How To Draw Rubber Hose Animation

The upcoming Chilean animated feature Homeless, produced by Fábula and Lunes Animation Studio, has a decidedly gimmicky look, however, the directors of the film wanted to have a brusque sequence in the feature made in the fashion of sometime Disney cartoons from the 1920s and early-1930s. To create that sequence, entitled "Waldo's Dream," they reached out to Colombia's Venturia Animation Studios and director Juan K. Urbina.

The first role of the "Waldo'due south Dream" sequence, which is a riff on a certain famous American blitheness creator, was done in the classic safe-hose style of onetime Mickey Mouse and Fleischer cartoons, while the second half takes on the more lush expect of Technicolor animated shorts of the 1940s. The sequence has since screened as a standalone curt at blitheness festivals including Annecy, Hiroshima, and Anima Mundi, and can exist viewed below:

Cartoon Mash spoke to Urbina to learn about the techniques that artists at Venturia used to achieve an accurate 1920s feel for the sequence:

Art direction

Venturia Blitheness: "No thing how accurate the actual character animation process ends upward being, the character and background blueprint has to follow the rules of the era and ignore pattern trends that came afterward (for example stylized/cubist pattern), otherwise the result will be seen as gimmicky. It might result in a very cool-looking manner, but certainly not accurate. Our background painter Karlos Velásquez actually nailed that painterly look using digital tools to mimic the watercolor backgrounds of the era."

Animation

Venturia Animation: "The way to achieve the rubber-hose animation style is not but by hand-drawing the characters in funny vintage proportions (that comes from the blueprint) but likewise in the way the animation arcs are planned and specially in doing that combination of quirky timing and excessive looping. Dorsum in the day, all of the characters actualization in frame would movement at all times (in fear that audiences would be bored by the lack of movement!), and then in club to avoid spending too much money on each shot, they used the same animation over and over past doing loops. Richard Manuel Plata who served every bit animation supervisor is a master at doing that style. Plata and his assistant Meliza Mayor made a lot of intentional ink-and-paint mistakes on some of the shots to brand information technology even more authentic."

Compositing

Venturia Animation: "Last merely non least there is compositing. Juan Fermín Mulett, who was in accuse of doing all the compositing for the piece, studied old cartoons very closely. I could nigh say he spent nearly of his work days on the projection playing shorts like the Mickey Mouse movie The Mad Doctor (1933) on one screen while running After Effects on the other. He added lots of intentional errors, scratches, and overexposure to the piece. And the key element: before inking-and-painting was done through a estimator, cartoon characters used to be physical sheets of celluloid over a background painted on a board, which means the characters projected a shadow on top of the background. By adding this detail intentionally on most of the shots, the authentic expect was completed."

Credits

A Creative Service by Venturia Animation Studios for Fábula, Lunes Cinematics Telly
Sequence managing director: Juan One thousand. Urbina
Line producer: Julián Urbina
Backgrounds: Carlos Velásquez
Compositing: Juan Fermín Mulett
Blitheness supervisor: Richard Manuel Plata
Animation: Joshua Schneider, José Gregorio Moreno, Camilo Ayala Nieto, Michael Abarca, Richard Manuel Plata
Animation assistant: Laura Meliza Mayor
Sound design for director's cutting: Carlos Reyes Serrano
Animatic: José Navarro