styofa doing anything
h
Kiana Khansmith
art blog(derogatory)
taylor price
⁂
Keni
Andulka
Monterey Bay Aquarium
almost home
Misplaced Lens Cap
hello vonnie
ojovivo
oozey mess
❣ Chile in a Photography ❣
tannertan36
"I'm Dorothy Gale from Kansas"
@theartofmadeline
sheepfilms
roma★
seen from France
seen from United Kingdom
seen from Australia
seen from Netherlands
seen from Lithuania
seen from United States
seen from Netherlands
seen from Argentina
seen from Türkiye
seen from United States
seen from Netherlands
seen from T1
seen from Türkiye
seen from Germany
seen from Türkiye
seen from United Kingdom
seen from United States
seen from Switzerland
seen from Sudan
seen from Canada
@ted-oliver
a small thing from the film (this scene is yet to be inbetweened at all so not a final shot).
Again this film is not going to be finished in time for deadline, and there are many things I am already wanting to change. But at least this is beginning to look final.
It is a bummer to miss out on the festivities at the end of this year, but will still be wonderful to celebrate everybody's undoubtedly brilliant work.
Who wants a go on that portal then? :)
Studio Showcase #5 - Universal Everything
Universal Everything isn't so much a studio; a more accurate description would be small collective of artists producing interactive pieces involving programming, sound design and animation.
Although this isn't a typical animation studio; it inhabits the top tier of a new breed of creative companies tagged under the umbrella term of "digital design".
Universal Everything mixes audio/visual art, (using 3D software) with sound/interactive design and interactive design. It's boundary pushing work is internationally recognised and has been commisioned by people such as Hyundai, MTV and even Radiohead.
Hard to believe that at the core Universal Everything is just 4 guys operating remotely from Sheffield to London and everywhere in between.
This sort of work is what really intrigues me these days. Using technology in new and amazing ways. Throughout this time at Uni I've been left want to break out of the box and explore avenues such as this.
Exploring new media and technology in new ways to express ideas is fundamental to the evolution of every art form. CG seems to be the place that is pushing the boundaries these days. Character animation (as I have said before) can be a rigid derivative art form at it's worst. At it's best it spawns entirely different worlds to our own, which I think is what appeals to many in the first place. That child-like ability to form imaginary worlds is strong in animators...
... sometimes though an adult twist can make it all the more compelling.
Noticing the lack of film updates on here I thought I'd add in another background.
In all openess and honesty, animation on the film has slowed dramatically. I have started a job which I am absolutely loving at ClothCat Animation. This is the ultimate goal of any vocational degree like this; to get into the industry of your choice. Work experience is essential for getting any sort of job in this field so this is my top priority now.
Being in a studio environment around inspiring artists is an absolute dream. What it does mean is that the film is taking a back seat. It has to. Working a 9-6 job takes a huge chuck of available time up. It's been a month since I've begun and I can safely say the film won't be finished in time for the Glammies. This is a huge deflation in some ways as, being the 20th anniversary and final glammies, it would have been great to go hell for leather for it. I've loved attending Glamorgan and wanted to create a fitting final film... but it's not possible in time. It will be done but not for a while.
A big thanks to all the tutors at Glamorgan. I hope to get this out in full one day, even though it won't officially be made at Uni.
Studio Showcase #4 - Young
"Young" is a small animation studio based in Manchester producing mainly short films and promotional materials.
A small but perfectly formed company, and part of the larger coalition of "Blinkink" (home to artists like the Layzell Brothers, Mickey Please and more recently the team behind the John Lewis "Bear and the Hare" advert). Young's work trends towards the cute, with plushy 3D characters dominating. My work usually mirrors this sort of style
Young is a perfect example of a small studio. In the industry today most work is downsized, and collaboration between studios and artists is key to every project. Blinkink provides representation for the new wave of outstanding artists and companies that seem to be springing up over the past few years thanks to advancements in technology making it easier to create quality work with smaller teams and computer rigs. Everything from rendering, to concept is split between companies, who in tern are becoming much more specialized.
Young themselves openly call for collaboration between itself and highly acclaimed illustrators (keeping a blog of their favourite work). So many times in animation you are locked by conventions which you know will work and will make sure you can create a product quickly. But increasingly coming from an illustrative view can yield more creative and stand-outish work (for example, the team at Animade come from a predominant Illustration backround rather than animation). Generally my view is that animators can get locked into design that has been derived from other animation which has a well documented and used set of forms and rules. In these evolving times though it is key to look outside of the box.
My dream one day will be to work at, or own myself, a small design/animation company like Young whereby I have high amounts of creative control so as to create work that may not necessarily be viable in series work for example.
From working at ClothCat for about a month now I can safely say that investors in series work generally stick with what works (which is why most new animation commissioned in the UK is generally aimed at the preschool market). If I were to create more outlandish work I would have to venture into smaller, more commercial projects
Finishing off a work lunch doodle before heading off to bed. Ready for more rigging tomorrow
Makin the old girl chug #imac2007
Studio Profile 3 - ClothCat Animation
After the untimely demise of Dinamo Productions in Cardiff last year, the future of the animation industry in Wales looked bleak. For ten years Dinamo crafted some of the finest childrens television on air. To study at Glamorgan (and to work extremely hard to get somewhere) meant you were more than likely guaranteed some work there. In an industry where getting your foot in the door is essential, this was a decisive factor in choosing the course at Glamorgan (apart from the great teaching).
That abruptly ended during the summer after second year. It was a scary time for all of us who were eager to enter this industry we all love so much; suddenly the future was very uncertain.
Over the past year though a new company formed as a subsidiary of Cardiff visual effects outfit "Bait Studio". That company is ClothCat.
ClothCat has taken up the mantle left behind by Dinamo, but building from the ground up. They've taken on many series left behind from the fallout, and are now onto developing their own IP. Things are picking up nicely because of this, not only for series work but also for interactive (which looks like the new model for most animation studios in Britain today). Whilst we can mourn the demise of Dinamo, we have to realise this is just the nature of the industry. The only way for things to pick is to carry on.
some concepts for business card designs. Again you can see I have changed to look of the film by adding in the sky. I'm constantly experimenting in Cinema4D at the moment and finding new things to modify. This is both a good and a bad thing. I'm learning many new things but it's eating into time. Anyway, a pointless post but I hope it shows how I intend the final comped version of the film to look (time permitting). Opinions welcome :)
Long time no post. I'm wary to show anything too early as it's rough as hell. I'm also going to be starting a CelAction job at ClothCat animation next week as a Rigger! you can't want more at the end of your time at uni than a studio job. It does mean the film won't be as sophisticated as I want. Hopefully I will have some near finished shots to tease you with by the end of the month. For now you can see my first attempts at digital painting! We're currently privelidged to be receiving lectures from Glamorgan alumni Darren Fereday (check out his site http://darrenfereday.com/) on the topic of concept art (and from what I can gather, the secret is to practice drawing all day, everyday) It's been exciting to try something new, especially when it's something you consider so daunting. It's also crazy to see how the techniques in digital painting and concept art are comparable to highly traditional classical painting skills. These are skills which I personally thought were dying out, or becoming redundant but it seems quite the opposite. Note to self: must step up the drawing game This is certainly something to carry on after uni. It's difficult juggling time at the moment so these things are taking a back seat, but maybe some day... I can be half decent
Studio Profile #2 - Animade
I've been following Animade since it wasn't a studio; Originally an animation blog, the site evolved into a full studio upon founding member's Ed Barrett and Tom Judd's graduation from RCA's MA in Animation (known for producing stylistically some of the most exhilarating short films out there today).
Today they produce work for clients like G-Star RAW and McDonalds all the while retaining their distinctive After Effects animation style. This for me is the future of 2D and animation in general. Small digitally based projects (and apps which Animade develop alongside with their interactive studio Hover Studio).
Not to mention their own style is highly appealing. After Effects animation has taken of enormously in the past couple of years but Animade still shine through. You find a lot of generic info graphics floating around. Animade go to show however that an individual style is highly desirable.
Personally I don't see a future in children's series animation unless it is high end features produced in America. Animade provides the best model for the foreseeable future in animation; small scale with a particular style.
I was chatting to a friend today and trying to describe my backgrounds. This will give you a proper taster of what they are like. Take forever to render on my old dual core iMac with GI and Ambient occlusion on but it's worth it.
There's also a fair bit of post prod done in photoshop for this image which I hope to replicate in after effects for footage.
Now I just have to cancel a lot of noise on the live action portion of the film... DSLR's fool you :P
Wow production is going quickly! and I'm noticing the lack of updates on my blog...
Well updating with blockouts and keys would be pointless, so here is something on one of my favourite studios of all time and, with a little bit of elbow grease I will hopefully be able to work there one day.
Cosgrove Hall opened in Manchester in 1976 by Brian Cosgrove and Mark Hall. Together they were responsible for some of british television's best loved classics including "The BFG", "Danger Mouse" and "Count Duckula".
The studio was closed in 2009 by ITV due to lack of funds but has recently been reopened with a fresh cash injection and work has begun on "Pip!" for Channel 5's Milkshake.
For me, as someone from the north of england, I find the animation industry heavily centred towards the south with the UK epicentres being Bristol and London. All of this is well and good, but there is huge scope to expand northwards.
Manchester is ripe for potential for new studio start-ups, with the BBC and ITV right on your doorstep.
Cosgrove Hall Fitzpatrick (as it is now known) is leading the way in growing the animation industry in the UK further north. Although it is unsettling times for large studios, I believe that there still is future for series work like this. It just may not be on the telly.
Ted Oliver Showreel 2014 from Ted Oliver on Vimeo.
Work ranging from the 2nd year of university up to today, with a bit of compositing thrown in there. Please criticise as much as you want, it will be most welcome
Little sketch from the other day in pret. A productive break is always best. Definitely need to sketch more! It's always a breeding ground for ideas
One of the most recent lectures I've received at Glamorgan is on the use of grid systems in design.
This technique prevalent in graphic design first came to my attention in the first year of uni when I was dissatisfied with the design of my flatwork pages for my projects. Nothing ever seemed to look right on the page whenever I laid it down. So I decided to research concepts around page layout.
The first name I encountered, and main proponent of this technique was Josef Müller-Brockman, a pioneering swiss designer who advocated the use of grid systems in work.
This is a core fundamental of all graphic design, and immediately once I started thinking about the order in which I placed the information on my pages I could see an improvement.
Along the way of using this I have tried my hand at a couple of poster designs for friends, and although I don't consider myself a master graphic designer it has been useful. A good eye for design can enhance the presentation of your work ten-fold and it is something I believe every creative, regardless of field, should consider in their work.
Some more experiments in low poly. Getting closer to what I want for the final look of the film, but still doesn't have a style that I want. I'm not an environment artist and CG is a completely different ball game to what I'm used to (kudos to everyone doing CG at Glamorgan. This is a whole different ball game and i'm using the fisher-price software). Still I'm hoping it will stand out
production tests for the film, some basic animation, couple with comping and a camera move. The finished product will be much more refined but this is simply a taster.