“I am interested in how the materiality of an image can support itsCatherine Anyango Grünewald, Live, Moments Ago (The Death of Mike Brown) (n.d)
meaning, the tearing or disintegration of paper and marks alluding to
the criminal and emotional disruption of public space. The police
violence in America is happening almost too fast to comprehend and
almost certainly too fast to document. In a series that started with the
death of Trayvon Martin in 2012, I have been documenting the last
image in the victims of police shootings lives. In this film the drawn
footage is worked and reworked until the figures merge with the
landscape and the paper is destroyed. There is a sense of burning,
referencing lynching and also foreshadowing the subsequent riots.”
See Google searches on:
You Tube and Google searches on ‘women’s empowerment animations’ and ‘gender equality animations. Some of the You Tube viewer comments are also quite revealing – and shocking.
More artistic treatments for video competitions etc.
Violence Against Women
NOTE: To be further analysed and added to and linked to in-depth discussion of selected animators and styles most relevant to development of my own short animations in 4: Transforming Tales. At that point there will be a detailed discussion of narrative techniques, use of humour vs use of shock/emotive/disturbing techniques.
· https://www.sakugabooru.com/ – for animation inspiration (eastern)
· https://livlily.blogspot.com/ – for animation inspiration (western)
Commentary on life and narratives about mental illness, sexuality, cruelty and politics. Some of the animations are driven by voice-over narrative. But his very simple evocative style is carefully adapted to subject matter and uses drawing styles and animation techniques that I could experiment with in my own work.
See more on vimeo: https://vimeo.com/jonathanhodgson/videos
South African artist who produces very evocative animations, often on political themes, from filming manipulated charcoal drawings. His additive and subtractive process could be replicated digitally in Procreate and other iPad painting apps.
See movies on: https://vimeo.com/petermillard
Produces short surreal animations in a child-like style with simple line and crayon/wash. Many of his animations depend on use of sound effects and have no words.
British illustrator who has some of his comic narratives converted into animation. Although he relies a lot on voice narrative, his very direct and simplified cartoon style could be replicated in iPad animation.
Humorous animation about the history of ‘Man’ in the world. Complex Flash animation.
3D animation but basic idea could be translated into simple 2D style.
Pencilmation simple humorous Flash animation.
See You Tube channel:
From Google search on 2D and/or Flash animation
Oskar Wilhelm Fischinger (22 June 1900 – 31 January 1967) was a German-American abstract animator, filmmaker, and painter, notable for creating abstract musical animation many decades before the appearance of computer graphics and music videos. He created special effects for Fritz Lang’s 1929 Woman in the Moon, one of the first sci-fi rocket movies, and influenced Disney’s Fantasia. He made over 50 short films and painted around 800 canvases, many of which are in museums, galleries, and collections worldwide. Among his film works is Motion Painting No. 1 (1947).
Experimental conceptual animations using a range of techniques.
- You Tube
- https://www.sakugabooru.com/ – for animation inspiration (eastern)
- https://livlily.blogspot.com/ – for animation inspiration (western)
See also scratch video
- Death Valley Days: Secret Love by Gorilla Tapes 1984 https://www.youtube.com/watch?v=hDQM_UJ0Tm0
- Absence of Satan, George Barber, 1985 http://www.georgebarber.net/video_pages/satan.htm Comply, Emergency Broadcast Network, 1993 https://www.youtube.com/watch?v=MhZ_ UygGnN0
- Martin Arnold Passage à l’acte (1993) http://dangerousminds.net/comments/watch_a_mind_bending_video_manipulation_of_to_ kill_a_mockingbird
- A diary/travelogue film shot on super 16mm with differing frame rate transfers overlaid upon one another. – https://vimeo.com/229481476
Parada, Jerzy Kucia, 1986
A very evocative Polish black and white film animation about Harvest.
Uses variations in abstract framing, focus and timing to evoke memories and reflections.
Film grain, light and shadow plays evokes the time that has passed. Subtle monochrome colour shifts and selective colouring eg shirts of harvesters as the main things remembered.
Dreamlike reflections are produced through eg drawn/overlaid animation of birds.
Music and sound effects re-inforce the feelings of dreamy nostalgia, noise or threat.
Con Leche, Jordan Wolson, 2009
Animated cartoon of Diet Coke bottles filled up with milk. Shot on video in Detroit Michigan, the characters walk through the desolate streets in real video sometimes in groups and sometimes alone. The image wobbles, flips and turns inside of the video frame.
A commercial voice over actress speaks from texts collected from the internet referencing identity, technology, memory and mortality most of which are personal accounts spoken in first person. Every few minutes Jordan Wolfson interrupts her giving basic formal instructions and adjustments distorting her tone, volume, and “sex”.
Confusion Through Sand
Kairos Trailer by Studio La Cache
Film de Cube – Ecole la Poudrière
Good Books Metamorphosis
Delta Sleep – Afterimage music Video
Wednesday with Goddard
ROXY x Masanobu
Zed: Death Mark by Ryan Woodward
Pig of Happiness
The Lady and the Chocolate
Work with the Samaritans
Cloud of Loveliness
The Coffee of Joy
Let Us Be Lovely
Sheep of Destiny
Ross Bollinger Pencilmation
See also Lucas Ragazoni
Much of the power of animation comes from the drawing style and how far this supports the narrative content. The artists and illustrators below present a range of graphic styles with which I would like to experiment in my animation on the iPad. Many of them have also worked with textless, or near textless narrative, and their work as a whole is discussed in more detail as I develop my own animations in Part 4. The full posts are accessed through the title links.
Stik is a British graffiti artist based in London known for painting large stick figures as street art, often with a very political message about social inequality, homelessness and gentrification of low-income areas..
What interests me is the way in which he manages to get a wide range of expressions and stories in his murals simply through varying the size and position of a few dots in a circle, together with rectagle body and length and angle of the stick legs.
For more details see:
Jonathan Hodgson is an internationally renowned animation director based in London, he has twice won BAFTAs for Best Short British Animation in 2000 and 2019. He studied animation at Liverpool Polytechnic and the Royal College of Art. After spending 25 years directing commercials he moved to academia, setting up and leading the Animation degree at Middlesex University where he combines teaching with making personal films. He is the animation director of Wonderland: The Trouble with Love and Sex, the first full length animated documentary on British TV.
Yoshitomo Nara (奈良 美智 Nara Yoshitomo?, born 5 December 1959 lives and works in Tokyo. Nara grew up in a time when Japan was experiencing an inundation of Western pop culture; comic books, Walt Disney animation and Western rock music. He first came to the attention of the art world in the 1990s during Japan’s Pop art movement. Since then he has achieved a worldwide cult status. In June, 2005, Nara’s artwork was featured in the album titled “Suspended Animation” by experimental band Fantômas. Other commercial products (including videos, books, magazines, catalogues and monographs) have been dedicated to Nara’s work. Recently, a two-volume catalogue raisonné of all his sculptures, paintings, and drawings was completed.
The fiercely independent subjects that populate so much of his artwork may be a reaction to Nara’s own largely independent childhood. The subject matter of his sculptures and paintings is deceptively simple: most works depict one seemingly innocuous subject (often pastel-hued children and animals drawn with confident, cartoonish lines) with little or no background. But these children, who appear at first to be cute and even vulnerable, sometimes brandish weapons like knives and saws. Their wide eyes often hold accusatory looks that could be sleepy-eyed irritation at being awoken from a nap—or that could be undiluted expressions of hate.
Nara, however, does not see his weapon-wielding subjects as aggressors. “Look at them, they [the weapons] are so small, like toys. Do you think they could fight with those?” he says. “I don’t think so. Rather, I kind of see the children among other, bigger, bad people all around them, who are holding bigger knives…”
The manga and anime of his 1960s childhood are both clear influences on Nara’s stylized, large-eyed figures. Nara subverts these typically cute images, however, by infusing his works with horror-like imagery. This juxtaposition of human evil with the innocent child may be a reaction to Japan’s rigid social conventions. He has been influenced by punk rock music – a similar – if more unsettling – image of rebellious, violent youth, Nara’s art embraces the punk ethos. Nara has cited other traditions as varied Renaissance painting, literature, illustration, ukiyo-e and graffiti as further inspiration.