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Date: Fri, 14 Oct 2011 08:38:29 GMT

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Basic information

website build using CSS

code weight: 116.52 KB

text per all code ratio: 1 %

title: ASIFA-Hollywood Animation Archive

description:

keywords:

encoding: UTF-8

language: en-US

Website code analysis

one word phrases repeated minimum three times

two word phrases repeated minimum three times

three word phrases repeated minimum three times

B tags

U tags

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I’ve spent the last two years of my life in a rigorous academic environment, studying moving image archives. This includes the history of the industry, case studies with many different archival repositories, and the administrative and technical issues involved with storage, cataloging, access and preservation. The sticky term in the previous sentence is ACCESS.

Story artist Eddie Fitzgerald offers storyboarding tips to archive volunteers Michael Fallik, Max Ward and Art Fuentes.

Gary Francis and David Hofmann study one of the over 3,000 animated films in ASIFA-Hollywood’s Archive Database.

Stephen Worth explains, “This isn’t an archive OF

FOR

The animation related material in the collection includes storyboards, animation drawings, production correspondence, exposure sheets, publicity materials, production photos, model sheets, pencil tests, background paintings, and more.

The family of legendary animator, Carlo Vinci has been sharing artwork from Vinci’s fifty year career in animation. The collection includes a number of class assignments from his studies at the prestigious National Academy of Design, documenting the education of a golden age animator.

Milton Caniff at work in his studio in the late 40s. The estate of Caniff, the creator of Steve Canyon and Terry and the Pirates, has shared original artwork and biographical material with the ASIFA-Hollywood Animation Archive.

David Hofmann views an exhibit of early Disney animation drawings at the ASIFA-Hollywood Animation Archive.

Plans are underway to assemble a world-class collection of books and periodicals on the subject, under the guidance of ASIFA-Hollywood Board Member Jerry Beck, rounding out the research arm of the project. And Jere Guldin from the prestigious UCLA Film and Television Archive heads up ASIFA-Hollywood’s film preservation efforts, rescuing films in danger of being lost to the ravages of time.Katie Rice, Stephen Worth and David Gemmell refer to artwork in the collection of the ASIFA-Hollywood Animation Archive. (photo: Lori Shepler)

Bill Scott, the voice of Bullwinkle J. Moose, came up with the original idea of an archive, museum and library devoted to the art of animation.

Ralph Bakshi, the animator who was responsible for bringing about the modern age of animation has written several inspiring articles for the Archive project blog and has contributed material to the collection. The storyboard section above is from Bakshi’s "Cool World" and was drawn by Louise Zingarelli.

Studio gag drawing of Grim Natwick at the Ub Iwerks Studio with his "kid assistant" Chuck Jones. Jones would go on to become one of the most influential directors in the history of animation.

The ASIFA-Hollywood Animation Archive hosts an online drawing course led by John Kricfalusi based on Preston Blair’s "Advanced Animation".

Students at the National Academy of Design in the early 1920s. Traditional art studies from the past form the foundation for artists of the future.

ASIFA-Hollywood’s Animation Archive Database contains many one-of-a-kind treasures from the estates of legendary animators like Les Clark and Grim Natwick.

ASIFA-Hollywood’s Animation Archive contains information on influential women animators like Lotte Reiniger, the creator of the oldest surviving animated feature, and the acclaimed illustrator and designer, Mary Blair.

In the "golden age" of animation, production designers didn’t look to other cartoons for inspiration on how their films should look… they looked to classic illustration, like that of Gustaf Tenggren. The ASIFA-Hollywood Animation Archive collection includes hundreds of illustrated children books, each one bursting at the seams with new ideas for how animated films can look.

A rough animation drawing by the legendary Milt Kahl. The animation of the past is being put back to work, educating and inspiring the animators of the future.

The ASIFA-Hollywood Animation Archive depends on the support of the people who benefit from it. If you feel that this resource is of value to you, we encourage you to contribute and become a member of ASIFA-Hollywood. With your contributions, the Archive can grow. Together, we can take the project forward.

Johnny Cash

W. C. Fields,

Muddy Waters

Harold Lloyd

Coonskin…

Fox and the Hound?

Coonskin.

Grim Natwick with his "kid assistant",Chuck Jones (Iwerks/1933)

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ASIFA-Hollywood Animation Archive

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About The ASIFA-Hollywood Animation Archive

CREATIVE LEAGUE: Pop Cultural Literacy April 23rd

CREATIVE LEAGUE: Say Something, Dammit! April 9

CREATIVE LEAGUE: Keaton’s Our Hospitality On The Big Screen

BIOGRAPHY: Grim Natwick- The Greatest Animator Who Ever Lived

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About The ASIFA-Hollywood Animation Archive

CREATIVE LEAGUE: Pop Cultural Literacy April 23rd

CREATIVE LEAGUE: Say Something, Dammit! April 9

CREATIVE LEAGUE: Keaton’s Our Hospitality On The Big Screen

BIOGRAPHY: Grim Natwick- The Greatest Animator Who Ever Lived

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Archive of Past Posts

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