Monthly Archives: January 2017

John Hubley

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Information From Wikipedia

Hubley was born in Marinette, Wisconsin to John Raymond Hubley (1880–1959) and Verena K. Hubley (1891–1978), a painter. He moved to Los Angeles, California, to study painting at ArtCenter College of Design for three years. In 1935, he gained a job as a background and layout artist at Disney, where he worked on such classic films as Snow White and the Seven Dwarfs, Pinocchio, Dumbo, and Bambi, as well as “The Rite of Spring” segment from Fantasia.

On February 25, 1939, the famous architect Frank Lloyd Wright visited the studio, and brought with him a copy of the Russian animated movie The Tale of the Czar Durandai(1934), directed by Ivan Ivanov-Vano, which he showed to the artists, among them Hubley. Wright thought that the different style and design, that was very different from the typical Disney animation, would inspire and give the animators new ideas. Hubley liked what he saw and was influenced by it. He left the company during Disney animators’ strike in 1941, and found work directing films for Screen Gems and the Army’s First Motion Picture Unit until he joined United Productions of America which was founded by Stephen Bosustow, Zack Schwartz, Dave Hilberman and former Disney animator Ub Iwerks. UPA soon became known for their highly stylized designs and limited animation.

Animations worked with his wife

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Jan Lenica

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There are two films make by him I really respect. I am attracted by his sense of graphic and music, and also love the storied he gave to the character, which are also  give to audience. He has a powerful ability —  extract and concentration the theory of life.

Monsieur Tête (1959)YouTube Preview Image

A (1965)YouTube Preview Image

http://culture.pl/en/artist/jan-lenica

The writing below is from his website :

Philosophy and effect

Let us consider the philosophy of Lenica’s films. They involve an artistic game, patterned on experimental films made by Ferdinand Leger, a serious, Melies-like treatment of the picture, references to Chaplin (a man in a bowler hat appears in Lenica films including his debut), a ridicule of cultural clichés – as found in Nowy Janko Muzykant / New Janko the Musician, and in Fantorro – Le dernier justicier a – and surrealist games, as found in Stilleben. Yet there is a deeper message in almost all of them. A, Lenica’s simply structured tale of the struggle of a lonely man against the terror of the first letter of the alphabet, can easily be interpreted in terms of a conflict between an individual and the machinery of the state. This interpretation also fits Monsieur Tete, Adam 2, Die Nashorner and, particularly, Lenica’s last film, Wyspa R.O. / Island R.O. No wonder his films are considered pessimistic and catastrophic, and he admitted to balancing “between grotesque and drama”.

However, this interpretation narrows the full range of readings of Lenica’s work. He invoked the myth of Icarus (Labirynt / The Labyrinth) and myths of low culture,such as Fantomas (Fantorro). He mitigated the absurdity of existence, both the Kafka-esque (Labirynt, A, Adam 2) and Ionesco-like (Monsieur Tete, Rhinoceros), with Max Ernst-like, surprising, surrealistic juxtapositions of objects (Monsieur Tete, Nowy Janko Muzykant, Labirynt). The beauty and order of the world of Art Nouveau (Labirynt) contrasts with the monstrous shapes of skeleton-like dream beasts (Landscape, the film invoking Lenica’s wartime experience during the German occupation) or the grotesque, dangerous characters in his adaptation of Alfred Jarry’s Ubu Roi. Despite the variety of techniques, themes and genres, Lenica’s style is quite easy to recognize. Zdzisław Schubert wrote in 1999 that Lenica’s work is very expressive and at the same time has a discernible intellectual dimension, each film conveying a personal message “revolving around the dilemmas of human existence”.

Further development of wolf’s head

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In my further developing I suddenly found that I am more good at using straight lines rather than curves.  And comparing with the front look of the wolf’s head I draw before, I prefer the one side head I did yesterday. I am thinking redoing or develop the front look, because I feel these two model looks different.

And here is the run cycle.

And references I used:

https://www.pinterest.com/pin/564638872002562653/

running_caelupe___frames_by_flareandicicle

Nuggets-Andreas Hykade

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This animation uses a few lines, simple shapes,and almost non background to tell a chicken ‘s life from a happy bird to a big sick meet like Nugget. The name is Nuggets, not one piece. Reflect ing those people are addicted to something that changes their life.I really impressive his unemotional description, which somehow bring pains just like the other his work I wrote about The Hunt. In an interview conducted by the Animation World Network, Hykade says that he created the film for young teenagers who might be tempted one day (presumably by drugs). And when that day comes, he hopes they’ll think about Nuggets and its striking, stripped-down message about addiction and the life it brings.

Research Wolves Movements

https://animalcorner.co.uk/wolf-anatomy/

HOW WOLVES DIFFER FROM DOGS

A wolfs long, powerful muzzles help distinguish them from other canids, particularly coyotes and golden jackals, which have more narrow, pointed muzzles. Wolves differ from domestic dogs as they have a comparatively larger brain capacity. Larger paw size, yellow eyes, longer legs and bigger teeth further distinguish adult wolves from other canids, especially dogs. Also, precaudal glands at the base of the tail are present in wolves, however, not in dogs.

WOLF PAWS

Wolf paws are able to tread easily on a wide variety of terrains, especially snow. There is a slight webbing between each toe, which allows them to move over snow more easily. Wolves are digitigrades (an animal that stands or walks on its digits, or toes) and with the relative largeness of their feet, helps them to distribute their weight evenly on snowy surfaces. The front paws are larger than the hind paws and have a fifth digit, the dew claw, which is absent on their hind paws. A dew claw is a vestigial digit of the paw which grows higher on the leg so that when the animal is standing, it does not make contact with the ground.

Bristled hairs and blunt claws help wolves to grip on slippery surfaces, and special blood vessels prevent their paw pads from freezing. Scent glands located between a wolfs toes leave trace chemical markers behind, helping the wolf to effectively navigate over large areas while keeping others informed of its whereabouts. Unlike dogs and coyotes, wolves lack sweat glands on their paw pads.

Muzzle – A wolf has two hundred million smelling cells inside its nose and can smell 100 times better then a human being. A wolf has 42 teeth including four canines. Wolves use their sharp teeth to wound, grab and kill its prey. Wolves use their back teeth to crush the bones and make the meat into smaller pieces and they use the small front teeth to nibble and pull at the skin. A wolf has a very rough tongue which is used for cleaning the meat off of the bones.

Eyes and Nose – Wolves move their ears from side to side to determine where a sound is coming from. Wolves have excellent eye sight, a keen sense of smell and acute hearing. Wolves can see and smell a deer from a great distance.

Body – A wolfs body is strong and powerful which enables it to kill large prey such as deer and elk.

Fur – The wolf has two layers of fur. On top is a longer course fur used as guard hairs which keeps the wolf dry. The other is short under fur that keeps it warm.

Legs and Feet – Wolves toes spread apart when they step in the snow so they do not sink. Wolves walk and run on their toes. It makes their legs longer and nimble so they can run with speed and catch fast prey. Wolves have four toes on their hind feet and five toes on their fore feet.

Tails – Wolves use their tails to communicate. For example, the tails position and the state of its hair send specific messages. Wolves also have a scent gland on the back surface of their tails which they use to scent-mark territory.

Skeleton – The skeleton of the wolf is well adapted to its lifestyle. Their bones need to be strong, for power in bringing down large prey such as caribou, deer, elks or moose. The narrow collarbones, interlocked foreleg bones and specially adapted wrist-bones give the wolf streamlining, strength and speed. The radius and ulna bones are ‘locked’ in position. This inability to rotate the forelimbs gives superb stability when running.

Long Skull – Wolves have long skulls which is a typical carnivore skull, housing extensive and strong cheek muscles, necessary for holding onto prey, killing and consuming.

Large Brain Capacity – Skull capacity allows adequate space for an advanced cerebral cortex (brain) necessary for coordinating group social activity.