Oh yeah, this thing.

Here's to you mate

EXT.SMALL CORN FARM-(NIGHT) -

A full moon amongst a bed of stars shines pale on a cloudless night. A small corn farm groans under the slight breeze, a light is on inside.

The camera slowly draws closer to the window, sounds of laughter and music begin to grow louder.

INT.FARMHOUSE KITCHEN-(NIGHT)

A group of 5 farmers sit under a light around an oval kitchen table. At one head of the table sits JOHN.

JOHN
BILL, how about you?

The short DAIRY FARMER to his right thinks for a moment, then pushes a small stack of bills into the center of the table.

BILL
I'm in. PAUL?

PAUL, a burly FIELDWORKER tosses in a few bills and nods. Then looks to the YOUNG FARMER on his right.

The young farmer, JACOB, is looking at his cards blankly, not seeming to notice it's his turn. They all stare at him. The ROUGH FARMER on Jacob's right sighs loudly.

DAVE
Well c'mon kid!

Jacob looks up from his cards, then looks to John as if waiting to be told what to do.

DAVE (CONT'D)
(incredulously)
Are you in or are you out, kid? Sheesh, John! The whole game like this!

Jacob looks to his cards, then the cards at the table, then grins foolishly.

JACOB
(unsuredly)
I uh, I raise right If I have...

Looks up to John, who doesn't give a response. Dave rolls his eyes.

JACOB (CONT'D)
Yeah I raise, I'll double the bet

DAVE
Well, I fold.

John looks around the table, the other farmers all fold and toss in their cards.

DAVE (CONT'D)
Man John, the kid can't even keep a good poker face!

JACOB
Yeah, but I think I just figured out how to bluff!

Jacob turns over his cards, a two and an eight. The farmers groan as he pulls the pot to himself. Dave mutters angrily.

Bill shuffles the deck and turns to Tom.

BILL
You catch them coyotes yet?

John quickly glances at his cards.

JOHN
Not yet. I think its just one. Might be a stray dog or a fox, it seems to be pretty clever.

JACOB
(excitedly)
Yeah, dad hit it the other night with his rifle. It's got to be to be injured pretty badly, shouldn't poke it's nose around here anymore.

JOHN
I wouldn't be too sure about that Jacob. I thought I had a pretty good shot on it, but there wasn't a whole lot of blood.

Jacob nods and pushes a few bills in. John turns to Paul.

JOHN (CONT'D)
It made a pretty quick getaway too, thought it might be a fox, however it's about the size of a coyote and sure eats like one.

Paul nods and places his bet. Then sits up straight, listening.

PAUL
Speak of the devil.

John and Dave look at Paul with concern. Bill and Jacob appear confused. Paul goes over to the radio and shuts it off.

JACOB
Why is he-?

Bill, looking at Paul, waves his hand shushing Jacob. Paul holds his finger in the air for silence.

Jacob looks around trying to read a reaction from the others, who are all staring intently out the kitchen window.

JACOB (CONT'D)
What are we-

JACOB (CONT'D) (CONT'D)
(whispering)
What are we listening for?

DAVE
(in a harsh whisper)
Hush a moment, will'ya?

After a few moments of silence. A muffled bang is heard, followed by loud paniced clucking.

John stands up quickly and throws his cards on the table.

JOHN
Son of a bitch! I hate to break up a card game fellas, but I have to go take care of this. Jacob-

JACOB
Yes sir!

Jacob runs out of the room and goes upstairs. John turns to Paul.

JOHN (CONT'D)
Paul do you have your rifle on you?

PAUL
In my truck.

Paul heads outside, Jacob comes back in holding a coat and a rifle. John puts on his jacket, and looks to Bill and Dave.

DAVE
(glumly)
Ah shoot, right when my cards came through.

BILL
We'll come with you John, you could use an extra torch or two.

Quietly, all the farmers head outside towards the chicken coop.

EXT. EXT.CHICKEN COOP-(NIGHT) -

The farmers arrive at the the gate. Paul is waiting for them. He looks past John at the others. John shrugs.

DAVE
Don't worry 'bout us Paul. We're here to wipe your nose for ya!

Paul shrugs and opens the gate, they all head over to the chicken coop. When they reach the fence, John points out a small hole dug where the fencing is loose.

JOHN
He's much bigger than that, I'm not sure how he squeezes through so easily. C'mon.

John opens the fence and goes up to the chicken coop door. The door is slightly ajar, chickens can be heard cluttering around inside. John motions to Jacob, who brings him his gun. Then John signals him to open the door.

Jacob lifts his flashlight and slowly opens the door, giving nervous looks to the others.

Suddenly, a chicken flies out. Jacob cries out and falls backwards. John raises his gun, but then lowers it. Bill steps back surprised. Dave laughs heartily, Paul does not move.

Jacob goes running after the chicken, and Dave calls after him.

DAVE
(mockingly)
Careful Jacob! He sure is a vicious one!

JOHN
Be quiet, will you! Look!

Paul was crouched around a large hole torn through the back of the fencing. A trail of blood and feathers leading out into the cornfield, where a lot of the plants had been torn up.

BILL
He must have heard us coming, left in quiet a hurry to make a big mess like this.

JOHN
Let's go.

EXT. EXT.CORNFIELD-(NIGHT) -

The farmers follow the trail of blood into the cornfield, moving as queitly as they can. They begin to hear the sounds of messy eating.

John signals to Paul, who raises his rifle. Bill, keeping his light low as long as possible.

As they approach the source of the noise, Bill shines his light on SCP-682. 682 looks up and shreiks at them.

JOHN
What the hell is THAT?

Without a warning, 682 jumps at Paul. Paul's rifle fires into the air, as 682 begins to tear into his throat. Bill struggles to pull 682 off. John kicks it hard in the side and it runs into the corn thicket. John takes a shot after it and Dave begins to give chase.

JOHN (CONT'D)
Don't go anywhere! We need to bring him inside. Now!

There's a short pause. John shakes his head while Bill crosses himself.

EXT. INT.FARMHOUSE KITCHEN-(NIGHT) -

The farmers burst into the door. Bill quickly clears off the kitchen table, knocking cards and chips to the floor. Dave and John carry Paul onto the table and set him on his back. Paul, unconcious, is bleeding badly from the throat, his breathing is very slowed.

JOHN
(shouting)
Dave, call an ambulance! Dave! DAVE!

Dave doesn't respond, he stares emptily at Paul's wound, it's hard which of them looks more pale. Bill, seeing that Dave is in shock, runs over to the phone and begins to dial 911. John frantically begins to apply pressure with a kitchen towel against the wound.

The front door opens, and Jacob walks in holding a chicken. He has a slight grin on his face, which disappears quickly at the sight of the grim scene.

JACOB
Hey guys I got- oh my god, what happened? Did the coyote do this?

Dave, his eyes still fixated forward shakes his head.

DAVE
Not a coyote...it's not a coyote...

JOHN
God damnit Jacob, put down the fucking chicken and lend a hand! Go upstairs and get me some more towels, and water! Bill! What's the word on that ambulance!?

Jacob, looks around for a moment and sets the chicken in the kitchen sink, then runs out of the room. Bill sets down the phone slowly, he's staring out the window.

BILL
They're not coming. Nobody is coming. I can't get anybody.

Dave's head perks up, he begins to listen.

JOHN
What are you talking about Bill?

Bill throws his hands up in the air.

BILL
All I get is a recording. 'All outside communication is blocked'.

JOHN
What? Give me that phone.

John steps across the room and snatches the phone from Bill. He dials and listens, then hangs up and tries again. After a few infuriating attempts he slams the phone on the hook.

Jacob runs back down with towels and a small pail of water.

JOHN (CONT'D)
Jacob, give me your cell phone.

Jacob stops, caught by surprise, with a look of confusion on his face.

JACOB
What? I don't have a cell phone, you wouldn't pay-

JOHN
Shut up. Bill, phone?

Bill shakes his head and John swears. He turns to Dave.

JOHN (CONT'D)
Dave, do you have a ph-

DAVE
It doesn't matter, Paul's dead.

Bill crosses himself, John shakes his head. After a brief moment, Jacob slides down against the wall.

BILL
It's going to be alright, we'll just go get help.

DAVE
Bullshit it's going to be alright! We're all dead, every one of us.

JOHN
Dave, shut your mouth right now.

DAVE
Goddammit John, you know it's true. You all do. You saw that thing, it sure as hell wasn't no fucking coyote. It was a demon.

John stares incredulously at Dave, Bill looks worriedly at them both.

JACOB
What if it's a monster the government created, or an alien?

DAVE
Like you would know. Too busy chasing that damn bird to help when you're needed.

JACOB
I was just trying to help, I thought it made sense with the line being blocked...

DAVE
Why don't you keep quiet when grown men are talking?

John comes to alert and steps aggressively in between Jacob and Dave. The chicken can be seen clucking and pecking across the kitchen.

JOHN
Dave, I'm going to say it one more time. Shut your mouth.

Dave sneers up at John.

DAVE
Not my fault you raised a puss-

Dave falls backward over the kitchen chairs, propelled by John's fist. He collides with the table, knocking Paul's rifle to the ground. Stunned, Dave recovers and begins to reach for the gun. The cock of a rifle makes him freeze, he turns to see John with a rifle pointed at him.

JOHN
We all just want to live, Dave, but we need to work together. This might not be a demon, but it sure as hell isn't one of God's creatures. It's still just an animal, it can be outsmarted, but I need your help.

JOHN (CONT'D)
Okay, Jacob you go with him. Me and Dave are going to get to the bottom of this.

JACOB
No I'm staying with you guys. I want to help.

JOHN
We're not having a discussion about this-

JACOB
(assertively)
I know, because I'm not going anywhere.

John sighs, puts his hand in his face. Then pulls off to the side.

JOHN
You can come with. Take my keys. If anything happens to me, you run. You leave Dave and you run. Do you hear me?

JACOB
Dad I couldn't just leave your friend.

JOHN
John, Dave is my friend, and a grown man. He can take care of himself. You're my son, I need to know you'll be safe.

Jacob bows his head and nods it slowly. John looks to Bill and nods sharply. Bill leaves silently, his engine fading into the distance.

JOHN (CONT'D)
We'll trap it. We can lure it into the cellar, that'll hold it until Bill gets back. There's only one exit, so it'll be easy to take shots at it if it tries to escape.

Jacob kicks the floor, and looks up. Dave shrugs wearily.

DAVE (CONT'D)
Well, what are we waiting for?

EXT. INT. POV CELLAR -

The cellar door opens up from the outside. Three silhoutted figures can be seen. One of them throws a few chicken carcasses and meet towards the camera, into the cellar.

EXT. CELLAR ENTRANCE-(NIGHT)

About 15 feet from the cellar entrance, Jacob and Dave sit behind a fence. John is hiding out of site around the corner of the farmhouse.

DAVE
Now boy, don't you go running off again. Real men don't leave others behind. Time you started acting more like your father.

Jacob shifts uneasily, his fathers car keys jingle in his pocket.

They wait for an hour or so, barely moving their eyes from the scene. As they begin to get restless, they hear footsteps, which grow louder and faster. 682 jogs into the scene, looks straight at Jacob and Dave, then walks calmly into the cellar.

DAVE (CONT'D)
Now!

John dashes around the corner and slams the cellar doors and locks it. 682 shreiks loudly inside, and bangs on the door once or twice.

John begins loading his gun and starts laughing.

JOHN
Haha, that wasn't so bad. Stupid thing went straight in. Some demon, eh Dave? Going to hunt us down?

DAVE
Hey it's still dangerous, you keep an eye on it, it tore through that fencing pretty fast.

Jacob and John start chuckling, reluctantly Dave joins in. Their laughter is cut short when they notice a low gruff laugh coming from the basement.

SCP-682
WHO'S AFRAID OF THE BIG BAD WOLF?

JOHN
That's okay, if it tries to break through I can put one straight between it's eyes. I'm not afraid of the big bad wolf.

Jacob takes a step back. John and Dave raise their rifles.

DAVE
Goddamnit John I told you! It ain't no fucking coyote, it's some government alien.

JOHN
Dave, not now!

682 begins to bang against the cellar door, louder and louder. John drops his gun and goes to brace the door.

SCP-682
THREE LITTLE PIGGIES MAY I COME IN? NO? THEN I'LL HUFF *boom* AND PUFF *BOOM* AND BLOW THE HOUSE DOWN!

SCP-682 explodes through the cellar door, now standing on two legs. His massive body tears apart a large portion of the house and debris flies everywhere. John is flung against a tree, and slumps dead on the ground.

Dave tries to fire a shot but gets knocked down by debris and his leg is trapped. Jacob runs to his father's side.

DAVE
Jacob! Jacob you've got to come help me! I can't move!

JOHN
(staring blankly into the sky)
Leave us, please.

John dies. Jacob looks over to Dave, his hands reach into his pocket and clasp his Father's keys. Dave is screaming in terror for his assistance. 682 is pulling himself out of the hole he made, laughing.

DAVE
Jacob! What the fuck are you waiting for help me! For God's sake!

Jacob looks at Dave again, then runs to the front of the house where his fathers truck is.

DAVE (CONT'D)
You fucking coward! I hope you burn in hell!

Muttering in panick and anger, Dave struggles to pull himself free. 682 is shaking off the debris and begins advancing on David.

SCP-682
DIIISGUSTING CREATURE...

682 begins to reach out towards Dave, who is now screaming at the top of his lungs.

Suddenly, headlights appear on 682's crouched form. 682 turns to the source and a large pickup smashes into his face. Head and upper torso is smashed between the pickup and a tree. Jacob is killed in the impact.

DAVE
Jacob? JACOB! Jacob I'm sorry. John?

Dave manages to pull his leg free, which is badly injured. He limps over to the car window. He bangs against it, Jacob's head is against the steering wheel, pieces of his scalp are in the windshield.

Dave hobbles around to 682, and spits on his mangled head.

DAVE (CONT'D)
Not so tough now, you piece of shit.

Dave begins to hobble away, then hears creaking and turns back.

682 begins to thrash as if in a seisure. He begins to pant and skin and muscle tissue slowly begins to peice back together. Dave fires a shot and falls over. The regeneration process quickens, the gunshot wound heals over. 682 begins to push the wreckage off of himself.

Dave stares increduously, then gets up and starts to head towards the farm house, limping as fast as he can.

SCP-682
RUN RUN. AS FAST AS YOU CAN.

Dave breaks into a panicked half run, wincing from the pain. He hears booming laughter and looks back, then falls down as he collides with a figure.

Dave looks up and sees a SOLDIER dressed in black military garb.

SOLDIER ONE
Stay down!

The soldier runs past him and several more do. Suddenly a helicopter flies overhead. Dave stares as an enourmous house sized 682 begins to battle with the helicopter. 682 grows a long spidery limb and grapples with the helicopter, two more appear and they begin to spray 682 with a fluid. Ground soldiers begin to fire various weapony at him. 682 roars in anger and is slowly taken down.

Dave, very shaken, starts to get up and walks towards Paul's car. The door is locked. Dave curses, and then looks towards the farmhouse. He takes a few steps when the door opens from the inside. A few men in suits walk out, followed by more armed soldiers. A body bag is on the kitchen floor.

SUIT ONE
How's it coming?

SUIT TWO
He won't evade capture this time, hydrochloric acid slows down regen speed, and we can keep him frozen for a few hours. Gears already has a room prepped for us back at the foundation.

SUIT ONE
Good, and survivors?

SUIT TWO
Well there's him

He motions to Dave. A soldier walks briskly past him and pushes dave to his knees and a gun against his head. Dave tries to stammer something and is cuffed sharply.

SUIT TWO (CONT'D)
and we also picked up another. He was running to get help.

SUIT ONE
Well, the budget only allows for one wipe. What do you think?

SUIT TWO
The other fellow seems sound enough of mind, probably easier. We can just scrap this one, he's already been through a lot.

Suit One motions to the soldier who gets ready to shoot. Dave's eyes open wide and he starts to protest. The soldier shoots him once in the head. Dave

Suit Two lights a cigarrette and shakes his head.

SUIT TWO (CONT'D)
It's a damn shame. What a mess. Well, no use crying over spilled milk, let's wrap up and get this thing looked at.

In the foreground, soldiers begin to bag Dave's body. The two suits begin to walk towards 682, as his frozen half destroyed body is lifted piece by piece onto various transportation vehicles.

Hey everybody, some of you know me, almost all of you don't. I'll be starting on a new animation for this coming Halloween, featuring a certain hard-to-kill lizard.

Check out the SCP foundation for your dose of the strange, the odd, and the just plain creepy.

I'll be posting updates every two weeks on the animation, so be sure to check back!

Thanks for reading, whoever you are. :)

So, you're interested in animation, but you aren't quite sure where to get started. That's okay, there is an entire wealth of information out there for you to get your hands on. Remember though that animating is a journey, it takes lots of hard work, but it is extremely rewarding.

PICK A MEDIUM

There are lots of different ways you can begin animating, and countless styles beyond that. Traditional, Flash (or any 2D animation program), stop-motion, and 3D are just to name a few. Find out which medium(s) you'd like to pursue and gather the necessary resources to begin.

Most of us, however, will settle into Flash animation. Flash animations are created with Adobe Flash, but there are plenty of free alternatives to the program.

GETTING ACQUAINTED WITH YOUR MEDIUM

Those of you using pencil and paper may want to skip this section, but feel free to look into how traditional animation is done. Stop-motion is also something that should be rather self explanatory, but for the more serious animators you may want to look into armatures.

Flash animation can take some getting used to. When you first open the program it can seem very overwhelming, but don't worry, navigating the program will become easier after some time. You should definitely check into Newground's great collection of Flash tutorials. Another great way to get familiar with any program is to simply mess around with it and try creating something.

I won't be able to list information for every program and medium out there, but the web is full of tutorials and information that's only a quick google search away!

THE BASICS AND OTHER RESOURCES

So now you're confident enough in your medium to start learning the meat of it all, how to make stuff move and how to do it believably. I've composed a list of learning resources, both books and websites that you should look into. Remember though, they're meant to be used, not simply read. Try doing various exercises based on what you learn and practice practice practice!

-Websites-

The Principles of Animation - The basic techniques of animation, start here.
More information on the principles
Various resources by Carlos Baena
More Carlos Baena
Animation Meat - A great website that links to other great websites and has a wonderful list of resources!
Another animation tutorial collection by Newgrounds and there's a thread too!
Keyframer A great website, especially for you Flash animators!
Tips and tricks by Shaun Freeman
Animation Mentor A great website about an online animation school, but has plenty of free resources including webinars and blogs by animation professionals. Definitely a must see!

-Books-

I know some of you are more inclined to do you're learning on the web, but there really is some golden information in the pages of these books, I highly recommend looking into them. Try checking your local library or Scribd if you're not able to afford them.

The Animator's Survival Kit by Richard Williams
The Illusion of Life by Frank Thomas and Ollie Johnston
Character Animation Crash Course by Eric Goldberg
The Animator's Workbook by Tony White
Cartoon Animation by Preston Blair

PRACTICE PRACTICE PRACTICE!!!

I'm sure you're sick of hearing but practice makes perfect.Take all of this information and use it! Do motion studies, do short animation, pair up with a friend and create something new! Draw, draw, draw and keep moving forward! You can become a great animator if you put your mind to it, the potential is in you. It's going to be a difficult journey, and sometimes you might want to give up, but don't! Every long journey starts with a few simple steps, and I hope this information will help you take them.

"Animation is bottling lightning, one bolt at a time"- Brad Birdquicklink

I've been looking at CalArts and I'm absolutely in love with it. The entry portfolios to that school are 10 times better than the graduating portfolios here at ILIS. So I've been re-evaluating what I need to learn. It's going to be back to the basics.

I'm going to start with anatomical studies. First the skeletal structure, and then muscular structure of humans. Then I'm going to move into reading a couple of books, The Natural Way to Draw and then a book on figure drawing.

Then I'm going to study color theory and work on life drawing again and improve my gesturing and begin learning to paint. When it starts to warm up I will start taking trips to the Zoo and drawing the animals there.

After that I hope to work on reproduction of the master artists such as Da Vinci, Michelangelo, Leanardo, etc.

Hopefully that will push me towards being accepted into CalArts. I've got a long road ahead, if you're kind enough to have read this, wish me luck!\

Here's the first of many studies! Skull Study Part one-

I used to be a Game Art and Design student, but after long consideration and a lot of advice from my friends, I've decided to switch over into animation. So now I should be able to complete projects easier, as they'll also be school projects. It should be much better than having to shelve all of my ideas so I can concentrate on schoolwork.

On another note, my student group, Tough Luck Studios has begun animation on our project "Benny's Night Out".

And finally, if anybody is actually wondering, now I really am (for serious) working on Keyblade Chronicles. I should begin story-boarding some time soon. I should write a script, but I'm really bad at it, so I'll skip that part and just write the lines in the storyboard.

Well, if anybody is reading this, thanks for doing so and feel free to drop me a comment!

I got an email from my career services coordinator, giving me a job lead to illustrate a children's book. Hopefully I'm lucky and plucky (sorry) enough to get the job!

My project progress so far:
-The Keyblade Chronicles
None
-An animated version of The Cask of Amontillado
None
-Putting together an animating group at my school, Tough Luck Studios
Logo and Posters complete, It starts tomorrow.
-Coming up with a skin for Destiny Islands forums
None
-Finishing a mockup website design for DestinyIslands.com
I made the basic layout, it's about 1/4 done
-Creating my character, environment, and item pages for my scriptwriting class
I only drew 1.5 characters, oops
-English paper
Finished!
-Drawing my cyborg thumbnail sketches for Advanced Life Drawing
Done, but poorly. Gotta put more effort into the next batch.
-Catching up on my Image manipulation projects
I failed the class due to absences! Hooray!

New projects I gotta do:
-More Cyborg sketches: Environment thumbnails and character turnarounds
-Figure out my housing and class registration for next quarter
-Get a job

From now on I'll be using my news posts as sort of a personal work journal. At least twice a week I'll update my current status on certain projects, whether there has been any progress or not. Hopefully I'll be able to concentrate on them better if I feel that I'm running on a schedule.

My projects that I am currently working on are:
-The Keyblade Chronicles
-An animated version of The Cask of Amontillado
-Putting together an animating group at my school, Tough Luck Studios
-Coming up with a skin for Destiny Islands forums
-Finishing a mockup website design for DestinyIslands.com
-Creating my character, environment, and item pages for my scriptwriting class
-English paper
-Drawing my cyborg thumbnail sketches for Advanced Life Drawing
-Catching up on my Image manipulation projects

"Our plans miscarry because they have no aim. When a man does not know what harbor he is making for, no wind is the right wind."

To start off on our journey in animation, it can be good to know something about the history and process of all mediums, regardless of which one(s) you plan on working in.

Hand Drawn Animation

Hand animation is the oldest form of industrialized animation. Animators use a special type of paper, aptly named animation paper, to draw on. Animation paper has a special surface that helps prevent smudging and is less blotchy when a light is shone through it. On one edge of the paper there are three holes that allow it to fit onto pegbars. In turn, pegbars hold many sheets of animation paper and allow for the 'flipping' and 'rolling' through the drawings. They also keep the drawings in place on a light table/animation desk. Animation desks are more or less desks with a circle cut through them, and fitted with a plexiglass animation disc, allowing light to be shone through and letting the animator rotate the disc to quickly turn his drawings.

Here's a video of a more extravagant animation desk.

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Hand animators place their pegbars on either the top or bottom of their disc, depending on their own preference. Then they put a sheet down and begin to draw their character in a pose, then use another sheet for a second pose. Then they work on the drawings inbetween those two poses, using the light from the table to create transparency. The finished, pre-inked result is called a pencil test.

Here are a few examples of hand animators, well, animating!

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After the drawing process is complete, and cleanup is finished, the animation is then inked. In the past, animation was first hand traced onto clear acetate cels. The inkers used special cotton gloves to prevent smudging and fine paints or markers to get clean black lines. This process was very time consuming and very expensive. Disney had one of the largest ink and paint departments in the world, until they switched over to Xerox. Using xerox, animators could directly copy their drawings onto the acetate cels without sending it to be traced by another artist. This was much faster, although there was less cleanup of the animator's drawings. You can see evidence of this in some older Disney movies such as Robin Hood or 101 Dalmations.

Nowadays, the inking process is usually done by scanning drawings into the computer to be digitally inked and colored, although some major studios such as Ghibli are still using the xerox and cel paint method.

Here's a quick video about Walt Disney's Ink and Paint club

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Hand drawn animation is an extremely fun and challenging medium. It lets you really get personal with your drawings and offers a great sense of control that can be difficult to attain with a computer. If you're interested in animating by hand, I've compiled a list of resources and websites that can help you get started.

Word of caution: cheaper paper can be blotchy and creases easily. The stuff priced in the middle is usually good quality. Also, if you buy an ACME peg, get ACME punched paper. If you buy Disney pegs, get Disney punched paper

Lightfoot Ltd.- Animation supplies, such as pegbars, discs, paper, pencils, and more!
Chromacolour- Really high quality supplies, but can be very expensive. More for the serious hand animator. They also have cels, inks, and paints!
Do it yourself animation desk- Not a step by step guide, but it does have lots of pictures of the process
Another home-made desk- This one has a bit more information on dimensions and such
How to make a desk: Part 1- This one is in depth!
Part 2Part 3Part 4