A winner has been announced in the “Animation Procreation” contest sponsored by Daily Motion and our friends at Animation Magazine. It is called The Sloth Life, It Can Changes. Contest judge Loren Bouchard explains why he chose this short as the winner in this blog post.

As readers of this site may recall, I didn’t offer many kind words for the contest when I posted about it last month. It’s nice that they have a contest winner and I hope the “development deal” works out for the creator, but I still strongly believe that contests with gimmicky prizes like development deals and cash prizes are a cheap and insulting way to encourage new talent in this field.

If companies like DailyMotion and Animation Magazine were serious about helping young creators, they would offer legit production resources to artists, and create opportunities for artists to experiment and develop their artistic voices over a period of time. A fine example to be applauded is the National Film Board of Canada’s Hothouse which is structured in a way that genuinely encourages talent and allows artists the chance to learn about the art form in a professional studio setting.

UPDATE: Regarding the earlier accusation of the ‘plagiarism’ in this short, that is incorrect because the cartoon was produced by the same NYC commercial studio Panoptic that produced the MTV2 commercial. I apologize to the filmmakers for the unnecessary hassle, and I apologize to readers for not fact-checking properly (at least it’s not as bad as the gaffe I made a couple years ago). Below are frame grabs comparing the original Panoptic MTV2 commercial (left) and the Panoptic-produced contest winner (right) which reappropriates the character and animation from their commercial.

Circulating amongst the animation blogs this past week was a very shortlist of possible nominees in the Animation Short Film category. Here’s what Academy members may be considering:

Even Pigeons Go To Heaven (Meme Les Pigeons Vont Au Paradis) (Samuel Tourneux) Animated in CG, tells the story of an elderly man who gets a sneak peak at the hereafter by a con-man minister. Funny. Link

How To Hook Up Your Home Theatre (Disney, Kevin Deters and Stevie Wermers-Skelton) Hilarious traditional hand drawn Goofy short. They nailed it! Link

I Met The Walrus (Josh Raskin) A 1969 recording of John Lennon animated with stream-of-consciousness graphics creates a powerful anti-war message, still painfully relevant. Link

Jeu (NFB, Georges Schwizgebel) A beautiful abstract moving painting. This one should be running continuously at the Museum of Modern Art. Link

Madame Tutli-Putli (NFB, Chris Lavis and Maciek Szczerbowski) Incredible stop-mo. A surreal head trip. Great filmmaking - how did they do those eyes? Link

My Love (Moya Lyubov) (Alexander Petrov) Magnificent painting on glass technique and a beautiful visualization of first love. Trailer

The Pearce Sisters (Aardman, Luis Cook) Dark, macabre humor with an incredible mix of 2D design and 3D animation. Link

Peter And The Wolf (Breakthru Films, Suzie Templeton) Charming, modern retelling of the Russian classic with edgy stop-mo puppets and realistic settings. Link

All seem Oscar-worthy to me. The final five nominees will be announced January 22nd. Good Luck to all!

Please meet one of the most refreshingly original and funny animated series I’ve run across in a while: Usavich produced by Kanaban Graphics in Japan. The CG animation is funny beyond words, the gags are jam-packed and fresh, and the design is a stunningly distinctive picture-book illustration style. The show’s website Usavich.tv offers 14 of the 26 episodes produced to date, every one of them under two minutes. The entire production is so fun-spirited and well-done, what more can one ask for; I’ve watched all of the available episodes in the past day and still want to see more!

Description is useless for the series. Let’s just say it’s the slightly surreal adventures of an odd couple pair of Russian rabbit inmates who share a jail cell with a frog and a bird. The first season takes place behind bars, the second season follows them on the run in a stolen car. Every episode is solid, and there is a storyline, so it’s best to watch them in order, but two of the most entertaining entries, in my opinion, are this one and this one.

If anybody knows more details about these shorts, please share. The series looks to have some backing by MTV Japan, but there hasn’t been much discussion online about the show so it’s unclear whether it’s new or has been around for a while. I only found out about it the other day on Motionographer. Animator Peter Richardson also posted some praise for the show on his blog. He writes, “[I]t’s tricky to tell which features are in the painted textures and which are shaders and lighting. Perfectly balanced…it goes to show what’s to be gained from a thoughtful and thorough integration of textures and lighting.”

Twenty-two-year-old animation wunderkind David O’Reilly, who we’ve mentioned frequently on Cartoon Brew (here, here and here), was asked to create an original piece of animation for BoingBoing.tv. The resulting piece is a ‘history of animation’ from Disney through John K, and beyond to CG. In a humorous manner, O’Reilly makes a thoughtful point: that CG animation represents a quantum-leap forward in the development of this art form because it offers the possibility for a clear break from traditional reality-rooted styles of animation. Instead of replicating existing worlds, CG offers the chance to create entirely new worlds, an opportunity that few artists have explored to date.

I’m currently reading Matthew Gale’s Dada & Surrealism, an entertaining and authoritative primer on two of the most important, yet frequently misunderstood, art movements of the early-20th century. The book does a fine job of evoking the passion that these artists had for their work. Creating art was not a 9-to-5 for any of these artists; they lived and breathed their art to an extent that is perhaps difficult to understand nowadays.

Both movements happened in a competitive creative climate: artists would intentionally provoke audiences to the point of physical riots, art critics would challenge artists to duels over stylistic disagreements, artists would publish magazines to deride the work of contemporaries. In this type of challenging environment, boundaries were inevitably shattered and creative breakthroughs made.

To bring this back to animation, the book notes that a few of the Dada artists, like Viking Eggeling and Hans Richter, also moved into experimental animation. In the early-1920s, they were creating pioneering pieces of abstract animation in Germany alongside other artists like Oskar Fischinger and Walter Ruttman. The combined output of these artists would have a major influence on future abstract animators like Len Lye, Norman McLaren and beyond. This sentence in the book about Eggeling caught my attention in particular: “Despite the relative simplicity of the technology, the production of [Horizontal-Vertical Orchestra and Diagonal Symphony] was a financial and physical strain and led to Eggeling’s premature death in 1925.”

The thought of an animation artist dying for his art is a powerful beautiful sentiment. A quick search online turns up a website that says the cause of Eggeling’s death was septic angina, a type of food poisoning, so I’m not exactly sure where Gale’s information comes from, but reading about the dedication of various artists throughout the book, it’s not difficult to imagine that an artist like Eggeling could work himself to the point of death. It is indicative of the commitment that artists felt towards their work and how far they were willing to push themselves in pursuit of their artistic ideals.

The wonders of the Internet allow us instant access to the film that did Eggeling in, Diagonal Symphony, a silent abstract short that was completed in 1924, but didn’t debut in Berlin until 1925. Eggeling died six days after the film’s first public screening. The same site, UbuWeb, also offers examples of early abstract animation by Hans Richter and Walter Ruttman.

Kansas City-based motion graphics/design collective MK12 recently completed their long-awaited epic short The History of America. I, among many others, have been curious about this film ever since they posted a trailer of it online a couple years back. The film, a combo of CG and rotoscope animation with live-interludes, is a self-described “psychedelic Western space opera,” presenting an alternate American history of warring cowboys and astronauts.

Both streaming and downloadable versions of the short are available at Ventilate.ca. The film is certainly a curious effort. The pacing of the story and overall tone of the film are very “live-action,” due in large part to the reliance on live actors, though for the most part MK12 manages to dress the roto with enough artistry to make it palatable to the senses. The film’s ultimate downfall is its half hour length, which is far too sluggish for the amount of story it offers. I can’t help but think this would have been much more entertaining and effective as a tightly edited fifteen-minute short. Still, one has to give them kudos for their ambitiousness, both graphically and conceptually, and their willingness to tackle such a large project inbetween commercial gigs. The film has been selected to screen next month at Sundance.

MK12 has a website about the film at HistoryofAmerica.tv and there’s also a recent interview with the MK12 crew in New York Magazine in which they talk about their ideas behind the film.

New Yorkers have enjoyed their live-action Yule log TV program for decades, but now every home in America can have a roaring animated fireplace on their TV courtesy of indie animator PES. His new dvd, The Fireplace, offers toasty warm loops of a pretzel stick-and-candy corn fire. Just $9.99 at EatPes.com.