Shame on me for not posting anything to the blog in over a month. And I was doing so well!
The good news is, I have something to blog about and it should be long enough to make up for missing so much time.
A few months ago I heard about the CTN Animation Expo which was to be held in Burbank California November 20-22. The event was set to showcase animators and artists from all the biggest in the business. Disney, Nick, Dreamworks, etc, were all going to be there. And there would be recruiting and talent evaluations as well. Seeing how it sounded like an amazing opportunity to network and meet some of the people behind lots of my favorite animated movies, I knew I had to attend.
I couldn't decide however if I should just go as an attendee or actually purchase a table and set up shop, so I inquired about the benefits of a table. Low and behold I received a reply from Tina Price, head of the Creative Network (and one of the creative minds behind The Little Mermaid, Hercules and a slew of other awesome animated movies) with an invitation to complete some caricature demonstrations at the show. Basically I would be drawing on the main stage in a few 20 minute intervals and then get to hang at the show the rest of the time. Only a fool would have said no, so I didn't. I was jazzed as hell. THAT was in September.
As time moved closer, I hadn't heard anything, so I sent the first of MANY emails trying to find out what the schedule was looking like, and what if anything I needed to bring. But my emails went unanswered. I started to get nervous, and even considered canceling the trip. Finally in Mid November the schedule for the demonstrators was released, and I was nowhere on it. There were several TBA slots and I figured perhaps I'd be worked in there. Still, I was nervous and a little upset at the lack of response to any of my emails. I broke down and called the number associated with the show. They said they'd get back to me. Finally, the day before the show I got a call back saying not to worry, there were slots open and they'd work me in.
I was able to breathe a bit, and was looking at the positives. I would get to meet Dean Yeagle, Humberto Ramos, Andreas Degas, and J. Scott Campbell had been added to the list of demonstrators! I figured, hey my ticket is purchased, the time off is there. LET"S GO HAVE FUN!
After an long day of travel I arrived in Burbank. I was excited but cautious. I got to the hotel right at the beginning of the VIP reception. There was a long red carpet leading to the convention center for the VIP's, complete with a check in table and fancy lighting. The shock came when the registration table didn't seem to know who I was. I stood by the red carpet for a bit waiting while they sent for someone inside to get things straightened out. A few minutes later I heard an attendee call out to Tina Price. I figured, go to the source! After all she invited me. So after she sent the attendee down the red carpet to enjoy their night, I stepped over to her and introduced myself. She knew who I was, and before I could get much out, she was distracted by what I could only assume was someone a lot more pertinent than I was. She walked away mid conversation, chatted them up, then directed them down the red carpet. And there I stood. She walked off, I felt snubbed, and waited for another long while as more VIP's walked down the aisle.
I honestly think I stood there for close to 45 minutes before I finally walked back over to the check in table and asked, "So did we get things all straightened out, or am I just going to keep standing here all night?"
One of Tina's assistants took me back to the VIP waiting room and gave me a wristband for the show. Assured me it was all probably an oversight and I would get to draw as promised. "Check back with me in the morning and we'll slot you in"
Frustrated, and a little depressed I turned in for the night.
Day two I was up and at the show early. I made my first stop to see Dean Yeagle, amazing artist and creator of the adorable and sexy Mandy character.

Both he and his lovely wife were both amazingly down to earth people. We talked about his artwork and the Mandy Sketchcard series from 5finity productions. I gave him an artist return card I had done for the set. It was an honor to have worked on it, and I couldn't think of a better man to get the card. I'd say honestly between he and J. Scott Campbell they have been the biggest influences in my depictions artistically of women.

Dean drew a smoking Jessica Rabbit sketch in my sketchbook, and I snagged a few books from him.
From there I walked over and chatted with Sean "cheeks" Galloway. Another amazing artist who also incorporated his nickname into his signature! I had met Sean several years back and then he came across as a bit snobby, and mean. So I was hesitant to meet with him again. But the man is freaking talented, and I really wanted to dig him.

So I waited my turn, and watched as he sketched for people, chatted with them and all around seemed like an entirely different individual. When it was my turn, he couldn't have been more of a polar opposite than the first time. Genuine, kind, eager. He came across as more of a fan than the superstar he is. He looked over my Book of Jones and my sketchbook and was almost like a kid looking at a cool comic. (I noticed he did that with another guy as well. Showing that he really loves art and looking at lots of it) I bought his hardcover Cheeks:Unclenched book and he did a cool Jessica sketch inside for me.
I emailed him later and told him the story of our first meet, and he was so cool about it. Stating that at that point he was still fairly new to the convention scene and as a result a little withdrawn. Judging from his blog, his deviant art, and his twitter, Sean "Cheeks" Galloway has come out of his shell and is an awesome human being.
On the way through the exhibitor room I came across Tina's assistant from the night before. She was looking on at the demonstration station. I made small talk and asked how the schedule was looking. "We're good, I think we're good," was her response.
I had officially been bumped. I was irritated but determined to have a good time. Allow the show to continue to inspire me.
And inspire me it did.
I came across Ryan Hungerford. Wow what style this guy had. Very toony stuff, but just absolutely brilliant to look at. What caught me the most was his Star Wars stuff!

I told him I would love to see him working on a Topps Star Wars set. Crossing my fingers that we will! When that happens, all you sketch card fans can thank me! LOL.
The rest of the show I got to attend some panels and discussions. I was able to meet some absolutely brilliant artists in the animation field including, Harald Siepermann, Marcelo Vignali, and Andreas Deja. (All of whom signed my sketchbook and did a little sketch!) As if I hadn't been inspired enough, I was all set to watch J. Scott Campbell conduct a demonstration at 7 pm. So around 5:45 I made my way to the demo station where a small crowd had begun to form already. I sat down fairly close and to my delight was able to see Adreas Deja first at 6. He sketched many of his characters including Scar, Jafar, Gaston, and Mama Odie from the upcoming Princess and the Frog movie. In addition he also regaled us with stories from the process. Some of which were quite funny. But as time moved on it was looking like he would spill over into J. Scott Campbell's time slot. I looked around only to realize that sitting next to me were J. Scott and his girlfriend, famous Star Wars Slave Leia Christy Marie.
Unfortunately, 7 pm came and went. And so did his drawing session. HE had been bumped too.
I asked him if he would still be drawing the next day at noon. He assumed that was the case, and I decided I'd give it another shot then.
On day three I was in the exhibit hall by 10 am. I grabbed my front row spot for the noon session, and figured I would get to see another artist draw before that as well since someone was scheduled for 11. Low and behold, that artist no showed. I realized as well that I had seen this location that was "supposedly" all booked up, empty several times. That in itself was upsetting. Around 11:45 Dean Yeagle walked over to the demonstration station and sat down. Now while I was elated to see Dean draw, I was a little confused as to where J. Scott Campbell was. Minutes into what was a highly awesome demo, J. Scott and Christy walked up behind me. He told me that the night before Dean had been bumped from his time slot, and now he would be drawing somewhere else at noon. I explained that I had been bumped as well. And he looked at me and said, " It happens to all of us."
There was some comfort in that. If they could bump Dean Yeagle, and J. Scott Campbell, I didn't feel so bad since next them I was a small fish.
Now came the decision. Finish watching Dean, or go inside and see J. Scott.
Ultimately, I walked over to see the Danger Girl artist at work.
I was shocked at the fact that I was able to stand as close as I did. That I was able to ask as many questions as I did. It was kind of like a VH1 songwriters session. Had this been a comic convention I would have NEVER had this opportunity.

At the end of the drawing session I was the lucky recipient of the more finished 11 by 14 piece he did featuring Danger Girl AbbeY Chase.

The session was really special and being that I would say undoubtedly that J. Scott Campbell is my favorite artist, and his work my biggest inspiration, that hour was the icing on the cake and made the entire trip worthwhile.
As day three hit it's mid session I wandered over to see Don Bluth, Stephen Silver (who drew a great Kim Possible for me), Humberto Ramos, and Cheeks and thank him again. On the way out I headed back by Dean's table to say farewell also. We chatted a little longer and he did a quick Mandy sketch for me as well.

I stood outside the exhibit hall however shaking my head in confusion. I couldn't understand why I had been treated the way I had. On the surface the show should have been the ultimate in professionalism. But the way the demonstration schedules were handled, they way artists were bumped, and like myself ignored, left a bitter taste in my mouth. I expected more from them. Had they decided against using me for the demonstrations, I would have understood. A simple email, an apology, SOMETHING. Instead I felt snubbed, looked down upon, and worthless. In one of the discussions, Marcelo Vignali stated that for years, San Diego had Comic-Con. That the animation artists were kind of grouped to one corner. But that wasn't the case here. THIS, this was their Comic-Con.
I saw that in some ways as a reversed situation. The comic artists in tow didn't receive nearly as much attention as the animators. And maybe as a result were easier to bump, or move around. And we are talking BIG names here, Humberto Ramos, Mike Mignolia, and J. Scott Campbell. Good luck getting any decent face time with them at a comic show. But at the CTN Animation Expo, they were smaller fish in a big animators pond. And I was made to feel like the bottom dwelling kelp.
I can only imagine that next year the show will grow larger and it will be harder to get one on one time with some of the artists, but if you are going as an attendee only, it's well worth the trip. You'll leave inspired and wanting to draw. You'll probably spend a lot on sketch and art books as well. HOWEVER, if you get that invite to conduct a demonstration and have not worked for Disney, Pixar or Dreamworks, or contributed in some major form to the animation industry, be wary. Get it in writing. Get a retainer fee. Me? I'd just like them to make it right with me. I'm professional enough to know that if I blatantly blew someone off after inviting them to an expo, I'd be doing some serious damage control. No matter how big or in my case how small, the artist was.
That being said, I was ready to go. But what does one do with half the day when in California?
Well, if you like Disney, Theme parks, and have a comp ticket, you rent a car and take the 40 minute drive south to the Disneyland resort!
I headed there around 3 knowing the parks would be open until midnight. Plenty of time to soak it in. When I arrived I heade to California Adventure first. I hit the Monsters Inc. ride first. I knew that I wanted to take in as much of the parks as I could in 7 hours.

The best bet was to do the things that we don't have in Disney World first. The Monsters Inc ride was very cool.

From there I did California Screaming ( a kicking roller coaster) and the Maliboomer.
I also wanted to compare Soarin, and The Tower of Terror) I managed to circle the park in just over an hour. Taking advantage of the single rider line was a godsend.
I wrapped it up there and ran across to Disneyland. After all the Indiana Jones Adventure was waiting, calling my name. Sleeping Beauty's castle was drenched in holiday icicle lights.

I couldn't wait any longer. I was like a junkie looking for his crack. In this case my crack was the Indiana Jones ride. it had been 7 years since I'd ridden it, so I decided I would ride it once for every year I missed.

I did 6.

It was like Indiana Jones euphoria.
The next attraction I wanted to check out was the Haunted Nightmare Before Christmas Mansion. I was expecting there to be some decorations and the occasional reference to Jack Skellington, but I was blown away by the overhaul of the ride. It really felt like a Nightmare Before Christmas ride. The interiors were all modified with sights from the movies. Even the stretching room had been retooled. The soundtrack took you in and the ride was complete with life size Jack and Ooggie Boogie animatronics. Instead of hitch hiking ghosts, you took with you a creepy gift from Oogies back of prizes. Excellently executed and something I wish the Magic Kingdom would do as well.

Even though I didn't ride it, I did take a picture of the facade of It's A Small World. The Christmas light fairy effectively threw up on it, and had Clark Griswold do the rest. It was gorgeous!
I was doing so well on time that I took in Pirates, The Matterhorn, The Train, Finding Nemo's Submarine Voyage, Roger Rabbit's cartoon spin, and even watched Fantasmic. I think it's good both here and there, but their Malificent Dragon looks cooler.

On the way out I snuck in one last Indy ride. Vowing that it wouldn't be another 7 years before I came back.
The next day I began my long journey home to Florida. I have to admit that Orlando really has become home. I used to say that I liked Disneyland better, but now, I think they are both equal. There is something about Florida that just rubs me the right way.
SO that concludes this, the absolute longest post I have ever entered. For those of you that read it all the way through. Thanks, it's nice to know my adventures mean something to someone!