Saturday 3 December 2016
Friday 28 October 2016
Miyazaki
http://www.rogerebert.com/interviews/hayao-miyazaki-interview
I told Miyazaki I love the "gratuitous motion" in his films; instead of every movement being dictated by the story, sometimes people will just sit for a moment, or they will sigh, or look in a running stream, or do something extra, not to advance the story but only to give the sense of time and place and who they are.
"We have a word for that in Japanese," he said. "It's called ma. Emptiness. It's there intentionally."
Is that like the "pillow words" that separate phrases in Japanese poetry?
"I don't think it's like the pillow word." He clapped his hands three or four times. "The time in between my clapping is ma. If you just have non-stop action with no breathing space at all, it's just busyness, But if you take a moment, then the tension building in the film can grow into a wider dimension. If you just have constant tension at 80 degrees all the time you just get numb."
Which helps explain why Miyazaki's films are more absorbing and involving than the frantic cheerful action in a lot of American animation. I asked him to explain that a little more.
"The people who make the movies are scared of silence, so they want to paper and plaster it over," he said. "They're worried that the audience will get bored. They might go up and get some popcorn.
But just because it's 80 percent intense all the time doesn't mean the kids are going to bless you with their concentration. What really matters is the underlying emotions--that you never let go of those.
What my friends and I have been trying to do since the 1970's is to try and quiet things down a little bit; don't just bombard them with noise and distraction. And to follow the path of children's emotions and feelings as we make a film. If you stay true to joy and astonishment and empathy you don't have to have violence and you don't have to have action. They'll follow you. This is our principle."
Wednesday 26 October 2016
Illustration quotes
Cummins, J. (2005). Illustration. In B. Cullinan & D. Person (Eds.), Continuum encyclopedia of children's literature. London, United Kingdom: Continuum.
"That liveliness of spirit and excitement has continued amid the changes that have taken place in illustration, and the measure of delight has increased as visual images depict, interpret, enliven, and enhance words on the pages of children's books."
---
Imagination, creativity, child appeal, and adaptation of style to story are the key ingredients in the cornucopia of successful illustration.
Graham, J., Wise, I., Stanton, J., Partridge, J., and Thomas, R. (2001). Illustration in children's books. In V. Watson (Ed.), The Cambridge guide to children's books in English. Cambridge, United Kingdom: Cambridge University Press. Retrieved from http://search.credoreference.com/content/entry/childbooks/illustration_in_children_s_books/0
, A.b. Frost was one of the first of many American illustators to bridge the gap between journalistic comics (his infamous sequence ‘Our Cat Eats Rat Poison’ of 1881 is a ferocious classic of the form) and book illustration. Frost’s best-remembered illustrations are for volumes of Joel Chandler Harris’s Uncle Remus tales published in 1892 and 1895; these classic pictures provide deft caricatures of the very human nature of certain animals amidst affectionate renderings of the American countryside.
---
An unwavering confidence in the potential of children’s book illustration is Pyle’s most enduring legacy to America’s illustrators. Such Brandywine-influenced artists as Maxfield Parrish shared Pyle’s conviction that illustrations could aspire toward artistic greatness. Parrish’s particular contributions to the form included his innovative use of photography for the derivation of images and his fabulous employments of bright colour. His wonderful use of blue may derive from the works of N.C. Wyeth, but no one did more than Parrish to develop and demonstrate the expressive and decorative potential of vivid colour in book and poster art. Parrish’s works for children included Eugene Field’s Poems of Childhood (1904) and L. Frank Baum’s Mother Goose in Prose (1897). An illustrator even more famously associated with the works of Frank Baum is W.w. Denslow. His pictures for the first Wizard of Oz book (1900) established the definitive look for one of the world’s favourite American fantasies and showed that poster-like forms could add excitement and verve to the illustrated book for children.
The Lantern Bearers, 1908
"That liveliness of spirit and excitement has continued amid the changes that have taken place in illustration, and the measure of delight has increased as visual images depict, interpret, enliven, and enhance words on the pages of children's books."
---
Imagination, creativity, child appeal, and adaptation of style to story are the key ingredients in the cornucopia of successful illustration.
* * *
Graham, J., Wise, I., Stanton, J., Partridge, J., and Thomas, R. (2001). Illustration in children's books. In V. Watson (Ed.), The Cambridge guide to children's books in English. Cambridge, United Kingdom: Cambridge University Press. Retrieved from http://search.credoreference.com/content/entry/childbooks/illustration_in_children_s_books/0
, A.b. Frost was one of the first of many American illustators to bridge the gap between journalistic comics (his infamous sequence ‘Our Cat Eats Rat Poison’ of 1881 is a ferocious classic of the form) and book illustration. Frost’s best-remembered illustrations are for volumes of Joel Chandler Harris’s Uncle Remus tales published in 1892 and 1895; these classic pictures provide deft caricatures of the very human nature of certain animals amidst affectionate renderings of the American countryside.
---
An unwavering confidence in the potential of children’s book illustration is Pyle’s most enduring legacy to America’s illustrators. Such Brandywine-influenced artists as Maxfield Parrish shared Pyle’s conviction that illustrations could aspire toward artistic greatness. Parrish’s particular contributions to the form included his innovative use of photography for the derivation of images and his fabulous employments of bright colour. His wonderful use of blue may derive from the works of N.C. Wyeth, but no one did more than Parrish to develop and demonstrate the expressive and decorative potential of vivid colour in book and poster art. Parrish’s works for children included Eugene Field’s Poems of Childhood (1904) and L. Frank Baum’s Mother Goose in Prose (1897). An illustrator even more famously associated with the works of Frank Baum is W.w. Denslow. His pictures for the first Wizard of Oz book (1900) established the definitive look for one of the world’s favourite American fantasies and showed that poster-like forms could add excitement and verve to the illustrated book for children.
The Lantern Bearers, 1908
updated where I am so far
My Fucking Mess Of A First Proposal Draft
Abstract (Overview)
Hello, fucking motherfuckers. I would like to find out
whether a combination of narrative and
time based media techniques can positively influence the concept art form. Im
thinking that narrative techniques can only help with the world building of art
right? although, most concept art is done to a brief? time based media has the
ability to take you through the world rather than the image being flat and
sometimes hard to read or can be lacking in immersion that time based media
could give? Only thing is concept art as a thing is more focused on design and
iteration than final pieces. This could be something done at the end of the
concept art pipeline/process, to emphasise or market final designs? especially
for social media? a lot of advertising, even on billboards now is moving. can
use the art done in pre production to advertise the game? but then does this
take the project away from being concept art? can time based media and
narrative actally help the process of design?
maybe for showing the lay of the world to other artists on the team
maybe for showing the lay of the world to other artists on the team
line based art not polished?
need to do more research on the concept art process. find
out where these things could be the most beneficial.
" Thus, if you prefer Drama to Literature (as many
literary critics plainly do), or form your critical theories
primarily from dramatic critics, or even
from Drama, you are apt to misunderstand pure story-making,
and to constrain it to the
limitations of stage-plays. You are, for instance, likely to
prefer characters, even the basest and
dullest, to things. Very little about trees as trees can be
got into a play."
conceptart and time based media make story making
morewellrounded. give emphasis to thigs as well as people
CONCEPt art is unfinished and explorative
use drawings to communicate an idea
. I would like to find out whether a combination of narrative and time based media techniques can help
drawings to communicate ideas.
An investigation into whether a combination of narrative and time based media techniques, can
improve the way concept design is communicated down a professional pipeline.
Wait no, all concet design is down a professional pipeline
so thats irrelevant...
THIS IS BETTER
An investigation into whether combining narrative and
time-based media techniques can improve the communication of concept design.
FZD Illustration & industrial Design
http://fengzhudesign.com/tutorials.htm
Design Cinema
Episode 53: Illustration & industrial Design
Illustration
Illustration produced directly for consumer
artwork = dollah $$$$
Funding = materials
client, advertising agency, book cover
end result is the artwork is the money
Artwork = money art tied together with money
Illustration direct to consumer
Painting is the result
final image has value
value is in image
image is final product
illustration is final product.
purely meant to sell artwork itself.
Industrial design
Main focus is not artwork but product itself
average consumer never gets to see artwork behind product the art is used for
average consumer cares less what artwork looks like
(ex: entertainment design industry)
average 2-6 month design (pre production)
product = money
consumer doesn't see art
consumer only cares about ipad, not designs of ipad. ipad designs would be destroyed and no one would care.
if original artwork is destroyed, value is gone.
Education
Illustration
evoke emotion
technical skill
develop own style
heavy focus on anatomy and figure drawing
different mediums
style is/can be defined by materials
experimenting with different style
experimentation
artwork is income
how do you make drawings look good/how do you make light look good when its fractioning through glass
how do u make cloth look good
Industrial Design
paintings are meant to show to producers/executives/guys with money.
what will film look like when its done
scenes help illustrate what final product may look like when consumer sees it
mean for pipeline, not consumer
rapid prototyping
easier for the next guy to see
unique style is not so important, clients paying for content not indevidual style
most schools teach common technique used in industry
design LANGUAGE very important
clients want a clear design
perspective, light particle, wavelength, what does blue light on black material look like - more sciency kind of
"have to work with a massive group of people. To make sure your design, once it's finished can move down the pipeline and help these nine hundred and ninety nine people, make it into a final product" - feng zhu quote
mass consumer focus
sell product to as many people as you can - mass market approach
Design Cinema
Episode 53: Illustration & industrial Design
Illustration
Illustration produced directly for consumer
artwork = dollah $$$$
Funding = materials
client, advertising agency, book cover
end result is the artwork is the money
Artwork = money art tied together with money
Illustration direct to consumer
Painting is the result
final image has value
value is in image
image is final product
illustration is final product.
purely meant to sell artwork itself.
Industrial design
Main focus is not artwork but product itself
average consumer never gets to see artwork behind product the art is used for
average consumer cares less what artwork looks like
(ex: entertainment design industry)
average 2-6 month design (pre production)
product = money
consumer doesn't see art
consumer only cares about ipad, not designs of ipad. ipad designs would be destroyed and no one would care.
if original artwork is destroyed, value is gone.
Education
Illustration
evoke emotion
technical skill
develop own style
heavy focus on anatomy and figure drawing
different mediums
style is/can be defined by materials
experimenting with different style
experimentation
artwork is income
how do you make drawings look good/how do you make light look good when its fractioning through glass
how do u make cloth look good
Industrial Design
paintings are meant to show to producers/executives/guys with money.
what will film look like when its done
scenes help illustrate what final product may look like when consumer sees it
mean for pipeline, not consumer
rapid prototyping
easier for the next guy to see
unique style is not so important, clients paying for content not indevidual style
most schools teach common technique used in industry
design LANGUAGE very important
clients want a clear design
perspective, light particle, wavelength, what does blue light on black material look like - more sciency kind of
"have to work with a massive group of people. To make sure your design, once it's finished can move down the pipeline and help these nine hundred and ninety nine people, make it into a final product" - feng zhu quote
mass consumer focus
sell product to as many people as you can - mass market approach
Tölva Video
Fairly happy with how this is shaping up. We're working on a new video. More soon. #tölva #madewithunity pic.twitter.com/SRKvQMIKBO— Big Robot Ltd 🤖 (@BigRobotLtd) October 25, 2016
The skillful Huntsman
"When approaching the environment as a whole, I
decided to create a monumental world, something of
epic proportions that dwarfs the characters. I felt that
this giant world could in a sense become an additional
character and worked to give it a sense of history and
casual grandeur. I saw the story of the huntsman almost
as that of a character coming of age and discovering
ones self. The locations vary in degree of cultural influence,
some are more organic, some are modernist,
some are crude, but I sought to include this feeling of
history as though it has existed for a very long time." pg
FOREST
Mike: At one point I thought it might be a good idea to
design monoliths for the forest, instead of designing the
entire forest. The monoliths are inspired by photos of
geological formations called tors and old decaying
remains of columns and statues in the rain forest.
Scott: Somewhere during the development of the forest
for our story we asked ourselves this question: Does
the forest have to be made of trees? Could it be a forest
of rocks or some other form of vegetation as yet
unimagined? Sure, why not? This is a project of design
process and exploration; of course a forest can be
made of rocks or something all together different. On
this page Mike starts out with the same process used
for character development, searching for a unique silhouette.
This sort of side-view, quick, thumbnail-sketching
technique is fast and easy to do because you eliminate
the thought needed to draw interesting compositions
and perspectives. You free up more headspace to
focus on design. After you have discovered a few new
forms, you can integrate them into a composition, as
Mike does on the opposite page." pg58
These above statements fit with points tolkein made about the nessesity of characterising "things"
Castle
Felix: In this room of the castle, the captain meets the
king. I tried to visualize the scene while keeping it loose.
The dramatic perspective view shows the magnitude of
the interior, making it more imposing. pg 102 - could benefit from time based media, in making it imposing.
Khang: I would love to see this building animated. All the piping rumbling, the loose metal plates flapping about as the cook tries to cool a simple loaf of bread.
Could be aided by time based media - limited animation.
decided to create a monumental world, something of
epic proportions that dwarfs the characters. I felt that
this giant world could in a sense become an additional
character and worked to give it a sense of history and
casual grandeur. I saw the story of the huntsman almost
as that of a character coming of age and discovering
ones self. The locations vary in degree of cultural influence,
some are more organic, some are modernist,
some are crude, but I sought to include this feeling of
history as though it has existed for a very long time." pg
FOREST
Mike: At one point I thought it might be a good idea to
design monoliths for the forest, instead of designing the
entire forest. The monoliths are inspired by photos of
geological formations called tors and old decaying
remains of columns and statues in the rain forest.
Scott: Somewhere during the development of the forest
for our story we asked ourselves this question: Does
the forest have to be made of trees? Could it be a forest
of rocks or some other form of vegetation as yet
unimagined? Sure, why not? This is a project of design
process and exploration; of course a forest can be
made of rocks or something all together different. On
this page Mike starts out with the same process used
for character development, searching for a unique silhouette.
This sort of side-view, quick, thumbnail-sketching
technique is fast and easy to do because you eliminate
the thought needed to draw interesting compositions
and perspectives. You free up more headspace to
focus on design. After you have discovered a few new
forms, you can integrate them into a composition, as
Mike does on the opposite page." pg58
These above statements fit with points tolkein made about the nessesity of characterising "things"
Castle
Felix: In this room of the castle, the captain meets the
king. I tried to visualize the scene while keeping it loose.
The dramatic perspective view shows the magnitude of
the interior, making it more imposing. pg 102 - could benefit from time based media, in making it imposing.
Khang: I would love to see this building animated. All the piping rumbling, the loose metal plates flapping about as the cook tries to cool a simple loaf of bread.
Could be aided by time based media - limited animation.
