Thursday, 24 September 2009
Andy Warhol (1928-1987) was a key figure in Pop Art, an art movement that emerged in America and elsewhere in the 1950s to become prominent over the next two decades.
The Fauves used non-representational color and representational form to convey different sensations. Apply the same idea to the portrait of Marilyn Monroe below, using the controls to adjust the colors. How does the color affect the mood?
Unlike the Fauve colors, the non-representational colors of Pop Art do not depict the artist’s inner sensation of the world. They refer to the popular culture, which also inspires Warhol to experiment with the technique of silkscreen printing, a popular technique used for mass production. In doing so, Warhol moves away from the elitist avant-garde tradition. Initially, many spectators received this new marriage between art and commodity culture with little enthusiasm.
Warhol was fascinated with morbid concepts. Sometimes, however, the results are astonishingly beautiful, such as the resonating, brilliantly colored images of Marilyn Monroe. The Marilyn canvases were early examples of Warhol’s use of silkscreen printing, a method the artist experimented with, recalling:
In August 62 I started doing silkscreens. I wanted something stronger that gave more of an assembly line effect. With silk screening you pick a photograph, blow it up, transfer it in glue onto silk, and then roll ink across it so the ink goes through the silk but not through the glue. That way you get the same image, slightly different each time. It was all so simple quick and chancy. I was thrilled with it. When Marilyn Monroe happened to die that month, I got the idea to make screens of her beautiful face the first Marilyns.
Using photo-stencils in screen-printing, Warhol uses photographic images for his screen prints. The screen is prepared using a photographic process, and then different color inks are printed using a rubber squeegee to press the paint onto the painting through the screen.
A stencil is a template used to draw or paint identical letters, numbers, symbols, shapes, or patterns every time it is used. Stencil technique in visual art is also referred to as pochoir. Stencils are formed by removing sections from template material in the form of text or an image. This creates what is essentially a physical negative. The template can then be used to create impressions of the stenciled image, by applying pigment on the surface of the template and through the removed sections, leaving a reproduction of the stencil on the underlying surface. Aerosol or painting stencils must remain contiguous after the image is removed, in order for the template to remain functional. Sections of the remaining template which are isolated inside removed parts of the image are called islands. All islands must be connected to other parts of the template with bridges, or additional sections of narrow template material which are not removed.
"Happy 1984" - Stencil graffiti found on the Berlin Wall in 2005. The object depicted is a DualShock video game controller.
Stencils are frequently used by official organizations, including the military, utility companies and governments, to quickly and clearly label objects, vehicles and locations. Stencils for official application can be customized, or purchased as individual letters, numbers and symbols. This allows the user to arrange words, phrases and other labels from one set of templates, unique to the item being labeled. When objects are labeled using a single template alphabet, it makes it easier to identify their affiliation or source.
Stencils have also become popular for graffiti, since stencil art using spray-paint can be produced quickly and easily. These qualities are important for graffiti artists where graffiti is illegal or quasi-legal, depending on the city and stenciling surface. The extensive lettering possible with stencils makes it especially attractive to political artists. For example, the anarcho-punk band Crass used stencils of anti-war, anarchist, feminist and anti-consumerist messages in a long-term graffiti campaign around the London Underground system and on advertising billboards. Also well known for their use of stencil art are Blek le Rat and Jef aerosol from France, British artist Banksy, New York artist John Fekner, world traveling artist Above, and Shepard Fairey's OBEY.
Banksy is a quasi-anonymous English graffiti artist. He is believed to be a native of Yate, South Gloucestershire, near Bristol and to have been born in 1974, but there is substantial public uncertainty about his identity and personal and biographical details. According to Tristan Manco, Banksy "was born in 1974 and raised in Bristol, England. The son of a photocopier technician, he trained as a butcher but became involved in graffiti during the great Bristol aerosol boom of the late 1980s." His artworks are often satirical pieces of art on topics such as politics, culture, and ethics. His street art, which combines graffiti writing with a distinctive stencilling technique, is similar to Blek le Rat, who began to work with stencils in 1981 in Paris and members of the anarcho-punk band Crass who maintained a graffiti stencil campaign on the London Tube System in the late 1970s and early 1980s. His art has appeared in cities around the world. Banksy's work was born out of the Bristol underground scene which involved collaborations between artists and musicians.
Banksy does not sell photos of street graffiti. Art auctioneers have been known to attempt to sell his street art on location and leave the problem of its removal in the hands of the winning bidder.
Banksy's "The Flower Chucker" is included in the feature film The Age of Stupid to represent all modern art stored in an archive after the end of the world as we know it.
The most recent piece discovered, as covered by the media, was on July 15 (2009) when a teenager, Jamie Collins, and his uncle, Laurence Lewis, found a Gangsta Rat in Whitechapel, East London.
Naked Man image by Banksy, on the wall of a sexual health clinic in Park Street, Bristol. Following popular support, the City Council have decided it will be allowed to remain.
Banksy started as a freehand graffiti artist 1992–1994 as one of Bristol's DryBreadZ Crew (DBZ), write Kato and Tes. He was inspired by local artists and his work was part of the larger Bristol underground scene. From the start he used stencils as elements of his freehand pieces, too. By 2000 he had turned to the art of stencilling after realising how much less time it took to complete a "piece." He claims he changed to stencilling whilst he was hiding from the police under a train carriage, when he noticed the stencilled serial number and employing this technique soon became more widely noticed for his art around Bristol and London.
Stencil on the waterline of The Thekla, an entertainment boat in central Bristol. The image of Death is based on a 19th century etching illustrating the pestilence of The Great Stink.
Banksy's stencils feature striking and humorous images occasionally combined with slogans. The message is usually anti-war, anti-capitalist or anti-establishment. Subjects include rats, monkeys, policemen, soldiers, children, and the elderly.
In late 2001, on a trip to Sydney and Melbourne, Australia, he met up with the Gen-X pastellist, visual activist, and recluse James DeWeaver in Byron Bay, where he stencilled a parachuting rat with clothes pin on nose above a toilet at the Arts Factory Lodge. This stencil can no longer be located. He also makes stickers (the Neighbourhood Watch subvert) and sculpture (the murdered phone-box), and was responsible for the cover art of Blur's 2003 album Think Tank.
This Coors Light Advert Is A Great Example Of Exaggeration. Coors Want To Emphasise Their Beers Appeal And The Smooth Ice Cold Flavour It Posesses With Every Mouthful. When Your Sat In A Beer Garden In The Middle Of The Summers Heat You Want To Be Refreshed With A Freezing Cold Beer And This Advert Will Pop Into Your Head And Force You To Think That Coors Is The Icy Cold And Refreshing Beer, Just What You Need.
Wednesday, 16 September 2009
To make convincing animation, you have to believe that the character is alive. It's more than movement, more than action. Animate comes from the Latin animari: to impart soul- a breathing, living, internal energy. The character has to appear to make its own decisions and to be behaving by its own motivation. To do this you have to pay attention to the natural world. There are three simple concepts to help children and others animate a character:
PATHS OF ACTION
1) Paths of action: with pauses, and acceleration and deceleration. This is traditionally called ease in/ ease out. In England it's called faring in and faring out.
2) Rotation: if a character does not have a lot of moving parts, you can bring it to life by rotating it, giving different perspective. This is simple movement. When you turn your head to look at a clock, the clock is rotating, but so is (partially) your head. If you combine path of action and rotation you have ice skaters, weasels, baton twirling, etc.
3) Configuration Change: metamorphosis. Change color, shape, size, or the makeup of the character. Lip synch uses metamorphosis, by replacing one mouth with another mouth.
Characters have attitude. Take Kermit the Frog. Kermit's only movement is to open his mouth and turn his head. But Kermit is convincing, because he does it with attitude, inflections, and timing. We all know Kermit as a living creature.
Some people don't ever shoot any stop motion without first shooting reference film (of real characters performing similar movement). If you use this film to guide your character movements, it is very effective at getting your timing right. But you need to amplify the expressions within the reference film by 2 or 3 times. You can get very smooth movement this way: ease in, accelerate, cover the distance, ease out.
An alternative form of movement, using the same number of frames, is to hold back, hold back, hold back, and then rush through the movement and then getting there with a more compressed ease out. This can be a much more dynamic move. Sometimes you can go past the destination point, and then snap back. It's the same jolt that a dog feels at the end of a chain. The dog is going full bore, and doesn't anticipate the stop until it snaps.
You can also show a little more internal motivation on the part of the character by using anticipation. Before the move, go in the opposite direction. It sets up the movement. It's Newton's law - every action has an equal and opposite reaction. Before a frog hops, it has to crouch down, before a pitcher pitches, he/she has to bring back the arm and then snap it forward. There has to be anticipation. Anticipation is the setup - it can be in the hips, in the feet, in the cock of a head, or the opening of a hand. It can be more complete too - the squeezing down of the entire skull, eyes squinting, teeth gnashing , the head getting smaller. Only hold it for one frame-- you don't want to freeze on that frame. Then the head explodes upwards and outwards. A huge expression. The eyes can then become as big as dinner plates. That's called a take. The big eyed, Tex Avery, Roger Rabbit, huge expression needs an anticipation, otherwise it looks like the character is inflated from some outside force. You need anticipation to show internal motivation, not external motivation.
Finally, characters breathe at the fingertips. It does you no good to build up the chest, inflate and deflate, unless you want to show exaggerated breathing, or snoring. The breathing, living gesture, which makes the character seem alive, happens with small inflections at the tapered tips: fingers, hair, tails, neck.
1. Squash and stretch
4. Straight Ahead Action and Pose to Pose
5. Follow Through and Overlapping Action
6. Slow In and Slow Out
8. Secondary Action
11. Solid Drawing
1. SQUASH AND STRETCH
This action gives the illusion of weight and volume to a character as it moves. Also squash and stretch is useful in animating dialogue and doing facial expressions. How extreme the use of squash and stretch is, depends on what is required in animating the scene. Usually it's broader in a short style of picture and subtler in a feature. It is used in all forms of character animation from a bouncing ball to the body weight of a person walking. This is the most important element you will be required to master and will be used often.
This movement prepares the audience for a major action the character is about to perform, such as, starting to run, jump or change expression. A dancer does not just leap off the floor. A backwards motion occurs before the forward action is executed. The backward motion is the anticipation. A comic effect can be done by not using anticipation after a series of gags that used anticipation. Almost all real action has major or minor anticipation such as a pitcher's wind-up or a golfers' back swing. Feature animation is often less broad than short animation unless a scene requires it to develop a characters personality.
A pose or action should clearly communicate to the audience the attitude, mood, reaction or idea of the character as it relates to the story and continuity of the story line. The effective use of long, medium, or close up shots, as well as camera angles also helps in telling the story. There is a limited amount of time in a film, so each sequence, scene and frame of film must relate to the overall story. Do not confuse the audience with too many actions at once. Use one action clearly stated to get the idea across, unless you are animating a scene that is to depict clutter and confusion. Staging directs the audience's attention to the story or idea being told. Care must be taken in background design so it isn't obscuring the animation or competing with it due to excess detail behind the animation. Background and animation should work together as a pictorial unit in a scene.
4. STRAIGHT AHEAD AND POSE TO POSE ANIMATION
Straight ahead animation starts at the first drawing and works drawing to drawing to the end of a scene. You can lose size, volume, and proportions with this method, but it does have spontaneity and freshness. Fast, wild action scenes are done this way. Pose to Pose is more planned out and charted with key drawings done at intervals throughout the scene. Size, volumes, and proportions are controlled better this way, as is the action. The lead animator will turn charting and keys over to his assistant. An assistant can be better used with this method so that the animator doesn't have to draw every drawing in a scene. An animator can do more scenes this way and concentrate on the planning of the animation. Many scenes use a bit of both methods of animation.
5. FOLLOW THROUGH AND OVERLAPPING ACTION
When the main body of the character stops all other parts continue to catch up to the main mass of the character, such as arms, long hair, clothing, coat tails or a dress, floppy ears or a long tail (these follow the path of action). Nothing stops all at once. This is follow through. Overlapping action is when the character changes direction while his clothes or hair continues forward. The character is going in a new direction, to be followed, a number of frames later, by his clothes in the new direction. "DRAG," in animation, for example, would be when Goofy starts to run, but his head, ears, upper body, and clothes do not keep up with his legs. In features, this type of action is done more subtly. Example: When Snow White starts to dance, her dress does not begin to move with her immediately but catches up a few frames later. Long hair and animal tail will also be handled in the same manner. Timing becomes critical to the effectiveness of drag and the overlapping action.
6. SLOW-OUT AND SLOW-IN
As action starts, we have more drawings near the starting pose, one or two in the middle, and more drawings near the next pose. Fewer drawings make the action faster and more drawings make the action slower. Slow-ins and slow-outs soften the action, making it more life-like. For a gag action, we may omit some slow-out or slow-ins for shock appeal or the surprise element. This will give more snap to the scene.
All actions, with few exceptions (such as the animation of a mechanical device), follow an arc or slightly circular path. This is especially true of the human figure and the action of animals. Arcs give animation a more natural action and better flow. Think of natural movements in the terms of a pendulum swinging. All arm movement, head turns and even eye movements are executed on an arcs.
8. SECONDARY ACTION
This action adds to and enriches the main action and adds more dimension to the character animation, supplementing and/or re-enforcing the main action. Example: A character is angrily walking toward another character. The walk is forceful, aggressive, and forward leaning. The leg action is just short of a stomping walk. The secondary action is a few strong gestures of the arms working with the walk. Also, the possibility of dialogue being delivered at the same time with tilts and turns of the head to accentuate the walk and dialogue, but not so much as to distract from the walk action. All of these actions should work together in support of one another. Think of the walk as the primary action and arm swings, head bounce and all other actions of the body as secondary or supporting action.
Expertise in timing comes best with experience and personal experimentation, using the trial and error method in refining technique. The basics are: more drawings between poses slow and smooth the action. Fewer drawings make the action faster and crisper. A variety of slow and fast timing within a scene adds texture and interest to the movement. Most animation is done on twos (one drawing photographed on two frames of film) or on ones (one drawing photographed on each frame of film). Twos are used most of the time, and ones are used during camera moves such as trucks, pans and occasionally for subtle and quick dialogue animation. Also, there is timing in the acting of a character to establish mood, emotion, and reaction to another character or to a situation. Studying movement of actors and performers on stage and in films is useful when animating human or animal characters. This frame by frame examination of film footage will aid you in understanding timing for animation. This is a great way to learn from the others.
Exaggeration is not extreme distortion of a drawing or extremely broad, violent action all the time. It¹s like a caricature of facial features, expressions, poses, attitudes and actions. Action traced from live action film can be accurate, but stiff and mechanical. In feature animation, a character must move more broadly to look natural. The same is true of facial expressions, but the action should not be as broad as in a short cartoon style. Exaggeration in a walk or an eye movement or even a head turn will give your film more appeal. Use good taste and common sense to keep from becoming too theatrical and excessively animated
11. SOLID DRAWING
The basic principles of drawing form, weight, volume solidity and the illusion of three dimension apply to animation as it does to academic drawing. The way you draw cartoons, you draw in the classical sense, using pencil sketches and drawings for reproduction of life. You transform these into color and movement giving the characters the illusion of three-and four-dimensional life. Three dimensional is movement in space. The fourth dimension is movement in time.
A live performer has charisma. An animated character has appeal. Appealing animation does not mean just being cute and cuddly. All characters have to have appeal whether they are heroic, villainous, comic or cute. Appeal, as you will use it, includes an easy to read design, clear drawing, and personality development that will capture and involve the audience¹s interest. Early cartoons were basically a series of gags strung together on a main theme. Over the years, the artists have learned that to produce a feature there was a need for story continuity, character development and a higher quality of artwork throughout the entire production. Like all forms of story telling, the feature has to appeal to the mind as well as to the eye.
Tuesday, 15 September 2009
The earliest examples derive from still drawings, which can be found in Palaeolithic cave paintings, where animals are depicted with multiple sets of legs in superimposed positions, clearly attempting to convey the perception of motion.
Pottery of Persia
A 5,200-year old earthen bowl found in Iran in Shahr-i Sokhta has five images painted along the sides. It shows phases of a goat leaping up to a tree to take a pear. However, since no equipment existed to show the images in motion, such a series of images cannot be called animation in a true sense of the word.
An Egyptian mural, approximately 4000 years old, shows wrestlers in action. Even though this may appear similar to a series of animation drawings, there was no way of viewing the images in motion. It does, however, indicate the artist's intention of depicting motion.
A Zoetrope is a device which creates the image of a moving picture. The earliest elementary Zoetrope was created in China around 180 AD by the prolific inventor Ting Huan. Driven by convection Ting Huan's device hung over a lamp. The rising air turned vanes at the top from which were hung translucent paper or mica panels. Pictures painted on the panels would appear to move if the device is spun at the right speed.
The modern Zoetrope contraption was produced in 1834 by William George Horner. The device is basically a cylinder with vertical slits around the sides. Around the inside edge of the cylinder there are a series of pictures on the opposite side to the slits. As the cylinder is spun, the user then looks through the slits producing the illusion of motion. No one thought this small device would be the initial beginnings for the animation world to come. As a matter a fact, in present day beginning animation classes, the Zoetrope is still being used to illustrate early concepts of animation.
Leonardo shoulder study (ca. 1510)
Seven drawings by Leonardo da Vinci extending over two folios in the Windsor Collection, Anatomical Studies of the Muscles of the Neck, Shoulder, Chest, and Arm, show detailed drawings of the upper body (with a less-detailed facial image), illustrating the changes as the torso turns from profile to frontal position and the forearm extends.
The magic lantern
The magic lantern is the predecessor of the modern day projector. It consisted of a translucent oil painting and a simple lamp. When put together in a darkened room, the image would appear larger on a flat surface. Athanasius Kircher spoke about this originating from China in the 16th century. Some slides for the lanterns contained parts that could be mechanically actuated to present limited movement on the screen.
A thaumatrope was a toy used in the Victorian era. It was a disk or card with two different pictures on each side that was attached to two pieces of string. When the strings were twirled quickly between the fingers the two pictures appear to combine into a single image. The creator of this invention may have been either John Ayrton Paris or Charles Babbage .
The phenakistoscope was an early animation device, the predecessor of the zoetrope. It was invented in 1831 simultaneously by the Belgian Joseph Plateau and the Austrian Simon von Stampfer.
The praxinoscope, invented by French scientist Charles-Emile Reynaud, was a more sophisticated version of the zoetrope. It used the same basic mechanism of a strip of images placed on the inside of a spinning cylinder, but instead of viewing it through slits, it was viewed in a series of stationary mirrors around the inside of the cylinder, so that the animation would stay in place, and also provided a clearer image. Reynaud also developed a larger version of the praxinoscope that could be projected onto a screen, called the Theatre Optique.
Flip book (1868)
The first flip book was patented in 1868 by a John Barns Linnet. This was another step closer to the development of animation. Like the Zoetrope, the Flip Book creates the illusion of motion. A set of sequential pictures seen at a high speed creates this effect. The Mutoscope (1894) is essentially a flip book in a box with a crank handle to flip the pages.
Another Kinetic Type Example, A Bit Of A Lighter Topic Than The Snatch One, The Kinetic Type Is Trying To Keep Up With Stewies Fast Paced Speech. I Especially Like The Titanic Reference And The Sinking Movement Involved With That Work.
Kinetic typography refers to the art and technique of expression with animated text. Similar to the study of traditional typography of designing static typographic forms, kinetic typography focuses on understanding the effect time has on the expression of text. Kinetic typography has demonstrated the ability to add significant emotive content and appeal to expressive text, allowing some of the qualities normally found in film and the spoken word to be added to static text. Kinetic type has been widely and successfully used in film as well as in television and computer-based advertising. Perceptual psychology research on attention, reading performance, and comprehension has indicated that time-based presentation of text can be used effectively to capture and manipulate a viewer’s attention and in some cases improve overall reading performance.
NICK THE GREEK - KINETIC TYPE
This Is A Kinetic Type Video From The Film Snatch. The Films Colours Have Been Used To Associate The Text And The Speech With The Film More Making A Relationship With The Eye. I Love How Its Been Done, The Emphasis On The Words Expressing Violence, Power, Names Are Timed Perfectly. You Are Guessing Where The Next Word Is Coming From, I'm A Big Fan Of Snatch So I Was Talking Through It Like The Character Speaking. Doing My Own Version Of This Might Be A Great Idea, But Obviously With A Different Speech, Film. I Would Have To Explore The Colour Schemes For The Film So Its Perfect Because I've Seen Some Very Wrong And Odd Colours For The Kinetic Type Of A Speech From 'The Dark Night'. It Didn't Work Safe To Be Said. But This Is A Great Example.
This Is A Flip Book I Found Online, It Pushes Flip book Animation To Great Limits Exploring Camera Rotation, Zooms, Close Ups, Panning, Bullet Time. The Timing Is Perfect Because The Images Are Drawn So Well And So Close Together With Only The Slightest Movements Between Images Giving The Animation Effect. The Story In The Animation Follows A Bullet Aimed At Neo And Runs Through Various Obstacles To Get To Him. The Best Of These For Me Is When It Goes Through The Balloon, The Balloon Rips Then Pops As The Bullet Travels Through. The Bullet Then Bee Lines For Neo, And The Famous Scene When Hes Dodging The Bullet Is The Reenacted.
Monday, 14 September 2009
The Bayeux tapestry (French: Tapisserie de Bayeux) is not actually a tapestry (that is, a weaving), but is embroidery . It is currently to be found in a special museum in the town of Bayeux in Normandy . It was made in England , probably in Kent , after the Norman conquest of 1066 , and commemorates the events leading up to the Battle of Hastings.
The tapestry is 70 metres long and 0.5 metres wide. It has 58 scenes, which portray in detail the progress of William I of England to the throne. It is sometimes said to have been made by William's queen, Matilda of Flanders , and her ladies. Indeed, in France it is known as "La Tapisserie de la Reine Mathilde" (Tapestry of Queen Mathilda). However, it was probably made in a workshop on the orders of Odo, Bishop of Bayeux , who was William's half-brother.
The misidentification of Harold II of England in the tapestry has led to the widespread but incorrect idea that Harold was killed by an arrow striking his eye. The tapestry also contains a representation of a comet which is likely to be Halley's Comet . While political propaganda or personal emphasis may have somewhat distorted the historic accuracy of the story, the Bayeux tapestry presents a unique visual document of medieval arms, apparel, and other objects. However, it has been noted that the warriors are depicted fighting with bare hands, while other sources indicate the general use of gloves in battle and hunt.
The embroiderers used wool which had been tinted with vegetable dyes. The colours of muted brick, rust, mustard yellow, olive-green, dark brown and off-white can be found in cloth traditionally woven in the region.
The tapestry is a landmark in graphic art and its serial storytelling is considered an ancestor of the comic strip. Images on walls that tell the story of war and battles in a comic like way. The images arn't animation because they dont have the illusion of moving but these paintings are early indications of the process towards this, images that tell a story.
Saturday, 12 September 2009
A flip book or flick book is a book with a series of pictures that vary gradually from one page to the next, so that when the pages are turned rapidly, the pictures appear to animate by simulating motion or some other change. Flip books are often illustrated books for children, but may also be geared towards adults and employ a series of photographs rather than drawings. Flip books are not always separate books, but may appear as an added feature in ordinary books or magazines, often in the page corners. Software packages and websites are also available that convert digital video files into custom-made flip books.
Flip books are essentially a primitive form of animation. Like motion pictures, they rely on persistence of vision to create the illusion that continuous motion is being seen rather than a series of discontinuous images being exchanged in succession. Rather than "reading" left to right, a viewer simply stares at the same location of the pictures in the flip book as the pages turn. The book must also be flipped with enough speed for the illusion to work, so the standard way to "read" a flip book is to hold the book with one hand and flip through its pages with the thumb of the other hand. The German word for flip book—Daumenkino, literally "thumb cinema"—reflects this process.
Monday, 7 September 2009
These Videos Are From I Am Legend The Extra DVD Footage. This Is A Great Interpretation On The Worlds Situation During This Period. This Story Above Based In India Uses Touching Music For A Hard Issued Story, The Animation Is Fantastic With The Type Being Shown Via Speech Bubbles Rather Than Spoken, This Gives A Comic Type Feel But Takes Nothing From What We Are Seeing On The Screen Showing One Families Struggle For Survival.
This Story Based In China Has Beautiful Paintings But Is Done In A Way That Is Slow And Calm Just Like The Character We Are Watching. She Has Made Her Decision To Die, To Take Her Own Life. The Music Is Deep And Captures The Hellish Dilemma This Girl Is In. The Paintings Are Aiming For Realism, The Character Could Be Anybody, The Artist Hasn't Sheltered The Situation By Making It Too Cartoon Like.
This Is My Favourite Of The Four Videos, The Story Is Interesting, The Animation Is Clever, The Voice Over With The Speech Bubbles Work Well. I Can See This Being Its Own Film In The 'I Am Legend' Series. The Comic Strip Graphic Novel Feel It Has Intrests Me As I Am A Huge Fan Of Them.
This Song Is From A London Artist Named Giggs Aka Hollowman. Ive Been Listening To His Music Over The Summer And Started To Follow His Story Of His Life As He Portrays Through His Unique Sound. Some Music Channels And Radio Stations Are Refusing To Play Him And This Is Getting Him A Lot Of Publicity. He Is Slowly Becoming More Mainstream And Here Is His Song With Mike Skinner From The Streets.
I Like This Video. I Will Soon Post The Behind The Scenes Footage Of The Filming Including The Directors View And His Take On The Video.
This Short Animation Shows A Near Future Involving The Destruction Of The World Around Two Characters Who I Think Are Brother And Sister. They Appear To Be The Only Survivors Left. The Young Boy Like Anybody Is Curious To What Is Outside Of The Walls He Is Restricted To. With Great Animation And Music, Replay Will Get You Thinking About The World We Live In Today And What It Will Become If We Don't Change Our Ways.
Sunday, 6 September 2009
This Short Film Is Very Clever. The Tension Between The Two Teams Is Immense And Captured Well. The Camera Angles Grab The Nerves And Fear Of The Four Men Involved, The Shots Are Back And Forth, And Just Like A Football Match Is Building And Building Our Expectations. The Commentators Following The Game On The Radio Commentate What We Are Seeing Perfectly, Although Its Actually The Match They Are Talking About.
I Like These Short Films I Have Picked To Show Because They Are Visually Exciting But Also For The Messages They Give. Offside In My Opinion Shows That Men On Two Apposing Teams Or Two Fighting Armies In This Case Can Share And Have Something In Common, The Game Of Football. Its Like For Just The End Of The Match The Can Separate Their Differences To Listen To The Game Together Like Old Friends. The Ending Would Have Been Nice If Everyone Involved Didn't Die But Rather Walked Away Cautiously. I Understand The Ending And The Commentators Saying What A Tragedy It Was As The Goal Was Offside, When The Accidental Shot Went Off Into The Other Mans Stomach In Celebration Of The Goal Which Was Then Ruled Out. A Pointless Tragedy, Maybe The Story Of All Warzones.
I Came Across This Animation Based On A Playstation Game Called Heavenly Sword And Loved It. The Black And White Fits In Perfectly With The Theme And The Animation Has Been Created Really Well. I Would Love To Make A Piece Like This, Especially How All The Elements Of The Piece Come Together, The Story Teller Doing The Voice Over, Ancient Time Battles, Chinese Legend All Being Show With Fitting Animation.
Let Me Know What You Think.
Based On An Interview With A Certain Member Of The Beatles Talking About His Welcome Into America And How He Wishes To Spread The Message Of Peace, Someone Has Added Animation And Brought His Words To Life Which Had Me Hooked, I Love How The Animation Is Flipping And Rotating All Over The Show But Still Maintains Being Organized And Clear Cut. So Many Different Medias Are Used And They Entwine Very Well With Each Other. Take A Look...
Friday, 4 September 2009
This Is A Great Short Film I Found Online. I Thought The Thought Process And Ideas Generated To Create Such A Piece Were Executed Really Well And They Have A Fan In Me.
I Am Going To Be Looking At A Lot Of Short Films As This And Animation Are Areas Of Multi Media I Am Really Interested In And Want To Get Really Stuck Into The Research In These Areas.
The Story Line For This Film Has Been Well Thought, When The Twist Is Revealed At The End I Sat There Thinking, What Would I Do In This Situation? Would I Have Acted Like Him? Been Scared? Confused? ...
Watch The Film And Please Post Comments, Let Me Know What You Think.