Animation Gurus

When Kaumudi and I journeyed to Hyderabad in 1995 to embark on our animation studies, anticipation filled the air as we awaited the arrival of a Russian instructors. This foreign educators had ignited our curiosity, and since that initial encounter, these teachers from afar became a regular presence in our educational journey.

Before we met them in person, during the interview process, they seemed like enigmatic figures. However, the moment we stepped into the college, they revealed their true identities. What immediately struck us was their modern and stylish attire. Inspired by the prospect of studying animation, many of us in the class had already slipped into newer fashion choices—quirky t-shirts, jeans, caps, unique hairstyles, tattoos, and more. Little did we know, our expectations would be upended upon our introduction to Alexander Sir and Victor Sir, who appeared nothing like the animators we had envisioned. Both were dressed formally with white shirts, grey suits, and a red tie.

Following our initial introductions, we entered the classroom, where Alexander Sir made his entrance, speaking softly yet with incredible expressiveness. As his interpreter conveyed his words, we learned that Alexander Dvydov hailed from Soyuz Multi Film, a renowned animation studio in Moscow. Alexander, a family man who had also served in the Russian military, had pivoted to animation due to his passion for the art, honing his skills through diligent study and practice. As he spoke, he casually removed his coat, draped it over a chair, and neatly folded the cuffs of his crisp white shirt before grasping a pencil.

With swift and confident strokes, he began sketching vivid images with bold pencil lines, instantly gaining our unwavering trust. He skillfully illustrated the importance of precise drawings in the intricate process of animation, repeatedly emphasizing how nuanced observations were key to capturing the essence of a picture.

Our class was fortunate enough to venture into a nearby field one day, cameras in tow, under Alexander’s guidance. There, we captured images of various animals, documenting their every move. To our amusement, Alexander even playfully mimicked a sprinter, evoking hearty laughter from us. On our way back, we realized we had spent the entire day conversing and laughing with him, even if we hadn’t comprehended every word he said.

Victor Sir, on the other hand, was the complete antithesis of Alexander Sir. While Alexander Sir had neatly combed-back hair and a clean shave, Victor Sir had long, braided blonde hair and a Bulganin-style mustache and beard. He was teaching Kaumudi’s class.. and therefore I had little chance to observe him… However, we used to peep from the windows, whenever he used to be in their class.. roaming around and checking the animation frames.

Victor Arsentive Sir delivered forceful and assertive speeches. His passionate gestures were aptly mirrored by his interpreter. His strict rules governed the arrangement of our workspace, our preparation rituals, and the precise placement of items while drawing the animation frames. If he happened upon our desks or if we beckoned him with a question, he would often spend the first ten minutes meticulously organizing the cluttered workspace. With a continuous scolding going on… he would carefully adjust items on the table.

First on his checklist was our pencil box. If he spotted just one pencil, a stern rebuke was sure to follow. “You are an artist,” he would admonish, “and breaking the tip of a pencil in the middle of a drawing will disrupt your creativity. Keep three to four pencils, impeccably sharpened and ready at all times.” Another issue that he used to be annoyed with was an eraser… A small eraser fragment not to be found under the heap of papers was unacceptable. To ensure that the eraser is always accessible, and secured within reach, Sir used to tie it with a string. Blank sheets of paper were to be readily accessible in their designated compartments. The lamp’s placement had to be just right, casting its glow precisely where needed. Chair height adjustments and other ergonomic considerations were meticulously observed to prevent any physical fatigue during work.

Once all these preparations were in order, he would begin his artistic process. While working on a new sequence of how a hen walks, he would provide a running commentary, using gestures and expressions to illustrate how a hen raises its tail or tilts its beak when walking, all the while expertly utilizing the animator’s table mirror to capture the perfect expressions.

Our hearts sank when it was time for these esteemed teachers to return to Russia at the end of our three-year term. Throughout those years, they had been our guiding lights, bestowing upon us a “vision” or “Drishti” that would resonate with us for a lifetime.