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Which clippings match 'Walt Disney Studios' keyword pg.1 of 1
06 FEBRUARY 2014

The Twelve Basic Principles of Animation



12 principles of animation • 1930sanimation • animation principles • anticipationappeal • Arcs • character animation • character appeal • computer animationdesign principlesdesign rules • emotional timing • Exaggeration • Follow through and overlapping action • Frank Thomas • hand-drawn animation • laws of physics • meaningfull transitions • motion graphics • Ollie Johnston • perceptual organisation • physical animation • pictorial systems • realistic animation • Secondary action • Slow in and slow out • Solid drawing • squash and stretch • staging • Straight ahead action and pose to pose • Timing • Twelve Basic Principles of Animation • visual communicationvisual ruleWalt Disney Studios


Liam Birtles
10 FEBRUARY 2010

Walt Disney's Creative Organization Chart

"In 1943, five years after it was founded and during the height of World War II, Walt Disney Studios put out an organization chart to explain how the company functioned. What's fascinating is how it differs from org charts issued by most corporations. Typically, corporate org charts are hierarchical, with each operating division isolated into 'silos' showing job titles according to reporting chain of command and ultimate authority. The CEO and SVPs get the higher positions and bigger boxes; the little boxes represent the expendable worker 'bees.'

The Disney org chart, on the other hand, is based on process, from the story idea through direction to the final release of the film. All of the staff positions are in the service of supporting this work flow. Perhaps the question now is what should the org chart of the future look like, given the global workforce, telecommuting personnel, virtual employees, outsourced jobs and contract workers who sometimes outnumber salaried staff? In an idea–based, rather than a manufacturing–based, economy, how should a business organize itself? Does the very nature of their assignments imply that designers will always work in an environment like the Disney org chart and clients will always work in a hierarchical structure? And is this difference the crux of the disconnect between how designers and clients look at problems?"

(Delphine Hirasuna, 7 August 2009)



Simon Perkins

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