Interesting insight into the process and behind-the-scenes of claymation production.
Art Installation: ‘Unfallen’ by Ramona Ramlochand
Last week I experienced my first art installation by Montreal-based artist Ramona Ramlochand titled “Unfallen”.
I find the chosen title to be quite representative of the experience; one of Ramona’s key tools in this installation was space. More specifically, it encourage viewers to question sense of presence in their space and time. She uses the scale of the wall to create a flow of a shapes through photographs from various places on Earth. She exemplifies the concept of thinking beyond the contraints of one dimension of a photograph by using these pictures to illustrate connectivity and unity between place and aesthetics.
The experience in a museum cannot be compared to other medium as it requires the observer to be in the realm of the art and thus for the first time I felt I was a participant rather than a passive observer. The art piece asks for particular attention and reflection. For example, I had spent a substantial amount of the time gazing at the bowl consisting of moving water and miniature figures of people and animals. The movement of the water was video recorded and streamed in front of the viewer to get a birds-eye view of the piece. I was attempting to conclude what the artist wants me to think of this piece.
I felt this particular installation raises issues of disfigurement within an individual and a community. The constant whirling illustrates a community’s routine lifestyle and sense of lostness in themselves and their future. I am unsure as to why the artist includes animals as well.
In conclusion, I was new to and fond of Ramona’s use of space of both the museum and within the photographs. I found the installation to demand different — a more encompassing and intense — attention from the participant than previously used media.
An experiment by the Red Peak Group, a picture is taken every day of a bicycle in the same position for 365 days creating a time-lapse of an object in a particular space over time. I regard time-lapse as a unique form of animation for it displays elements of objects real-time video is unable to.
Part of my learning objective in this course is to see how animation is practiced across a variety of fields in today’s climate. Red Peak Group is a branding and design company with big name clients such as Adidas, Intel, and Sony Ericsson. This video was an experiment to visualize the consequences of leaving a fully-loaded bike (lights, bells, etc) locked on a NYC sidewalk; parts are slowly taken away until around the 203rd day when it was all stolen.
Very cool idea!
Singer Patti Smith's first Polaroid exhibition
Although this may not be considered as ‘animation’, I still find the inter-changing between various creative arts to be of value, thus contributing to my knowledge of how industries cater and influence to each other.
I am interested in how Patti Smith perceives herself simply as a “worker” in different disciplines; even without a great amount of technical skill, her interest in “simply taking pictures” of scenes and objects of her liking is the foundation of this exhibition. I am appealed to her resistance to being constrained by one label/position, instead explores writing, poetry, motherhood, music, and photography.
John K. Talks about his “Simpsons” Opening
In his interview with Cartoon Brew, John Kricfalusi speaks about his animation for a Simpsons opening related to his previous work on Ren and Stimpy. I was intrigued by this article as it reveals the process of animation (sketching, storyboard, animatics, etc.) in today’s current animation field.
As an animation practioner, John “doesn’t stay still, constantly evolving, growing, experimenting, and challenging audiences with new graphic concepts”. I find this habit to be key in a creative field as it ensures innovation and growth. Hoping to possess such habits, I realize such creative artists do not fear their lack in ability or inadequacies:
“Whether everything works perfectly in this opening is besides the point. As John says in our interview, “The day I make a perfect cartoon is the day I’ve run out of creativity.”
John also talks about the software he employs for his animation, how he experimented with his own skill, trying new techniques, and how he balances the writer’s wishes with his own models. In my opinion, this is a valuable article and interview in understanding the dynamics of the animation and cartoon industry.
Take a look at the production process for the Simpson animation!
To embark on one of my first objective (optimize SLR settings for animation), I must begin with the basics. Since I am a visual learner, such appealing organization of information will greatly help.
Taken from LifeHacker.
“O Céu no Andar de Baixo” by Leonardo Cata Preta
In a previously conducted interview with film-maker Tess Girard, she expresses that “if a film stays with you, it is successful”. It is for this reason I regard Leonardo’s “The Sky Downstairs” animation film as successful in reaching audiences.
Although the character portrait story alone is unique and notable, the integration of various animation techniques and approaches is what I find memorable. In particular, the 2D animation drawing over exaggerates particular features (necks, legs, etc.), catering to both the overall visual appeal as well as conceptual support. I perceive the success of the film is largely due to the fact that most, if not all, technical decisions have a conceptual purpose and act as a vehicle to tell the story.
This film consists of a variety of audio: voice-over, character voices, and music. It was the first time I’ve seen such a combination along with an animation rich in technique. I thought the inter-changing between the audio elements was well done and well paced. The narrations and subtitles were paced to allow contemplation and digestion of the material and story. Scenes such as when the black spot on the floor grows while the main character is listening downstairs encourages audiences to think beyond the simple narration. Although the narrations provide a necessary source of information to progress the story, particular elements of the story — such as the fact that the character falls in love with the legs in the photograph — were indicated by the animation; attention to subtle changes in expression was thus required to fully immerse in the plot.
Lastly, I was greatly drawn to the colour palette and patterns employed; I felt the use of white and particular colours and textures frame the film to situate audiences in a particular mood. Each frame was coloured and directed as a piece of art photography on it’s own, maximizing visual appeal.
Second In-Class Activity: Contrast
The video depicts colour contrast between pencil crayon colour against lined paper with digitally created colour in Photoshop. It was interesting — and refreshing — to use pencil crayons with it’s texture, smell, and various shades on paper as it allowed me greater control than the mouse in drawing the particular shapes. The pencil crayon colour is heavier in stroke when pressed harder whereas the Photoshop brush is solid and mechanical in control. This is intended to promote reflection on the two mediums in producing colour and texture as well as contrast the fluid shape of the colours against the more rigid structures of lined paper.
Krasner Ch. 3-5, 9
Motion Graphics in Interactive Design
“Motion graphics can enhance the user’s sensory experience if they are designed well and are logically integrated”
- It is important to realize how motion graphics and dynamic information has changed our experience of receiving information
- As I hope to pursue a career in Information Science, exploring the various ways information systems and agencies employ animation techniques to communicate information (ex. on Websites) broadens how we implement interactive design with linear systems
- Although we can experiment with motion and graphic design, we must keep in mind navigation design and how intuitive the interface is
- RoTo Architects website: site treated as a spatial medium, layering of motion & change, combination of typography, graphics, and images
Formats
- Java: interactive animation, cartoon, 3D Graphics, typography. Advantage: platform ensures that they can run on any supported hardware/OS
- Animated GIF: low-tech option, sequential images, all browsers support, no programming knowledge required
- Flash: vector graphic animation, video-integration, content difficult to update
- dHTML: “Dynamic HTML”, complex language, uses CSS, limited in animation abilities
- Video Over the Web: Quicktime, Windows Media Player, RealPlayer. Basic, Progressive, Streaming downloading
Motion Graphics in the Environment
” Immersive environments shape a sense of place by providing order, ambiance, comfort, and insight to a physical or virtual space”
- It’s the interaction between digital technologies & spatial experience
- Recently been used to blend with settings (ex. Hotel lobbies, video walls etc.)
- Typography, composition, and movement all play a role in enhancing immersion
- Interior designs, exhibit design, art installation, educational installations, retail
- I realize animation design is becoming ubiquitous and is adaptive in nature as it can be implemented and used in a variety of context and settings to convey a variety of messages
Motion Literacy: Choreographing Movement
“And since designers are becoming more concerned with injecting motion into their work, motion literacy — the act of trying to understand how motion can be used to communicate more effectively — is essential” | Jan Kubasiewicz
- There is a general importance in understanding how motion can be implemented to convey information and messages
- Spatial consideration: position, size, and orientation
- Motion design can construct environments that frame viewers experience (as active participants or as observers)
- Can create machine-like or human-like motion by changing velocity and time
Conceptualization: Developing Ideas
- I find this chapter to be very valuable as it presents the important — atleast to me — concept of forming and innovating ideas
- Audience consideration, to my experience, is fundamental to understanding how to direct technical technique
- Krasner also mentions the importance of research; previous methods and concepts have been created that can aid by refining your own concept as well as saving your time in overcoming challenges previously solved
- Although Krasner states that brainstorming “works best in an environment that is conductive to thought”, in my experience I have also found settings of various levels of “annoyances” to triggers ideas and connections. It is for this reason I agree with Krasner’s suggestion of always carrying a notebook/sketch pad to note spontaneous ideas.
- Creative thinking is definitely stimulated when one is inspired (especially by a identification/ personal relation to the topic), one must not be afraid to challenge their technical and creative abilities through experimentation
- In my experience, one must not be attached to their original idea/storyboard and encourage further refinement and editing. Although it is easier said that done, it creates a great difference in the outcome and effect.
Wise Tidbits
” Many artists have realized their visions using animation as a means to externalize their inner thoughts and unique points of view. Animation gives the viewer the opportunity to gaze at a frozen moment of thought and to experience another person’s rhythms.”
- Christine Panushka
(1/2)
Next »
