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VIEW POSTS BY “amid”October 13, 2009 5:29 am
If I were in LA next Monday, I’d go to see this multimedia music/animation performance by The Decemberists at UCLA’s Royce Hall. With seemingly every other band using animation for their videos nowadays, the format is in need of some fresh takes like this:
Tickets are available through Ticketmaster. This is the trailer for Here Come The Waves: The Hazards of Love Visualized. October 13, 2009 4:57 am
This morning, an example of animation from South Africa. Animator Mike Scott created this video for the band Goldfish. Software and tools used were Photoshop CS4, Anime Studio Pro 6, Final Cut Express 4 HD, Macbook, Macbook Pro, Wacom Intuos 3 and Wacom Cintiq 12 WX . October 13, 2009 3:42 am
There’s a lot of good stuff happening at the Ottawa International Animation Festival this week. Eric Goldberg, Henry Selick, David Silverman and Ronnie del Carmen will be speaking up there, Don Hertzfeldt, Suzan Pitt and Jim Blashfield are having retrospectives, and there’s the to-be-expected impeccable selection of shorts as well as features like Mary and Max , $9.99 and My Dog Tulip. Inbetween this animation frenzy, I hope you’ll take the time to check out the retrospective of filmmaker Stan VanDerBeek. His films screen Friday, October 16, and Saturday, October 17, at the Arts Court Theatre, both nights at 7pm. It’s a disservice to label VanDerBeek (1927-1984) merely a filmmaker because he was so much more than that. He was a multimedia artist years before the term even existed. He was constantly getting his hands dirty with new technologies and trying to figure out artistic and educational applications for them. This included creating huge murals via fax machine, projecting film onto steam, and designing interactive multi-screen TV shows. No surprise that VanDerBeek was also a computer animation pioneer who starting experimenting with CGI in 1965. His short films—often surreal, often funny, and always a visual free-for-all—combine animation, collage, cut-out, photography and video, with manic cutting that looks more contemporary than ever. Terry Gilliam has said in interviews that it was VanDerBeek’s cut-out films, and specifically Breathdeath (which will be shown in Ottawa), that inspired his animation style for Monty Python. I’ve personally been influenced by VanDerBeek’s work since I first saw it last year, and I recommend you check him out in Ottawa later this week. The screening will include examples of his analog and CG films, as well as rare film clips of VanDerBeek at work and at play.
October 12, 2009 2:53 am
This Thursday, October 15, Galerie Arludik (12-14 rue Saint-Louis en l’Île, 75004 Paris) presents a one-man show of the work of illustrator and character designer Peter de Sève. The opening, from 6:30 to 9:30pm, will feature published and upublished pieces by de Sève, some of which will be available for sale. A preview of the show’s artwork can be found at Peter’s blog here, here, and here. The event also marks the official launch of Peter’s monograph—A Sketchy Past: The Art of Peter de Sève—for which I wrote the introduction. I haven’t seen the finished product yet, but Peter tells me that it looks gorgeous, and I bet that he’s right. October 11, 2009 1:01 pm
Joe Murray is in the planning stages of a new site called KaBoing TV, which he envisions as “an all cartoon, all animation channel, not only with my content, but bringing in other content providers as well.” Murray, who has a long history in TV animation with series like Rocko’s Modern Life and Camp Lazlo, wrote on his blog about his desire to “make a home for animation that is cool, creator driven, and fair business wise to the people who make the entertainment, as well as being responsible in the advertising we choose to run.” To date, most of the major online cartoon channels and animation video sharing sites have been started by corporations looking for ways to exploit creators. There hasn’t been any attempt on the part of sites like Aniboom or Channel Frederator to find sustainable and fair models that encourage online animation production. Murray’s track record as an artist responsible for successful shows on both Nick and CN gives him a unique edge as an entrant into the field of online animation distribution. It’ll be interesting to watch what he does. (Charles Brubaker via Cartoon Brew’s Facebook page) October 9, 2009 2:09 am
Recently I revisited The Visual Craft of William Golden, a book published in the early-Sixties about the legendary CBS creative director. There is an essay in the book by CBS exec John Cowden that sheds light on Golden’s artistic integrity, and helps to explain why the advertising work created under his guidance remains to this day the strongest body of advertising ever created for a TV network. Golden’s world revolved around graphic design, illustration and advertising, but I find his experiences to be relevant to creative people working in any commercial field, and especially animation. For example, Cowden recounted how Golden was offered a promotion from creative director to an upper management position. Golden flatly turned down the offer, Cowden wrote:
Contrast Golden’s unwavering integrity to all of the animation artists in recent years who have moved into high-profile executive and management positions. In every case—with the notable exception of John Lasseter—these artists have unwittingly weakened their creative influence and become part of the problem by entrenching themselves within broken production systems. Golden, who refused to become a part of upper management, also had his own ways of dealing with clueless business people. Again, from Cowden’s essay:
Here’s another example of how he dealt with the endless stream of unqualified individuals who tried to encroach on his domain:
Bill Golden demanded the best, and didn’t accept excuses from artists:
Unlike so many blockheads in positions of power within the contemporary animation industry, Golden could identify skill and talent with his trained eye. This is evidenced by the group of people who worked for him, which is a who’s who of mid-century illustration and design giants: David Stone Martin, Feliks Topolski, Leo Lionni, Joe Kaufman, George Lois, Ludwig Bemelmans, Ben Shahn, Miguel Covarrubias, and Jan Balet, to name but a few. Cowden’s memories of Golden are a reminder that great commercial work, whether it’s a piece of print design or an animated film, doesn’t happen by accident. It happens because of this:
October 8, 2009 10:52 pm
Don’t miss Anthony F. Schepperd’s video for Ape School’s “Wail to God.” The immediacy and intensity of his drawn animation is a real pleasure to watch. His stretchy character transformations and surrealist touches like the NSFW tit-trees give off a vibe of somebody who’s having fun with the possibilities of animation. October 8, 2009 2:07 pm
A graduation film by Sjors Vervoort of The Netherlands, with sound design by Steven Aerts. While I would have liked to see the interplay between the cardboard creatures and their real-world surroundings pushed even further, there’s some imaginative ideas throughout the piece.
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