When you hit a tuning fork against something it vibrates, giving a specific musical note.
We learned that a digital clock is regulated by measuring how many times a quartz crystal oscillates per second—32,768 times. How does it count all those vibrations so quickly? Here’s how: the crystal is purposely cut with a laser to exactly the size and shape (the shape of a tuning fork) that will produce 32,768 oscillations in a second, then stop.* The electric circuit zaps the crystal with electricity, which makes the crystal vibrate until it returns to its original shape. When the vibrating stops, exactly one second has passed. The stopped vibrations trigger the circuit to move the second hand and give the crystal another zap.
The same principle applies in animated entertainment for children. The mouse hits the cat, who oscillates for a second, then resumes his former shape.
Here’s how a tuning fork works: https://www.youtube.com/watch?v=hW-igtIn3A8
Basics of LC oscillators and their measurement
* “Because 32768Hz can be so conveniently divided to give a 1 second pulse, it is a very popular size for it to be cut to. Manufacturers can bang them out and be sure they will sell.” https://www.quora.com/Why-does-Quartz-vibrate-exactly-32768-2-15-times-per-second
Back to the beginning of The Western Civ User’s Guide to Time & Space
Posted in book promotion, Western Civilization
Tagged animation, cartoon, digital, history, homeschool, illustration, music, quartz crystal, science, sketch, technology, time, toon
Back in the days when I was a graphic design instructor at Pittsburgh Technical Institute, I had a student who was dying to be a Disney animator—Pete Mekis. Pete lived and breathed Walt Disney. PTI was designed to turn out graduates ready for entry positions in graphic design, not necessarily for animation careers. Pete was dead-set on animation, though, so I told him he’d need 2 portfolios when he graduated: one for graphic design and one for animation.
One way I was able to help Pete was through a lucky circumstance. I had a friend from art school days, Will Finn. Will and I had attended Art Institute of Pittsburgh ‘way back when and like Pete, Will was into animation. After graduation Will headed out west where the animation studios are. Will always was a fantastic drawer and he got a job with Disney. If you saw Aladdin, you’ve seen Will’s work on the parrot Iago.
Anyway, after I got in touch with Will, he generously took Pete under his wing, doling out plenty of constructive criticism and advice. Will gave Pete a tour of Disney Studios when he flew out there. The crit & advice were given through typewritten letters. Each one contained enough material for a drawing teacher to work up several lesson plans (which you can bet I did!). Here’s a sample:
So here’s a fine example of why I love the art business. There’s a tradition of older experienced guys helping out the newcomers for no other reason than it’s a nice thing to do. Will continues to be generous with his wisdom over at Small Room.
And Pete wound up animating Dora the Explorer, among other projects. Life doesn’t always go exactly as planned, but if we’re lucky we find ourselves doing what we love.
I just received a book in the mail—a copy of The Year Without a Santa Claus by Phyllis McGinley, with illustrations by Kurt Werth. The J.B. Lippincott Company published this title in 1956.
This was the poem that inspired the animated TV special from the 1970s.
But what to my wondering eyes should appear—is Santa Claus enjoying a few puffs from his hookah?
Whoa—what heady days the fifties were for kids’ book illustrators! Fat chance something like this would pass muster with an art director nowadays!
Come to think of it, a few years ago I did do a project that called for Santa to smoke a cigar. I’ll dig around in the attic and unearth those sketches for a future post.