How They Did It: Creating A Nineteen Twenties Rubber-Hose Animation Style For ‘Waldo’s Dream’

The upcoming Chilean animated characteristic Homeless, produced by Fábula and Lunes Animation Studio, has a decidedly modern look. Still, the film directors wanted to have a quick series inside the characteristic made inside the fashion of vintage Disney cartoons from the Twenties and early-1930s. To create that sequence, entitled “Waldo’s Dream,” they reached out to Colombia’s Venturia Animation Studios and director Juan M. Urbina.

The first part of the “Waldo’s Dream” collection, which is a riff on a sure famous American animation writer, become finished within the conventional rubber-hose style of vintage Mickey Mouse and Fleischer cartoons, even as the second one 1/2 takes at the more lush look of Technicolor animated shorts of the 1940s. The sequence has because screened as a standalone quick at animation gala’s inclusive of Annecy, Hiroshima, and Anima Mundi, and may be regarded beneath:

How They Did It: Creating A Nineteen Twenties Rubber-Hose Animation Style For ‘Waldo’s Dream’ 1

Cartoon Brew spoke to Urbina to study the techniques that artists at Venturia used to attain a genuine Nineteen Twenties feel for the series:

Venturia Animation: “No be counted how actual the actual person animation manner finally ends up being, the person and history layout has to observe the policies of the era and forget about design developments that got here in a while (as an example stylized/cubist design), in any other case the result might be seen as current. It might bring about a cool-looking fashion, however without a doubt, now not proper. Our history painter Karlos Velásquez nailed that painterly appearance the usage of virtual tools to imitate the generation’s watercolor backgrounds.”

Venturia Animation: “The way to acquire the rubber-hose animation fashion isn’t always simply via hand-drawing the characters in funny vintage proportions (that comes from the design) however also inside the way the animation arcs are planned and especially in doing that combination of quirky timing and excessive looping. Back inside the day, all the characters performing in the body would always move (in fear that audiences might be bored by the lack of motion!), so to avoid spending too much money on every shot, they used the same animation time and again through making loops. Richard Manuel Plata, who served as animation supervisor, is a master at doing that fashion. Plata and his assistant Melissa Mayor made many intentional ink-and-paint mistakes on a number of the shots to make it even extra authentic.

Venturia Animation: “Last however now not least, there’s compositing. Juan Fermín Mullett, who was in fee of doing all the compositing for the piece, studied vintage cartoons very closely. One may want almost to say he spent a maximum of his paintings days on the mission playing shorts just like the Mickey Mouse movie The Mad Doctor (1933) on one display, even as jogging After Effects on the opposite. He added lots of intentional errors, scratches, and overexposure to the piece. And the important thing detail: before inking-and-painting was accomplished through a pc, caricature characters were physical sheets of celluloid over a background painted on a board, which means the characters projected a shadow on the pinnacle of the heritage. By adding this detail deliberately on a maximum of the photographs, the natural appearance turned into completed.”


  • A Creative Service through Venturia Animation Studios for Fábula, Lunes Cine TV
  • Sequence director: Juan M. Urbina
  • Line manufacturer: Julián Urbina
  • Backgrounds: Carlos Velásquez
  • Compositing: Juan Fermín Mulett
  • Animation supervisor: Richard Manuel Plata
  • Animation: Joshua Schneider, José Gregorio Moreno, Camilo Ayala Nieto, Michael Abarca, Richard Manuel Plata
  • Animation assistant: Laura Meliza Mayor
  • Sound layout for directors reduce: Carlos Reyes Serrano
  • Animatic: José Navarro
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