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Hopefuls,I should be terribly sorry,
yet somehow I'm not.
The sweetest girl in the world is in Tanzania right now,
so I've been keeping myself busy lately as to not be reminded.
“Reminded of what?” you might ask —and rightfully so—
and on this very topic —an emotionally strong one at that—
I will enlighten you this awfully late blog.
Today's topic is loneliness. Yes.
Cooking for myself is a far cry from cooking for her
and our bed has morphed into a boring place.
Now, I'm not sure about the morphing part,
nonetheless: it's become a boring place.
As has our home.
Luckily work provides some distraction,
of which I got plenty, yet is as you might imagine:
Just. Not. The same.
It's fun as well, the work.
But I cannot provide you with any recent developments.
At least, not yet.
But of course I've got this big, big pile of animations
from which I'd be delighted to pick you some goodies.
Now only to make this theme work...
So I mentioned loneliness, animation has this romantic
image of the animator working day and night
(emphasis on the 'night'-part) on films in the attic.
But this one I made together with a classmate,
Marlyn Spaaij, who has no website whatsoever.
But we made this for a Dutch tv-show
touching the subject of melanism,
animating to a pre-existing soundtrack.
My contributions list as follows:
• Paper texture
• Bambi's birth (not the mother though)
• The jaguar (including texture - animated to follow it's stretch)
• The 2D animated 3D'ish building
• The butterfly
• The sound design
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.
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.
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.
There's still quite some room for improvement, and I'm dying to do some shading. But since both would include a lot of work and I don't have the time to do so —plus this school assignment doesn't require me to put in even more work— I'd rather spend it on some other project.
The current half of the third year in my Bachelor of Animation curriculum consists of a group assignment for an external organization. I'm not sure exactly how vivid I can kick it, so I won't give you the skinny. In fact: I'll only give you — my sweet, beloved and dear hopefully loyal reader to be — some eyecandy.Conchita (check out her blog Knien!) and I worked on the textures, Jasper (blogless to my knowledge) got his CG on and I drew the bricks that make up the round square. Apart from that I digitally hand-drew the metamorphosis-mask. Then I gave this scene back to CG Jasper, who is finishing the compositing, adding animated objects to make the whole thing more convincing.
