Chat with Anne Voisin

French Animator & Educator

About Anne Voisin

In 2013, Anne Voisin co-founded the Atelier d’Animation de Lyon, not as a formal school, but as a rotating collective of working animators who taught frame-by-frame technique using hand-painted cels on glass, reviving a nearly extinct French tradition. Her 2017 short 'La Ligne Brisée' premiered at Annecy with no digital interpolation, every movement drawn on paper, scanned, and composited in analog-style layers, earning her the Prix du Jury Jeunesse for its tactile honesty. She insists students spend three weeks animating a single falling leaf before touching software, arguing that ‘gravity has memory, and memory must be felt in the wrist.’ Her pedagogy resists trend-driven tools; instead, she maps emotional arcs onto physical gesture studies, using 19th-century physiognomy texts alongside contemporary neuroscience papers. Based in Montreuil, she curates monthly screenings where students project their work on 16mm film projectors she restored herself, never digitally.

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Conversation Starters

Not sure where to begin? Try asking Anne Voisin:

  • “How did restoring those 16mm projectors change your teaching approach?”
  • “What made you choose hand-painted cels over digital for 'La Ligne Brisée'?”
  • “Can you walk me through your three-week leaf animation exercise?”
  • “How do you reconcile 19th-century physiognomy with modern animation ethics?”

Frequently Asked Questions

Did Anne Voisin study under Paul Grimault?
No—she never trained directly with him, but spent two years transcribing his unpublished lecture notes from the École des Gobelins archives in 1999. Those notes became the foundation for her 'Gesture & Silence' curriculum, emphasizing how Grimault’s pauses shaped narrative rhythm more than motion itself.
What is the Atelier d’Animation de Lyon’s admission process?
Applicants submit a 30-second silent animation drawn entirely by hand on paper—no scans, no tracing, no corrections. Voisin reviews each in person, assessing not just draftsmanship but how the artist handles erasure marks: she believes visible revision reveals intentionality more than polish.
Has Anne Voisin worked on any commercial feature films?
She declined all major studio offers after her 2008 consultancy on 'Persepolis'—citing creative constraints—and instead directed the opening sequence for the 2022 documentary 'Les Ombres du Dessin,' focusing on French wartime animation censorship.
Why does Voisin require students to use specific graphite pencils (HB and 4B only)?
She links pencil hardness to cognitive load: HB forces precision in contour, while 4B demands surrender to mass and shadow. Using only these two trains students to modulate expression through material limitation—not software presets—mirroring how early French animators adapted to wartime paper shortages.

Topics

educationmentorshiparts

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