mm_intro

[slowtiger]

If it's just colouring the background, I'd even try to paint on paper and scan it in. ("Heretic! Lapidate him!")

[Paul Fierlinger]

But then you are not discussing the coloring of frames anymore are you? I only described how we go about applying minimalism to the coloring of individual frames.

[Sierra Rose]

I really enjoy your voice in this intro and I feel the drawings follow it perfectly and draw me right in.....life in the film is dangling...like the microphone.

The impression of the need to pay close attention to the unseen in the emptiness.... like when one is waiting and watching for something/someone. So your mood successfully caught me up in conveying your story right from the intro.

I'll say, as always, how very much I love your drawing.

[slowtiger]

Oh, I wouldn't do animated colouring on paper anymore - of course.

I just invented the rule "colour one up to three items per scene", with no respect wether it's an animated or a still item. The animated ones I'd colour in TVP (as Klaus already successfully did), the still ones probably on paper - worth the effort because we see them longer.

[Paul Fierlinger]

The new slowtiger rule: If you can't find a rule that fits invent a new one.

[Klaus Hoefs]

If it's just colouring the background, I'd even try to paint on paper and scan it in.

That's exactly what I also did - painting clouds with watercolors on paper but I failed with it - my digital colors were much brighter (and easier to animate, also I hate to scan and then to optimize in Photoshop or even in TVP- the whole process looks a bit absurd to me ).
I think as far as this is a real one-man and independent project I should go on with experimenting how much color is needed. I still have the feeling that pure drawing is straight for most of the situations.
For some reasons colors can run into kitsch easily. Imo pure drawings are per se unassuming abstractions giving freedom to the audience to "invent" their own associated colors. The drawback is that activity is needed and pure drawings are looking like arte povera. So people often speak of them as " unfinished " "sketches" as if they are a preliminary stage of the "real masterpiece" which is of course traditionally in color.

The impression of the need to pay close attention to the unseen in the emptiness.... like when one is waiting and watching for something/someone.

Thanks Sierra for pointing to the "more invisible" substance of the clip. I appreciate your feedback of the way the clip touches emotional level.

[Julian wigley]

......Yes I did all by myself .......and I have time. So the answer is that these tracks are final (mostly).

But you better remember to keep the mike out of frame.
Klaus-Enjoyed the drawn line animation swamping the 3D at the beginning- the sea swelled, and as always, a touch of fun throughout.

All the best,
Julian

[Klaus Hoefs]

(Maybe this is a bit boring because nothing really new with my drawing style and also no new animation for public by now)..

I placed eight new screens at my homepage (http://www.khoefs.de) from what comes next:
Street of little seaside town, accident with seagull, the hero (blue mm) set foot in house and corridor being about to enter his rented room.

fishpig

coelacanth at home

[Sierra Rose]

The one thing you NEVER are is boring, Klaus. I'm interested in seeing you explore your next phase of this film. The feeling of the town is wonderful and the seagull is an animated still..the blurry background makes him seem to be moving. As always, I am intrigued by your atmospheric magic.

Best...Sierra