Storm Thorgerson

In case you haven't noticed, I changed the blog description above. I've realized that my blog doesn't really work as an animation blog alone, as I don't always have anything new to discuss, and my mind tends to focus on multiple mediums. I've decided to include other things that work their way into whatever ventures I'm on.

I want to share a newfound appreciation (and realized influence) of graphic designer Storm Thorgerson.

Being the rock enthusiast that I am and also being an artist, it should be no suprise that I have a great appreciation for album artwork. I have to admit, however, that I've never really taken the time to appreciate them as works of art. Its probably because in recent years, we've had the great popularity of MP3, iTunes, and the iPod. Its kind of sad when you think about it. Its a strange feeling when something like music is suddenly replaced by computer codes. But even before that, as I was growing up, I could help but listen to an album, and associate much of it with the artwork of the album cover. I grew up listening to old rock music, as I had a hard time in my teens accepting newer music.

But back to album art: I was quick to notice album designs by Hipgnosis (the British art design group) and especially those of Storm Thorgerson. I didn't realize until recently just how much those designs are embedded in my subconcious. Thorgerson's images are very similar to Salvador Dali's world; in fact they are almost parallel. But there is something that separated Thorgerson's work from Dali's. Of course the fact that they are two different artists has something to do with it, but because there is music to be associated with the covers, there is more to back up the proposed narratives of the works.

I don't know enough about Thorgerson to explore him as an artist. In fact, this interest is very recent. But the images are on my mind, and I want to swim around them for now.







I have to admit, a few of these albums here, I have never listened to them. I just put them up for the artwork, but if anyone reading wants to post an opinion of the albums, they are more than welcome.

I'm not going to make any secret about this. The reason I started thinking about Thorgerson's work again was due in part to the recent passing of Pink Floyd's keyboard player, Richard Wright. As an avid listener of Pink Floyd, the news of Mr. Wright's passing is sad, and truly marks the end of something special. His contribution to Pink Floyd's music is immeasurable. My heart goes out to his family. Shine on, Richard Wright.

Half-Assed Update

I have been concerned lately, because I can't seem to come up with any decent ideas for a new film. And it doesn't help to continually read about the destruction of commercial animation.

I have just read John K's latest blog entry, which happens to be part of something larger. Mr K is currently writing up a very informative history of Canadian Commercial animation. Although distinctions are pointed out from American animation, I feel like some of the noteworthy criticisms Mr. K has to offer are mirrored in the history of American commercial animation. The parts that really shattered me was where he detailed the devastatingly unoriginal ideas behind the characters and stories in some of these shows and movies.

Not coming up with any good ideas lately is frustrating. And when I see things that have half-assed ideas, a part of me should feel determined not to follow that route. But then another part of me fears that I may follow that route without knowing it. After all I must admit: I did not know what made lousy animated shows/movies until after I turned 18. I grew up on certain things, and recently I watched them again. The feeling just isn't the same.

I don't know why I am saying all of this. I guess I just need to blow off some steam (and this seems like a harmless way to do so). I enjoy Mr. K's amazing insight into the art of good animation and filmmaking. But even though I am no longer an enrolled student, I still feel like I don't even know half the game. I completed Parasite's Delight having learned a great deal about structuring a short film. But the feeling is fleeting; I was wondering how much work it will be to do it again. I don't learn as quickly as some of my peers.

Twoben's sketchbook

My friend Jennifer Lee and I have made something of a pact to post up at least one drawing or piece of art on our blogs every single day from this point forward. We were both inspired by Dan Pinto's blog, in which he has, for nearly two years now, managed to post a drawing every single day. The idea will be that we both improve something in our own drawing, as well as our thought/idea processes. I figure, because I find myself trying to think up more written entries for this blog and I have been killing time with drawings, that I have a separate sketch blog. The link is twobenswamp.blogspot.com.

This is the first image posted on the blog

The Animation Show 2008, part II

It took long enough, but here's the rest of my review of the films of this year's Animation Show. Actually, these four films are more or less the show's centerpieces, but I swear I am not being prejudicial with the last post. I didn't realize it until earlier this week. But if anyone thinks I have been biased with these films, I swear to you I am anything but.


JEU

Georges Schwizgebel from Switzerland is a marvel of an animator. His paint-on-glass technique is daunting and staggering, but is at the same time beautiful. It is also hypnotizing as the images move, and blend into each other seamlessly. I have nothing but the utmost praise for Mr. Schwizgebel, which is why I can't say more. Its easier to show you his work, than to pick it to death with words.



HOT DOG

Hot Dog is the third film to feature Bill Plympton's well-meaning, dwarfish bulldog (referred to as "Bill Plympton's Mickey Mouse"). The last few months, I have felt like one of the few who actually like this film. Several friends of mine and colleagues of Plympton have criticized it for a lack of originality and over-worked humor. Hot Dog (as well as Guide and Guard) stands out to me as being among Plympton's better work in recent years. The last three years, he has gone through a bit of a Woody Allen phase, in which he has his good days and bad days. That might be a little harsh in judging only a few years of Plympton's 25- year animation career, but its easier to judge him this way, because he puts out more work a year than any other indie animator I know of.


WESTERN SPAGHETTI

PES is another marvel of independent animation. This film, animated with Javan Ivey, is another treat in PES's stop-motion technique pleasing the audience. A quip, it doesn't seem as complex or mesmerizing as PES's previous films. What was nice? I liked the bubble-wrap boiling water; the velvet tomato sauce, and the post-it note butter. PES still has a gift of balancing simplicity (use of found objects and short time spans) with complexity (excellent timing for stop-motion).


THIS WAY UP

Smith and Foulkes, from the United Kingdom. I don't know these guys too well, but for a CG short, they nailed down a pretty good film. A black comedy that keeps its leaning towards the humorous side. A rather charming story of two brothers trying to deliver the body of their deceased mother to the local grave site, and are met with a series of bizarre mishaps. What's also nice is throughout these obstacles, the two brothers' different personalities add an emotional center to the piece. Each gains his own sympathy in every bizarre incident that happens to them.

Something quotes Lydon

Lately, doodling has become rather frustrating. This is probably the most satisfying thing I've come up with in a week. The creature is quoting a lyric from a song by Public Image Ltd. Lately, I've been into John Lydon lyrics.

The Animation Show 2008, part I

First off, my usual self-pity. I'm still searching for more work, trying to come up with new ideas, trying to read more books, and whatever else there is to feel sorry for. Otherwise, everything is moving along carefully. Now to keep myself writing.



The Animation Show returned this year, and usual, the show is still a real treat. I was concerned about how this year's program would turn out. This is mainly because of founder Don Hertzfeldt's departure from the show's curation and programming. For those who don't know, this show was founded nearly five years ago by Hertzfeldt and Mike Judge (creator of Beavis and Butt-head and King of the Hill). Even with just three tours, Hertzfeldt's included films always struck me as the show's signature. According to animator Bill Plympton, who spoke at one of the screenings, the show's organizers wanted to do a more humorous screening. Hertzfeldt's recent films, while still humorous in their own right, have also become darker and more cerebral, and the filmmaker decided he no longer fit into the show. Either way, Mike Judge and company still managed to put together something very funny as well as some artistic variety.


The show opener, directed by Joel Trussell, is a great little piece itself. The style is clearly inspired by 1950's stylized animation, particularly UPA work. Even though I see a lot of this from Genndy Tartakovsky and Craig McCracken, the drawings in this style are usually wonderful and thrilling. In other words, its a look I don't mind seeing over and over again, as long as its inventively designed and colored, as it is here.


PSYCH0TOWN

These three short pieces, directed in Australia by Dave Carter, help to maintain the show's variety. They are animated in a form of cut-out/stop motion, but in a very simple way that adds to absurdist humor of these subtly, psychotic shorts. Very enjoyable, and perfect icebreakers.


OPERATOR

An English short by Matthew Walker. Something of a piece of minimalist humor, I don't think this is a bad piece. Its simply a man calling God on the phone to ask a casual question. I guess if anything, the visual is made to look boring, because there is nothing to be surprised about. I mean, if everybody could just talk to God like that, all of life's questions would be answered.


MR. SCHWARTZ, MR. HAZEN, & MR. HORLOCKER

A wonderfully written and timed piece piece from Germany by Stefan Muller. I have to say this was my personal favorite of the whole show. The animation combines funny drawings with computer imagery, and a plot that is told in two different view-points. This form of storytelling is unique in that it entices the audience and makes them curious about what's going on. For example, we start off seeing a man calling the police to complain about loud music nearby, but later when the policeman arrives, the man is smiling and dancing like an idiot. I truly laughed the hardest at this one.


ANGRY UNPAID HOOKER

This title stuck out immediatally to everyone, for obvious reasons. This poorly drawn short with snappy dialog feels like something that might have been done on Family Guy. I still enjoyed it as an icebreaker between the more visually-interesting pieces.


BLIND SPOT

A piece of black comedy that recalls the doughnut store shoot-out from Boogie Nights. Although some of the computer animation didn't impress me overall, I still found parts of this short to laugh at, and thought the character designs were very nice.


PROF. NIETO SHOW - EP 1

I'm not sure why this was in the show. There was more live-action in it than actual animation. The only animation was a group of bugs, and even they were not very interesting. Very confusing and very tedious.


VOODOO

A nice piece of hand-drawn work here. And some interesting surprises in what looks to be a familiar story. Three stereotypical adventurers try to infiltrate a temple, and the local tribe uses voodoo to stop them. But then the local tribe uses the voodoo for a form of horse-racing and thrill seeking entertainment. Nice touch there.

This is all I have for right now. I will continue the rest in my next post.

Attempted Hair

Actually, I tried drawing The Cure in a different style. Didn't come out that way, but I think its still pretty interesting.