Elemental Magic Workshop at PennDesign

A couple of weeks ago, I went to the University of Pennsylvania to conduct my 'Elemental Magic' workshop at the PennDesign department of the school. It was an absolutely wonderful experience, and I can't say enough good things about the quality of the students and faculty and the warm welcome that they gave me! This was my first time conducting my workshop in an American University. I have previously given the workshop in Canada, Europe and Asia, and this was a great opportunity for me to bring my workshop stateside.


My workshop focuses on what I call, 'an ORGANIC approach' to visual effects animation. The premise of my workshop is that, like character animation, visual effects as well should be approached from a traditional, or 'classical' point of view, when a student of animation is first starting out. It has been well accepted in the discipline of character animation, that to become a quality 3D or 'digital' character animator, one must first learn the basic fundamental principles of classical animation. But when it comes to visual effects animation, the long history of special effects animation and the hands-on study of what makes effects elements tick, is most often completely left out of the equation.


Visual effects today is treated like a fully 'digital' discipline, and students of visual effects are taught a kind of techno worshipping, 100% computer dependent approach to creating special effects of all kinds. And from my perspective, this is why the vast majority of special effects being created today look like crap!


Of course there are so called 'digital' effects artists creating utterly amazing special effects these days. But I guarantee you, they are few and far between, and the ones who do create compelling effects know exactly what I am talking about! To create truly wonderful special effects, any artist must approach his art with a great deal of feeling, and an imagination filled with a deep understanding of the elements that he or she is attempting to recreate! The way to do this, is through the imaginative study of 'ORGANIC' elements. And that is the primary focus of my workshops. To bring the participant's imagination and attention, to a universe of visual effects information that is not found somewhere inside of a computer, but exists all around us, in the infinitely creative universe of natural phenomena all around us!


The students at PennDesign were wonderful, and dug into what I was saying! Over a period of three days, as we shared ideas and observations, each student had a chance to explore visual effects from a natural viewpoint. Each student chose a specific effects element to tackle, everything from water running from a tap, to a character punching a brick wall, to an airplane crash landing on a runway. One student did a fascinating study of 'caustic' effects, the wonderful patterns of dancing light rays that we see when we look through a body of moving water....


It was a fantastic workshop for me. I hope that the students at PennDesign feel the same way I do. It was fun and exciting. And that is a big part of what I am proposing when I give this workshop. The most exciting part of being a visual effects artist is the 'organic' approach. Playing with the elements, shooting reference videos, recreating bizarre circumstances in which specific effects might occur, burning stuff, breaking stuff and seeing what happens....this is the really FUN stuff that is a much bigger part of understanding visual effects than learning software!

Kudos to the folks at PennDesign for having me, and kudos to the students there, for really hearing me out and 'seeing what I mean', and for coming up with some killer presentations when it was their turn to show me their stuff! You guys were awesome!



And remember...We are not ‘digital’ artists, any of us. We are organic beings using digital tools. I pray that the academic as well as the professional world of animation will come to understand this fully, and change the creative language that we use to describe what it is that we actually do as animation artists. Must we put the word ‘digital’ in front of everything creative that we do, just because of the tools that we use? Me thinks not.

R.I.P. Roy Disney

Today marked the passing of Roy Disney, Walt's nephew, and the last truly great man (as far as I'm concerned) to carry Walt's legacy. I had the great privilege of meeting the man, several times actually, during my 8 years working at Walt Disney Feature Animation. I first met him back in 1994, when I had just started working for Disney, moving to Florida after living in Ireland for three years. Since Roy owned a house in Ireland where he spent time each year, we had something in common, and we talked for a while about life in Ireland, and also about the history of animation. He was extremely humble, warm and engaging, and I liked him a great deal. The fact that he looked a lot like Walt, made it that much more interesting to talk to him. But what made the greatest impression was the complete and utter lack of bullshit that came through. He took a genuine interest in every artist that worked at Disney, and he made it abundantly clear that he admired and respected any artist who made it into the Disney studio. Read on and I will tell you who Roy Disney really was....

In the next 8 years, while I was working for Disney, I watched in horror as the studio slowly transformed itself from an incredibly supportive, creative, and exciting place to work, into a faceless corporate entity ruled by fear, lies, and the 'bottom line'. By 1998 the studio had decided on an extremely aggressive production schedule, that would have us releasing a brand new feature film every year. My take on that strategy, was that they would shoot themselves in the foot by saturating the market. And on top of the 'one feature film per year' schedule, they also began to release a ridiculous number of poorly animated direct-to-video sequels of their great classics, even further saturating the classical animation market, as well as degrading the public perception of the 'Disney Quality' that they had come to expect.

Although I was still pretty happy to be working at Disney, and we were starting production on what turned out to be the most enjoyable production I have ever worked on (Lilo & Stitch) I was disillusioned by the overall direction that the company seemed to be headed in. The 'president' of Disney animation at the time, Tom Schumacher, was in my eyes, literally dragging the studio down the tubes with his creative meddling, and bizarre production decisions. I watched aghast as tens and even hundreds of millions of dollars were thrown away on ill-conceived productions that were not followed through after countless millions were squandered. But when the studio started to falter and box office numbers began to slide, it was the hard working artists who took the brunt of it, even though they had seen the folly all along and had been trying to raise the red flag. Blame was put everywhere except where it belonged, directly on the shoulders of the profit driven suits who were making all of there decisions based on fear and greed.....

Then in 2003, Roy Disney resigned, and sent an incredible letter to Michael Eisner and the Board of Directors. In it, Roy echoed my exact sentiments of where the company was heading. Here are a couple of quotes from that letter:

"consistent micro-management of everyone around you with the resulting loss of morale throughout the Company"

"The perception by all of our stakeholders-- consumers, investors, employees, distributors and suppliers-- that the Company is rapacious , soul-less, and always looking for the "quick buck" rather than long-term value which is leading to a loss of public trust"

"The creative brain drain of the last several years, which is real and continuing, and damages our Company with the loss of every talented employee"

At that same time, Roy partnered with Stanley Gold and created the SaveDisney.com website. I'll keep this short, you can 'read all about it' all over the internet, but in short, over the next several months, Roy brought down Michael Eisner and ultimately Eisner was shamefully ousted from the company.

This all happened at precisely the same time that I left Disney and returned to Canada, to raise my son far away from the stifling corporate culture that was apparently strengthening. On my way out, I spoke to my colleagues, imploring them to get out while the getting was good. My warnings were almost word for word the same words that I read in Roy Disney's letter just months after my leaving.

And that was when I knew, that Roy was the real deal. A man of principle, willing to stand up, with his family, and fight the likes of Michael Eisner. My respect and admiration for him are of the very highest order. He was the last gasp of the true Disney legacy.

And so today I mourn a great man, and I pray that there is somebody in charge, somewhere in that massive corporate engine that is the Walt Disney Company, who can steer the behemoth in the right direction. With 'The Princess and the Frog' just coming out, it looks like the dream of the Disney Legacy, making marvelous, timeless cartoons, might actual live on. (I haven't seen the film yet, review coming shortly) And I believe that without the strength, conviction, vision and character of Roy Disney, the company may never have gotten back on track again.....

Blessings to you Roy, and to your family. As animation artists, we will carry your torch, forever. We will keep the light table fires burning, we will flip the pages, we will be true to our creative selves, and we will not allow corporate blindness to drive the creative engines of animation....

Elemental Magic Volume 2!!

Well, I have finally gotten the full green-light from my publisher, to move forward on my next book. It will be a far more in depth study of several key effects elements, and I will get in to a great deal more detail than I was able to in 'Elemental Magic'. In my first book, I was trying to touch on such a wide variety of effects elements that I was unable to get into as much detail as I really wanted to, although to its credit, 'Elemental Magic' got into effects in far more detail than has ever been published before.

The feedback from 'Elemental Magic' has been overwhelmingly positive, and I was delighted how happy animators all over the world, professionals and beginners were, to have an inspirational reference book opening up the 'secrets' behind animating the elements. The thirst for this knowledge is certainly out there, and I have had many requests for more of the same, but with requests for specific effects, such as splashes or fires, to be explained, illustrated and even animated, in step by step detail.

For that reason, my second book will include a DVD, which will feature live action footage of the author (that would be me...) actually animating in real time, and explaining, step by step, the reasoning, logic and creative process going into every stroke of the pencil, frame by frame. Design, timing, physics, stylization, perspective and drawing technique, will be demonstrated and explained with an on-going dialogue with the viewer. Clips from workshops and lectures will also be included, as well as clips of the actual animation effects drawing I have created live, in front of the camera, shot in sequence, so the viewer can see the work in motion. These will include various different frame rates and timing signatures, so the viewer can see clearly, how much a single frame (at 24 or 30 frames a second) can make or break a series of effects drawings.

I am just starting the work on this book. It's completion and release is scheduled for early 2011, which seems lake a long ways off now, but I know the time will fly by. I am currently holed up in a small home/studio, in a small town on Vancouver Island, where most of the work will be done. It is quiet, secluded, and peaceful. My social life here consists only of taking care of my aging Mother, Tommy, to whom this second installment of 'Elemental Magic' will be dedicated.

So please, send me your thoughts and ideas, and as many inspirational emails as you can! Requests for information on specific effects elements to be included in the book will all be considered. Visits from my friends and colleagues are more than welcome, as are links to cool web sites, and invitations to visit warm tropical places, or attend earth shattering cultural events.....

My purpose with this book, is to share, and spread creative energy into the world. I've discovered so far, that having a book published, unless it's a best seller, is not the road to riches. But the positive feedback I have received from friends, colleagues and 'Elemental Magic' fans the world over, is more than rewarding. It tickles me to my core, and inspires me to do more. so there you have it, and here it comes!

Stay tuned!

Elemental Magic is coming!!

The question I get most often about my book is "WHEN IS IT COMING OUT!?" And I am pleased to say that I finally have an answer to that question.

'Elemental Magic' The Art of Special Effects Animation ....will be available to the public at large by March of 2009. It will be on Amazon.com, and in bookstores everywhere. I will be having a big release party here in Vancouver, British Columbia sometime in March, and follow up signings, most likely in Los Angeles, New York, Toronto, Ottawa and Montreal, in May. Hopefully I will be getting over to Europe next spring to do some signings and workshops based on the book as well.

If you have any questions, or requests regarding Elemental Magic, please email me directly at joegilland@shaw.ca and I'll get back to you. If you work at an animation studio, or school, and would like to get a copy or two sent to you there, let me know and I will do my very best to get copies out to you!

Hope to see you all soon, book in hand!!

Joseph