Saturday, July 11, 2009

The Big Make-Over.

Dear hopefuls,

This time I'd better come through with the good stuff,
as promised before. And you know what? I just might.

This animation is painted on paper and made for a school assignment
called the Remake, which was exactly that, expecting us
—hungry students— to remake (and —no pun intended— reanimate)
the work of an artist who's work we admired.

My pick was Georg Baselitz, for more reasons than I am willing to type
about right now. Since my work tends to be quite fragile I'm always
looking for ways to be more bold in my expressions and Baselitz
seemed to me the appropriate vehicle to get there.
Apart from that I'm always looking for ways to make my characters
more stylized, without them becoming too cartoonish or childish.
In my opinion Baselitz is really great at this.

Naturally I couldn't leave it at that, so I added several other studies:

To not scale anything digitally, but just draw and paint it smaller if
needed. Personally, I hate outlines that become thicker or thinner when
anything animated moves closer or further away respectively.

To animate a transition from one scene to another and make it a part
of the narrative (instead of just using a standard cut/wipe/dissolve).
When I scanned the animation and put it on a timeline it turned out
the narrative part didn't work out as well as I had meant it to be:
I had two scenes, one indoors with a man in the foreground and a
jacket in the background which the man puts on. Plus one outdoors
at night with a house set against a minimal background.

A door opens, lighting the landscape, but the door is on the side of
the house we don't see, leaving us to just see the light coming out of it.
But since the painted animation makes for such a strong moving hold,
one doesn't notice this light at all and what we see is a man putting on
a jacket whilst morphing to another image.

It's sad, isn't it? But at least we can learn something from these terrible
flaws, don't we, hopefuls?
Enjoy. And laugh at me laying bare my pity attempts at making
something that legitimizes my existence.
But know that while you're laughing, I'm learning,
and one day all these lessons will fall into place.
Then I might make something you want to see, but I won't let you,
because you laughed. Sweet revenge.

Monday, July 6, 2009


Okay, so this is fairly old.
It's done on paper (!), which I like, and again this could have been
better, but there was just not enough room for improvement.
Lame excuse, I know, but next time I'll remember these flaws and
do it better. I promise.

I should make more walkcycles I guess, it's good practice.

My notes on this one:

• The head needs some more attention, period;
• The upper half of his torso needs some more anticipation;
• His hands need to turn more;
• His right arm has one frame of inconsistent length, making it morph.

Apart from it being on paper, it's on triples as well,
whereas I mostly animate on doubles, thus revealing the economic me.

That's it for now, next post I'll add my painted animation.

Sunday, July 5, 2009

Sour Milk.

Now I can't go to bed and not upload my animation of the cat I mentioned in my previous post. The assignment was to find or make a 10 second audio fragment to animate upon. I chose a piece of dialogue from Lock, Stock and animated these bad-ass wiseguy cats. It's lipsync was the main goal, but my personal agenda was especially drawn to the possibilities 2D offers that 3D can't and the problems that present themselves animating these lines that do not bow before realism.

Sketchbook Pt. IV

After this one I'll post some animation again,
mainly because these sketches contains a reincarnation of a cat I animated.

Conchita drew a quick line for this one, and I had to finish and make something out of it.

This little birdy here just begs for improvement, and I will, but not yet. I like the idea and want to animate it when ready.

So, here it is:
The cat that — like Cordell Barker's — just keeps on coming back. Nine lives would be nice I guess, though the nine deaths that inherently come paired with them would kill me.
Pun intended. Sorry for that. It's in my genes. Or my upbringing. Or both.

Saturday, July 4, 2009

Sketchbook Pt. III

As the spoiler of a title already suggested:
Here are some more sketches.

“The gynecologist had to hold back when he stared into the deepest of the bent-over construction worker's gash.”

“At least you
understand me!”

Sketchbook Pt. II

I still have quite some scanning to do,
but here is the second installment in what is intended as an ongoing series.

This one reads: “Jonah came without a toothpick”

Oh boy,
if only I had a boat...

Sketchbook Pt. I

Sweet, beloved and dear hopefully loyal readers to be,

Today I figured it a great day to provide you with some sketches,
as we all know how important frequently drawing is if one desires improvement.
Now you may decide whether I can live up to my desires, because improvement is what I seek, although I'm not sure how conscious an effort I make drawing in my sketchbook.
Most of all I guess I just sketch whatever is on my mind or catches my eyes.

What is your main reason for sketching?
Is it practice?
Is it an addiction?
A basic need?
A reminder?
All of the above?
Something entirely else?

Would you consider it an important activity?
I know I do. And of course I should practice more.
And there's tons of other stuff I'd want or should do more,
but I simply can't and have to focus on just a few things.

Association of the day:
“Look, I've never had a dream in my life
Because a dream is what you wanna do, but still haven't pursued
I knew what I wanted and did it till it was done
So i've been the dream that I wanted to be since day one...”

— Aesop Rock, No Regrets