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Continued rough animated sequences “At Kanga’s,” “Rabbit’s Plan,” and “Owl’s House” all done by Scott T. Petersen for Piglet’s Big Movie (2003)

Including walk cycles and other sample animation for Mama Heffalump in Pooh’s Heffalump Movie (2005)

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Rough animation by Scott T. Petersen for the “Expedition” and “At Kanga’s” sequences in Piglet’s Big Movie (2003)

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Rough animation done by Ronaldo Canfora of Tigger in the “‘Round my Family Tree” sequence for The Tigger Movie (2000)

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Rough animation of Owl and Pooh by Dan Boulos in the “How to Be a Tigger” sequence from The Tigger Movie (2000)

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A Philosophical Look at Form vs. Force-

From a physics perspective, to exist, we need both form and force in a delicate balance with equal importance, but in which order of appearance- force then form, or the other way around?

Before the known universe and the beginning of time, there was just an immense raging energy and formless.  Then in a single instant, a big bang occurred and matters came into being along with the forces that shaped, interact and governed them.

Before an appearance of a character design, there was a creative insight and abstract.  Then the pencil hand started to strike lines and an image is formed.  But for the drawing to become alive, it must encased the energy of a vision shaped it.  

In nature, it is the forces that drive and shaped matters into endless variety of form.  So too for animation, it is force that shaped the surface appearance of a drawing and sends it to motion accordingly.  

A beautifully drawn form without hint of the forces that resides within is like an empty shell.  A technically perfect movement without a feel of the underlying forces is hollow of life.

From this perspective, force come first and mold form into being, becoming visible through the interaction with form.  And together, they both breathe as one- visibly and invisibly.

In the above scene I did a while back for ‘The Tigger Movie’ (and the only one I did for this movie), all the joy of Tigger is encased in the way he bounces.  How happy he is emotionally is transformed into the strength of physical force, interacting with his mass which was made of fluffs (he is a plush toy). With all these interaction of form and force in consideration, the tail was distorted, acting as a visual pop to get a feel of force to read properly.  

The feeling I was trying to get across is soft, cushy, springy, bouncy and high state of bliss.  In the clean-up process, it was production choice to reduce the tail size to match the form in model sheet, and the joyful feeling was lost (an example of form not in harmony with force).

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An early storyboarded sequence done by director Francis Glebas for Piglet's Big Movie (2003), in which Pooh and Piglet search for Small and get stuck in a heffalump trap

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Early beatboards done by director Francis Glebas for Piglet's Big Movie (2003)—which had initially been planned to be more of an anthology film similar to the early Pooh films

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I can’t express how amazing it is to see all of these delightful illustrations featuring Pooh and the gang! Thank you ever so much for posting your wonderful work for us all to see 💛

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Concept art for “Winnie the Pooh and the Blustery Day”.

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Tigger rough animation by Romy Garcia for Boo to You Too! Winnie the Pooh (1996)