Spiral Dynamics - Stage Purple

By Leo Gura - August 12, 2020 | 76 Comments

The tribal, animistic stage of human psychological development

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Shinichi says:

Nothing can beat that creepy, dark and ambiguous atmosphere that a 90s anime can give (BerserkAngel’s Egg (from the 80s), Ghost in the Shell)liked by mostofus

Conan Doyle says:

psychologically speaking digital animation looks wrong to the human eye BECAUSE of the lack of imperfections this also why CGI looks bad in anime. allow me to explain:real life is dirty everything has a texture, scrapes imperfections, stains more because of this we grow used to these imperfections since they’re all around us digital animation however is free of these imperfections and textures, so it looks fake.the myth that we only use 10% of our brains is just that:a myth however we don’t constantly use our brains to their full capabilities at all times and a fair amount of information from our environment gets compiled and processed by our subconscious allowing us to focus on what’s important .however just because we don’t focus on something doesn’t mean it goes unnoticed have you ever noticed that you’re more tense than usual during a power failure? this is because the machines that usually produce ambiance in our environment aren’t working,we notice this subconsciously.it feels wrong because our world is unexpectedly different,something isn’t quite right.STAY WITH ME GUYS, I’M GOING SOMEWHERE WITH THISDigital Animation DOES NOT possess the imperfections that we are used to seeing in our everyday lives. therefore, when we look at it while we may not notice it immediately, SOMETHING looks fake and some ancient, animalistic, instinctive part of our brains sits up and pays attention. because in the wild, when things don’t seem quite right, that usually means we’re in danger.that grit those scrapes the texture of the paper, they make every moment of the action feel more like real life things look more real with them they seem more like they exist since they DO exist this also occurs in live-action productions.original battlestar galactica for example had a degree of realism to it that the remake didn’t simply because everything had to be done in a physical medium thereby creating the imperfections that the CGI heavy remake just couldn’t have the phenomenon of things looking TOO perfect even has a name:the Uncanny Valley it’s the reason why people can be afraid of dolls why we feel uncomfortable in clean places why digital animation and CGI doesn’t look good.2 years agoliked by 256 humans who watch this

Conan says:

I personally think older shows feel grittier. Even with bright colors, it didn’t feel artificial. Which is weird to say when talking about animation. But we live in this world of Flash Animation but 90s animation will always feel better. And that’s not just Anime. Series like the Animated Series Beyond are awesome to watch to this day. I like modern anime too but animation and art work is hit and miss now a days. And I hate CGI being mixed in with 2D animation unless it’s done correctly. But most times it’s not.

Goku says:

Dragon ball super feels so wrong because of digital animation, the scenes and the characters don’t look like themselves
2 years ago liked by 103 humans who watched this important video

Conan says:

I do miss the old style anime 2 years ago liked 73 There are things that can be done traditionally that cannot be replicated digitally no matter the level of mastery. Because traditional art is so tedious it makes you really think about what your doing because it cannot be deleted in a split second. I did digital art for years but went back to traditional for a warmer feeling. It’s more fun to do things with my hands, to have paint under my nails, to have art with a front and back.
2 years ago

Conan says:

One of the reasons I dislike japnese animation these days is because I can’t stand looking at the digital artwork, and the mass production of anime makes so many series’ artstyle seem copied and pasted. From the middle 80 s to the late 90 s I think japanese animation was at it’s visual best.

Conan says:

Japanese animation AKA was an art form in the 20th century which required skill, patience, and yes capital in order to create an artistic masterpiece. There is a certain dexterity found in two dimensional animation that was hand-painted and hand drawn which can never be imitated by software programs. You can actually feel the the human touch of old school ajaoanese animation series and OVAs. The same cannot be said for a majority of shows or movies made in the 21st century. The problem is that computer systems are designed to remove all errors. In a way, the end product looks ,”too perfect.” Old school anime did have animation errors, but that allowed for a human feel to it. Finally, I also want to state that oversaturation is in fact a very bad thing. As I mentioned earlier, a true masterpiece takes time and effort. The end result is more often than not, a beautiful memorable piece of work. Today, the anime industry is over producing one show after another, in the same manner as how a factory churns out cheap imitations of an original product. The stories are almost always the same, boring, and cliche. Most of the shows will be forgotten within the span of two years. If the anime industry continues to be this way, in all likelihood it will diminish with time

Tom says:

very time I watch old anime, I just feel happier and more excited with the art and visuals. Sure, like you said, there are shows nowadays that do something wild and amazing but the impact old shows have with their scenes just feels more authentic to me. Even though there are many similarities (like art styles, how people emote themselves, and what with old shows, just like new ones, there is a genuine uniqueness to each old anime that cant be emulated nowadays Also I just love the old style character designs

Sam says:

I realized that older animation had that realistic feeling to it since backgrounds were hand-painted. I absolutely miss the traditional animation style. I think something that I also missed about that era of anime is the level of style added to the characters. Characters felt a lot less cookie-cutter and more individualized. When I was young characters felt unique and iconic where many characters now feel very copy paste

Tom says:

After checking out so many classic series and movies in animation I have to say that I really do prefer traditional animation not saying the new stuff but the way that series like are able to immerse you and create a captivating atmosphere is something that I find sorely lacking in a lot of new animation

Tommy says:

I love the old school style hand drawn animation style because it gave animators a style and direction that made something more unique and different then some shows in recent years.

Tom says:

It’s the same debate that filmmakers have about film/digital. The rise of digital technology made filmmaking accessible to everyone and productions run FAR faster than before. Yet one cannot deny that Film has a texture to the footage that looks absolutely gorgeous. Which is why it was a big deal when The Force Awakens announced it was to be shot in 35mm.

Tom says:

The old cardcaptor sakura had this beautiful aesthetic about it, especially when the episodes were at the dark, an example is when Sakura was tested to become the master of Yue and Kerberos. The new ccs is not bad but it just doesn’t have the animation charm of the first one, the characters are drawn kinda like regular flat characters, unlike the first one which made them look beautifully distinct. disappointed with the animation and transformation sequences, at least they improved at the infinity arc. Sadly both of them are missing the beautiful aesthetics of the 1990s anime era

Tom says:

adore the art style of the older works by clamp but can’t really get into the newer stuff because it lacks a certain charm to me. I mean, I like Clear Card, but the visuals just aren’t the same and it throws me off.

Kaito Kuroba says:

Japanese cel Animation up to 90s was done by:1Drawing the key frames with characters and other moving objects on paper (this is still mostly the case for modern anime, and particularly for DBS). These drawings are called genga,they’re draw with special color coding by so-called key animators.2Draw corrections on top of the key frames, to maintain consistency or to fix mistakes. These correction sheets were made by animation supervisors.3Draw intermediary frames in-between the corrected key frames, to smooth movement on screen. These frames are drawn by in-between animators. The final result of this process is called douga, and are specially color-coded drawings that you can directly copy into cels.4Copying these drawings into transparent cels made of acetate,paint the cels with the required colors.5 Superimpose cels with the background (at the time, normally watercolor painted on cardboard),maybe with other cels containing other characters forming a complete frame of a scene.6 Photographing the cels sometimes using special lighting or other effects So why are cels expensive? I see a few reasons:1 You’re owning an intimate part of the production process Sure contrary to a genga these cels weren’t made by well-known people but they’re still much closer to them than a DVD.2 These cels were handmade by a basically extinct process. No one does cel animation these days: while the key frames may be drawn on paper, they’re eventually digitally scanned. So you’re owning something with historic value.3 The detail on some of these cels can be really impressive and the cels themselves quite beautiful See this one for example.

Aoko says:

Traditional animation is a technique in which each frame is drawn by hand on clear celluloid sheets and placed over a static background image to create a composite image. This process can be divided up into several basic stages, although this guide will cover those aspects beyond just that of the animation itself. This overview will take a look at the traditional cel animation used by cel Animation to produce an animated series, from its original concept to the final product.

Kaito Kuroba says:

Hopefully Japan brings purely traditional animation back because the computer animated just looks like the same boring movie…over…and over again. Great video!!!

I always wanted to animate, but never liked digital art that became so popular in my generation. Now, I am not insulting digital artists, but it just isn’t for me. But lately I have been practicing more traditional animation (like 30 seconds to 1 minute scenes) and I am starting to actually like what I draw. Anyway, just wanted to say thank you for the inspiration.

Rumiko says:

They have copy machine that transfer drawn on paper to a plastic cel paper , so if a painter ever mess up , they would have to look figure out what scene and what frame number this copy is recopy the original drawing and start over

Barbara says:

one of the worst videos leo ever made, In sense of grasping the essence of what purple really is if healthy. shows a lack in the integration of what healthy community means and a lack of how he integrated green. sorry leo, if there is truth there is also non truth – most examples confuse purple with red or blue tendencies which are contained in purple from where they develop.
like with the turquoise video, you did not integrate green enough to understand.

barbara says:

which does not mean this is a critique, it just means if it is so obvious that you did not get these stages conceptionally it is probably really better to refrain from making videos about them, as it is misguiding. and obvious for those having had glimpses of turquoise, it is a shadow video. of course if purple is toxic it is showing in a toxic blue or red, or lacks vision, or is disillusioned.

Female-on-male violence viewed as more acceptable in life than male-on-female violence. Often,women using physical violence on men will be Played for Laughs; sometimes it will be Unfair hypocrisy in most works where this trope is in effect, it would be completely impossible to imagine the same violent situation play out with the participants’ genders reversed without a large dose of drama getting added into the mix.basic Double Standard at work in this trope sexist on both sides no woman strong enough to harm a man so any man weak enough to be harmed by a woman isn’t a real man, and that’s funny

Kaito Kuroba says:

This is great, I really wish cel animation was still popular, digital animation just seems lifeless compared to it. Cel just has a unique look that is very charming

I think that cel animation is still popular as proven with the reception received in this video. It’s just a matter of studios interested in trying this technique over digital ink and paint

Cel just have a timeless, specialness, & realness to it…

Don’t worry, if you dedicate a certain amount of time working on your animation (like 12 or more frames a day) your dream will come true. Especially since shows are willing to get your story boards you must be writing very compelling stories. Nothing resonates more with people than traditional cel animation with a great story

I can easily see someone spending a decent amount of time and money to create a full on cel animated movie. Same here!! I wish cel animations were still used today, along with film, since they have alot of character and charms to it, and is very high quality indeed. Good ol’ days of animation

l stopped watching digital anime years ago, this got me hooked, somehow old animes look fresh and much more fun instead of generic animes nowadays

Ataru says:

Old traditional purely handrawn handpainted cel anime is better,as irreplacable
as all the unique unparallelled geniuses combined from the oldest genius to the
infinitely younger geniuses who are born later century after century in neverendin
real life

Rumiko says:

Well it’s confirm I hate modern digital computer reliant anime there is no more soul in it Any more .

Kaito Kuroba says:

80s anime is better than today’s anime, period because of purely handrawn cels
in purely traditional handrawn handpainted animation never too modern or digital

Pat says:

What the heck is up with the comment section lately

man, this really highlights how much care and hard work goes into making just one frame in a traditional cel. so much of labor to get those clean precision lines. add to that the monotony of staring at the same image that only slightly changes with each cel over the course of a few frames and its hard not to respect the dedication of each person that does the original pencils, the inking and then the paint fill. its easy to see why so many studios go with simple designs over such quailty design. it takes far greater patience to do such work

Don Bluth says:

I’m glad Don Bluth is going COMPLETE traditional animation

Bluth says:

I love traditional cel animation so much. Yeah there’s been some fantastic 3D movies like Finding Nemo, but handrawn cel animation just feels so much more alive, vibrant, expressive and emotional.
3D just feels very….forged.
I really hope Bluth brings back purely traditional handrawn cel animation again and we get more beautiful movies from him again.

Enid Blyton says:

this is so amazing. i love the look and feel of cel animation and i seriously cant wait for this really would love to see it animated with these, the old fashioned way. It really is a dying art.

Sam says:

Wait, your using the classic original Cel animation technique? I thought that was long gone after “Sleeping Beauty”.

What is the metal pointer used to hold the cell down and where can i get one? What kind of ink and pen are used in the inking stage of the cel?. i understand how the painting of them works but inking seems to be elusive Where can I buy the tool used to hold the cel in place? What is it called?called a peg bar. You can find many websites that sell them.

Yaiba says:

I miss actual handdrawn animation, especially theatrical animation. It’s timeless, and it ages better. think drawing by hand (traditional) is the best way to really express emotion and movement.

Aoko says:

AcetateThe clear sheet used to create animation cels, more stable than nitrate.Cel
A cel (short for celluloid) is a sheet of clear acetate or nitrate which is hand painted then placed over a background and photographed. The outline of the character (hand-inked or xeroxed) is applied to the front of the animation cel. The colors are hand-painted onto the back of the cel.

This video shows how to colour animations in 2D traditional animation methods. Inking and painting of animation is a Production process where the frames are painted. In the past when the animators complete the final drawings they ink and color it with black ink. But with the changing technology animators introduced a big range of color palette rather than using monochromatic scheme of black ink. This process is special because color is not directly applied on paper. So let’s see the process, where we have a character sketch and a background with a rough animation, now will start from clean up of rough drawings.

Traditional Ink and Paint Process:Each cel involved in a frame of a sequence is laid on top of each other, with the background at the bottom of the stack. As the cel of one character can be seen underneath the cel of another, the transparent quality of the cel allows for each character or object in a frame to be animated on different cels, and the opaque background will be seen beneath all of the cels In order to flatten any irregularities, a piece of glass is lowered onto the artwork and then by rostrum camera (a special animation camera), the composite image is photographed.The camera is then used to create pans, zooms, and rotation on the including overlays as well as animated transparency and blur effects. Once all the layers including overlays and background are animated, they are composited and output directly to video.

I prefer cel animation. The darker colors and grittier style shows had back then are more appealing to me. Especially when it comes to darker or grittier shows, cel animation does a better job in portraying them, digital animation is simply too “shiny” and “colorful” for that

Shinichi says:

digital animation looks too smooth and perfect which always makes the characters lifeless. that old Hand Drawn Cell animation was a little rough around the edges, imperfect which as you said gives it a grittier feel, which I think adds more depth and nuance and LIFE in to the visuals of the characters. I can’t stand the look of modern anime.

Kaito says:

My biggest regret regarding the state of digital animation is background art, especially in TV. It seems the artists have become lazy and use multiply and linear dodge transfer modes to create their lights and shadows quicker. In the process, they lost their understanding of the physics of light and we end up with environments that have dead shadows and over saturated highlights. Everything looks either dull or neon. Beautiful environments are few and far between nowadays.

why does it seem that modern anime lost all its style and unique-ness? characters look so generic these days.

Ran Mouri says:

the hand painted cels and background art look absolutely jaw droppingI like hand drawn anime much better. It feels more realistic to me.

Ran Mouri says:

I feel like anime died when it made the jump to digital animation or mabey their’s still too many people in this industry who are too lazy with their artistic styles Ma I prefer the look of cel animation

Ran Mouri says:

I have always had the impression that digital animation is missing detail and character in it’s animation compared to cel. Obviously cel is vastly more expensive and time consuming but because you employing someone to sit down a paint and draw onto plastic film you are effectively painting on canvas just on plastic instead and layering that up. In other words it’s paint work vs a digital painting

Enid Blyton says:

I don’t like the look of newer anime nor do i like new anime in genreal. I love the feel of old school stuffI only watch old anime now from from the 70s to the 90’s
you don’t want to lost your traditional animated roots. the best hand drawn animation I’ve ever seen….way back in 1990-1991.

David Star says:

The old school cel animations made the characters look more realistic and grittier, especially if it was for gritty shows. New digital animation looks too shiny and plasticy for my taste, and when they do use something fully CGI instead of something hand drawn, it looks as bad as it did in the 90s

Aoyama says:

I also prefer more the cel animation and colors of the older anime. A lot of 2D digital animation is too “clean.” I don’t like it as much

Aoyama says:

Cel animation will always be superior. This is specifically Japanese animation. Although the techniques will be similar, every country will have their own, different heritage. When Anime went digital it lost depth.

Look when manga was done digitally mac fill manga was very cheap looking compared to being drawn by hand do miss their old skin shade and wacky 90s hairstyles from back then also the fact they had an actual nose instead of a dot like now. Anime guys look ugly af though now, I don’t like how they gave them an androgynous look with crazy big eyes like Kirito I prefer the smaller eyes and normal male jawline they had back then.

Cel shading tradional way is still the best looking I hate modern digital anime Nothing beats the character that hand-drawn animation gives to the story

There are things that can be done traditionally that cannot be replicated digitally no matter the level of mastery. Because traditional art is so tedious it makes you really think about what your doing because it cannot be deleted in a split second. I did digital art for years but went back to traditional for a warmer feeling. It’s more fun to do things with my hands, to have paint under my nails, to have art with a front and back.

I always prefer cels, to be honest. The color seems more “organic” (if that makes sense) and the film grain can make a still drawing look more alive than still digital animation. Of course, I collect cartoons on 16mm films like Ranma’s original looks

Not everyone gave up on cels completely, though.Reliable Japanese cartoons is still painted on cels I’m currently working on a short film with the intent of using cels (actually overhead sheets) and photographing them with 16mm camera.

Kasumi says:

I like the cel animated look because, like naktak said, it looks more organic to me than digital. More visceral. I don’t mind the occasional grain look. For me it just adds to the ambience.

all that work people had to do back in the day just makes me appreciate old traditional cartoons even more. Think about it: not only did every frame of every character have to be drawn by hand, but also every bit of their coloring. A lot of work, but that’s what made it such a fantastic unparallelled irreplacable art form.

Soun says:

Cel animation can often more realistic color schemes and look less mechanically produced, plus you can make out certain objects in much more detail Cels definitely look livelier and more natural I prefer cel animation it’s more fluent, more natural, and much livelier (anyone hear an echo?)

Genma says:

I’ve tried Cells before, they’re quite the challenge, but that’s part of the fun of traditional animation. Digital animation deserves as much respect and attention as cells, sure it’s technically easier, but with the right color scheme it can hold its own weight. when done well. Cel is sort of like the vynl record of animation; It offers a deeper, richer look, but, often comes with imperfections. Scratches, hairs, dust. This stuff doesn’t bother me at all, I hardly notice it.

Ranma says:

Cels are shaded in warm colours, backgrounds are shaded in cool colours.Golden
fluid acrylics are even better than the cel vinyl paints why they dry flatly purely all
day no need to coat a second time on the same spots for mistakes just important
healthy detailed unique decorations

My goal is to bring back pure traditional hanrawn acrylic paint watercolour celloids
anime in japan have the exact same tools used to mske the first 30 episodes of
Ranma 1989 because I hate how the art style changed to bigger eyes they lost
their preteen teenage charm not to machine they seems to gain more weight
should have never changed the art style for snything these teenagers look more
like fat unrealistic adults with generic faces

Tendo says:

If you’re interested in being a traditional animator (meaning hand-drawn, paper and pencil animation) you have either come across or will come across the term “peg bar.” But what exactly is a peg bar? And do you need one to be successful?

Ranma says:

So a peg bar is a piece of plastic, or if you get fancy a piece of metal, that is meant to hold your papers in place when you draw and shoot your animation. Here’s an example of one from ACME (yes the company name is ACME). You punch your paper and stick it onto the peg bar as you draw.

Ran says:

A peg bar not only holds your papers in place when you’re drawing them but when you remove them from the peg bar and later place them back into it when you’re shooting your hand-drawn animation, it makes sure that the paper goes exactly where it did last time so your drawings stay in the correct place.

If you can see in the picture the peg bar has one circular stub in the middle and two rectangle stubs on either side. The rectangle stubs make sure it aligns itself up and down, and the circle makes sure it aligns itself left and right. It’s a little weird, but it works amazingly.

Kuno says:

There are some workarounds you could do though, you could use a regular hole punch and get a peg bar that has three circle pegs rather than the fancy-schmancy square ones. Those work well also but not quite as perfectly as the square ones, your pages will move around a little bit more with all circles.

Kuno says:

An Inexpensive Work Around
Luckily for you, though we are the cheapest of the cheap and have a pretty decent workaround for you! Index cards! First off they’re already pretty much a 16 by 9 aspect ratio which is super handy when you’re laying out your scenes and stuff. Next, they are cheap as dirt and you get a bazillion of them for next to nothing which when you have to draw a million images helps a lot. But how do you make it so they all line up?

Sam says:

Since they’re smaller and you’ll be using the whole index card rather than a portion of a paper page it actually becomes easier to line them up when you’re shooting them because the chance that you’ve drawn one image farther away than it should be on the next card is smaller. So how can you line them up? By using some masking tape!

Put down your first index card and make a little stack of masking tape, maybe 3 or 4 layers of it in the corner of the index card so it slides snuggling up against the tape. You’re making a little corner wall out of the tape, so each following index card you can just slide into that corner and have it pretty much lined up with the previous card.

We’re sure you can figure out other ways of doing some clever workarounds but the index cards is a nice simple one that we find works and doesn’t take that much finicking to get it to what you want. It’s not as exact as a peg bar, but it’ll do.

So a peg bar is a tool that makes sure that your frames line up exactly as they did when you originally drew them the next time you put them on the peg bar. They’re not super necessary and you can do without one, but they definitely help!

Gosho says:

what is a keyframe? And what is a keyframe artist? Let’s find out together, shall we!

Animation, as you may or may not know, is a series of drawings strung together to create the illusion of movement. When an artist sits down to create an action for his animated character he or she will have to draw out the entire action in all it’s nuances if they want to create a compelling piece of animation to watch.

Conan says:

One successful way to do this is by using keyframes. In hand-drawn animation, a keyframe is a specific frame within the animated movement that the animator uses as a guide to building the rest of his work around. It is literally a keyframe, key as in important not key as in key like a door key.

Let’s say we are animating someone throwing a baseball and we need to figure out how to get started. We can start by selecting a few keyframes and working from there. Maybe the first keyframe is him getting ready to throw the ball with it in his mitt.

conan says:

Building the Rest of the Animation
From those keyframes, we can work and build in the rest of the animation. There is no set determination as to what should or shouldn’t be a keyframe but you usually want to pick something that is a dramatic or important pose in the animation. So if we’re doing someone leaping in ballet maybe we’d do 3 keyframes of before, in the middle of, and at the end of the jump.

ranma says:

Keyframes also tend to have the most detail of all of the frames within the action. You’ll find as you animate you can cut a lot of corners here and there, but the keyframes help by making sure the character you’re animating always goes back to a base and is grounded no matter how many smears you may use.

Sonoko says:

So what’s the benefit of using keyframes? Well, when you go to animate something it’s nice to know where you’re going. If you’re doing hand-drawn animation it can be easy to lose track of where an arm is supposed to be going in the action, and keyframes give you nice guides to follow so you can know where you should be moving all the bits and pieces as you animate

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