What would YOU say is the 2D TV show saving the art then?

If you bemoan the art of CG animation, then I highly recommend that you check out this video: http://www.youtube.com/watch?v=y6yrHkZVGF8
It’s just one of the many ways in which a CGI movie is needed to be made.

I think you misjudged me, I’m sorry if I didn’t communicate well. I think foreign animation is AMAZING and pushing 2D animation much farther than americans are right now. Especially like in Japan and France with the Gobelins animations. I’d probably leave America if I could learn another language. I don’t have anything against the success of international studios, it’s wonderful, it can only be a good thing for the medium. I was only saying that I thought the american tv studios should hire more american animators. So please don’t believe that stereotype that all Americans are ignorant and self-centered because I try very hard not to be…I’m just scared about finding a job is all.

No, I’m sorry. People actually mean that 2D ANIMATION should be saved, as an art form – made by Americans, Japanese (Studio Ghibli is taking a break at the moment and anime studios have started using 3D), European, Australian and whatever else. You’re probably American and that’s why you think you’re the center of the Universe. But bottom line is, the people working in foreign studios are just as talented or maybe even more talented than the American ones that you think are more important than the actual art form. And yet it’s not about saving the animator, but about saving the art form.

The Avatar series preserved the art on TV?

Umm…no. It’s a good show, but people need to stop acting like it’s the holy grail of animation.

I don’t doubt that CG is an art form but to me, it’s more akin to puppetry at this point. Algorithms make characters breath (not that this is is awful) but let’s face it, the hand is moving farther way from the craft.

I agree with every thing you said except paperman wasn’t made to copy or mimik hand drawn animation. It was made to mix the two, to bring out the warmth and expression of 2d and the grander scale and movement from 3d.
What they were looking for in paper man was a way to carry on the drawing onto the 3d model

I really do love the sentiment, really I do. But piece by piece it doesn’t make a compelling enough argument.

“One has to simply turn on the TV or go to YouTube to find that the most creative and interesting projects are no longer confined to CG features”

But said TV shows are almost all stereotyped into being either “comedy adult cartoons” or “comedy children cartoons”, and web content online also tends to veer towards comedy. Diversity in either spectrum is lacking, is what I’m saying.

” Again, one has to look to other countries (Song of the Sea, The Tale of Princess Kaguya, Ernest & Celestine) to see that hand-drawn is still going strong.”

The fact that we have to look overseas for hand drawn animation indeed proves it is a dying medium *in North America*. It’s akin to saying, “civil engineering isn’t a bad field; Russia and China are having a building boom right now.” The context is key, as most people who say hand drawn is lacking are in the same country as Walt Disney Studios.

Not to mention that there is legitimate talk of Japan becoming more CG based in the next few years.

http://www.japantimes.co.jp/culture/2014/10/18/films/hideaki-anno-emotional-deconstructionist/

“Look no further than Disney’s very own short film Paperman. An innovative blending of 2D and 3D animation, made possible by the creation of Meander, a hybrid vendor/rastor drawing and animation system.”

I loved Paperman, but two issues are glaring me in the eye with its process:

Firstly, it’s time consuming. Is any studio really dedicated to working hard to mimicking hand-drawn when they could crank out CG material faster?

And secondly, why mimick at all? Why not go full out hand drawn?

I honestly don’t think any if the big studios, not even Disney, will revive hand drawn. But I do think extremely passionate artists can change the system so to speak.

Once upon a time on the web, transmedia storytelling was non existent.

Now there exists shows like Lizzie Bennet Diaries and Emma Approved who are willing to take risks on adapting old novels and presenting it to a modern audience.

Animation needs a similar upbringing so that it’s potential may be reached and then some. Because I refuse to believe anyone who is passionate is completely satisfied by the current predicament.

It’s wonderful to be hopeful, but much like revolutionaries tanding up against a crooked government, it takes more than just hoping to get something done.