tag:blogger.com,1999:blog-75813576979633725182024-02-07T13:41:27.701-08:00motion graphics researchmotion graphics researchhttp://www.blogger.com/profile/09545738374671018493noreply@blogger.comBlogger7125tag:blogger.com,1999:blog-7581357697963372518.post-58282759197781377972012-06-26T01:28:00.000-07:002012-06-26T01:29:25.982-07:00Stage Two Prototypes<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br /></span><br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Having tried out the basic attempts at a running figure with
stage one prototypes I realised that I needed to somehow understand how to make
a better and more mechanically sophisticated puppet. The most important thing
was to give the sense of a shadow puppet that looked like it was running.<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Also the metal supports needed better fixings.<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I
needed to work out how to make the figure look like it was running. I knew the
footage did not look convincing but I did not understand why. I looked at the
Kate Bush - Eider Falls at Lake Tahoe – Animation to analyse why the movement
of the animals and thehuman figures were effective and believable. The human
figures generally moved slowly or only had arms that moved.</span><br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">When I looked at other shadow puppet movies none of them had
moving legs that ran. Generally the feet were loose.<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">In the Kate Bush music video the animals moved and ran
convincingly because they had four legs that worked very simply together. The
human running figure is much more complex as the arms and legs work in a more
complex way.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgknQ-MVjH4AikQYbJndgzpuYCgFVgi4v5_wmJiwoqpGu-yunYSaReo999DroiekA7Hwbl8ESOpVMqhpRIunblZE4PH27P498AscN3wU625u8whMCAQDVy1qx5zEon5TNHTNnlsQvAksIc/s1600/26+Jun+2012+09:20:43.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgknQ-MVjH4AikQYbJndgzpuYCgFVgi4v5_wmJiwoqpGu-yunYSaReo999DroiekA7Hwbl8ESOpVMqhpRIunblZE4PH27P498AscN3wU625u8whMCAQDVy1qx5zEon5TNHTNnlsQvAksIc/s640/26+Jun+2012+09:20:43.jpg" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0SBwEUJRUaod7dewnyaQ-KwXD-gA9uQGNIqh4BmJWCi339ZEoZ4rTB0lr3IVRe9Ax7MECqOOkCnUKKBM__Q3ahctUuh8kkYOTXNCCm8aEvCrIBqPb2ajzZcItMQURMu0Fd9riby4WNxA/s1600/26+Jun+2012+09:26:11.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0SBwEUJRUaod7dewnyaQ-KwXD-gA9uQGNIqh4BmJWCi339ZEoZ4rTB0lr3IVRe9Ax7MECqOOkCnUKKBM__Q3ahctUuh8kkYOTXNCCm8aEvCrIBqPb2ajzZcItMQURMu0Fd9riby4WNxA/s640/26+Jun+2012+09:26:11.jpg" width="640" /></a></div>motion graphics researchhttp://www.blogger.com/profile/09545738374671018493noreply@blogger.com0tag:blogger.com,1999:blog-7581357697963372518.post-61099939743151111682012-06-24T09:02:00.001-07:002012-06-24T09:23:22.083-07:00Street of Crocodiles (1986) - Part 1<iframe allowfullscreen="" frameborder="0" height="344" src="http://www.youtube.com/embed/2gIb0bTWj6w?fs=1" width="459"></iframe><br />
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<h3>
Larger scale version than the post below</h3>motion graphics researchhttp://www.blogger.com/profile/09545738374671018493noreply@blogger.com0tag:blogger.com,1999:blog-7581357697963372518.post-23139023130334909512012-06-24T09:01:00.001-07:002012-06-24T09:23:49.638-07:00Jo Jo In The Stars - Trailer<iframe allowfullscreen="" frameborder="0" height="270" src="http://www.youtube.com/embed/T5Q-RYU_xPs?fs=1" width="480"></iframe><br />
<h3>
<br />Larger scale version than the post below</h3>motion graphics researchhttp://www.blogger.com/profile/09545738374671018493noreply@blogger.com0tag:blogger.com,1999:blog-7581357697963372518.post-2922451367272360572012-06-24T08:38:00.001-07:002012-06-24T08:57:55.965-07:00Colour or black and white decisions<br />
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<span class="Apple-style-span" style="font-family: inherit;">Colour or black and white decisions.<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: inherit;">The issue for the sequence is how to fit the colour.<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: inherit;">I have got to make the decision between colour and black and
white, the shadow puppet sequence is in black and white and should I make the
caption cards echo this and work in a traditional 1890s silent film caption
card. Or should I create something more colourful in the way of Toulouse
Lautrec’s graphical style?<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: inherit;">It’s a case of seeing if it works or not. Black and white
caption cards working with black and white shadow puppet footage could be
rather dull or it could be very authentic, but I am not trying to make a
facsimile of something old. I could adopt some contemporary black and white
methods such as the textural black and white elements used in “Jojo in the
stars” by STUDIO AKA November 22<sup>nd</sup> 2003.<o:p></o:p></span><br />
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<object class="BLOGGER-youtube-video" classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0" data-thumbnail-src="http://3.gvt0.com/vi/T5Q-RYU_xPs/0.jpg" height="266" width="320"><param name="movie" value="http://www.youtube.com/v/T5Q-RYU_xPs&fs=1&source=uds" />
<param name="bgcolor" value="#FFFFFF" />
<param name="allowFullScreen" value="true" />
<embed width="320" height="266" src="http://www.youtube.com/v/T5Q-RYU_xPs&fs=1&source=uds" type="application/x-shockwave-flash" allowfullscreen="true"></embed></object></div>
<span class="Apple-style-span" style="font-family: inherit;"><br /></span></div>
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<span class="Apple-style-span" style="font-family: inherit;"><br /></span></div>
<span class="Apple-style-span" style="font-family: inherit;">Or as
used by the Brothers Quay “ Street of Crocodiles” 1986 where they used dark
tones extensively throughout scenes of the animation often this was used to
simplify the model making process but also within the actual models themselves
black was used. The dark elements within the camera shots create mood and
atmosphere for the audience allowing them to imagine what is in the dark
partially unseen areas.</span><br />
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<span class="Apple-style-span" style="font-family: inherit;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/2gIb0bTWj6w?feature=player_embedded' frameborder='0'></iframe></span></div>
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<span class="Apple-style-span" style="font-family: inherit;"><o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: inherit;"><br /></span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Making the lettering.<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: inherit;">To make it in Indian ink and then change the black to
colours in Photoshop for use in Adobe After Effects.<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: inherit;">Photograms.<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: inherit;">I have made a series of photograms that animate together, I
realise now that I can use these in the caption cards. Caption cards from the
1890’s and beyond used decorative graphical elements in the corners. The
photogram animations can be used in small scale at the corners of each
photogram. Four in total a different one in each corner. I can also use the
live action typographic figure in one of the corners.<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: inherit;">The Bonnard style lettering will be made with brush and ink
for a fluid instinctive visual approach. I can make these look like they are
drawing themselves in an animated way using the Stroke effect and Adobe After Effects.</span><o:p></o:p><br />
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<span class="Apple-style-span" style="font-family: inherit;"><br /></span></div>motion graphics researchhttp://www.blogger.com/profile/09545738374671018493noreply@blogger.com0tag:blogger.com,1999:blog-7581357697963372518.post-52842252526467515092012-06-24T08:18:00.002-07:002012-06-24T09:17:01.784-07:00Animated Caption Cards<br />
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Introduction to the sequence :- Caption cards in the style
of Toulouse Lautrec from Van Gogh Museum Amsterdam “ Printmaking in Paris “<o:p></o:p></div>
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The rage for prints at the fin de siele.<o:p></o:p></div>
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Author - Fluer Roos Rosa de Carvalho and Marije Vellekoop.<o:p></o:p></div>
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2012 Van Gogh Museum Publications. ISBN 978 90 79310 296.<o:p></o:p><br />
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I have seen the original prints in the museum, and was very
impressed with the work from the period. It is very “loose”, very free and
instinctive looking. <o:p></o:p></div>
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Very few colours have been used, limited to three or four
with a very sophisticated modern result. This would be in contrast to work at
the time. This may be due to the fact Toulouse Lautrec was twenty one at the
time and ambitious at producing A0 posters needing three lithography stones to
make one large poster. This poster was produced in a print run of three
thousand.<o:p></o:p></div>
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Page 149 Prints Aplenty – Highlights<o:p></o:p></div>
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Plate 144<o:p></o:p></div>
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Henri de Toulouse-Lautrec<o:p></o:p></div>
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Moulin Rouge: La Goulue<o:p></o:p></div>
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Poster for the cabaret Le Moulin Rouge, 1891<o:p></o:p></div>
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Colour lithograph, 173 x 123.5 cm<o:p></o:p></div>
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At the start I thought that Toulouse Lautrec lettering was
going to be the solution but after researching posters of this period of French
graphic design I found that Toulouse Lautrec posters had lettering that was not
as expressive as I expected.<o:p></o:p></div>
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Researching posters in the book from the Van Gogh Museum I discovered that the work of
Pierre Bonnard were more expressive and sophisticated than Toulouse Lautrec.
Two particular pieces of Bonnards were more influential for me <o:p></o:p></div>
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Page 164<o:p></o:p></div>
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Plate 161<o:p></o:p></div>
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Pierre Bonnard<o:p></o:p></div>
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Artist’s Book Petit solfege illustre<o:p></o:p></div>
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By Claude Terasse, 1893</div>
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32 photomechanically reproduced colour lithographs,
published by Libraries-imprimeries reunites, Ancienne maison Quantin, 21.2 x
28.6cm.<o:p></o:p></div>
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Page 41<o:p></o:p></div>
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Plate 31<o:p></o:p></div>
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Pierre Bonnard<o:p></o:p></div>
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Poster for La revue blanche 1894<o:p></o:p></div>
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Colour Lithograph<o:p></o:p></div>
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80.4 x 61.8/77.7 x 58.7 cm<o:p></o:p></div>
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The next challenge was to design the lettering “1896
Olympics” in a way that would clearly position the visual language of the
letter forms to the viewer by communicating graphic design lettering of this
Olympic period.<o:p></o:p></div>
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The second challenge, as this lettering was going to be
animated it had to work on its own was to make the lettering work without
illustrative supporting images as I quickly realised that Toulouse Lautrec
posters were a marriage of image and text.<o:p></o:p></div>
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The typography is very free and appropriate to the period I
am looking at.<o:p></o:p></div>
<br />motion graphics researchhttp://www.blogger.com/profile/09545738374671018493noreply@blogger.com0tag:blogger.com,1999:blog-7581357697963372518.post-5345769103459350512012-06-05T08:26:00.001-07:002012-06-05T08:29:49.316-07:00Stage One Prototypes; How do you make shadow puppets and the set ?<iframe allowfullscreen="" frameborder="0" height="270" src="http://www.youtube.com/embed/iPRjIIQsSAk?fs=1" width="480"></iframe><br />
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<span class="Apple-style-span" style="font-size: large;">I looked on You Tube and found – “Make shadow puppets! Weekend projects” with Bre Pettis for some examples of how to make shadow puppets and shadow puppet theatres. I found some very good examples on how to make a theatre and how to make some basic puppets. The puppets were quite crude but the methods for holding and controlling them using cut down coat hangers and gaffer tape worked well. Later on these were developed in stage two.</span></div>
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<span style="font-family: Arial;"><span class="Apple-style-span" style="font-size: large;">The theatre construction ideas found on You Tube worked very well and were adequate for stage two and three.</span></span></div>motion graphics researchhttp://www.blogger.com/profile/09545738374671018493noreply@blogger.com0tag:blogger.com,1999:blog-7581357697963372518.post-74470092476503752432012-06-05T06:14:00.001-07:002012-06-05T07:58:26.153-07:00Shadow Puppet Influences; Kate Bush music video “Eider Falls at Lake Tahoe”<iframe allowfullscreen="" frameborder="0" height="270" src="http://www.youtube.com/embed/KKPHA3_cBus?fs=1" width="480"></iframe><br />
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<span class="Apple-style-span" style="font-size: large;">This inspired me to explore the potential of shadow puppets
for the 1896 Olympic sequence. The traditional approach of this music video
with a contemporary twist using modern visual methods for people, for example
using chains on the old lady’s hair, this also attracted me because of my
interest in materials and its role in contemporary image making.<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-size: large;">I had never made or used shadow puppets before but was aware
of them especially those used in India but was much less aware of how they were
made.</span><o:p></o:p></div>motion graphics researchhttp://www.blogger.com/profile/09545738374671018493noreply@blogger.com0