In Zusammenarbeit mit Constantin Film darf INDAC jeweils 5 Animationschaffende zu den Pressevorführungen des Films Ratchet & Clank einladen
Matthias Lechner ist einer der beiden deutschen Art Directors für Disneys Zoomania/Zootopia. Hier findet Ihr seine Webseite: http://www.matthiaslechner.com/zootopia.html
Matthias wird auf der diesjährigen Ausgabe der FMX 2016 anwesend sein und einen Vortrag über seine Arbeit an dem Film halten. Details dazu finden sich hier!
Journalist Oliver Stenzel hat einen sehr interessanten Artikel über Matthias Lechner in den Stuttgarter Nachrichten veröffentlicht.
CVM is a nonprofit, 501(c)3 archive currently based in Los Angeles, dedicated to preserving and promoting the films of Oskar Fischinger and other visual music artists. CVM released the first Oskar Fischinger DVD, „Ten Films“ a few years ago, and since then we’ve been busy restoring more films for the second DVD.
CVM is producing the 2nd Oskar Fischinger DVD, „Visual Music.“ Please help us complete it!
This second DVD features more of Fischinger’s classic visual music films (Composition in Blue, Muratti Greift Ein, Studies no. 5 and 8, An American March), rarely seen films (Swiss Trip, Coloratura, Muratti Privat ad, Squares, Pierette, and more) plus newly discovered animation tests, fragments and tests from the 1930s and other special bonus features. Many are new HD transfers with digitally restored audio.
CVM continues to distribute Fischinger’s films worldwide, recently co-published a book on Fischinger, and loans his films to many major museum exhibitions. We have been digitizing some of the films, though it’s extremely difficult to raise funding for HD, 2K or 4K transfers. CVM thanks EYE Filmmuseum for the preservation and 2K transfer of Studie nr 8.
CVM has also released DVDs for other artists including Jordan Belson, and maintains an online store offering DVDs, books, artwork and ephemera, and online resources devoted to the study of visual music. Our library includes Fischinger’s papers and many animation drawings. Our website is www.centerforvisualmusic.org
Im Rahmen der Info-Messe der Hochschule Darmstadt veranstaltet der Bachelor-Studiengang Animation & Game am 07.04.2015 einen Schnuppertag am Mediencampus Dieburg. Das Programm beginnt morgens um 10:00 h mit einer Einführung und einer Bewerbungsberatung. Anschließend berichten ehemalige Studierende aus ihrem Berufsalltag in bei Pixomondo, Crytec & Co. Weiter geht es mit einer Campusführung, und Projektpräsentationen durch Studierende. Der Ausklang bei Kaffee und Kuchen um 15:00 h bietet noch einmal Zeit für individuelle Fragen an Dozenten und Studierende. Informationen zur Veranstaltung und zum Studiengang Animation & Game finden sich unter: http://ag.mediencampus.h-da.de.
Bewerbungen für den Studiengang zum Wintersemester 2016 sind noch bis zum 1.6.2016 möglich.
Hier der Link zur Sendung auf ARD ALPHA:
„Wedding Cake“ ist ein Animationsfilm, der mit einem zwinkernden Auge zeigt, wie sich Alltagsroutine, mangelnde Bemühung und schwindendes Interesse am Partner auf eine Beziehung auswirken können. Der Diplomfilm von Viola Baier wurde mehrfach ausgezeichnet u.a. 2014 bei der Preisverleihung der Annie Awards in Los Angeles, einem der bedeutendsten Preise für Animationen, als „Best Student Film“. Der am Institut für Animation, Visual Effects und digitale Postproduction der Filmakademie Baden-Württemberg entstandene Film setzte sich in der Studentenkategorie gegen sieben weitere internationale Produktionen auf der Shortlist durch.
Viola Baier hat für den Film viel recherchiert und ihre eigenen Erfahrungen mit dem Thema Liebe einfließen lassen. Sie wollte wissen, wie aus Liebe irgendwann Gleichgültigkeit oder sogar Hass werden kann. Ihre Ergebnisse – die drei Phasen einer scheiternden Beziehung – hat sie in „Wedding Cake“ verarbeitet. Die erste Phase ist die Verliebtheit: nichts ist einem wichtiger, als den Partner glücklich zu machen. Dann folgt die Erkenntnis, dass der andere durchaus mal anderer Meinung ist und Kompromisse müssen gefunden werden. Irgendwann gibt es keine Lösung mehr, Spannung staut sich auf, Kleinigkeiten eskalieren. Viola’s Marzipanfiguren durchleben diese Phasen und am Ende ihrer Beziehung bleibt nur noch ein Trümmerfeld. Viola erzählt die Geschichte mit einem lachenden und einem weinenden Auge, dabei ist ihr der ernste Hintergrund besonders wichtig. Und sie hat eine Botschaft: dass man in einer Beziehung nie aufhören sollte, einander wertzuschätzen. (ARD Alpha)
Ich bin wirklich sehr gespannt auf diese Verfilmung!!!
„Since the software „Toonz“, which is the original version of OpenToonz, was first used for some cuts of Princess Mononoke, it has been used in the ink and paint, color design and digital composition process(*) of almost all of works of Studio Ghibli. After „Arrietty/The Secret World of Arrietty“, it was customized inside the company, and evolved to become more usable according to its production style.“
Abolishing the boundaries between comics, mangas, video games, live action cinema and animation films, Art Ludique highlights the works of creators of universes, that mark our imaginations and influence the culture of our century.
Over 800 artworks, drawings, paintings, sculptures, interviews and exclusive video projections will allow you to admire the creation of universes such as the impressive caves in Ice Age, the Amazonian waterfall in Rio 2, the metallic city in Robots, the secret lair of the Leafmen in Epic… and to discover how Blue Sky Studios created popular characters like Sid, Manny and Diego, the parrots Blu and Jewel, how they interpreted Snoopy… and of course the irresistible Scrat!
Creators of Universes
With the arrival of computer-generated images, the 1990s triggered an important turning point in animation. The blooming of feature films and shorts during this era generated the enthusiasm of viewers and the fervor of artists who greatly benefited from this new tool for their imagination. Blue Sky Studios, following its first creative experimentations for television commercials and visual effects for Hollywood blockbusters, naturally finds its place in this new artistic landscape. In 1998, the Studio´s first short, Bunny, received the Academy Award for Best Animated Short. The subsequent feature films, Ice Age, Robots Rio and Epic, distinguish themselves thanks to their singular visual identity.Their universes offer such different aesthetics that no specific „Blue Sky style“ appears across these films, instead each movie showcases a truly unique style, whose incredible richness can be discovered from the very first drawings. The artists of Blue Sky Studios create worlds enhanced by the conrasted use of light and color, constantly inviting us to change perspectives and scales.
A Universe of Characters and Creatures
From the furry creatures in Ice Age to the community of Leafmen in Epic, the mechanical beings inRobots and the colorful birds in Rio, the characters and creatures that inhabit Blue Sky Studios´movies all embody very different styles.
The incredible bestiary of the Ice Age Saga starts with Peter de Sève`smasterful pencil stroke. Their expressive postures and exuberant emotions demonstrate the artist`sexperience in editorial illustration, which naturally leads to the creation of characters both appealing and unforgettable, such as the legendary Scrat.
Composed of bolts and metallic parts of all sorts, the heroes of Robots share some characteristics of the steampunk aesthetic, revisited through the illustrative style of the artist William Joyce who collaborated with director Chris Wedge and lead character designer Greg Couch to develop the look of the characters. Particular attention was given to the lines drawn with delicacy and a great level of detail that confer an original and unique visual identityto these tinkered silhouettes.
The character studies for Rio and Rio 2 benefit from an entirely different artistic approach. The curved shapes characterizing Sergio Pablos`and Sang Jun Lee`s drawings lead to a dynamic graphic rhythm that mirrors the spectacular atmospheres in the two movies. This in-depth work on lines offers an impression of intense movementbefore the birds are even brought to life, fly or dance on screen.
Greg Couch`s ethereal style and hatched strokes can be found in the studies for the feature film Epic displayed here. The lenghty reflective and creative process that surrounds the Leafmen, which sometimes recalls insects or tiny samurai, is revealed through numerous artworks. These works reveal the talent of the Blue Sky Studios artistsat exploring graphic territories while constantly renewing them through their unrestrained imaginations.
The sculptures presented in this hall were built during the production phase and are based upon silhouettes that originatefrom the character studies. The sculptors translate the illusion of life and personality they hold into volume. This collaborative work helps to place the finishing touches of the design of the characters.
A Wold of Ice
If the Ice Age has always elicited a cold and austere environment, that all changes in 2002 as it becomes the stage for a big fun adventure sprinkled with laughter with Blue Sky `s first feature film. The five movies of the Ice Age saga are artistically renewed through the diversity of themes, generating both an abundance and a variety of sceneries, created in order to welcome new landscapes and new characters: melting ice caps and sea monsters, lush tropical forests and dinosaurs, vast oceans and pirates, or even outer space and its surprising inhabitants.
The exhibited artworks show us how the initial visual language weaves a link between these multiple themes, while constantly developing new palettes, shapes and textures. While the immaculate tones shape a unique original aesthetics, the Ice Age films are full of colors that are specifically imagined for each new universe.
The forces of nature and the immensity of the backgrounds, in which even a mammoth or tyrannosaurus can appear miniscule, offer another example of a common theme developed by the artists throughout the different movies.
Rivers, craters of hot lava and fields of geysers draw the new outlines in Ice Age: The Meltdown. The underwater universe fosters a reflection on the depiction of water and the depth of submarine canyons, through effects of transparency and light, in addition to the work on composition that delineates the different spaces. Unexpected for an era of ice and snow, tones of green and brwon appear in Ice Age: Dawn of the Dinosaurs to depict the tropical atmosphere bof the dinosaur´s valley.
By exploring plate tectonics, Ice Age: Continental Drift portrays a spectacular world, revealed here through a selection of concept artworksof dramatic intensity. In other studies, the composition also suggests a feeling of solitude arising from the three heroes who are isolated on their drifting sliver of an ice floe. The artists make use of the slightest deatils in order to revisit the codes associated with this world of ice, exemplified by the pirates who travel on an iceberg sculpted as a threatening ship.
Finally, Ice Age: Collision Course will even modify the creation and the constitution of the universe in which for instance, the atmosphere is cloaked with unexpected hues of fluorescent pink and purple.
The innumarable character studies drawn by Peter de Sève provide an insight into the creative process among the artists of Blue Sky Studios in ortder to conceive a prehistoric world of such scale. As soon they appear on paper, these creatures seem to carry a spark of life, their captivating gaze expressing all the subtlety of their personalities, whether they are incredibly funny or profoundly threatening. Above all, they are the artistic keystone to the Ice Age universe constituting one of the most fascinating bestiaries of our time.
Blue Sky Studios, masters in the art of creating original movies with diversified universes, has expanded its artistic experimentation repertoires twice by adapting classics of American illustration with Dr. Seuss`Horton Hears A Who! (2008) and The Peanuts Movie (2015) There the Studio reinvents those popular existing universes, while respectung the original artworks.
Horton Hears a Who!
Released in 2008, Dr. Seuss` Horton Hears a Who! is a film directed by Jimmy Hayward and Steve Martino and adapted from the illustrated book by the american writer Theodore Seuss Geisel, better known as Dr. Seuss. Dr Seuss is the creator of many world-famous characters such as the Grinch, a grumpy, green-haired creature determined to steal christmas. Horton is a jovial elephant that hears faint cries for help from a floating speck of dust, which he rescues by catching it on a clover. He is convinced there is a whole world in this dust speck, and that the inhabitants of „Whoville“ are in great danger. The problem is, none of his animal friends in the jungle seem willing to believe him. For this film, special care was taken to respect Dr Seuss` style when creating both the characters and environments such as the specific overlapping wrinkles on the characters and props alike. These wrinkles and creases can be seen in the character`s ellbows and the curving pipework that make up the machinery for example. Although just details, the omnipresence of folds and curves drawn into the architecture or articulated mechanical contraptions gives Whoville a very organic style. Even the inanimate objects feel like they`re alive!
The Peanuts Movie, directed by Steve Martino, was released in 2015. It was inspired by the Peanuts comic strip, which was written and drawn exclusively by Charles M. Schulz for its 50 year run, from 1950 to 2000. Each week, in just a few panels, Charles M. Schulz drew the adventures of Charlie Brown, an insecure and frequently unlucky boy, and his famous companion Snoopy, an „almost philosophic“ dog gifted with a vivid imagination. These strips were filled with minimalistic characters and simple backgrounds. To create a stylisitic link between their film and the original style of the Peanuts` strips, Blue Sky Studio`s artists chose to emulate the way Schulz drew his characters and enviromnets whenever possible. That meant the characters would almost always be facing the camera, and would only be viewed from afew specific angles: only those that Schulz had drawn. It also meant utilizing hand-drawn ink lines in their original concept artworks whenever possible, even including them right in the actual animation. Finally, they chose a style for the environments that was inspired by the comic; the backgrounds never upstage the characters. Their palettes are made up of paste shades and luminous atmospheres in harmony with the mood of each scene – whether it is humorous or dreamlike – but like the comic, they complement and support the character`s bold primary colors without overpowering them. The result of this clever balance of traditional drawings and computer-generated graphics is a visual richness that is absolute unique. Director Steve Martino wanted to give the impression that the film`s universe had been hand-drawn by Charles Schulz himself.
(redaktionelle Bearbeitung für den INDAC-Blog: Karin D. Angele)
About Art Ludique – Le Musée:
Art Ludique – Le Musée was imagined and conceived in 2013 by Jean-Jaques and Diane Launier, respectively the museum`s President and Executive Director. The museum has presented the exhibitions „Pixar, 25 of Animation“ and „The Art of Marvel Superheroes“, ranked in the top 15 most visited exhibitions in France in 2014, „Studio Ghibli, Layout Designs – Understanding the Secrets of Takahata and Miyazaki animation“, „Aardman, Art That Takes Shape“ and „The Art of Video Games – French Inspiration“
Jean-Jaques and Diane Launier have been running the Parisian Art Gallery Arludik since 2003, the first Art Gallery in the world to exhibit and sell original drawings from comics, video games, mangas, animation movies and the world of cinema.
They were also the organisers of the „Miyazaki-Moebius“ exhibition which was held at the Musée de la Monnaie in Paris in 2005, as well as numerous other exhibitions such as „Ice Age“ in La Baule, „lord of the Rings – The Art of John Howe“, „Hommage to Toy Story“ in Angouleme and „The Art of Despicable Me“ in Annecy.
Jean-Jaques Launier is also the Author of the novel La Mémoirede L´Ame (The Memory of the Soul), which contains a drawing by Moebius on every page, and cowrote the book „Art Ludique“.
Art Ludique-Le Musée
34, quai d`Austerlitz 75013 Paris
Blue Sky Studios
Connecting the cultural heritage of great nineteenth century artists and contemporary technology
by Jean-Jaques Launier, President d` Art Ludique -Le Musée.
The animated films by Blue Sky Studios illustrate the connection between the cultural legacy of the great artists of the nineteenth century and today´s most sophisticated technology.
Thanks to its founders´backgrounds in visual effects, Blue Sky Studios has clearly mastered an execptionaöl expertise in the art of computer-generated imagery, conferring a unique veracity to its film universes and creatures. However, a computer and the newest leading technologies will never replace artists; they simply become new tools in their hands.
Blue Sky Studios artistic and creative dynamic arises first and foremost from the complementary and apssionate collaboration between the film directors, artistic directors, illustrators and animators who all benefit from an immense visual culture. The incredible variety and richness of the backgrounds and characters, the subtle palletes of color and light are born from emulating and sharing visions and experiences of these creators of universes. Drawn using traditional techniques, pencil, watercolor, or sketched and painted using digital tools, either by a single artist or by several, the artworks of the Studio radiate a constant search for perfection and credibility, associated with limitless imagination.
This talented team immerses itself in each of its projects with such dedication and originality that each resulting film offers a radically different aesthetic. There is therefore no standard „Blue Sky style“ but a truly unique style for each movie.
Being so artistically different from each other, these worlds and characters shape stories with humanist intentions, both funny and poetic, while remaining close to nature and the environment: the discovery of the balance of nature that surrounds us thanks to the creatures of Epic, protecting the homes of wildlife in the Amazon in Rio 2, the changing shape of the world in Ice Age: Conetinental Drift, the touching loneliness of the widowed elderly female rabbit in the Academy-Award winning short film Bunny, or even the outlook on the unjustified obsolescence of machines due to ever-increasing consumerism, as seen in Robots.
From the dawn of time, Man has drawn, painted and sculptedn in order to communicate and tell stories. By connecting to contemporary figurative narrative art, Blue Sky Studios, in the manner of Renaissance workshops in which the greatest artists gathered to create a masterpiece and imbued with the artistic legacy of the greatest illsutrators of the nineteenth century, takes us from the Ice Age to the Digital Age.
Eine unglaubliche Menge an Zeichnungen, Inspirational Sketches, Gemälden, Storyboards, Thumbnails, Maquettes und mehr haben die Ausstellungsmacher des Pariser Museums Art Ludique für ihre neueste Ausstellung „The Art of Blue Sky“ zusammengetragen.
Die Macher von Ice Age, Rio, Horton und den Peanuts liessen es sich nicht nehmen für die Eröffnung der Ausstellung persönlich nach Paris zu kommen.
Hier schon einmal der schnelle Rundgang durch die Ausstellung, ich hoffe, er inspiriert zum Besuch!