Gator takes a look at...Sandman Animation and Kieron Seamons

So we’ve been darting back and forth from the US and the UK on this studio exploration, so how about we end the trip somewhere completely different…China!

So let’s take a look at

Sandman Animations

GAH! NOT YOU!

THESE! Sandman Animations

CLICK HERE TO GO TO THEIR WEBSITE!

Apologies in advance for the lack of images this time around, as much of the websites content does not show up on my blog. Of course all of their content is viewable from the link above.

Founded in 2006, Sandman Animations is actually the most recent company in my list, and is also one of the most impressive animation studios in Asia; specialising in 2D animation as well as CG.

At its helm is Kieron Seamons, the animation director, who you may recognise for his work on “Who Framed Roger Rabbit,” “Balto” and “An American Tale 2 (among many other projects). The man is incredibly talented, with an incredibly diverse portfolio and it really shows with the work Sandman creates.

The studio has created series including “My Pet,” “Ra Ra,” “Little China” and has even worked on “Horrid Henry,” probably the most recognizable to my western readers.

Here's an example of their work:

And here's some of Kieron's work

https://www.youtube.com/watch?v=P8RwDLr9MMQ&list=UU0K32vfGwNk_ZKf1FQF1mFg

As you can see, the studio has a great deal of skill behind all of its work, and understandably so; as the company strives to ensure that its 120+ employees are the best of the best. In fact, the Sandman Animations classes have been created to enhance the quality of animation all across China.

That’s the main reason why I admire this company so much, it strives to build on others pre-existing skills, and help them to improve to an even higher standard. Talented animators helping other talented animators, and everybody benefits as a result, and the animation industry in China becomes greater than before. They are determined to improve the market and that dedication and support is a wonderful quality to have.

They have even set up a DIP Studio to cope with the high demand, and are always adapting and evolving with the growing industry, another important trait in any successful animator.

Combine that with wonderful worlds, diverse, vibrant characters and raw talent; and it’s no surprise Sandman has done so well.

Good job everyone

Be sure to follow the link below to go to the studios youtube page, where you can see more of their work as well as Kieron's.

 https://www.youtube.com/user/SANDMANANIMATIONSTUD

(I also want to leave a heartfelt thank you to Kieron Seamons, who took the time out of his day to answer a few of my animation questions a few months ago, and even browsing my blog to give me feedback on my work. It meant a great deal to me to have somebody respond to my email, especially from somebody I respect so much, and it further illustrates his studios support for new talent.)

 

And so with that, our animation exploration comes to an end. It’s been a blast, and I loved speaking about these studios.

Next time, we’ll be coming back to my own work, and I’ll give you another sneak peek into the artwork behind “There Be Monsters.”

Gator takes a look at...Cartoon Network Studios

Now let’s see a studio that has not only been around for several years, but came into being to provide content for one primary channel.

 

Cartoon Network Studios

 

Founded in 1994, the studio was a division of Hanna-Barbera cartoons (also known as the people who created the "Flinstones," "Scooby Doo" and "Tom and Jerry") as well as a subsidiary of the Turner Broadcasting System (which now owns many popular American channels, including Adult Swim and CNN). 

Until 1997, the studio remained merged with Hanna-Barbera, before becoming a separate entity. The studio created such unique animations as “The Powerpuff Girls,” “Dexter’s Laboratory,” “Cow and Chicken” and “I am Weasel.” 

 

While much of their work created under the Hanna-Barbera name can be found on Boomerang, Cartoon Network is the main home for many of the studios productions (hence the name). 

Now free to create many different style of animation, breaking away from the limited animation Hanna-Barbera is known for, we were given (deep breath now, this is a long list).

“The Grim adventures of Billy and Mandy,” “Evil con Carne,” “Star Wars: The Clone Wars,” “Fosters Home for Imaginary Friends,” “Camp Lazlo,” “Ben 10,” “Samurai Jack,” “Adventure Time,” “Regular Show” and “Steven Universe.” And that’s not even all of them!

 

I need a lie down.

So as you can see, the studio has clearly earned its stripes by creating such a large amount of content. But does quantity necessarily equal quality in this case? Well…yes…I mean, it’s on my list of top 5 influential companies, that…that was a silly question.

But yes, many of these shows are wonderfully done, and have a great deal of variety when it comes to story and target audience. “Ben 10” being more for the younger side, while “Regular Show” boasts a more mature feel. 

 

Well, mature in humour and style anyway.

The animations are incredibly versatile to boot; with “Fosters” and “Samurai Jack” boasting a cut-out, hand-crafted appearance, with Jack portraying it in a darker light while Fosters is more childish and bright; while “Camp Lazlo” and “Grim adventures” are a little more polished, with bold lines and buggy-eyed characters. 

 

But the main thing I love about this company is its dark, twisted approach to everything it does.  The character designs are incredibly caricatured and over the top, the worlds are bizarre and the humour can be especially grim. Everything has a rather…rough appearance. There are no pretty girls or muscle men (excluding Johnny Bravo!), it’s mostly children or strange creatures.

 

This company is the anti Cosgrove Hall to me; while the UK company gives its characters a sense of believability and realism, Cartoon Network strives to have its characters defy every law of logic they can. But of course, in order to keep us watching and to stop the characters from being random for the sake of random, they establish incredibly detailed worlds and scenarios which make them acceptable. The tone is light-hearted and fun, so the creepier moments and mature elements are a welcome surprise, whereas with Cosgrove, the tone is often darker and more sombre, so it makes sense to have the characters have a more realistic aura.

 

When you’re in a world where you know a vampire queen and an ice king are hanging out in a house practising music, while a human boy and a shape-shifting dog are outside, it’s a welcome pause from the madness to explore the more emotional side of the characters. We get a sense of how they are relatable, and that prevents them from losing the audience by being too farfetched. I believe Cartoon Network has mastered that balance.

 

I have to say, this company is the one which speaks to me the most regarding its style. Sticking to mostly 2D animation, which perfectly utilizes their limitless characters, and expands the possibilities of insanity they can achieve. Add frightening imagery and a crazy imagination and you have yourself one heck of a studio.

 

So, for the final entry, we’ll be travelling somewhere new and stopping off at a studio whose name sounds…oddly familiar.

Gator takes a look at...Cosgrove Hall Films/Entertainment

So, due to several delays in updates thanks to my Major film taking up all of my time, I’m hoping to make it up to you all by delivering the final 3 of my “Gator looks” series, as well as my small tribute to animation individuals and more "There be Monsters" work, once a day. 

So let’s return to the United Kingdom to take a look at another company close to home and my heart.

Cosgrove Hall Films/Cosgrove Hall Entertainment

Click here to go to their current website

This studio began as the former title, founded by Brian Cosgrove and Mark Hall (former co-workers at Granada Television) in 1976. Setting up home in Manchester, as a subsidiary animation studio to Thames Television (and later Anglia Television and finally ITV), they produced some of their most famous series; including “Danger Mouse” and “Count Duckula.” The studio even produced a feature-length animated adaptation of “The BFG;” one of the few Dahl adaptations that the original creator approved of. Now that wasn’t an easy feat!

 

Of course, they weren’t all 2D productions; there were also CG productions such as “Guess with Jess” and the multi award winning “Jakers! The Adventures of Piggly-Winks.”

And don’t forget the numerous stop-motion series such as “Oakie-Doke,” “Enjie Benjy,” and “The Wind in the Willows,” which also became a short film. Though on this front, I best remember them for “The Sandman,” a stop-motion short film which is best remembered for its beautifully stylized characters and the fact that it’s nerve-shreddingly terrifying.

 

...I for one am not sleeping tonight.

Now this studio is without a doubt the one that’s dearest to my heart. Cosgrove Hall produced many shows which were the backbone of my childhood entertainment. “Oakie-Doke,” “Danger Mouse” and “Wind in the Willows” were some of the first animated shows I ever watched; and the BFG is one of my favorite films to date. It’s one of the main films that motivated me to become an animator in the first place.  

 But nostalgia aside, let me explain why this studio really was so great.

First of all, there’s its diversity. The studio explored all three of the major animation styles and mastered them to create incredibly entertaining content. But what amazes me is that their style is so distinct that it can easily transfer across these mediums. I can look at Danger Mouse and see Wind in the Willows, or I could look at the BFG and see a resemblance to…that nightmare fuel

 

GAH! GET OUT OF HERE!

Anyway, as I was saying, their style and characters are instantly recognizable whether they are drawings, puppets or computer graphics. While the characters themselves are wildly diverse in personality and appearance, you could imagine them existing in the same world, the Cosgrove Hall world, and that takes an incredible amount of talent.

I’ve also loved how their animation feels rather real and grounded. Even in Danger Mouse and Duckula, shows which thrived on being ridiculous (you can’t make a vegetarian vampire duck serious; trust me you’re not going to be seeing “The Duck Knight Rises” any time soon). 

 

All the characters were animated with a genuine weight to them. The BFG felt genuinely large and lumbering, the animals of the Wind in the Willows felt small but grand in their mannerisms. It gave these vast, fantastical worlds a real sense of believability, and it made them much more convincing when I watched them as a child, even a little now when I know the mechanics. That shows you’re doing your job right. 

 

I guess that’s why Sandman still comes across as creepy to this day, because he leaps around with a very realistic presence, you could imagine that large blue vulture leaping around a child’s room. Take a look and judge for yourself. You’re welcome for introducing you to an incredible piece of work, but apologies in advance for the night terrors.

However, sadly, all good things must come to an end, and in 2008 the majority of the studios staff were made redundant, Cosgrove Hall finally closing its doors in 2009. All that was left was the legacy of fantastic animation and timeless characters they had left behind…

…UNTIL 2011!

 

Yes I wasn’t going to end on a sad note was I? In 2011 Cosgrove Hall Entertainment rose up from the ashes like a glorious animated phoenix. The studio is currently working on two brand new productions titled “Pip!” and “HeroGliffix,” and once again Brian Cosgrove is at the helm, this time with Simon Hall (Mark’s son) at his side after Mark Halls passing. Here’s to a bright future for the newly revived studio which brought us so much wonderful animation!

 

Next time, we’ll be traveling across the pond once again (this is like country table tennis) to see a studio that was also a huge part of my childhood.

…now all I have to do is try and get some rest without thinking about that Sand…

 

...oh dear

Zombies ate my students

It's no secret to a lot of people that I'm a fan of zombie-related films, games and shows, not for the zombies themselves (though they are admittedly fun to draw), but for the survivors and how they interact and develop. So, in celebration of this, and also as part of a joke with a few of my friends, I caricatured us in the garb of characters from "The Walking Dead: The Game"

I even got a bit carried away and made a fake poster.

Here's all the individual images just so you can see them without the mass of angry zombie arms.

I really think I've come a long way regarding anatomy (namely hands, which were always a struggle) and expressions.

Gator takes a look at...Studio B Productions (now DHX Media/Vancouver)

As promised, we take a look at a company from across the big blue sea, a company who has inspired me for it's use of digital animation.

       

Click here to go to the DHX website

Ladies and gentlemen, let's take a gander at Studio B Productions.

www.ex.ua

Founded in Vancouver, Canada in 1988, Studio B productions was acquired by DHX Media in 2007, before becoming re-branded under the name DHX Media/Vancouver in 2010. Merging with one of the most recognized headquarters for children's entertainment, the studio also gained the ability to use many character brands, one of which leading to, arguably, their most popular show to date...but we'll get to that in a moment.

mlp.wikia.com

Now this company has a diverse past, their earliest recorded work being the layouts and pre-production of shows such as "Where on earth is Carmen Sandiego" and "Timon and Pumbaa." However over time, namely after 1999, they moved on to become the main production company behind amazing shows such as "Yvon of the Yukon" (2000), "The Amazing Adrenalini Brothers" (2006), "Kid vs Kat", "Martha Speaks" (2008) and the still outrageously popular "My Little Pony: Friendship is Magic" series (2010-present).

www.totalmediabridge.com

Yes, I couldn't talk about this company without bringing up their work on Lauren Faust's re-imagining of the multi-coloured horses now, could I? Now you're going to have to forgive me when it comes to examples here, as this show may dominate; but this is not a sign that the other shows are in any way less notable, that is far from true, it's merely because I believe this program to provide the best sources for my discussion (being held in such high regard means plenty of image/video sources). It was the animation in this series which re-introduced me to the work of DHX after all, and reminded me of just how many amazing shows they had given life; as well as exactly why I respected them so much in the first place.

www.youtube.com

When given assignments in university, I found that one of the more interesting pieces was animating entirely in symbols as opposed to the free-hand and traditional approach which I was so used to.
I bring this up as, while completing these assignments and researching how this technique was used, I discovered many flash animations are often given a bad wrap as being inexpressive and simplistic compared to the hand-drawn style.

Trust DHX to prove everybody utterly wrong.

mlp.wikia.com

...Excuse me, is that a beautifully crafted chimera vector leaping onto a deeply atmospheric backdrop? Well colour me impressed!

The primary reason why I adore this company is it's ability to take the digital format and create incredibly dense, fantastical environments which make you feel like the established world has a genuine vastness. Even the desolate Yukon in the show of the same name feels open and grand, giving you a sense of the characters isolation. I've always appreciated a sense of grandness not just regarding depth of field, but the entire world the characters dominate, and DHX master that.

www.telefilm.ca

As for the characters, I have to tip my hat to just how expressive and elastic they seem to move and speak. The wide array of facial expressions and erratic gestures of each shows cast gives the characters a fluid, human-like feel, which is perfect when we want to relate to a non-human character.
I also have a real admiration for how they aren't afraid to push the limits when it comes to exaggeration of the features, Characters can pull the most grotesque of expressions and it really adds to the rubbery style each character possesses.
The same goes for pushing for disgusting imagery, a feature Yvon is probably best known for.

otzovik.com

As I stated when talking about Cartoon Saloon, there is something I adore about animation, combining two mediums. Yet unlike Cartoon Saloon, DHX combines the principles of two animation styles to create amazing animation. Digitally animated characters cavorting about the screen as if they have the physics of a traditionally animated creation. This allows the characters to be utterly unlimited in what they can do and just how caricatured their delivery can be.

To illustrate my point, here's a couple of excerpts from two of MLP's more recent episodes, featuring three characters who fully take advantage of being boundless.

 So there you have it, a studio that truly elevates the strengths of digital animation to a whole new level. I thank them deeply for inspiring me to expand my knowledge of this particular style.

Next time, we come back to the UK to look at a blast from the past.

Gator takes a look at...Cartoon Saloon

As an animation student, someone who is striving to be the best I can be in my chosen field, it comes with the territory that I look up to companies (and individuals) for inspiration and motivation. So, why not celebrate those who introduced me to the animated world and keep me going with the idea that, some day, I may join them.

Across the coming weeks I will be shedding a little light onto 5 different animation studios (and possibly 2-3 individuals afterwards in an extra post, as my way of saying thanks) and what brought them to where they are today.

So let's kick of with a studio relatively close to home.

Click the logo to go to their website!

Cartoon Saloon is an animation studio based primarily in Ireland; Kilkenny to be specific. The saloon was founded by Paul Young and Tomm Moore, Ross Murray and Nora Twomey in 1999, an informal partnership founded in their final year of Ballyfermot College. This flourished into a fully-fledged studio which has worked alongside the likes of Disney, Cartoon Network and the BBC and produces a wide variety of animated media; from commercials and graphic novels to television shows and films (both short and feature length). In fact, you may recognise one of them from the Oscars a few years ago.

Property of Cartoon Saloon

Property of Cartoon Saloon

That's right! These are the creative minds behind "The Secret of Kells" (one of my favorite films by the way) as well as the upcoming feature "Song of the Sea" (Both of which are directed by Tomm Moore). But it's their television work and animated shorts which first introduced me to Cartoon Saloon, namely their 2002 short "From Darkness" and the 2007 series "Skunk Fu!"

Property of Cartoon Saloon

Property of Cartoon Saloon

This studio has always been a huge inspiration to me, namely for the gorgeous designs of the backgrounds and the fluid animation of the characters, which truly immerses you in the lush, fantastical worlds they build. Everything is bursting with detail, and perfectly reflects the feel of the narrative. I am also deeply fond of their use of curved shapes and crisp lines, it makes the character movement all the more compelling and gives it a "storybook" feel.

Property of Cartoon Saloon

But most of all I love their combination of traditional and digital. While their TV products lean more towards the digital side, Their feature films have combined both hand-drawn animation and digital media, creating free-flowing movement while also utilizing new software to enhance the footage with rich colours and effects.

Here is an example of the rough animation in "Secret of Kells" (animated by somebody who is also named Alessandra, now isn't that interesting). Alessandra Sorrentino!

To me, this is animation at it's best. I am fond of many different approaches and styles, but I think the medium truly shines when you combine elements from all different corners of the industry. Now I'm not a whiny old fool who will complain "back in my day...", I am a true fan of the evolving world of digital animation, and would love to be a part of it, but I also don't forget that there are certain features and benefits that come with the traditional approach, and Cartoon Saloon are living proof that mixing the two can lead to an amazing concoction indeed.

Property of Cartoon Saloon

See what I did there?


Next time Gator takes a look, we'll be traveling across the pond to look at somewhere that truly leans to the digital side.

Until then!

La Cucaracha

A surprise post before my usual weekly post! So that would make this a double post...what does it mean?

I coloured in this sketch a few days ago (with what was apparently a sprained wrist, though at the time I thought it was just RSI or something...ouch).

A new member of my animal crew (who I am now starting to call Kit's crew, even though she isn't the captain...logic). Rick Gageson, engineer and general grease monkey...er, roach.

I had a tonne of fun adding texture and shading this time, namely on that boiler suit of his, though those antenna could do with a bit of work, as well as the goggles.

After surviving a rather nasty explosion when he was young, Rick's fallen under the false assumption that he's indestructible, and so has a cocky attitude towards anything dangerous, which is valuable when living on a ship that's falling apart, but not so much when it comes to social situations. His general lack of care for danger and boundaries means he can come across as insensitive and creepy towards those who haven't known him for very long.

Both he and Kit are highly protective of the ship and incredibly doubtful of each others treatment of it. Kit yelling at Rick to avoid it exploding while Rick criticizes her drink driving and how it'll cause them to crash. Though he's probably the closest to the pilot, what with Silas finding him vulgar, Trigger finding him idiotic, and Legs constantly falling victim to Ricks frat-boy bullying

Only the captain and Trigger left to finalize, and then I'll draw all of the crew in the same way I have drawn this fella.