Jannes and Ree are two members of The Blackheart Gang who have extended their admirable talents by forming a creative company called Shy the Sun. In The Blackheart Gang, they produce ingenious animated films that cast the viewers off on an enchanting visual journey through captivating imagery. At Shy the Sun, they continue to co-direct imaginative commercials for those who want something whimsically bizarre.
"The Tale of How" Directors: Jannes Hendrikz, Ree Treweek and Markus Smit
"Sea Orchestra" Directors: Ree Treweek and Jannes Hendrikz
"Sea Orchestra: The Making Of"
"Bakers Precious Biscuits" Designed and directed by Shy the Sun
"Bakers: The Making of"
WEB de Shy The Sun
Representados en US por DUCK Studios
Mostrando entradas con la etiqueta .DUCK Studios. Mostrar todas las entradas
Mostrando entradas con la etiqueta .DUCK Studios. Mostrar todas las entradas
Theodore Ushev
Theodore Ushev is a Bulgarian born animator, graphic designer, illustrator and multimedia artist, who lives in Montreal, Quebec, Canada.
He was born in Bulgaria and graduated stage decoration, animation, and make-up at Plovdiv's School of Scenic Arts.He obtained a Master degree in Graphic Design from the National Academy of Arts in Sofia.[1] He first made a name as a poster and graphic designer, before moving to Montreal in 1999. There he quickly gained a reputation as an animation filmmaker with for the National Film Board of Canada, with films such as Vertical, The Man Who Waited, Tower Bawher, Tzartitza, and Drux Flux, winner of the Canadian Film Institute Award for Best Canadian Animation at the Ottawa International Animation Festival.[2] He created live show multimedia and promo animations for the British band Public Symphony and David Gilmour’s “In an Island” album and live tour, and the illustrations for Chris Robinson' book "Ballad of a Thin Man: In Search of Ryan Larkin" (2008). VIA WIKIPEDIA
Bashnia Tatlina "Tower Bawher" (2005)
Animators Unearthed: Tower Bawher by Theodore Ushev Artículo de Chris Robinson en Animation World Network
"DRUX FLUX " (2008)
Theodore Ushev has been featured here on several occasions. He has the intellect to confront powerful subjects, applying a range of film and animation skills in his work. Drux Flux handles the issue of man's place in a post-industrial age. The movie commences with the mechanical clatter of a printing press where a battered, sepia edition of the opening title and credit is run off. Thereafter we are on a train journey in which the the ruins of a heavy industrial landscape are explored in a swift moving collage of photographs that move from desolation to molten metal rolling through the steel works; men are seen slaving in a cacophonous industrial hell, before one progresses to the soviet era of propaganda posters, celebrating the worker, an ironic commentary on the preceding images. Elements of the posters are strikingly animated before one is presented with a vision of man reduced to his mechanical skeleton, a figure that collapses in a heap of junk. I knew of Theodore first for his work in Flash where his graphic skills were much in evidence. Here the live action montage is manipulated in After Effects, arranged and overlaid with geometrical arrangements in Flash. The quickfire, mesmeric speed of the action is sustained throughout the piece, machinery seen in close-up, split screen, soviet workers suddenly launched from their frozen stances on the posters, filters of colour and light, a gyrating carousel of action at bewildering pace. He acknowledges the influence of "One-Dimensional Man" (1964) by philosopher Herbert Marcuse who took a swipe at both capitalism and soviet style communism. Alexander Mossolov composed the impressive music whilst the overall sound design is by Olivier Calvert. I live near Sheffield, once the steel capital of the world. The footage Theodore uses of abandoned factories was filmed in Germany though he could as easily have visited the UK. Juxtaposed images galore; and contrasting ideas - a dehumanising environment, industrial ruins devoid of man, the fiction of the glorious workers in the propaganda poster wielding their mighty mallets. (viaAnimation Blog)
"Ottawa" (2008) para Duck Studios
"Walking on by " (2003)
"Tzaritza" (2006)
BLOG de Theodore
WEB de Theodore
www.mortadellatv.com experimental web project
He was born in Bulgaria and graduated stage decoration, animation, and make-up at Plovdiv's School of Scenic Arts.He obtained a Master degree in Graphic Design from the National Academy of Arts in Sofia.[1] He first made a name as a poster and graphic designer, before moving to Montreal in 1999. There he quickly gained a reputation as an animation filmmaker with for the National Film Board of Canada, with films such as Vertical, The Man Who Waited, Tower Bawher, Tzartitza, and Drux Flux, winner of the Canadian Film Institute Award for Best Canadian Animation at the Ottawa International Animation Festival.[2] He created live show multimedia and promo animations for the British band Public Symphony and David Gilmour’s “In an Island” album and live tour, and the illustrations for Chris Robinson' book "Ballad of a Thin Man: In Search of Ryan Larkin" (2008). VIA WIKIPEDIA
Bashnia Tatlina "Tower Bawher" (2005)
Animators Unearthed: Tower Bawher by Theodore Ushev Artículo de Chris Robinson en Animation World Network
"DRUX FLUX " (2008)
Theodore Ushev has been featured here on several occasions. He has the intellect to confront powerful subjects, applying a range of film and animation skills in his work. Drux Flux handles the issue of man's place in a post-industrial age. The movie commences with the mechanical clatter of a printing press where a battered, sepia edition of the opening title and credit is run off. Thereafter we are on a train journey in which the the ruins of a heavy industrial landscape are explored in a swift moving collage of photographs that move from desolation to molten metal rolling through the steel works; men are seen slaving in a cacophonous industrial hell, before one progresses to the soviet era of propaganda posters, celebrating the worker, an ironic commentary on the preceding images. Elements of the posters are strikingly animated before one is presented with a vision of man reduced to his mechanical skeleton, a figure that collapses in a heap of junk. I knew of Theodore first for his work in Flash where his graphic skills were much in evidence. Here the live action montage is manipulated in After Effects, arranged and overlaid with geometrical arrangements in Flash. The quickfire, mesmeric speed of the action is sustained throughout the piece, machinery seen in close-up, split screen, soviet workers suddenly launched from their frozen stances on the posters, filters of colour and light, a gyrating carousel of action at bewildering pace. He acknowledges the influence of "One-Dimensional Man" (1964) by philosopher Herbert Marcuse who took a swipe at both capitalism and soviet style communism. Alexander Mossolov composed the impressive music whilst the overall sound design is by Olivier Calvert. I live near Sheffield, once the steel capital of the world. The footage Theodore uses of abandoned factories was filmed in Germany though he could as easily have visited the UK. Juxtaposed images galore; and contrasting ideas - a dehumanising environment, industrial ruins devoid of man, the fiction of the glorious workers in the propaganda poster wielding their mighty mallets. (viaAnimation Blog)
"Ottawa" (2008) para Duck Studios
"Walking on by " (2003)
"Tzaritza" (2006)
BLOG de Theodore
WEB de Theodore
www.mortadellatv.com experimental web project
Maureen Selwood
Maureen Selwood lives in Los Angeles making films that incorporate drawing, live action, poetry, and narrative. Other titles of her work include: "Mistaken Identity" (2001), a cultural experimental narrative; "Hail Mary" (1999), a humorous tale of love with an obsession for numbers; "Flying Circus: An Imagined Memoir" (1995) drawn from a childhood memory; and "Odalisque: Three Fantasies of Pursuit" (1980), a film that reverses the traditional relationship between the artist and the female model. She currently teaches at California Institute of the Arts.(via)
"Flying Circus: An Imagined Memoir" (1995)
A leading figure in American Independent animation, Selwood makes films that display a joyous eroticism and buoyant wit. It is often highlighted by the dynamic use of hand drawn animation, live footage and the creative blending of words and images. Her newest work, As The Veil Lifts is a large-scale installation using animation and the voice of a woman performing a song of loss and suffering caused by the effects of war. Selwood's newest film, Mistaken Identity, is an experimental narrative using archival footage from Robert Aldrich's noir Kiss Me Deadly to create a special twist on the character of Velda and her relationship to the cool detective, Mike Hammer. All the Places I Have Ever was an architectural tour of Los Angeles sponsored by the MAKcenter for Art and Architecture.
Hail Mary uses a centuries' old prayer to tell a humorous tale of love lost among the flotsam of everyday life. Flying Circus: An Imagined Memoir evokes metaphoric allusions drawn from childhood memories. Pearls play with the music of Meredith Monk. This Is Just to Say produced by the New York Center for Visual History, is based on a poem by William Carlos Williams. The Rug is based on a short story by the Irish writer Edna O'Brien. Odalisque: Three Fantasies of Pursuit reverses the traditional relationship between artist and the female model.
Ms. Selwood has participated in a series of installations and performances. These include: As The Veil Lifts (American Academy in Rome), As You Desire Me (American Academy in Rome), This Is My House and All the Places I Have Ever Lived (MAK Center for Art and Architecture). She has been a recipient of grants from the John Solomon Guggenheim Foundation, New York State Council on the Arts, The Jerome Foundation, The American Film Institute and a visiting artist residency at the MacDowell Colony. Most recently Selwood is a recipient of the Rome Prize from the American Academy in Rome (2002-03). She is currently on the faculty of the Experimental Animation Department at CalArts. (via)
For more information please visit http://maureenselwood.com.
"Drawing Lessons" [2005]
About CalArts:
The nation's first art institute to offer BFAs and MFAs in both the visual and performing arts, CalArts is dedicated to training and nurturing the next generation of professional artists, fostering brilliance and innovation within the broadest context possible. Emphasis is placed on new and experimental work and students are admitted solely on the basis of artistic ability. To encourage innovation and experimentation, CalArts' six schools--Art, Critical Studies, Dance, Film/Video, Music and Theater--are all housed under one roof in a unique, five-story building with the equivalent of 11 acres of square footage in Valencia, California, just 30 minutes north of downtown Los Angeles.
"The Rug" (1985)
También podemos contemplar fragmentos de su obra en la página de Duckstudios
"Blueberry Streets"
EL PROGRAMA DE ANIMACIÓN EXPERIMENTAL DEL CALIFORNIA INSTITUTE OF THE ARTS
Por Maureen Selwood
Esta retrospectiva de la rica historia del Programa de Animación Experimental de CalArts nos permitirá examinar cómo nace en el artista joven el concepto de autoría individual. Diversos graduados salieron del programa con obras de carácter muy personal que acabaron convirtiéndose en los cimientos fundamentales para desarrollar las habilidades que más tarde demostrarían en sus exitosos trabajos para la industria. El programa pretende centrarse en algunos de esos trabajos a la vez que incluye otras piezas más actuales que representan a una nueva generación. A menudo los espectadores se sorprenden al ver lo únicas y personales que resultan esas primeras obras si se las compara con sus posteriores éxitos dentro de la industria. Esta retrospectiva nos permitirá volver atrás en el tiempo y ver algunas de esas piezas.
El Programa de Animación Experimental del California Institute of Arts (CalArts) nació hace treinta y dos años, con un puñado de estudiantes que estaban bajo la dirección de Jules Engel. Todo nació como un programa diseñado para ayudar a los estudiantes a establecer sus criterios estéticos y permitirles evolucionar en una forma que siempre implica una visión personal. A principios de los setenta, por todos los Estados Unidos había universidades e institutos que trataba de adaptar la enseñanza de las artas a un entorno académico. Pero Cal Arts era la única escuela que decidió crear un programa dedicado a la animación. No existía ningún antecedente concreto, de manera que intentó crear un territorio nuevo que permitiera nuevas aproximaciones al cine de animación.
Aquellos primeros estudiantes crearon un corpus de trabajos que se convertirían en los cimientos de un programa que guiaría los trabajos realizados por los estudiantes a partir de entonces. Con el paso de los años, el programa ha ido creciendo hasta abarcar las diferentes direcciones en las que avanza la animación independiente. Mirror People, de Kathy Rose, es un ejemplo temprano del trabajo individual de un estudiante que se encontraba bajo la tutela de Jules Engel pero que mantuvo toda la independencia y seriedad de cualquier artista en un entorno académico. Aquella primera obra de Kathy ayudó a Cal Arts a ganarse una reputación a nivel internacional. Kathy llegó a la animación tras haber trabajado y estudiado como bailarina. Como estudiante llevó a cabo varias obras seminales realmente impresionantes, y acabó llevando a cabo trabajos de instalación y representación aprovechando su educación, que la ayudó a descubrir una forma de combinar todos sus talentos.
El sistema de estudios de la industria de la animación de Los Ángeles coexistía con el fermento y burbujeo de nuevas ideas de Cal Arts. Como estudiante, Eric Darnell creó Filter Gallery , en el que experimentaba con la materia física de las películas y la vanguardia inspirada por las obras de Stan Brackage. Resulta maravilloso descubrir que la libertad de que gozó para desarrollar una visión tan única como la de Filter Gallery también pudiera abarcar una perspectiva centrada en los gráficos computerizados utilizados en el largometraje Hormigaz, con el que demostró su capacidad para comunicarse con el público general. La profundidad de comprensión de las técnicas experimentales con las que trabajó Eric Darnell le ayudaron a establecer su confianza en los gráficos computerizados con los que trabajaría más adelante. En espacial demostraba a los demás que en ocasiones un estudiante sí que sabe hacia dónde avanza, y que el profesor solamente es un testigo del proceso con el que se contacta únicamente cuando es necesario. (via)
"Hail Mary" (1998)
"Theda Care"
"El Torito"
"Flying Circus: An Imagined Memoir" (1995)
A leading figure in American Independent animation, Selwood makes films that display a joyous eroticism and buoyant wit. It is often highlighted by the dynamic use of hand drawn animation, live footage and the creative blending of words and images. Her newest work, As The Veil Lifts is a large-scale installation using animation and the voice of a woman performing a song of loss and suffering caused by the effects of war. Selwood's newest film, Mistaken Identity, is an experimental narrative using archival footage from Robert Aldrich's noir Kiss Me Deadly to create a special twist on the character of Velda and her relationship to the cool detective, Mike Hammer. All the Places I Have Ever was an architectural tour of Los Angeles sponsored by the MAKcenter for Art and Architecture.
Hail Mary uses a centuries' old prayer to tell a humorous tale of love lost among the flotsam of everyday life. Flying Circus: An Imagined Memoir evokes metaphoric allusions drawn from childhood memories. Pearls play with the music of Meredith Monk. This Is Just to Say produced by the New York Center for Visual History, is based on a poem by William Carlos Williams. The Rug is based on a short story by the Irish writer Edna O'Brien. Odalisque: Three Fantasies of Pursuit reverses the traditional relationship between artist and the female model.
Ms. Selwood has participated in a series of installations and performances. These include: As The Veil Lifts (American Academy in Rome), As You Desire Me (American Academy in Rome), This Is My House and All the Places I Have Ever Lived (MAK Center for Art and Architecture). She has been a recipient of grants from the John Solomon Guggenheim Foundation, New York State Council on the Arts, The Jerome Foundation, The American Film Institute and a visiting artist residency at the MacDowell Colony. Most recently Selwood is a recipient of the Rome Prize from the American Academy in Rome (2002-03). She is currently on the faculty of the Experimental Animation Department at CalArts. (via)
For more information please visit http://maureenselwood.com.
"Drawing Lessons" [2005]
About CalArts:
The nation's first art institute to offer BFAs and MFAs in both the visual and performing arts, CalArts is dedicated to training and nurturing the next generation of professional artists, fostering brilliance and innovation within the broadest context possible. Emphasis is placed on new and experimental work and students are admitted solely on the basis of artistic ability. To encourage innovation and experimentation, CalArts' six schools--Art, Critical Studies, Dance, Film/Video, Music and Theater--are all housed under one roof in a unique, five-story building with the equivalent of 11 acres of square footage in Valencia, California, just 30 minutes north of downtown Los Angeles.
"The Rug" (1985)
También podemos contemplar fragmentos de su obra en la página de Duckstudios
"Blueberry Streets"
EL PROGRAMA DE ANIMACIÓN EXPERIMENTAL DEL CALIFORNIA INSTITUTE OF THE ARTS
Por Maureen Selwood
Esta retrospectiva de la rica historia del Programa de Animación Experimental de CalArts nos permitirá examinar cómo nace en el artista joven el concepto de autoría individual. Diversos graduados salieron del programa con obras de carácter muy personal que acabaron convirtiéndose en los cimientos fundamentales para desarrollar las habilidades que más tarde demostrarían en sus exitosos trabajos para la industria. El programa pretende centrarse en algunos de esos trabajos a la vez que incluye otras piezas más actuales que representan a una nueva generación. A menudo los espectadores se sorprenden al ver lo únicas y personales que resultan esas primeras obras si se las compara con sus posteriores éxitos dentro de la industria. Esta retrospectiva nos permitirá volver atrás en el tiempo y ver algunas de esas piezas.
El Programa de Animación Experimental del California Institute of Arts (CalArts) nació hace treinta y dos años, con un puñado de estudiantes que estaban bajo la dirección de Jules Engel. Todo nació como un programa diseñado para ayudar a los estudiantes a establecer sus criterios estéticos y permitirles evolucionar en una forma que siempre implica una visión personal. A principios de los setenta, por todos los Estados Unidos había universidades e institutos que trataba de adaptar la enseñanza de las artas a un entorno académico. Pero Cal Arts era la única escuela que decidió crear un programa dedicado a la animación. No existía ningún antecedente concreto, de manera que intentó crear un territorio nuevo que permitiera nuevas aproximaciones al cine de animación.
Aquellos primeros estudiantes crearon un corpus de trabajos que se convertirían en los cimientos de un programa que guiaría los trabajos realizados por los estudiantes a partir de entonces. Con el paso de los años, el programa ha ido creciendo hasta abarcar las diferentes direcciones en las que avanza la animación independiente. Mirror People, de Kathy Rose, es un ejemplo temprano del trabajo individual de un estudiante que se encontraba bajo la tutela de Jules Engel pero que mantuvo toda la independencia y seriedad de cualquier artista en un entorno académico. Aquella primera obra de Kathy ayudó a Cal Arts a ganarse una reputación a nivel internacional. Kathy llegó a la animación tras haber trabajado y estudiado como bailarina. Como estudiante llevó a cabo varias obras seminales realmente impresionantes, y acabó llevando a cabo trabajos de instalación y representación aprovechando su educación, que la ayudó a descubrir una forma de combinar todos sus talentos.
El sistema de estudios de la industria de la animación de Los Ángeles coexistía con el fermento y burbujeo de nuevas ideas de Cal Arts. Como estudiante, Eric Darnell creó Filter Gallery , en el que experimentaba con la materia física de las películas y la vanguardia inspirada por las obras de Stan Brackage. Resulta maravilloso descubrir que la libertad de que gozó para desarrollar una visión tan única como la de Filter Gallery también pudiera abarcar una perspectiva centrada en los gráficos computerizados utilizados en el largometraje Hormigaz, con el que demostró su capacidad para comunicarse con el público general. La profundidad de comprensión de las técnicas experimentales con las que trabajó Eric Darnell le ayudaron a establecer su confianza en los gráficos computerizados con los que trabajaría más adelante. En espacial demostraba a los demás que en ocasiones un estudiante sí que sabe hacia dónde avanza, y que el profesor solamente es un testigo del proceso con el que se contacta únicamente cuando es necesario. (via)
"Hail Mary" (1998)
"Theda Care"
"El Torito"
Jamie Caliri
Jamie Caliri isn’t an illustrator, animator or graphic artist, he’s the director of two of my favorite recent short animations.
If you haven’t seen Dragon, the wonderful, essentially wordless, animated ad for United Airlines in which a father tucks his son in bed and flies off on the back of a bird to meet with knights at a round table, defeat a fire-breathing dragon and bring home the rewards, you’ve missed the most beautiful 64 seconds of animated television in recent memory.
United Airlines comercial
You can see the ad here on the United Airlines site, along with a fascinating “making of” video that shows how Caliri and his talented crew of artists, animators and artisans created animated magic out of stage sets and puppets that were essentially paper cut-outs.
There is a larger format version of the ad (worth it) here on Caliri’s site, as well as a comprehensive list of the creative team and some large production stills.
United Airlines "Heart"
Caliri is also responsible for the end titles for Lemony Snicket’s A Series of Unfortunate Events, which was certainly the best part of that movie and one of the best short pieces of animation in several years.
Lemony Snicket´s a series of unfortunate events End credits
Jamie Caliri forma parte de la plantilla de realizadores de la productora DUCK Studios de Los Ángeles.
jamiecaliri.com
If you haven’t seen Dragon, the wonderful, essentially wordless, animated ad for United Airlines in which a father tucks his son in bed and flies off on the back of a bird to meet with knights at a round table, defeat a fire-breathing dragon and bring home the rewards, you’ve missed the most beautiful 64 seconds of animated television in recent memory.
United Airlines comercial
You can see the ad here on the United Airlines site, along with a fascinating “making of” video that shows how Caliri and his talented crew of artists, animators and artisans created animated magic out of stage sets and puppets that were essentially paper cut-outs.
There is a larger format version of the ad (worth it) here on Caliri’s site, as well as a comprehensive list of the creative team and some large production stills.
United Airlines "Heart"
Caliri is also responsible for the end titles for Lemony Snicket’s A Series of Unfortunate Events, which was certainly the best part of that movie and one of the best short pieces of animation in several years.
Lemony Snicket´s a series of unfortunate events End credits
Jamie Caliri forma parte de la plantilla de realizadores de la productora DUCK Studios de Los Ángeles.
jamiecaliri.com
Suscribirse a:
Entradas (Atom)
