The trailer to Theodore Ushev's "Lipsett Diaries" written by Chris Robinson.
Holy cow, it looks beautiful.
Showing posts with label theodore ushev. Show all posts
Showing posts with label theodore ushev. Show all posts
Thursday, March 18, 2010
Diary
Marco de Blois just posted this on Facebook.
The trailer to Theodore Ushev's "Lipsett Diaries" written by Chris Robinson.
Holy cow, it looks beautiful.
The trailer to Theodore Ushev's "Lipsett Diaries" written by Chris Robinson.
Holy cow, it looks beautiful.
Saturday, August 22, 2009
Cartoon Controversy
If you look to the right, you'll see that Blogger has recently redesigned the gadgets so our favorite blogs float to the top when they are updated.
Yesterday the "Animation Pimp" was first in line. I shouldn't be surprised that "toon" people have issues with Theodore Ushev's poster for this year's Ottawa International Animation Festival, but I am.
In 1997, at The Ink Tank, we were proposing Mats Gustafson to illustrate a campaign. His rep sent his portfolio for us to present to the ad agency.
A guy like Mats Gustafson doesn't send his portfolio out for every illustration cattle call. When he does, his portfolio contains (or at least it did contain) original paintings.
Opening his portfolio, flipping through, I had never experienced anything like that looking at drawings. The work was visceral, sensual.
Theo Ushev's poster is similarly visceral.
The poster is more intellectual than sensual -but still, I think, "visceral" -from the gut. That's an unlikely combination -viscerally intellectual.
"Toon" folks complained that it doesn't say "animation". If one's view of "animation" is limited to neo-retro Hollywood styles. No, it doesn't looked like warmed over Gerald McBoing Boing or nouveaux Tex Avery.
My first reaction to the poster was that it felt like animation. There's kinetic power in the composition. This comes, in part, from the layering. The image developed over time and we approach it and understand it over time. The cubist-like face implies time, as does the shouted "OIAF".
The whole approach is sophisticated and complex, the results naive and energetic- similar to many cartoon favorites.
Yesterday the "Animation Pimp" was first in line. I shouldn't be surprised that "toon" people have issues with Theodore Ushev's poster for this year's Ottawa International Animation Festival, but I am.
In 1997, at The Ink Tank, we were proposing Mats Gustafson to illustrate a campaign. His rep sent his portfolio for us to present to the ad agency.
A guy like Mats Gustafson doesn't send his portfolio out for every illustration cattle call. When he does, his portfolio contains (or at least it did contain) original paintings.
Opening his portfolio, flipping through, I had never experienced anything like that looking at drawings. The work was visceral, sensual.
Theo Ushev's poster is similarly visceral.
The poster is more intellectual than sensual -but still, I think, "visceral" -from the gut. That's an unlikely combination -viscerally intellectual.
"Toon" folks complained that it doesn't say "animation". If one's view of "animation" is limited to neo-retro Hollywood styles. No, it doesn't looked like warmed over Gerald McBoing Boing or nouveaux Tex Avery.
My first reaction to the poster was that it felt like animation. There's kinetic power in the composition. This comes, in part, from the layering. The image developed over time and we approach it and understand it over time. The cubist-like face implies time, as does the shouted "OIAF".
The whole approach is sophisticated and complex, the results naive and energetic- similar to many cartoon favorites.
Monday, June 29, 2009
Almost Forget Today's Post
Partly due to Michael Jackson, mainly because work on a piece for the upcoming Ottawa International Animation Festival guidebook.
"Leave Me Alone" directed by Jim Blashfield who will be the subject of a retrospective this year
-and hopefully a good write up in Festival Reader.
-and hopefully a good write up in Festival Reader.
This will be maybe the fourth piece I've written for the Festival and the first profile subject I don't know personally.
Festival essays have tricky requirements. They need to be informative and factual but they should give you insight into the personality of the filmmaker's work. The essays have to be enlightening without being critical -that's the tricky thing. An artist's flaws are often the keystone their work. You have to find another way to get to their core.
Festival essays have tricky requirements. They need to be informative and factual but they should give you insight into the personality of the filmmaker's work. The essays have to be enlightening without being critical -that's the tricky thing. An artist's flaws are often the keystone their work. You have to find another way to get to their core.
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