Leopold Lehmann

[Klaus Hoefs]

also one thing that could be interesting to exploit with old papers is the "frame" notion int the ageing processus :

Raymond, I always liked this (made by light or fingerprints). Like looking through a Casper David Friedrich window it has a romantic aspect. You can enter the other world (of pictures).

[Paul Fierlinger]

Klaus, the 1950's TV cartoon style of your quickie doesn't match what the paper implies, so it comes off as a pretense. There, a pretend paper drawn by your hand (as you suggest) should work much better; then it should come off as part of the story.

[Klaus Hoefs]

Klaus, the 1950's TV cartoon style of your quickie doesn't

You mean Markus' posting, right ?
(Although I also like to do quickies...)

[Paul Fierlinger]

Klaus, the 1950's TV cartoon style of your quickie doesn't

You mean Markus' posting, right ?
(Although I also like to do quickies...)

Ooops, I thought it was a strange departure for you -- sorry guys, my mistake. But I uploaded something here:
www.paulfierlinger.com/students/
that illustrates my point. It's a example of how I switched styles from "realistic" to simplified stylization to depict what the narrator remembers (first style) and what's in his mind as he reminiscences. The background paper is a sample of "made up, or pretend yellow sketchpad paper" to go along with the quirkiness of the pretend pencil sketch... This is from My Dog Tulip and I use 5 or 6 such changes in appearances to make certain points of what is in the past, what is even further in the past, what is fantasy, what is happening now (as in a documentary) etc. So style and aesthetics are co-carriers of the message.

[Sierra Rose]

I so enjoyed that clip! His adoration of the dog echoed by her being anthropomorphized with clothes and walking on 2 legs just made me giggle. And what a good device the paper is.

[Paul Fierlinger]

It was the only way I could come up with to make an 80 minute soliloquy of a single subject, a dog, visually interesting.

[Anim8tor Cathy]

I found the turn in perspective as she lifts her leg very instructive. I watched it over and over until I understood it.
Do you do this part of the animation straight on, or do you do a beginning and ending drawing and then fill in the tweens?

I also agree with Sierra about the anthropomorphic scene. I like how she "hops" over the objects.
The only thing I didn't understand was her throwing the stick - there is already a stick there before she throws (?)

[Paul Fierlinger]

"Anim8tor Cathy"I found the turn in perspective as she lifts her leg very instructive. I watched it over and over until I understood it.
Do you do this part of the animation straight on, or do you do a beginning and ending drawing and then fill in the tweens?

I work both ways. In this case I had to prepare the scenes with more care so I had it all worked out; beginning, middle and end, and then proceeded with the tweens.

I also agree with Sierra about the anthropomorphic scene. I like how she "hops" over the objects.

But in this case I animated straight ahead and to the music track, which was prerecorded. The music is what keeps me on the beam. This type of figure drawing allows for much looseness and one can get away with all sorts of irregularities and inconsistencies. It also goes very fast.

EDIT: I just noticed that her puddle becomes a darker shade in two frames. I have that corrected now. This kind of stuff shows up all the time and the film needs to be very carefully scrutinized before it's wrapped up.

[Mandalaholic]

I really loved that scene too!