http://www.ukessays.com/how-to-write/write-animation-essay.php
http://www.iotacenter.org/visualmusic/articles/moritz/mclarenengel
http://www3.nfb.ca/animation/objanim/en/filmmakers/Norman-McLaren/references.php
http://minyos.its.rmit.edu.au/aim/a_notes/anim_principles.html
http://www.milestonefilms.com/pdf/pk.Munro.pdf
Saturday, 31 December 2011
Wednesday, 28 December 2011
Relationship between two people
Both use humans as puppets.
Both use sound to exaggerate meaning- on to create more humour and emotion and one to create a sense of a robotic human.
both defy the laws of physics with the movement of the people not walking, but sliding.
the contemporary animator-John Halas
‘his or her ideas must filter through many minds and many pairs of hands’ page 11
‘the turnkey system is no longer required; the animator can carry out all the stages on the computer’ page 11-the contemporary animator
an animated film, unlike a live-action documentary, cannot be shot off the cuff. every sttep must be preplanned, nothing can be left to chance. Page 13
‘most beginners start with a particular stype but find that this has to be adapted during production according to the technival limitations of the work’ page 13
we have seen that there are different types of production organisations, : the unit for a large films, with a minimum of 50 personall; the small service unit with 6 – 15 personall servicing commercial commissions and the individual unit with one animator working on experimental priductions alone or with a few helpers. The newcomer is the computer animator, either with his or her personal equipttment at home or as paart of a video studio;s service unit with an integrated workstation. Page 14
should nimation be flat or should it be a puppet? Page 14
first if your idea is beyoung the capability of the computer graphics system do not touch it. Second if you can carry out a scene better manually do not use the cimuter. -15
the positioning of objects and their size play a part, as do the characyers behavior, mood and interrelationships, which influence their speed of actions on the screen. – page 17
no comedy can succeed without exaggeration of time, especially the amusing effect of speedy action. –page 17
‘yui norstein (soyuzmultfilm, Moscow) have proved tat highly artistic and complex animation can be achieved with cutouts and collage provided one has the technical skill with the taent and ideas to back it up. – page 18
Saul Bass?
‘his charractes are paper cutout figures joined with wire thread which llows each section of the body to be moved frame by frame’ 19
lotte reiniger the adventures of prince achmend 1926- from the barbican –watch me move exhibition.
Norstein is considered as a contemporary poet who has found a new way of conveying his ideas.-19
Chuck jones –symbolises the sounds of musical instruments page 66
Mechanical development
Exploring the impossible
Art in movement
Broadening the animation language
Computer graphics –page 42
Find the unity between the visual and the aura sense, between mobile graphics and the rhythmical development of musical sound.
Hans richter and Oscar fischinger in berlin 1930 –page 61
Len Lye and norman mclaren. Disney with fantasia ? maybe…
Harmonization of sound and vision
Museical harmonization can greatly help traditional animators with their choreography of action. Chuck jones utilized such relationships for his productions, from bugs bunny to speedy gonzalez. Here visual elements are linked with musical instruments: bassoon ( a laughing onkey), a harp ( a nightingale), percussion (Columbus money), drum (elephant). – page 63
Out of the two options of recording music before or after the production, animators prefer pre-recorded music in order to time more precisely the action based on the music- 64 (unlike McLaren, who is experimental, draws sound)- page 64
Today with three dimentsional recordings, one is able to create a range of musical sounds never heard before. This has already been achieved by Richard Arnell and David Hewson in animation with the soundtrack of Dilema (1981), Toulouse-lautrex (1984) and light of the world (1989)-64
Synchronization between actipn and music is a constant problem. In these four block diagrams the upper space represents the action, the lower the music. Each block is 2 seconds long.-70
Tuesday, 27 December 2011
Locating Norman Mclaren
The undercut reader
Critical writings on artists film and video
Edited by nina danino and michea maziere
Article- Locating Mclaren David Cutis
Journal of Film preservation
As the years have gone by I have come to feel a need to take a less detached view of McLaren, and his place in the story of cinema. Perhaps the best way for me to begin to address this issue is to quote from a 1977 essay by the British film scholar David Curtis:
Perhaps surprisingly, Norman McLaren has succeeded, as few other filmmakers have, in polarizing his critics; they either envelope him in a blanket of unqualified approval, or else totally dismiss him. Most authors of work on the history of animation see McLaren as the supreme champion of the “experimental” cartoon – a figure not so much to be emulated as admired from a distance; a man privileged to express the artist’s communion with “genius” far from the pressures of commercial reality. Authors discussing the avant-garde film – the area in which such artists should by rights belong – rarely give McLaren a mention. His work is too orthodox, too compromised, or evades too many questions. But these reactions are themselves an evasion of the difficult problem of locating McLaren’s position. Is he an avant-garde animator like Len Lye, Harry Smith, or Robert Breer, or does he
31 Journal of Film Preservation / 69 / 2005
belong more properly in the commercial camp with Borowczyk, Trnka, or perhaps his “pupil” Dunning, or is he some form of exceptional cross-breed like Alexeieff, Kuri, or Foldes? (4)
When I first read those words of David Curtis, sometime in the 1980s, I was taken aback. Compare that scepticism with what Claude Jutra said to me in the autumn of 1971:
Film has up till now been mostly a new kind of literature. Norman’s films are really the new medium; and now the medium is becoming accessible to more and more people, especially with computers – computational creation where a person alone using his hands and tools creates something which is absolutely new. Painting is like that, but cinema is somewhere between painting and literature; but there is a new medium which is being created, and Norman was one of those at the earlier points who made it come true and produced masterpieces in that area, which is still underdeveloped. I think the only masterpieces are his – what others in the history of animation? We talk about Emile Cohl, Reynaud, Fischinger – all of them don’t compare with the achievement of Norman’s; and he’s a lonely man. (5)
Source
As the years have gone by I have come to feel a need to take a less detached view of McLaren, and his place in the story of cinema. Perhaps the best way for me to begin to address this issue is to quote from a 1977 essay by the British film scholar David Curtis:
Perhaps surprisingly, Norman McLaren has succeeded, as few other filmmakers have, in polarizing his critics; they either envelope him in a blanket of unqualified approval, or else totally dismiss him. Most authors of work on the history of animation see McLaren as the supreme champion of the “experimental” cartoon – a figure not so much to be emulated as admired from a distance; a man privileged to express the artist’s communion with “genius” far from the pressures of commercial reality. Authors discussing the avant-garde film – the area in which such artists should by rights belong – rarely give McLaren a mention. His work is too orthodox, too compromised, or evades too many questions. But these reactions are themselves an evasion of the difficult problem of locating McLaren’s position. Is he an avant-garde animator like Len Lye, Harry Smith, or Robert Breer, or does he
31 Journal of Film Preservation / 69 / 2005
belong more properly in the commercial camp with Borowczyk, Trnka, or perhaps his “pupil” Dunning, or is he some form of exceptional cross-breed like Alexeieff, Kuri, or Foldes? (4)
When I first read those words of David Curtis, sometime in the 1980s, I was taken aback. Compare that scepticism with what Claude Jutra said to me in the autumn of 1971:
Film has up till now been mostly a new kind of literature. Norman’s films are really the new medium; and now the medium is becoming accessible to more and more people, especially with computers – computational creation where a person alone using his hands and tools creates something which is absolutely new. Painting is like that, but cinema is somewhere between painting and literature; but there is a new medium which is being created, and Norman was one of those at the earlier points who made it come true and produced masterpieces in that area, which is still underdeveloped. I think the only masterpieces are his – what others in the history of animation? We talk about Emile Cohl, Reynaud, Fischinger – all of them don’t compare with the achievement of Norman’s; and he’s a lonely man. (5)
Source
Watch Chelsea Space: Shin Azumi and Norman McLaren / interview with curator Jane Won in Channels | View More Free Videos Online at Veoh.com
Nomarn mclaren and shin azumi/ interview with curator jan won
The most interesting things get missed in an ordinary art gallery.
Experimental side of
Scottish moved to Canada
Whole areer was in candana he was a pioneer of the animation tecchniques
Making filmes without a camera
Very simple but was very involved in making these techniques, a range of techniques
Making the pieces without a lot of calaborations, magitians and dancers,
Brings a whole of his filmography very diverse and very interesting
Shin azumi expresses his interest in mclaren.
Make a space by anti garavity, inspiraed by mclaren
Create a space that has a scene of anti gravity
The film brings dynamic motion on the objects.
Music is also a very important factor to consider because it is a psychological subtlety that the audience is not immediately made aware of but will influence their response to the animation greatly. The way that music changes the images you are seeing is an important aspect of animation and can be looked at in great depth. Examples of music being used to great effect can be seen in, Fantasia or The Dot and the Line: A Romance in Lower Mathematics etc.
Source
Source
12 Basic Principles of Animation
Squash and stretch
Anticipation
Staging
Straight ahead and pose to pose Animation
Follow through and overlapping action
Slow out and Slow in
Arcs
Secondary Action
Timing
Exaggeration
Solid Drawing
Appeal
Anticipation
Staging
Straight ahead and pose to pose Animation
Follow through and overlapping action
Slow out and Slow in
Arcs
Secondary Action
Timing
Exaggeration
Solid Drawing
Appeal
Monday, 26 December 2011
Simple Geometric shapes
Talk about the whole idea of light.
simple colours used. red and green used. contrasting colours..
little squash and stretch used, gives more of a POP effect.
simple geometrical shapes.
linking each movement with sound almost like a screensaver.
music and animation both are in sync
Contextual Studies Essay
Compare one of Norman McLaren’s films to an animated film from any contemporary experimental animator of your choice and discuss the similarities and differences. Support your claims with relevant examples and citations or references from relevant literature.
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