Stag at Sharkey's

George Wesley Bellows, 1909 [Identified by @vfevermillion.]

Bellows was an American realist painter, known for his bold depictions of urban life in New York City.

Mildred-O Hat

Robert Henri, undated (likely 1890s) [Identified by @nicodelenfent, here.]

Henri was an American painter who studied in Paris, where he learned from the Impressionists and determined to lead an even more dramatic revolt against American academic art.

Starry night

Edvard Munch, 1893 [Identified by @vfevermillion.]

Munch was a Norwegian painter, one of the best known figures of late 19th-century Symbolism and a great influence in German Expressionism in the early 20th century. His work dealt with psychological themes, and he personally struggled with mental illness.

If you spot or put a name to any other references, let us know if you'd like us to add them with credit to the post!

Starting tonight, we will be rewatching and discussing Episode 2, ...After the Phantoms of Your Former Self. We hope to see you there!

And, if you're just getting caught up, learn all about our group rewatch here ►

[fullscoreshenanigans]

Yes, hello, I love your blog, you're my only window into what the fandom is doing and I could always completely skip the manga and just stick to reading here. So, about your poll of popular theories, I saw something about the demon world being underwater, would you mind elaborating, please? It's for research. For a fanfic 👀

[The poll in question]

I'm always going to advocate for reading the manga, not just because of what happened with S2, but also to see all the gorgeous detailing Demizu puts into her work that's lost in the transition to TV animation, along with her playing with perspectives/proportions in relationship to power dynamics.

(Chapter 1 | S1 Episode 1)

But thank you! <3

My understanding was the theory of the demon world being underwater was introduced by @couldnt-think-of-a-better-name, who was mainly active during the series' heyday (February 2019-July 2019, between the releases of chapters 123-142 during the King of Paradise and Seven Walls arcs and when S1 premiered in Japanese and English).

• Main post about the theory • Secondary post about Lambda-7214 being a coordinate • Neat edit of chapter 7's, chapter 16's, and chapter 2's cover art • Volume 13 Special Edition mini-artbook art hinting at the trajectory of the series

I think it's interesting in how the Seven Walls search party traverses what we're presented with as the entire demon world to find clues about Cuvitidala and the Seven Walls, yet the largest body of water we see anyone interact with is a pond. Nothing close to an ocean that would present them with difficulties such as building or buying a boat from demons.

(Chapter 60 | Volume 8 Title Page | Chapter 99 | Chapter 100 | Chapter 102)

Shirai also confirmed the elevator at Goldy Pond takes one to "a certain forest in Australia" (out of 458 forest communities).

(Mystic Code Book Chapter 3 Q&A)

While the stairs under Grace Field headquarters seem to land one somewhere on the east coast of the former United States of America.

(Chapter 178 | Chapter 179)

There's the imagery of the Statue of Liberty, leading me to believe the North American headquarters for the Ratri clan are located in (former?) New York City, but I don't know if I would necessarily say they wash up on the city's shores since Mike takes a jet out to meet them and the children aren't freezing in the November weather there. There's also the impracticality of after coming back from the demon world to transport goods or just traverse between the worlds you conspicuously land out in the open on the beach, so I believe it was the demon god's meddling that sent them to this beach, and the proper exit in one specific, singular location like the Goldy Pond one is somewhere else in the area. Two specific locations located in opposite hemispheres in our world, yet in the demon world you could potentially travel between the two passageways on foot in approximately a week based on the time it took the kids to reach the shelter at B06-32 (one day of initially wandering through the forest, five days traveling with Sonju and Mujika, and one day walking through the wasteland) and how long it took Yuugo, Emma, and Ray to reach Goldy Pond (four days) if it was a straight shot.

(Chapter 49 | Chapter 60)

It all leaves me very curious about how large the demon world is compared to the human world and how the demon god decided to split the two worlds up.

It's also interesting how despite all the water imagery in the series, we don't see any rain in the manga outside of the chapter 28 cover art (mentioned in the fourth post of that list):

But the anime chose to have a very light rain overlay during the second episode while not animating the ground or characters getting wet:

It rains in the light novels.

(TPN Light Novel 1: A Letter from Norman [June 2018] - "The Day Emma Cried")

(TPN Light Novel 4: Films of Memories [December 2020] - "Operation Stormy Night," originally published in Minerva Confidential Report Report Volume 1 that was packaged with the first volume of the Japanese S1 blu-ray in March 2019)

And we see the children playing in the snow in the past.

(Chapter 10 Bonus Scene)

[dreamyeuphoricll]

One piece characters Nationalities

Brazil🇧🇷: known for its iconic Carnival Festival and the statue of Christ the redeemer 🎺 🎊🪇🥁🪘

Sweden🇸🇪: known as the Pop music Capital of the world 🎵🎤🎙️🎛️🎧🎚️

Japan 🇯🇵: One of the most developed countries,that produce Manga and Anime 🍜🎎👘⛩️🏯㊗️

France 🇫🇷: has the iconic Eiffel Tower,and luxurious fashion brands 🗼👗🍬📸🎨

Canada🇨🇦: famous for its maple syrup, Niagara falls, northern lights and more attractions 🍁🥌 🥞🍯

India🇮🇳: has an iconic building,the Taj mahal,and also the birthplace of Yoga 🧘🏾🥻🕌

United States 🇺🇲: One of the dream place. With famous stars,movies,artists,cities,brands and attractions 🗽🌃🎥🦅🍔🎢🏈

Russia🇷🇺: famous for many things but mostly the beautiful iconic landmarks known as The Moscow Kremlins ☃️🥟💈🌨️🎪

Austria🇦🇹: mostly famous for its castles,palaces and buildings 🏰🧭

China🇨🇳: has beautiful culture and most famous for its food, martial arts,and the iconic Great Wall of China ⛩️🐅🐼🍜🏯🥋

South Africa🇿🇦: famous for its history,natural attractions,food and wildlife 🦁🦓🐗🐃🐘🦏🦒🐦🦃🦚🦈🐬🐳🍊🍌🥘

Germany🇩🇪: renowned for multitude of things but mostly the Oktoberfest 🪽🪽🍄

Italy 🇮🇹: famous for having one of the best foods in the world. 🍝🍕🍤🦞

UK 🇬🇧: famous for many things but mostly the royal history and culture,even for many sports. Not to forget tea and fish and chips🍟☕🚌🎡🏰🤴👸

Spain 🇪🇸: known as one of the top wine-producing countries in the world🍸🍷🍾🥂

Australia 🇦🇺: known as one of the most popular tourist destinations with many unique animals and attractions. Like the iconic Great barrier reef ⛰️🐺🦘🐨🕷️

Comment down below if u got more things to add about ur country

[fairylandblog]

The Mimi, Australian Aboriginal Faeries

Within the mythology of the indigenous peoples of northern Australia, the Mimi are remarkable faerie figures that hold a lot of fascination. Many people believe that these spirits are ethereal entities who inhabit the caverns and rocky escarpments of Arnhem Land. They are described as being thin and slender. Only on days with relatively little wind can their delicate, elongated forms develop, as a strong wind could potentially break them. Aboriginal mythology regards the Mimi spirits as among the most ancient creatures. It is believed that they taught early humans fire, bushcraft, hunting, and cooking. This relationship to the beginning of human skills elevates their place in Aboriginal culture as prominent ancestor figures who made substantial contributions to the creation of societal practices.

The likenesses of Mimi frequently grace cave walls and cliffs in rock paintings. These paintings are known as "rock paintings." Frequently depicted in these paintings are individuals participating in a variety of activities, such as hunting or dancing, which serves to emphasize their function as carriers of cultural information and traditions. The elongated, stick-like characters define these representations, reflecting the delicate nature of the subjects depicted. Moreover, Mimi is notorious for her naughty and mischievous behavior. They are jovial faeries that take pleasure in deceiving both humans and animals, frequently causing inconsequential problems or playing tricks that are completely harmless. Their mischievous nature portrays them as both benevolent teachers and playful tricksters. This adds a depth of complexity to their individuality. Mimi spirits have a significant cultural impact that extends far beyond their roles as teachers and pranksters. In addition to being an essential component of the Aboriginal people's spiritual landscape, they also represent a link to the land and their ancestors' history. Through their appearance in narratives and works of art, they serve to instill cultural values such as reverence for the natural world and the importance of acquiring knowledge about one's community.

Even in modern times, the stories and depictions of Mimi continue to be an essential component of the cultural expression of individuals of Aboriginal descent. Artists and storytellers honor them by creating art and transmitting their teachings from one generation to the next. In addition to highlighting the resiliency and adaptation of Aboriginal culture, this persistent presence also illustrates the profound connection that Aboriginal people have with the natural world. In conclusion, the Mimi spirits are a distinctive and significant component of the mythology found among the Aboriginal people of Australia. They take on the roles of cultural icons, mischievous prankster faeries, and old educators, and they are the embodiment of the Aboriginal people's rich traditions and beliefs. Art and storytelling are two of the most important roles that the Mimi continue to play in the preservation and transmission of cultural history is through the medium of art and storytelling. This helps to ensure that their legacy continues to be alive and well in the modern world.

[cokowiii]

Hello, the last post I saw where you talked about what animal Cali was you had no idea and he was just a cool character to make and stuff. Well, I took some inspiration from Cali and might have an animal that Cali might have a mix of. :D

It's an animal called a thorny devil, native to the outback of Australia. It make a close relationship with the spikes and stuff. :/

Also love your art and hope you have a nice day!

This is a pointy lil fuck!

Ty this is going on the “random stuff I might need” wall!

[that-stickfig-phoenix]

"Hey. I'm Phoenix. One of Pomni and Ragatha's kids, and now also C!Caine and Pomni's kid! All of Jax's kids are my cousins, too. I have an amazing and beautiful fiancè, and her name is @hyalos-the-glass-botanist. I'm also the adoptive father of @lilytadc, @caicey-the-caeracaprae, @soldiergoesbonkers, @the-eepy-child, @puppetboysam, @energy-drink-anon and @comfort-anon. I'm also being haunted by a ghost named Ayre (@ask-ayre-the-ghost)."

(Modspeak looks like this)

*Actions and descriptions look like this*

Internal dialogue looks like this

"Speech looks like this"

˗ˏˋ༻ʚ✧ɞ༺ˎˊ˗ Blog Rules ˗ˏˋ༻ʚ✧ɞ༺ˎˊ-

✧˖° RP °˖✧

☆ No NSFW

☆ Please don’t talk about (without permission):

        ✦ Suicide

        ✦ Self Harm

        ✦ Animal Death

        ✦ Animal Abuse

        ✦ Religion (Not a trigger, just a personal preference)

        ✦ Child Abuse

        ✦ Child Death

☆ DO NOT pressure me into things.

☆DO NOT try to control my OCs.

☆ NO NSFW. I may not be a minor, but that does not make it okay.

☆ Nothing hateful

✧˖° Asks °˖✧

☆ Nothing sexual. Suggestive jokes are okay if it’s not directed at the mod or a character that is a minor.

☆ Again, nothing hateful

☆ Just because you’re anonymous does not mean I cannot block you. Do not come into my inbox and spam.

☆ PLEASE don’t send me walls of text.

Blog rules design is by @rainidaz3

Here are the people I interact with the most (Make sure to check out their blogs!):

@strawberrys-alt / Strawberry

@patchwork-the-fox / Patchwork/Mari

@showtime-in-the-carnival / C!Caine and Pomni

@the-carnival-rabbit / C!Jax

@yejehehe4746 / Cool Anon (Cool)

@littleladylav / Lav

@xxmoonduskxx / Sleepy Anon (Sleepy)

@fluffyr0cky / Fluffy

@anonymousclownn / Clown Anon (Clown)

@soft-sweet-bun / Flip!Jax (Bun)

@lilytadc / Lily

@noahhasbeensummoned / Noah

@ask-the-wurm / Clover

@codebreaker-0 / Codebreaker

@nurbo-the-dragon / Nurbo

@ask-bubble-anything / Bubble

@charlie-channel / Charlie Channel

@pastels-bedazzled-brass-knuckles / Pastel

@the-annoying-juniper / Juniper

I'm 18 (My birthday is October 15th)

I live in the Carnival AU with my adoptive parents, @showtime-in-the-carnival I love you two (/p)

I've got bright orange eyes that actually glow slightly, meaning I can see in the dark!

My hair is also bright orange!

I'm half-abstraction! I'm immune to glitching and can glitch myself to dash forward! I can also understand binary!

I apparently have glowing wings now, so that's cool!

I have a prosthetic right arm, which I've made myself.

I can also speak, read, and write both Nordic Runes and Greek!

(Mod: @single-celled-autism

Tumblr family: @a-p0lythe1sm-sea-l10n (Little brother), @ask-the-rcp-crew (Nibling)

Alt: @phoenix-parentfriend-alt

PFP is by @courtjesterrr! Massive shoutout to them for the amazing art!

Voice Claim: Badgerclops from Mao Mao

When Phoenix is panicking or in grave danger, this music is what I imagine plays over the situation [Timestamp at 1:28]:

Audio file with the exact excerpt coming soon.

I live in Australia, so my blogs, answers, and reblogs will all be at an ungodly hour for many in this RP. Just a heads up.)

(Quick reminder due to past events:

Guys, there are real people behind these blogs. We may be separate from our characters, but that does not mean we cannot be affected by what people send to them.

If what you want to send conflicts with any of the boundaries set in our pinned posts, then don't send them. Those boundaries are there for a reason, and the people that don't know when to stop are the reason they are there in the first place.

Do not pin the blame on something like insomnia, autism, ADHD, bipolar, or any of that. YOU are responsible for what you send, and YOU need to know when to stop.

If you do this kind of thing on the regular, do not be surprised when people block you and tell other blogs about you so they can block you. You are actively making this site a worse place for communities like us, and you have no place in our little corner of the internet.

So either clean up your act, or you can fuck right off.

This is Mod SCA, signing off.)

[nordinor]

[ismellbitches]

licklaughlesbian ->->-> ismellbitches

Hey!! I thought I’d do one of these because I’ve seen a lot of other people doing them, and Ive been a lot more active on my blog recently.

My name’s Remy (any pronouns), I’m an artist and writer from Australia and I really love DnD.

The most normal about:

JRWI (specifically chip bastard, wiwi wisp, Timothy Rand, THANATOS 🫶🫶, Emizel Tucker, and the snail mail crew), The Magnus Archives/Protocol (specifically Jonathan Sims, Alice Dyer, Samama Khalid, Martin K. Blackwood, and the Horrors) , Epic: The Musical, Spiritfarer, My DnD Campaigns (ask me about my characters >:3), my dog :), MY MUTUALSSS 🫶🫶, The Amazing Devil, Hozier and indie animation

Mental Health Stuff:

Currently working through a metric shitload of personal stuff, so I may be less active at some points. Just know I am safe and (slowly) trying to better myself and my mental health.

Current Projects:

I Loved You Less Than When it all Began: My jrwi Riptide AU based loosely around the idea of the three main protagonists of JRWI Riptide were born into Mana much earlier. Im going to be trying to update more consistently so stay tuned!! you can read the first couple of chapters here!

People I don’t want on my blog (DNIs):

Anyone who knows me irl (unless I’ve given you permission), proshippers, homophobes, transphobes, racists and xenophobes NSFW accounts .

Stuff you’ll see:

OLD art tag (#my art)

NEW AND CURRENT art tag (#paint on the walls)

Fandom Stuff (#JRWI show, #tmagp, #tma, #dungeons and dragons, #Epic: The Musical, #Spiritfarer and micellaneous)

Stuff that interests me (#the amazing devil, #hozier, #indie animation #lackadaisy, etc)

Im also starting a talk tag (#rat chats) as of now there probably won’t be anything there but I look forward to start rambling a bit more :D

Things to know:

I AM A MINOR

IF I MAKE A MISTAKE TELL ME PLEASE

TAG ME IN THINGS, ALL THE THINGS

I LIKE HAVING AND MUTUALS AND I WILL CHAT TO YOU IF YOU WANT IM JUST ANXIOUS

TALK TO ME ABOUT YOUR INTERESTS! YES YOU, READING THIS, EVEN IF I KNOW NOTHING ABOUT JUST YAP TO ME IN MY ASKS OR DMS

ask me about my art please please please ple

Welp that’s everything. See you around :D

•-•-•-•

[musingsofmonica]

Fall 2024 Diverse Reads

Fall 2024 Diverse Reads:   

•”Heir” by Sabaa Tahir, October 01, G.P. Putnam's Sons Books for Young Readers, Fantasy/Action & Adventure/Epic/Romance

•”The City and Its Uncertain Walls” by Haruki Murakami, translated by Philip Gabriel, November 19, Knopf Publishing Group, Literary/Fantasy/Magical Realism/Science fiction/Gothic/Mystery/Horror

•”Masquerade” by Mike Fu, October 29, Tin House Books, Literary/Coming of Age/World Literature/China/21st Century/LGBTQ

•”The Mighty Red” by Louise Erdrich, October 01, Harper, Literary/Contemporary/Coming of Age/Thriller/Suspense/Romance/Cultural Heritage

Native American & Aboriginal

•”Society of Lies” by Lauren Ling Brown, October 01, Bantam, Dark Academia/Thriller/Suspense/Mystery & Detective/Women Sleuth/Cultural Heritage/African American & Black/Asian American/Women

•”The City in Glass” by Nghi Vo, October 01, Tordotcom, Fantasy/Epic/Fairy Tale/Folk Tale/Legends & Mythology

•”A Song to Drown Rivers” by Ann Liang, October 01, St. Martin's Press, Historical/Ancient/Fantasy/Fairy Tales/Folk Tale/Legends & Mythology/Romance/Women

•”The Witches of El Paso” by Luis Jaramillo, October 08, Atria/Primero Sueno Press, Historical/Fantasy/Magical Realism/Family/Saga/Cultural Heritage/Hispanic & Latino

•”Blood of the Old Kings” by Sung-Il Kim, translated by Anton Hur, October 08, Tor Books, Fantasy/Epic/World Literature/Korea

•”This Motherless Land” by Nikki May, October 29, Mariner Books, Literary/Family Life/Adaptations & Pastiche/Diversity & Multicultural/Cultural Heritage/African American & Black/Women/World Literature/Nigeria/England 

•”The Most Wonderful Time” by Jayne Allen, October 08, Harper, /Contemporary/Romance/Romantic Comedy/Multicultural & Interracial/Diversity & Multicultural/Cultural Heritage/African American & Black/Holiday/Friendship/Women/Own Voice

.”Twenty-Four Seconds from Now” by Jason Reynolds, October 08, Atheneum Books, YA/Contemporary/Romance/Boys & Men/Social Themes/Emotions & Feelings/Cultural Heritage/African American & Black

•”Something Close to Nothing” by Tom Pyun, November 12, Bywater Books, Literary/Family Life/Adoption/Identity/Multicultural & Interracial/Diversity & Multicultural/Cultural Heritage/Asian American/LGBTQ

•”The Burrow” by Melanie Cheng, November 12, Tin House Books, Literary/Family Life/Animal/World Literature/Australia

•”Sand-Catcher” by Omar Khalifah, translated by Barbara Romaine, December 03, By Coffee House Press, Literary/Political/Absurdist/Cultural Heritage/Arab/Palestinian/World Literature/Middle East/Israel/Jordan

•”City of Night Birds” by Juhea Kim, November 26, Ecco Press, Literary/Coming of Age/Performing Arts/Dance, Theater & Musicals

•”The Anti-Ableist Manifesto: Smashing Stereotypes, Forging Change, and Building a Disability-Inclusive World” by Tiffany Yu, October 08, Hachette Go, People with Disabilities/Disabilities/Disability Studies/Interpersonal Relations/Discrimination & Race/Social/Political 

•”The Message” by Ta-Nehisi Coates, October 01, One World, Essays/Current Events/American Government/Discrimination & Race Relations/Violence in Society/Writing/World Travels

•”Brown Women Have Everything: Essays on (Dis)comfort and Delight” by Sayantani Dasgupta, October 01, University of North Carolina Press, Essays/Women's Studies/Feminist/Cultural, Ethnic & Regional/Ethnic Studies/Asian Studies

•”Taiwan Travelogue” by Shuang-Zi Yang, November 12, Graywolf Press, Literary/Historical/World Literature/Japan/Taiwan/LGBTQ

[fbenvs3000f24]

Unit 4 Blog Post

Who are you to interpret nature through art? How do you interpret “the gift of beauty”? (Your readings – specifically Chapter 5 of the textbook – will be helpful for this!)

Art has always held a special place in my heart, whether it is painting, photography, drawing, or just going to museums to see what others have created. When considering nature interpretation, it is very clear to me that the two go hand-in-hand. Nature and art are the same thing. This is obvious to me when I see my friends' Instagram stories flooded with pictures of a pretty sunset, or when I stop to take pictures of cool mushrooms I see while on a walk. It is very easy to interpret nature through art because they are synonymous. As a nature interpreter I am able to describe the beauty of nature while out in the field, but also by analyzing depictions of nature in art. Being able to convey what an art piece is telling us about nature we are able to interpret nature to its fullest extent. 

In my free time I enjoy going to parks near my house and painting what I see. I believe that this is a very important way of interpreting nature as you are capturing it through your perspective. As we know, art is subjective. Due to this everyone identifies with it differently. By painting, photographing, or drawing nature we are able to share how we see it and share our interpretations when words may fail. 

My interpretations of nature through paintings I have done

Personal interpretations of nature through art have existed for centuries with many of the “most famous” paintings of all time being depictions of nature (like Monet’s Water Lilies). The Group of Seven have also created many paintings that portray the beauty of nature as discussed in this week's unit. Through their art, the members of this group were able to capture the beauty of Canadian landscapes to share with the world. Their paintings convey the stillness of lakes, blowing winds, and colours of fall among other things. Each one is a snippet of the environment Canada has to offer and their work is a very prominent part of Canadian heritage. Growing up I remember taking countless field trips to the McMichael Canadian Art Collection gallery with my school. I remember myself and my classmates being astonished by the feelings that these paintings evoked, and even taking time to draw our versions of some of them. By observing these pieces of art and creating our own based off of them, we were able to experience scenery that some of us had never seen before. We were able to get a sense of what it was like to be there without ever leaving the walls of the gallery. 

Harris, H. S. (1928) Lake and Mountains [Painting]. I remember recreating this painting specifically

In regards to the “gift of beauty”, I believe that it is hidden (or not so hidden) in nature. We can see the visual appeal of a pretty flower or fall leaves in a forest, but we can also feel it. The beauty of nature comes with emotions; when we imagine a still lake it brings calmness, and when we think of a bright summer day it brings joy. The gift of beauty in nature is the escape that it offers, not just the pretty colours and cute fuzzy animals. By interpreting nature through art we are able to capture that gift and save it for future generations to see, just like the Group of Seven did.

A picture I took in Australia that encompasses the gift of beauty for me

[ptbf2002]

My Favorite Disney Movie/Series/Shorts

Mickey Mouse And Friends - House Of Mouse/Mickey Mouse (Paul Rudish Series)

Disney Branded Television - Gravity falls

PIXAR - Cars, The Incredibles, WALL-E, Luca

MARVEL - Spider-Man (1994), Iron Man (1994)

Lucasfilm Ltd. - Star Wars The Clone Wars (2008), Star Wars: The Force Awakens, Rogue One: A Star Wars Story, Solo: A Star Wars Story, Star Wars: The Rise Of Skywalker

20th Century Studios - The Simpsons, Bob's Burgers, Futurama, And Duncanville

The Muppets Studio - The Muppets (2011)

National Geographic - Animals Up Close

Any Media As A Part of a Disney Family - Ghost Force (Finally! I found a ZAG show that i find it better than Miraculous ladybug and cat noir)

Disney Movies - Wreck-It Ralph, Ralph Breaks The Internet, Zootopia, Moana, Big Hero 6, And Meet The Robinsons

Base Used: https://www.deviantart.com/merrieofficalarts/art/your-favorite-Disney-medias-Template-base-1006617566

House of Mouse Belongs To Walt Disney, Ub Iwerks, Roberts Gannaway, Tony Craig, Toon City Animation Inc. Disney Animation Australia Pty. Ltd. Disney Animation Japan Inc. Wang Film Productions Co., Ltd. Disney Television Animation, ABC, Disney Channel, Toon Disney, Disney XD, Disney Cinemagic, Disney Branded Television, Disney–ABC Home Entertainment and Television Distribution, Disney General Entertainment Content, Disney Media and Entertainment Distribution, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Mickey Mouse (2013) Belongs To Walt Disney, Ub Iwerks, Paul Rudish, Mercury Filmworks, Disney Television Animation, Disney Channel, Disney Branded Television, Disney–ABC Home Entertainment and Television Distribution, Disney General Entertainment Content, Disney Media and Entertainment Distribution, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Gravity Falls Belongs To Alex Hirsch, Digital eMation, Inc. Rough Draft Korea Co., Ltd. Yearim Productions Co., Ltd. Disney Television Animation, Disney Channel, Disney XD, Disney Branded Television, Disney–ABC Home Entertainment and Television Distribution, Disney General Entertainment Content, Disney Media and Entertainment Distribution, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Cars Belongs To Dan Fogelman, John Lasseter, Joe Ranft, Kiel Murray, Phil Lorin, Jorgen Klubien, PIXAR Animation Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

The Incredibles Belongs To Brad Bird, PIXAR Animation Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

WALL-E Belongs To Andrew Stanton, Jim Reardon, Pete Docter, PIXAR Animation Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Luca (2021) Belongs To Enrico Casarosa, Jesse Andrews, Mike Jones, Simon Stephenson, Michael Jones, PIXAR Animation Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Spider-Man: The Animated Series (1994) Belongs To Stan Lee, Steve Ditko, Avi Arad, TMS Entertainment Co., Ltd. MARVEL Films Animation, MARVEL Studios, LLC, MARVEL Entertainment Group, Inc. MARVEL Entertainment, LLC, New World Pictures, Ltd. New World Entertainment, New World Communications Group, Inc. Saban Entertainment, Inc. FOX Kids, FOX Family Worldwide Inc. ABC Family Worldwide, FOX International Channels, FOX Networks Group, FOX Entertainment Group, FOX Broadcasting Company, LLC, FOX Entertainment, FOX Corporation, Disney Media and Entertainment Distribution, Disney Entertainment, And The Walt Disney Company

Iron Man (1994) Belongs To Stan Lee, Larry Lieber, Don Heck, Jack Kirby, Avi Arad, Rick Ungar, Rainbow Animation Korea, Koko Enterprises Ltd. MARVEL Films Animation, MARVEL Studios, LLC, MARVEL Entertainment Group, Inc. MARVEL Entertainment, LLC, New World Pictures, Ltd. New World Entertainment, New World Communications Group, Inc. Saban Entertainment, Inc. FOX Kids, FOX Family Worldwide Inc. ABC Family Worldwide, FOX International Channels, FOX Networks Group, FOX Entertainment Group, FOX Broadcasting Company, LLC, FOX Entertainment, FOX Corporation, Disney Media and Entertainment Distribution, Disney Entertainment, And The Walt Disney Company

Star Wars The Clone Wars (2008) Belongs To George Lucas, Henry Gilroy, Steven Melching, Scott Murphy, Lucasfilm Animation Ltd. LLC, Lucasfilm Ltd. LLC, The Walt Disney Studios, Disney Entertainment, The Walt Disney Company, Warner Bros. Pictures, Warner Bros. Motion Picture Group, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

Star Wars: The Force Awakens Belongs to George Lucas, Lawrence Kasdan, J. J. Abrams, Michael Arndt, Bad Robot Productions, Lucasfilm Ltd. LLC, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Rogue One: A Star Wars Story Belongs To George Lucas, John Knoll, Gary Whitta, Chris Weitz, Tony Gilroy, Lucasfilm Ltd. LLC, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Solo: A Star Wars Story Belongs To George Lucas, Jonathan Kasdan, Lawrence Kasdan, Lucasfilm Ltd. LLC, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Star Wars: The Rise Of Skywalker Belongs To George Lucas, Derek Connolly, Colin Trevorrow, J. J. Abrams, Chris Terrio, Bad Robot Productions, Lucasfilm Ltd. LLC, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

The Simpsons Belongs To Matt Groening, Anivision, DR Movie, Film Roman, LLC Hanho Heung-Up Company, Klasky-Csupo, Inc. Rough Draft Korea Co., Ltd. Toon Boom Animation, Toonzone Entertainment, Wild Horse Animation Group, Gracie Films, 20th Television Animation, 20th Television, Disney Television Studios, Disney General Entertainment Content, Disney Entertainment, FOX Broadcasting Company, FOX Entertainment, FOX Corporation, And The Walt Disney Company

Bob's Burgers Belongs to Loren Bouchard, Hanho Heung-Up Co., Ltd. Yeson Entertainment, Bento Box Entertainment, Wilo Productions, Buck & Millie Productions, 20th Television Animation, 20th Television, Disney Television Studios, Disney General Entertainment Content, Disney Entertainment, FOX Broadcasting Company, FOX Entertainment, FOX Corporation, And The Walt Disney Company

Futurama Belongs To Matt Groening, David X. Cohen, Digital eMation, Inc. K Production Sdn. Bhd. Rough Draft Studios, Inc. Rough Draft Korea Co, Ltd. The Curiosity Company, The ULULU Company, 20th Television Animation, 20th Television, Hulu, Disney Streaming, Disney Television Studios, Disney General Entertainment Content, Disney Entertainment, FOX Broadcasting Company, FOX Entertainment, FOX Corporation, The Walt Disney Company, Syfy, NBCUniversal Media Group, NBCUniversal Media, LLC, Comcast Corporation, Comedy Central, Comedy Partners, MTV Entertainment Group, Paramount International Networks, Paramount Domestic Media Networks, Paramount Media Networks, Inc. And Paramount Global

Duncanville Belongs To Mike Scully, Julie Thacker Scully, Amy Poehler, Bento Box Entertainment, Mighty Animation S.A. De C.V. Yeson Entertainment, Paper Kite Productions, Scullys, 3 Arts Entertainment, Universal Television LLC, Universal Studio Group, NBCUniversal Media, LLC, Comcast Corporation, 20th Television Animation, 20th Television, Hulu, LLC, Disney Streaming, Disney Television Studios, Disney General Entertainment Content, Disney Entertainment, FOX Broadcasting Company, FOX Entertainment, FOX Corporation, And The Walt Disney Company

The Muppets (2011) Belongs To Jim Henson, Jason Segel, Nicholas Stoller, The Jim Henson Company, Inc. The Muppets Studio, LLC, Mandeville Films, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Animals Up Close Belongs To National Geographic, National Geographic Global Networks, National Geographic Partners, LLC, National Geographic Society, Disney+ Disney Streaming Services, LLC, Disney Media and Entertainment Distribution, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

GhostForce Belongs To Jeremy ZAG, Pascal Boutboul, Sebastien Thibaudeau, Nathanael Bronn, SAMG Entertainment, ZAG Heroez, ZAGtoon, Kidsme S.R.L. TFOU, TF1, TFX, Groupe TF1 S.A. EBS 1, Korean Educational Broadcasting System (EBS), Disney Channel, Disney Branded Television, Disney–ABC Home Entertainment and Television Distribution, Disney General Entertainment Content, Disney Media and Entertainment Distribution, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Wreck-It Ralph Belongs To Rich Moore, Phil Johnston, Jim Reardon, Jennifer Lee, Walt Disney Animation Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Ralph Breaks the Internet Belongs To Rich Moore, Phil Johnston, Jim Reardon, Pamela Ribon, Josie Trinidad, Walt Disney Animation Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Zootopia Belongs To Byron Howard, Rich Moore, Jared Bush, Jim Reardon, Josie Trinidad, Phil Johnston, Jennifer Lee, Walt Disney Animation Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Moana Belongs To Ron Clements, John Musker, Chris Williams, Don Hall, Pamela Ribon, Aaron Kandell, Jordan Kandell, Walt Disney Animation Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Big Hero 6 Belongs To Steven T. Seagle, Duncan Rouleau, Jordan Roberts, Robert L. Baird, Daniel Gerson, MARVEL Comics, Man of Action Entertainment, Walt Disney Animation Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Meet The Robinsons Belongs To William Joyce, Jon Bernstein, Michelle Spitz, Don Hall, Nathan Greno, Aurian Redson, Joe Mateo, Stephen Anderson, Walt Disney Animation Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

[a-man-for-hire-and-his-archives]

Luke Arnold, Doc Wyatt talk the teamwork and insanity that defines ‘ESSENTIALS’

The compelling new OGN is funding via Kickstarter.

by Chris Coplan (April 18, 2024)

You may know Luke Arnold as Long John Silver in the Black Sails and/or INXS’ own Michael Hutchence in the Never Tear Us Apart miniseries. Doc Wyatt, meanwhile, is best known for his production work on the iconic Napoleon Dynamite and the animated Rocket and Groot for Marvel. So, what happens when a lauded actor and a TV writer/producer get together? Why a brand-new graphic novel, ESSENTIALS.

For ESSENTIALS, Arnold and Wyatt were brought together in part by The Lab Press, a new publishing outfit that focuses primarily on graphic novels. Together, the pair then collaborated with a veritable smorgasbord of comics artists, including Bill Sienkiewicz (who does the cover), Dani, Jason Howard, Andrea Mutti, and Glenn Fabry. (The book’s colors were provided by Jordie Bellaire, Brad Simpson, and Wesley Wong, with lettering from DC Hopkins of AndWorld Design).

Once fully assembled, this superstar team behind ESSENTIALS set about crafting a story in which “the world you see around you is not real.” More specifically, we follow “disgraced mathematician Harris Pax” as he and Buttons (an “interdimensional being possessing his niece’s favorite toy”) set about smashing the walls of this faux reality. ESSENTIALS asks some big questions — “What matters most in a well-lived life? Is joy more valuable than truth?” — just as much as it’s a rollicking, dimension-hopping adventure story.

ESSENTIALS is currently crowdfunding via Kickstarter, with the campaign having raised $13,000-plus (of a seemingly $1,111 goal) on the way to its May 16 deadline. (Head here to contribute.) To get a better idea of the work that went into ESSENTIALS, we recently got to field questions to both Arnold and Wyatt. The duo spoke about the somewhat involved creative process, the big themes at the book’s heart, working with The Lab Press, and much more.

The talent behind ESSENTIALS. Courtesy of The Lab Press.

AIPT: I’m curious: what’s the collaborative process look like between a TV writer and an actor making a comic book?

Luke Arnold: It’s hard to summarize this process because there are so many stages. We broke most of the story on zoom between Australia and LA. Then, we outlined in pieces, trading them back and forth multiple times, rewriting and recrafting until we were happy. After that, we’d take a chapter each, write them, share them, editing and/or rewriting each other’s work. Then, it would go to the artists, and we’d wait for the first sketches to roll in.

Because the team (Doc, myself, and everyone at The Lab) is spread around the globe, we found that the best place to review artwork was actually in VR. We all got Oculus headsets that allowed us to sit around a table together with the art displayed on a huge board in front of us, marveling over the work and deciding on any notes to send back to the artists.

The next few stages would take place over email, and then when all the art was finished, Doc and I would get back on Zoom to take another look at the script. Once you have those final pages, you can quickly realize that a lot of dialogue feels unnecessary, so we’d go through and make changes before sending everything to the letterer. That was one of my favorite stages, as you have an opportunity to write some parts all over again, inspired by the work of the artists.

Doc Wyatt: Luke’s an actor, but he’s also a novelist. His novels blow me away. I knew Luke first as an actor, and on set, he was talking about these fantasy novels that he wanted to write. But when it actually happened, I was blown away. The Last Smile in Sunder City was Luke’s first book, and it kicked off a series that’s a mashup of the noir detective genre with urban fantasy. Anyone who’s missed it should catch up with it.

As a writer, Luke is intricate. He works in levels and layers, meanings behind meanings, and philosophical underpinnings. It was a really rich and rewarding experience because we’d start out talking about the story we were breaking, but the conversation would drift into all these other, unrelated places… until suddenly it would snap back into story mode, but bringing along all these influences from our seemingly unrelated conversations.

AIPT: What’s the elevator pitch for ESSENTIALS? It seems like there are a lot of big questions churning at the heart of this book.

LA: Our world has collided with another dimension and reality has become untethered. Most humans were killed in the collision, and those that survived are now trapped in their own subjective realities as their beliefs, thoughts, and fears become manifest around them. Harris Pax – the only scientist who foresaw this apocalypse and managed to protect himself – has teamed up with Buttons – a being from the other dimension. Together they must travel into these subjective realities and convince the people inside to give up their illusions and return to the real world.

DW: Honestly, it can sound complicated, but at the end of the day the story is pretty simple. A cosmic catastrophe has killed most human life, with the few survivors unknowingly stuck in their own bubbles of subjective reality. It’s the job of our heroes to pull them out of these private realities before they’re killed by them.

AIPT: Similarly, it seems like this book may be about/interested in simulations and subjective reality and the like. Why are those kinds of massive ideas interesting, and how do you come at them from a new angle?

LA: It’s a cliché now to say that we’ve never been so divided. We started writing this four years ago, and things seem to have only gotten worse. In this age of reactionary politics and algorithms, we really are starting to live in separate realities where even basic facts are up for dispute. But this feeling of disconnection was an existential issue long before the internet. Artists and writers have always explored the pain of isolation, our yearning for interconnection, and the despondency that comes from witnessing the perpetual division of the human race on both an intimate and planetary scale. With ESSENTIALS, we found two heroes, a villain, and a reality-spanning quest that allows us to dig into these concerns in a way that feels fresh and kind of limitless. There are already so many realities we’ve had to cast aside and many more we hope to include as the story continues.

The Jason Howard cover to ESSENTIALS. Courtesy of The Lab Press.

AIPT: What’s it like to be the debut release from Lab Press? Does that pressure help or complicate your process as creators and then also promoters of said creation?

LA: I can really only speak to it from a creative standpoint. It has awarded us a kind of freedom that is rare to find. The Lab and ESSENTIALS were formed at the same time, so the publishers had no preconceptions about what this book needed to be. There were no expectations, either from the reader or the company itself, so the book was able to find its form on its own terms. And being their debut, The Lab was likely more open to our wild ideas, such as jumping between so many artists in the way we do.

DW: For me, sure– it’s a little nerve-wracking to be the first book from a new publisher, because they’re going to be doing all their learning on our book. But that said, we believe in them. They’ve certainly taken a risk on our weird, little, indie book, so it’s only fair we take a risk on them!

AIPT: The book has a slew of talented artists attached, including Dani, Andrea Mutti, and Bill Sienkiewicz. What’s it mean to have such a roster of sheer artistic talent, and do you have any standout moments/pages?

LA: Even though this book has been in development for years, from the artists signing on to sending their pencils, their inks and colors, and now holding the final version, I still can’t really comprehend that we were able to work with artists of this caliber.

This is the first comic I’ve written, and so I was still wondering how all our scripts would come out after being interpreted by the artist. There’s a sequence in chapter two with a collage of a conversation that passes through a bunch of scenarios across a double page spread, and when Jason Howard sent us his pencils of that section, I started to believe that this world Doc and I had dreamed up could actually be realized.

I also have to say that I’m a huge Glenn Fabry fan. We gave him some of our weirdest pages, and his beautifully textured detail is everything we hoped for and more.

DW: The Lab Press had us submit a list of dream artists we’d be dying to work with. We did, thinking–well, they’ll never be able to get these… But they did!!! They didn’t tell me that they’d gotten Bill Sienkiewicz for a cover, who has been a very important artist to me since childhood. Instead they just revealed to me the fully finished cover at a party at New York Comic Con as a big surprise, and I just about lost it. It’s such an amazing cover. And it’s so Bill while still being so ESSENTIALS!

AIPT: Do you have a fave sci-fi book/film/show/etc. that maybe made its way into this project in some way (intentionally or not)?

LA: Doc is a font of sci-fi knowledge, and our original scripts were stuffed full of amazing references. Eventually, we decided to remove most of them before sending the scripts to artists because we didn’t want to cloud their minds with other visuals before we could see what their imaginations offered up. On quick flip though, you could see references to Alien, The Blob, and Night of the Living Dead, but we’ve done our best to use that imagery as a starting block to build something weirder.

AIPT: Why should anyone support the forthcoming Kickstarter for ESSENTIALS?

LA: Because this book is done and it’s incredible. We’re teaming up with Kickstarter because it’s the best way to get the books out to everyone around the world. We’re not asking for support to get it finished or anything like that. Not long after we launch, the book will be out of the printers and in your hands.

DW: We love our weird little story, and we want to tell more of it in the future, but we’ll only get the chance to do that if people read and love this one. We want to get the word out any way we can, so backers will find and support and read the book. It’s strange, it’s heady, and it’s not for everyone, but the people who it’s for– we hope– will really love it!

Source: AIPT Comics

[dalt20]

Tooning in 5. Rufino Gomez 1-3

DL: How was your childhood?

RG: Its a different ballgame now, My childhood was struggling so as it now. Being an artist is so hard. Compare to no other profession.

DL: What was your favorite cartoons growing up?

RG: Voltes five

DL: And any Hanna barbera cartoons you also liked?

RG: Yogi Bear, of course that was the first thing i saw when i was growing up ...voltes was later.

DL: Did you drew a lot as a kid, how did you wanna be a animator, how did you got introduced to cartoons?

RG: Yes, I drew a lot back then even on walls in the neighborhood, in the palm of my hand anything flat. I never knew how its done before, i thougt all along it was moving on its own...it needs only one drawing and thats it...but when i enter the Filcartoons i was amazed how its done!

DL: How was growing up during Ferdinand Marcos rule Until 1986?

RG: It was painful...rice with corn ..people suddenly gone nowhere to find, people were scared you can see soldiers around ...my father was picked up in the evening ..us knowing nothing ...and then came back in the morning exhausted...future was gone ..people doesnt know what to do in order to survive..it was really scary...marcos recruited armies in his hometown province so that they can communicate in their own dialect..very astute dictator.

DL: Before then, how did you got into cartoons?

RG: My family, little they know i applied for this while stiil im studying ...good for me because after two weeks training, fire broke out in our neighboors and unfortunately we were included. So i already had the job after we were confined in the hospital. I was trained in Fil Cartoons as a Layout Animation...and the studio was really nice....i was in college ..third year in the School of Fine Arts in the University of the East in Caloocan City here in the Philippines...i applied for the training given at that time by Fil Cartoons as an Animation Layout ... I see ..it was really fun back then back then ...it started two years after the EDSA People Power Revolution and Fil Cartoons started in the 21st and 22nd floor of Strata 2000 building in Ortigas Ave. if my memory serves me right.

DL: So what was your first project at fil cartoons?

RG: That was Yogi Bear back then. And we were trained by John Rice, an Australian animator.

DL: How was John rice?

RG: I think John already settled here he married a filipina and stayed here.

DL: I believe he was from HB Australia.

RG: Yup, Hanna Barbera Australia!

DL: Yeah , so thoughts on the yogi bear character and his cartoons?

RG: Yogi Bear as a training materials for a starter like me was not that so hard because it was cartoony. It easy to turn around the character , And posing in a different position was easy because of its character designed.

DL: To ask a question, how do you move a character in animation? Like inbetweens?

RG: Yup..its a painstaking process. Not unlike today everything is in the stock.

DL: Yeah, like today people use flash animation and just move the puppet around.

RG: Yup! it speeds up the process.

DL: So how do you do inbetweens, can you explain it to me because I don’t understand how do they move without flipping the model like they do in flash?

RG: I was trained as a Layout Animation after that it goes down to the Animator for them to do the key poses and goes down to the inbetweeners. And after in the inbetweeners it goes down to the clean up and zerox department. The Background layout goes down to the Backgrounder to be painted in acrylic. The flipping goes down in the animator by using a QAR machine..it was a Quick Animation Recorder for the line test.. Thats were the action happens!

DL: So the layout artist is the guy who does the key poses for the betweeners to work out.

RG: The animator. Layout artist do the staging and the blocking of the character ..the first and last poses only and the background staging.

DL: So how was the head honcho, jerry smith?

RG: Jerry Simth was the one bring the animation in the Philippines together with a certain general here , Mowelfund, and other Bigtime businessmen. I will try to recall their names.

DL: So, how was jerry personally?

RG: Uhm..Jerry was generous only those he partnered where is the greedy.

DL: So he was from America right? From the HB studio in America?

RG: Yes, I think he is dead already.

DL: Yeah, he died 25 years ago. He was such a good man, As I heard everyone love him at fil cartoons.

RG: Yup he was really generous and he wants to uplift the lives of filipino artist.

DL: Well in Thad Komorowski’s book, he said that the place was a shithole I think. And the working conditions were poor.

RG: Only the filipinos businessmen he partnered is the problem. Yes its true the first location of the Fil Cartoons studio in Strata 2000 in ortigas was really a shithole specially the Restroom.

DL: Wow! Did people really had to sleep outside? Because they couldn’t afford to pay rent because of the low salary?

RG: Not really outside but inside the studio we were sleeping because other artist living in far away places. We were allowed to sleep in the studio below the animation table where we were working.

DL: Ah like John lasseter during the first days of Pixar?

RG: Exactly! And the food were listed in the canteen and paid weekly.

DL: Ah. That’s your word for cafeteria right? Canteen. For us Americans, that word is referred as a circular water container.

RG: I see the water canteen in the US army. Yes we used to that naming.

DL: So, we’re there any foreigners/nor Filipino animators at fil cartoons? Like American,Canadian, Australian,etc?

RG: As far as i can recall there were at least ten foreigners..not exactly..well Filipino animators after having years of experience were able to go the US and Australia and after a decade recruited in india and other southeast asian countries.

DL: Ah, so all Filipino (minus jerry) staff then?

RG: Yes , some foreign animators visiting but the staff almost filipino from accounting department down the line

DL: Oh, I see. So, can you tell me about those Filipino businessmen that were leading jerry the wrong way?

RG: The setup of the studio is like shanties each cubicle. The management was layered with politician and vic palileo i think was just a frontman.

DL: And so it’s was the past president’s cronies? Ferdinand Marcos?

RG: Yes. Josep Estrada the former president was the head of Mowelfund if i was not mistaken. Founder i think.

DL: Ah and so,, what was their deal with poor old Jerry, bribery or extortion?

RG: Probably...the philippines at that time was just recovering from a dictator and a lot of their cronies is in key position.

DL: Ah, must be hard for a American living in the Philippines doing his job supervising cartoons for Hanna barbera.

RG: Yes.

DL: So, can we talk about some of the projects at fil cartoons you did? First I want to bring up is the smurfs, How was working on that program?

RG: Yes that was a nice program, so easy to do, not only if you were given character in groups, that was easy. And its was fun to do ..and snorks.

DL: The character designs were all the same so that was a bonus!

RG: Yup! Police Academy The series.

DL: How was working on the show?

RG: It was great! The rate is good because its not so cartoony almost real like anatomy.

DL: Did You watch the films?

RG: No i havent because we dont have betamax player at that time. And the access to movie was only for the well off.

DL: Ah gotcha. Paddington bear how was your experience in that?

RG: Yup Paddington. Not so hard to do ..

DL: Why? Was it, because the character was easy to draw?

RG: It was cartoony. Full Body anatomy with almost realistic detail was really hard to do when it comes to full body turn around. Off modeled is the biggest problem.

DL: So speaking off model, did you ever drew anything “off model”? As fil cartoons had a horrible reputation for being off model.

RG: Of course ..almost every artist goes to that.

DL: Any examples you remember that you went like “that doesn’t look right but I have to finish this so this will do.” ?

He ask for my email address, I send it to him and he gives me a demo reel of his 90s work. The only things I could decipher is are German cartoon, fix and foxi and friends and the Canadian toon, the 2001 Anne of green gables adaptation.

DL: The footage looks a little choppy.

RG: So you could have an idea how tedious is the hand drawn animated cartoons.

DL: Yeah, I can believe you. It’s rough!

RG: Its a pencil test compiled.

DL: Yeah it isn’t Disney level pencil test. But it’s something.

RG: Its not complete with inbetween drawings just key poses.

DL: Ah ok. So a pup named Scooby doo, How was that program?

RG: Yeah i also able to work on that project but it was a short stint. Disney is full animation a 24 frame rate per second while the saturday morning show cartoons is limited to 15 frames per second..

DL: Wow! And it’s because it’s cheaper and faster?

RG: Yes. And they were done in movie format.

DL: But back to a pup named Scooby doo, how was it drawing the expressions and the squash and stretch animation the characters had contrast to other stilted animation?

RG: It was really exagerrated..that was the intention of the director. Each show has its own style of animation.

DL: And was he Glen Kennedy? The director of the animation?

RG: I think so..kathllen and glen lived here in the phil for a short period of time. Just for the project.

DL: Well he moved back in 1995 to work for a company called animasia, or was that Malaysia?

RG: Yup Animasia. I think he also helped with the setup of L.A. animation studio at the back of Folk Arts Theater in Roxas Blvd. If my memory serves me right.

DL: Ah, how was glen? Because he was rumored to have said to kill Tom ruegger over him getting fired over his work on tiny toons.

RG: Ah that was way way back..as far as i know he was into drugs...that was i heard..

DL: Well if that’s true, he’s clean now. That must be the reason he said that.

RG: Good for him, Drugs at that time was rampant here.

DL: Like morphine as that drug was very popular there.

RG: No... shabu...poor man's cocaine.

DL: I never heard that.

RG: Coke coming from hong kong.

DL: Oh yeah. I know that.

RG: It was just a short stint in the scooby doo it was intended for senior layout artist not for a newbie.

DL: Scooby doo and the reluctant werewolf, how was working your first feature film?

RG: I tried but the director is too strict and disciplined..but the rate is good. I never get thru. We never get credits for any show only the seniors.

DL: That’s why you don’t have a IMDb?

RG: Yes,Its politics.

DL: Oh, That’s sad.

RG: Only the privileged in the higher ups.

DL: That’s makes so upset.

RG: Im able to work in the feature film in the india studio ...The Buddha.

DL: Ok that’s great. So the Jetsons movie? Was that your first feature?

RG: I animated some scene here but were not included in the credits.

DL: God, that musta sucks. Was it when George jetson was in traffic and pulls up a inflatable policeman to get out of traffic before get got pull over from a actual police officer?

RG: Thats how life it is... Actually the expats enjoyed here much ...somebody do the work for them. And those who had attitude problem was thrown here.

DL: Man, the agony. Greatest stories from the Bible? How was working on that series?

RG: Im not able to participate on that ..it has a good rate.

DL: Oh ok, fantastic max. How was working on that?

RG: Yeah fantastic max ..only limited. Also Cliffhanger.

DL: For fantastic max musta sucked.

RG: Little house of Horror.

DL: What does that mean?

RG: Its a tv show ..Little House of Horror..maybe not in the US.

DL: Oh yeah, never heard of that.

RG: We almost do the outsourcing from other countries not only in the US

DL: Never knew that! From Europe?

RG: We did Mozart from germany.

DL: I think I saw that on your demo reel. How was that?

RG: It was good.

DL: So did fil cartoons worked on Winnie the Pooh and darkwing duck for Disney? As did you worked on those?

RG: Yup! Nah ..winnie is just recent...i worked in fil in the old studio after that i moved to others ...politics is intensifying.

DL: Ah ok.

[artwallaus]

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[j4m3s-b4k3r]

could do better..

I was an indifferent student. All the way through primary & high school, my typical report card was “talks too much” or “could do better” which frustrated Mum & Dad, who’d both been stellar students. I countered with “if I’ve never done better, how do these teachers know that this isn’t ALREADY my better?!” Teen sass aside, at 15 I knew was already on the runway to adulthood and would need to get a career airborne within a few years. There was only one thing I was halfway good at.. and started to wonder if I actually could DRAW for a living. 

Year 9 Parent/Teacher Night program.

Ever since I was small, I’d had adults leaning down to my child’s-eye-level asking; “what do you want to be when you grow up?” When I answered “I wanna be an animator” at age 8 it was oh-so cute, but it seemed screwy at 15, when nobody thought that job even existed in Australia. Unlike the USA, countries with small populations don’t have all industries (which is why Fiji doesn’t have astronauts). So, in my mid teens I started to think seriously about what job I possibly could do.. My best-guess career by the time I was 15 was a signwriter/illustrator. 

My earliest illustrations printed anywhere were done for school. From year 7 onwards, I eagerly drew art for pamphlets, program guides for school plays, banners for athletics & swimming carnivals, and cartoons for the school magazine. I also submitted art to fan mags, and even got a few cartoons into the local newspaper too. It is nutty how much pleasure it gave me simply to see something I’d drawn printed in a ‘proper’ publication. 

Window decorations for a pub.

So people had already been using my drawings for years, but for FREE. Getting paid to draw was the tricky part. Perhaps the first time I got money for my drawings was at 15, when my friend Stephen’s uncle paid me to design t-shirt graphics for him. He had a screen printing business & t-shirt shop, and I did logos and illustrations for local sports teams and so on.. Around that same time, I was paid to paint Christmas window displays at a pub where I worked after school (as a cleaner). Those early PAID illustration opportunities gave me hope that it might be viable career one day.

Sign-writing was a job I seriously considered. Freehanded calligraphic hand-painted signs were much more common in those days. Even today, pubs & cafes often have beautifully illustrated & hand drawn menus in chalk on huge blackboards, and I've always admired them. In year 10, as part of the work experience program, I spent two weeks as general dog’s-body for the graphic designer at the local university, preparing myself to be a sign-writer/illustrator. He was a one-man department doing graphics & illustration for the university’s printed publications, campus signage, and theatre department. Which sounds cool, but for two weeks I did all the stuff he didn’t want to do. Fiddly paste-up bollox (& calligraphy practice). Not much fun at all..

Decorations for student Common Room.

Our high school had a lounge for year 11 & 12 students known as “The Common Room” and I got to decorate its walls with cartoons. I can’t exactly remember whether this was someone else’s idea who approached me, or a case of me badgering the powers that be, but either way, the the school principal had to approve the project. Which he did.

I’ve written about cranky teachers at Catholic school but this brother was definitely one of the good ones. He was not of the fire & brimstone old guard, but of the groovy younger set of nuns & brothers (the cool cats with folk guitar). He was a warm & wonderful man with a great sense of humour, and tolerated much shenanigans from me & my mates. Even when he (justifiably) scolded us for being boneheads, there was always a twinkle in his eye.

Decorations for student Common Room.

Anyway, he let me draw what ever silly nonsense I wanted on the Common Room walls, with no editorialising whatsoever. Which is pretty amazing now that I come to think of it. When that brother moved on, to be principal at another school, the next principal painted over everything I’d drawn. I was out of school by that time so no harm done, but I’m sorry now not to have more photos.

My pal Peter had a community radio show (called “Sunday Soft Rock”) and I often sat in when he was on air, as the FM-station was mere blocks from the Baker Family home. Through this contact, I did a few illustrations for the station’s program guide, and promotional posters for the station (and another in Newcastle). I definitely enjoyed illustrating, and hoped I would get more of that to do, rather than simple calligraphic sign writing.

Posters for community radio stations.

During the break between years 10 & 11 Dad saw an ad in the newspaper for an "animation workshop" being held at the university, which is how I learned that there actually was an animation studio in Sydney. This was an electrifying discovery! Getting into animation became my focus in the last two years of high school (perhaps to the detriment of my already shoddy grades). I sent my drawings to the studio multiple times, until they finally called me down to Sydney for an interview, where I was offered a job.

However, even after I’d entered the animation biz, illustration continued to be a sideline for many years, in Sydney and even when I worked in Asia. Not just to supplement my often sporadic animation work, but also because I genuinely enjoyed doing it.

From www.James-Baker.com