CTN is proud to present Ted Thomas in an interview and screening of “Growing up With Nine Old Men”.
For those who don’t know, Disney’s Nine Old Men were the original group of core animators who worked for Walt Disney. Filmmaker Ted Thomas, son of legendary animator Frank Thomas and one of “the nine old men”, has often been asked what it was like growing up with one of Walt Disney’s core group of artists. In his documentary “GROWING UP WITH NINE OLD MEN”, Ted hits the road to put that same question to the other children of the team that created a new art form and put a lasting stamp on popular culture. If you’ve seen the films Frank and Ollie and/or Walt and El Grupo, then you’ve seen the wonderful work of Frank Thomas’ son, Theodore (Ted) Thomas.
Join #CTNers on Saturday morning Nov 16th at 10:45am at #CTNexpo 2013 for this wonderful and charming account of the lives behind the scenes of the nine old men.
DVDs will be available at the CTN store on site at the event to purchase and and have signed by Ted Thomas.
This session is included with CTN LIVE, VIP 1-day and 3-day expo passport ticket.
To buy tickets to the event click here.
For more information about Ted Thomas
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CTN 2013 is happy to be celebrating its 5th Anniversary with all the incredible talent we love putting center stage!!!This year we are looking to the future and the talent that we have among the #CTNers. It is because of you all that this expo has been a huge success for the past 5 years.
We want to hear from you CTNers how many years have you been at the CTNexpo? Whats your favorite memory here at CTN? We want to know! Share it with us there at social media booth at the show or using #ILoveCTN ! We look forward to sharing all the exciting things we have lined up for you guys this year!
CTN artists share their talent at the Wacom booth #119 during Siggraph
CTN is in the house with WACOM at SIGGRAPH this July 23rd – July 25th at the Anaheim Convention Center. At booth #119 several Creative Talent Network artists will be showcasing their talent and abilities and how they create for feature films and independent personal projects using a Wacom Cintiq. Each demonstration is one hour and is a great opportunity to meet the talent and see first hand their skill at using a Wacom Cintiq Tablet.
Presentation schedule of artists are:
Tuesday, July 23
- 10AM – Craig Elliott – After receiving his training at the Art Center College of Design, Craig began his career in the entertainment industry as a layout and visual development artist. Today, Craig’s work can be found at virtually all of the major studios and his personal work has developed quite the international fan base.
- 1PM – Erik Martin – With clients that include Walt Disney Imagineering, Walt Disney Interactive, Jim Henson, Nickelodeon and others, Erik is a talented and enthusiastic artist. When not working digitally, he enjoys painting landscapes with traditional media.
- 3PM – Craig Elliott - Encore performance. See above.
Wednesday, July 24
- 10AM – Brian Kesinger - An Annie award winning artist for Walt Disney Studios and the creator of the popular characters, Otto and Victoria, Brian’s 16 years at Disney has spanned both hand drawn and CG animated films from Tarzan to Wreck-it Ralph. His debut book, “Walking Your Octopus,” showcases his style, wit and ability to tell engaging stories.
- 1PM - Armand Baltazar - A senior designer with Pixar Animation Studios, Aramand’s credits include work on Cars 2, Brave and other films. He exhibits his fine art in and around Los Angeles and San Francisco and enjoys speaking and teaching at universities around the country.
- 3PM – Armand Baltazar – Encore performance. See above.
Thursday, July 25
- 10AM – Brett Bean - As a freelance character designer for clients that include Disney TV, Nerd Corps, Wizards of the Coast and Disney Interactive, Brett brings 10 years of design experience to the table. Bretts recently funded graphic novel, “Spaced Out – The Story of Fil & Mantis will be coming out later this year.
- 1PM - Armand Serrano – Celebrating more than two decades in the animation industry, Armand currently hangs his hat at Walt Disney Animation Studios. His film credits include Hotel Transylvania, Lilo and Stitch, Cloudy with a Chance of Meatballs, Mulan and many more.
- 2:30PM – Jason Scheier – A visual development artist for DreamWorks Animation SKG, Jason has had the opportunity to use his artistic talents in the creation of several films including Kung Fu Panda, Megamind, Turbo, the Croods and Rise of the Guardians.
So please be sure to stop by Booth #119 to meet the talent, see demos and check out the latest tablet technology. Be sure and tell them CTN sent you so you can be entered into a raffle to win a pass to this years CTN animation eXpo held in Burbank CA on November 15-17, 2013!
For information on artists and scheduling contact Kathy at 818-259-1598 or Kathy@creativetalentnetwork.com
For information on locating the Wacom booth or seeing the presentations at SIGGRPAH contact Kelly at 818-404-2931 or Kelly@creativetalentnetwork.com
About the Creative Talent Network
The Creative Talent Network (CTN) is an online community of leading animation professionals whose contributions to the industry can be seen in some of the highest grossing films in the history of animation. Each year, CTN hosts the “CTN animation eXpo” where members thrill audiences by sharing their amazing artistic talents. Consult www.ctnanimationexpo.com to discover more about the event, held at the Burbank Convention Center, November 15 – 17, 2013.
Founded in 1983, Wacom’s vision to bring people and technology closer together through natural interface technologies has made it the world’s leading manufacturer of pen tablets, interactive pen displays and digital interface solutions. The advanced technology of Wacom’s intuitive input devices, particularly its Cintiq family of pen displays, provide professional animators, designers and artists with the ability to explore digital content creation in a comfortable and natural way.
Another great event for the Creative Talent Network!
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Tell us a little about who your are and how you got here.
I am well recognized for my work as a supervising character animator on many of the Disney classic films. My career spans almost three decades and I have designed characters and animated on thirteen feature films such as The Little Mermaid, Beauty and the Beast, Tarzan, and The Lion King.
Long ago, I was a frustrated young engineer, in Pennsylvania, who was inspired by Disney classic films. I wrote a letter to Walt Disney Feature Animation, and they told me learn my animation skills at CalArts. So I put together a portfolio and the rest is history…….straight from school to the belly of the beast……Disney.
When did you begin creating and working in this industry?
While going to school, I animated on Steven Spielberg’s Amazing Stories “Family Dog”. Directly after school I animated on my first feature, Oliver and Company.
What job title best describes what you do?
I’ve been a hand-drawn Animator for many years. But now my career path is moving toward pre-production and story. Storyboard Artist is how I might now describe myself. I’ve boarded, directed, character designed, wrote scripts, drawn layouts, and even wrote music for and animated short. Maybe the best title would be Animation Professional.
What city and country are you living in?
I live in Acton, CA on a small ranch that houses my wife, dogs, cats, horses, chickens and the rest of my zoo. Did I mention I like animals?
Who do you feel has inspired you the most?
Marc Davis, Hal Ambro, Glen Keane, Mike Gabriel, and many others – all animator/artists that bring life to whatever they touch. Read more
Tell us a little about who your are and how you got here?
My name is Sunil Pant and I’m originally from Mumbai, India. I finished my graduation in the field of Science, majoring in Quantum Physics in 2004. I later went on to get my second graduates degree from the Academy of Art University – San Francisco, in the year 2007 in 3D Modeling.
From when I can remember, I’ve always been interested in modeling and design. During my course of education at the Academy of Art University, I was hired by Industry veteran, George Hull (VFX Art Director – MATRIX Films) to help out with a few of his film projects where I started out as an apprentice.
I learned a lot about GOOD Design and what makes something look great during this period. It was the best Design education I could get. I’d spend hours practicing on my drawing table the rules of perspective since this was all new to me.
When did you begin creating and working in this industry?
I started as George Hull’s apprentice in 2005 working on movies like ‘Terminator Salvation’ and ‘Speed Racer’ where I helped with doing some 3D mock sets and props. I also began my internship in EA in the year 2006 working on ‘The Simpsons’ Game and later did my second Internship with Industry Veteran, Syd Mead on a Virtual World Game called, ‘Blue Mars’ based out of Marin County, California.
What job title best describes what you do? Senior Entertainment Designer
What city and country are you living in? Mumbai, India (currently)
Who do you feel has inspired you the most? ‘NATURE’ inspires me the most in coming up with and thinking about new designs. Read more
Tell us a little about who you are. When did you begin creating and working in the design and animation industry?
I’m Wanchana Intrasombat but it is easier if you call me “Vic”. I was born in Bangkok, Thailand in 1986 which is where I currently am living. I am a 2D and concept artist. My services include concepts for animation, game, illustration and character design. I graduated in 2008 in the category of Fine Art (traditional painting, oil color). From 2009 until now, I began teaching myself how to use the various digital painting tools and then received many opportunities to work on many design and animation projects.
What was the one key moment in your career that you feel really defined you?
I think that defining moment came for me when I received an award from the CG community at CG Society for “2D concept art and illustration”. Before that I had done a lot of personal paintings to improve my portfolio without any job/project offered but after I received the award, there were so many projects and opportunities offered to me. And my first opportunity to work in the animation industry came through an animation commercial when EmberLab presented me with a very important opportunity for both my spirit and my career in animation to be an art director for a Coca-Cola and McDonald commercial “Crabs and Penguins”.
Where do you work now, what are you working on?
I’m still working as a freelance artist and live in Thailand. I am looking forward to being a part of an animation studio in USA one day. I’m currently working as a visual development artist and character designer with so many studios such as EmberLab, Anya Animation and KiwiUp to name a few on projects such as an Animation-Feature film (un-public) , Fanta, KFC, and Pizza Hut animation and game commercials that I believe will be released soon.
What has been the most rewarding aspect or project you’ve worked on to date?
The most rewarding aspect for me is the experience that I gain when working as a team that has joined together with so many talented artists on the same project. I think both opportunities and experience are very important in this industry and I always practice to improve my skills so as to be prepared and ready for every opportunity that may or may not come. Read more
Click on arrow below to listen to interview
Jean Gillmore began her animation career in the traditional 2-D world, working on network animated television shows (Hanna-Barbera, Marvel Productions) as a show model designer and/or supervisor for several seasons. She made the jump to theatrical animated features in 1989, where she worked 10 years as a staff visual development artist for Walt Disney Feature Animation. Her contributions to the Disney Renaissance era of feature animated films is huge and her credits list is long. If you look behind the animation you will find that most of the characters from that era were designed by Jean Gillmore.
More recent work has seen Jean illustrating books, creating orthographics of characters and costumes for CG direct-to-video projects and even designing a set for a (critically-acclaimed) one-woman theater piece, “The Dance of the Lemons”. Most recently in animation, however, she has worked as a CG COSTUMER for an animated feature development project at Blue Sky Studios on the east coast.
Over her long career, she has also worked in the development of various puppet show costumes and sets, toy design, and with the merchandise/ publishing concerns of retail venues (Walt Disney Consumer Products). Jean works in a variety of media with numerous applications, and is always open to breaking new creative ground.
Enjoy a rare interview with this ecclectic, bright and extremely talented lady.
To see more work by Jean Gillmore please visit her website at: http://www.jeangillmore.com
Click on arrow below to listen to interview
Phil Nibbelink has been drawing his whole life. He studied art at Western Washington State University and film in Rome Italy’s Il Instituto di Stato per la Cinematografia. After attending the Disney Animation Program at California Institute of the Arts, Phil joined Disney Studios to animate on The Fox and the Hound, The Black Cauldron and Basil the Great Mouse Detective, Oliver and Company and Roger Rabbit. In 1989 he teamed up with Steven Spielberg to direct American Tail, We’re Back and Casper. Phil went on to start his own company where he wrote, directed and animated 3 features, Puss in Boots, Leif Ericson, and his third feature Romeo & Juliet: Sealed With A Kiss, won him a 1st place and ‘Best-in-Show’ award at the Best-in-the-SouthWest film festival. Phil had too much fun teaming up with his old college roommate David Greenblatt to create the graphic novel Ultima Thula.
Enjoy listening to this great talent discussing about a time when we were Drawn2gether and you can meet him at the CTN Animation Expo (CTN-X) on Nov 20-22, 2009
You can see more of Phil Nibbelink’s work and contact him directly at:
Creative Talent Network and www.philnibbelink.com
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A Conversation with Harald Siepermann
“Germans ARE Funny!”
By Rhett Wickham
I have this far reaching, overly academic theory that goes something like this: the European influence on animation is growing increasingly absent in America and as a result, we’re getting less and less visually exciting.
Disney in the late 1930’s and pre-war 1940’s was undeniably under the influence of artists and illustrators like Gustave Tenggren and Kay Nielsen and Ferdinand Horvath, who had a powerful and visible impact on Snow White and the Seven Dwarfs, Pinocchio and Fantasia. And, yes, there is a similar influence on live action with the work of directors like Alfred Hitchcock, Fritz Lang, Josef Von Sternberg and James Whale, but I’d argue that no other single studio product exhibited that influence in the same way as Disney’s films from this period.
So it is, or was, that a great wealth of European talent flowed into the industry in the United States after the production of Who Framed Roger Rabbit, and studios like Disney and DreamWorks benefited from the gifts of artists like Darek Gogol, Hans Bacher, Paul and Gaëtan Brizzi, Carlos Grangel and that German guy who worked on Tarzan..oh, come on…you know his name. Hans…no, Heinrich…oh shoot, hang on…HARALD! That’s it. Harald Siepermann! Read more
The Black Hole Memories
From the autobiography of Dorse A. Lanpher
“Flyin’ Chunks and Other Things to Duck”
Copyright © Cinefantastique
In early 1979 I was working at Walt Disney Productions on The Black Hole, a live action film with animated effects. The spectacular success of George Lucas’s brilliant Star Wars inspired Walt Disney Studio’s to do a film which would cash in on that sci fi success. I had just finished working on the hand drawn animated effects for Pete’s Dragon, another live action film. Don Bluth who had directed the 2D animation for Pete’s Dragon was talking about leaving the studio with John Pomeroy and Gary Goldman to do the animated film, The Secret of NIMH. Don had mentioned that he would like for me to join them as special effects supervisor. Even though I was intrigued by Don’s offer I felt I had a professional obligation to finish The Black Hole and was having a good time doing it. Jack Buckley, a long time Disney effects animator, had retired as effects department head and left me in charge as the animation effects department supervisor. Ted Kierscey, an effects animator, was helping me animate the laser blasts, rocket engine exhaust, and various visual effects that at the time, before computers, only 2D animation could accomplish. Don Paul was just out of the Eric Larson animation training group and he was assisting us. There was even some input from Brad Bird, later to become a successful director for Pixar Studios. During a conversation with Brad he revealed his successful directorial future when he expressed some ideas about how I might animate the laser beams when the actors fire their hi tech weapons. The production designer of the film was Peter Ellenshaw. A successful fine artist who was honored as a Disney Legend in 1993. Read more