Initially daily but now sporadic blog about anime and world animation with a specific focus on the artists behind the work. Written by Ben Ettinger.
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Tuesday, November 14, 2006

08:35:27 am , 244 words, 2203 views     Categories: Animation, Animator

Choi Eunyoung

I have a correction to make to the last post regarding the Korean-born animator Choi Eunyoung, which actually by coincidence ties in to my earlier post about women animators. Today I was embarrassed to realize that Choi Eunyoung is in fact a woman. Shows how much I know. So in Kemonozume we're clearly witness to another woman animator with a strong personal style in the process of emerging. Mihara Michio revealed a few facts about her (as well as some drawings) that help to explain a little where she comes from. She was born in Korea, where she studied sculpture before travelling to the UK to study animation and then finally arriving by a long detour in Japan, where, in her first year as a professional animator, she immediately set to work as a key animator without first going through the intermediate step of inbetweening. In that first year this is the work she's done. Quite impressive. It also seems indicative of a huge gap between the sort of training animators receive overseas versus in Japan. She clearly has a strong grounding in the arts, in life drawing and so on, something most Japanese animators obviously lack, judging from the final product. I hope she gets a chance to continue to do personally-styled work like this, though I doubt she's going to run into many projects after Kemonozume that are going to allow her to draw a section as freely as she did here.



Balak [Visitor]

Fantastic style, i especially like how she adapted her “messy” (but not so messy) lines to the animation, if you look at the GIF on the animestyle page.
that subtle squash and strech on the face is lovely.
definitly like to see more of her work.

11/15/06 @ 09:18
h_park [Member]

I have to agree with Balak on Choi Eunyoung’s subtle squash and stretch. About strong ground in art, I think the Japanese animation industry’s chronic and substandard employment practice showing its obvious deficiencies. After reading various interviews on animators, I’ve noticed that many cases of entry level “animators” have been hired as stable hand with high school eucation.
It made me wonder what kind of art training that japanese animation students and professionals have been receiving so far? Are they just skipping the hard part and breeze through with use of computer?

11/16/06 @ 00:07