Recently I am watching shorts animation within 2 mins, Raimund Krumme is one of the most imppressive animator. His idea are very simple but with his visualization they are shown in a humorous way. “The success of Krumme’s work stems from his ability to merge the personal and the universal in a playful environment. ” (Robinson, 2005)
He always simplify his character with lines bold colors, but movements are so vivid. He used explain his aim : “he not only want to keep the character simple using basic geometric shapes, but he also wanted their design to reflect the vert ordered and rational behavior of the character”(1993)
I really enjoy watching his animation, because they are very short and clear, easy to know what he want to say, but not in a usual perspective at all. But, in some way, I question about if his style are too single.
I am going to make morph drawing in next two weeks, which will link my lip sync character to Sabrina’s, I haven’t seen her first images, but I did some research about Peter Foldes’s work. The value of his work more than this point, and also include concept, logicals, and reflection of social issue.
The drawings below, I can tell he had very powerful ability to describe and analyze lines and shapes, very clear logical as well. It is very useful for me to think about his work and skills, since all of these animate skill, are not only for simply make up the film, but also as personal language of storytelling, and that is most important part.
I like this short animation, I am not sure how it was made, I guess it mixed stop motion , cut out and 2D drawing. I particular enjoy the music, which working really well with the humour.The film is made up with nice Illustration, I really enjoy this storytelling.
We have learned mix live action (green screen ) with drawing animation since two weeks. We learned AE and shooting skills, which helps with composition. But the mixed media looks is the most inspired point for me during the study.
In a short word, this piece of work put 2D drawing and 3D element together, build a unexcited time and space. This is a not very unusual technology, but if we discuss this kind of skill, as a new language in animation, which could bring a lots possibilities. (what I mean by new animated language is that the narrative is not according timing, or space any more)
A quite successful mused-media piece by Chris Shepherd
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.
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.
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”.
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.
I watched this animation in White chapel gallery, the story narratives around father’s cloth. Everything else change all the time, but only the cloth never change. There is specific plots to describe the father and son’s story, but I feel it really sincere and touched. And I like the words he wrote below:
The animation is made up with three time part as I understand. The still Black figure as personal perspective (“me”), and the small square with tell stories happened around the cloth over these year (environment changes around “me”), and those figure or others fly outside which are not part of “my life” but effect “me”(The world)
And another his piece I found very interesting
Sadik Kwaish Alfraji
Multimedia artist Sadik Kwaish Alfraji explores what he describes as ‘the problem of existence’ through drawings, paintings, video animations, art books, graphic art, and installations. The shadowy protagonist who occupies Alfraji’s interdisciplinary works represents a black void, a filter that allows him to explore the precarious intricacies of modern life. By rendering his solitary figure as a charcoal-coloured silhouette and minimising the formal properties of his compositions, Alfraji captures the expressed movements and subtle inflections of the body in psychologically laden environments. The artist often records his own narrative in black and white depictions of this recurring character, particularly the loss, fragmentation, and lapses in time that underline exile.
Born in Baghdad, Iraq in 1960, Sadik Kwaish Alfraji lives and works in Amersfoort, Netherlands. He received a Bachelor of Fine Art in Painting and Plastic Art from the Academy of Fine Arts, Baghdad in 1987 and a High Diploma in Graphic Design from CHK Constantijn Huygens, Netherlands in 2000.
Daily ritual, absurd cycle… Every character follows his predecessor… Always… Indefinitely…
This animation describes the life of a man in today’s world: work meetings, running over to coals,impressing women, ripping of one’s clothes and being peeled. The animation’s narrative is not telling story, it actually uses individual scenes.