Straight-away I was reminded of Jake Fried, but only in materials/process. It’s clear that Emanuele is also intuitively fleshing out the movement frame-by-frame as he goes but his work is unique in that there’s no figurative elements to recognize; only abstract geometry and form that, when quilted together, comes across as both familiar and foreign.
I’m reminded of the notebooks I used to fill with random scribbles while bored out of my mind in high school: I’d start with a stray line or a random shape and then try to make sense of it with the remaining paper, as if the choatic mess left by my pen was what I had intended to create from the beginning. It was a way to pass the time and entertain myself instead of blankly staring at the clock, fantasizing about the bell that would eventually set me free.
Thanks for passing this one along, Sam Lillard!
P.S. I recommend giving Jake’s work a look when you’re done here.
I’ve technically already posted the attached – it was, after all, included in Late Night Work Club’s ultra-rad first release, Ghost Stories – but, considering that it was my favorite of the bunch, I figured this magical bit of animation from Charles Huettner deserved its own entry on the site. ENJOY!
“14 teams of Austin based studios and freelancers participated in a 48 hour animation challenge in the spirit of an Exquisite Corpse presented by the Austin Motion Artists Group, Moontower VFX, Houndstooth Studio, and The Octopus Project.
On January 17th, 2014, each team received a specifically designed start frame, an end frame, an 11 second 4 bar phrase of the chosen Octopus Project song and a guiding theme “The Ecstatic Energy of Geometry.”
P.S. Didya see the one Cartoon Network commissioned last summer?
posted by respondcreate on Feb. 08, 2014 in Videos | tags: austin motion artists group, bizarre, colorful, exquisite corpse, geometry, hd, houndstooth studio, moontower vfx, music video, the octopus project, trippy
“I do for sure. I don’t like going places and sitting around for twenty hours waiting for them to reset a shot. I made the conscious decision a long time ago: I’m done with live action. ‘Cause I can just sit in my agoraphobic darkened room and create worlds, and now I’m doing it with a bunch of awesome, talented animators and designers and we can go anywhere we want. Anywhere…more” – Justin Roiland in response to the question Do you find writing for animation more creatively liberating than, say, writing live action?
Last year, after reading that Dan Harmon would no longer be the showrunner for Community, I got super bummed-out. My love for the show is well documented and to confront the reality that it would no longer be nurtured with nutrients from its central, creative teat was pretty depressing.
A few weeks before Sony axed Mr. Harmon, adultswim announced it had picked up a pilot of an animated show he co-created with Justin Roiland (who you probably know best as the voice of Lemongrab on Adventure Time) and I distinctly remember feeling giddy at the news. Community, in many ways, already felt like an animated show – with its insane, truly far-out plotlines and laser-focused visual execution – and I figured that without any need for cameras, Dan Harmons creative vision could flow out, unencumered.
I’m happy to report that Rick & Morty is as bizarre as I had hoped it would be. Attached above is the
second third episode (you can watch the first two at adultswim) and I hope you enjoy it as much as I have.
In the weeks since sharing Masanobu Hiraoka‘s Land I’ve come back and re-watched it at least a dozen times. His ability to change composition with unbroken, constantly-evolving morphs – as opposed to the more traditionally-employed cut – consistently rewards an additional viewing; each one yields another subtle treasure I overlooked the first (or second or third or…) time.
In the attached, a music video for Yoshiharu Abe‘s ONE AND THREE FOUR, Mr. Hiraoka experiments with how his psychedelic liquid transitions appear when kaleidoscopically mirrored and/or confined to a nearly-omnipresent circular frame. It reminds me a lot of both Celyn Brazier‘s stellar animation for Chunkothy and Ori Toor’s work which is about the highest praise I can give.
Full-screen HD for sure, kiddos. ENJOY!
P.P.S. Our kaleidoscope feed is pretty rad, too.
Full-screen HD in a dark room with a nice pair of headphones is absolutely required. ENJOY!
P.S. A massive thanks is due to Brooks Ryba for the heads-up.
P.P.S. Our stop motion feed is filled with super-rad watchables.
“Box explores the synthesis of real and digital space through projection-mapping onto moving surfaces. The short film documents a live performance, captured entirely in camera…It is the culmination of multiple technologies, including large scale robotics, projection mapping, and software engineering.”
Projection mapping is sufficiently magical when displayed on static surfaces but to see it like this takes the medium to a whole new level. Cheers to Bot & Dolly for some absolutely stellar watchables.
Thanks for sending this our way, Garrett!
WOW. This gorgeous three and a half minute trip-fest of undulating, constantly-morphing animation by Masanobu Hiraoka (of Je Regarde) demands to be watched on the largest display currently at your disposal. Grab your headphones, too; Aimar Molero‘s music/sound design properly sets the atmosphere and breathes life into the sloshing, shifting abstract forms.
Oh and be sure to check out our Je Regarde feed, it’s full of other fantastic watchables.
“There was a period in my life where I only drew with a pencil and being able to erase paralyzed me. I could draw a hand and it would take me three days, you know, and it would be a 1/4” by 1/4”; just a tiny little thing. And then one day I just started drawing with pen and all of a sudden I could just draw endlessly. In fact, there was no undo and it kind of changed all of that. And then the computer oddly, the undo is what gives me the freedom to just explore any idea that comes to my mind and essentially I just follow any impulse or any idea because I can explore fairly freely.”
Andy Gilmore‘s work is squarely up my alley and it’s wonderful to hear, in his own words, what inspires him to create. The always-excellent Ghostly International (who tapped Isabel Freeman , Will Calcutt and Brian Fichtner to create the attached) has some of Andy’s prints for sale in addition to some excellent hi-res, free-to-download wallpapers ready to adorn your glowing screen of choice.
“Lost between his dreams and his frustrations, a man is the witness of his own insanity.”
David Maingault‘s graduation film from his time at EMCA is a gorgeously rendered whacked-out fever dream that bubbles over with bizarre, unsettling intrigue. ENJOY!
If you enjoyed the attached and would like to see more videos like it, I’d suggesting visiting our time lapse feed next.
“But there’s that sweet grass, it’s dancing in the high bluffs and the sea breeze;
It’s where the elk sleep, dreaming simple dreams of luscious green grass and peace.”
Loving this gorgeous, atmospheric-and-mellow music video Awesome and Modest directed/animated for Pete Van Leeuwen. The tune sounds like it could have been on Beck’s Sea Change – my go-to album for the drive home after a long, hot day at the beach – and the complimentary connected-with-nature visuals further amplify its already laid-back, lazy vibe.
This marks the fifth time an Ori Toor creation has been shared on this webzone which I’m fairly certain makes him Our Most Featured Artist™. If you’re reading this in the far-distant future go ahead and check his feed, chances are I’ve posted more of his stellar animation since.
The attached is even more representational than Ori’s last outing for Kingdom Crumbs (my choice for best video of the past calendar year), a trend I’m über-thrilled he’s continuing to explore. His trademark undulations are even more intriguing when they’re evolving from pure abstract blobs into foxes or ghoulish faces (or fish or worms or elephants or…) and then back again.
As usual, Ori takes his cue to progress the visuals from compositional shifts in the backing music and Vial of Sound‘s ragged bass synth, square wave lead and mysterious, vocoded vocals are a natural fit for his style.
So yeah, top marks all the way ‘round so turn the lights turned down, the volume way up and get these bits loaded full screen in HD.
P.S. Ori’s style of animation is fundamentally satisfying to me so if you’re a band/artist that wants to get featured on the site, I’d suggest hiring him to direct your next video.
More than two years ago I posted a delightful, playful animated short – Spirit Quest Journey – by Ryan ‘Professor Soap’ Mauskopf. His latest is just as charming; the undulating hand-drawn line work, bright-and-simple color palette and lazy pacing remind me of what an uninhibited eight year old boy’s mind might conjure up while idly scribbling on a rainy day. The soundtrack is a treat, too…ENJOY!
“Cartoon Network recently put together a crew of animators from around the world to create their new summer ident in the form of an animated exquisite corpse. Each team/animator was given 10 seconds of music, 4 colours and tons of Cartoon Network characters to work with. At the end of the project, in true exquisite corpse fashion, each piece was stiched together. This is the result!”
Absolutely loving this Voltron of rad animation Cartoon Network commissioned for their Summer 2013 ident. The talent (in order of appearance): Alex Grigg & Eamonn O’Neill (of Late Night Work Club fame), Impactist (who also provided the soundtrack to the attached), CRCR, Rubber House and Awesome Incorporated.
posted by respondcreate on Jun. 09, 2013 in Videos | tags: adventure time, alex grigg, animation, awesome incorporated, cartoon network, colorful, crcr, eamonn o'neill, exquisite corpse, hd, impactist, rubber house, trippy
Teppei Maki‘s technicolor, lo-fi-VHS-psychedelia visuals pair perfectly with Kool Keith‘s (a.k.a. Dr. Dooom/Dr. Octagon/Black Elvis/Poppa Large) trademark far-out, surrealistic flow. If you’re a fan of the site you’ll be all over the attached…ENJOY!
Thanks for sending this one in, Kenny Love!
The tune in the attached is a cover (by Vessels) for a remix (by James Holden) of the rambling ambient techno classic, `The Sky Was Pink` by Nathan Fake. My first introduction to any of its many incarnations was via a Tiefschwarz DJ set at the 2007 WMC; I was there specifically to hear (and dance to) their remix of Phonique’s `The Red Dress` and the ‘Holden Tool’ followed it.
I was instantly smitten.
To some, dub techno‘s hallmark layering of super-straight-forward-and-stripped-down 1-to-2-bar loops can be relentlessly irritating and abrasive but, to me, that kind of ultra-repetition is just right. When I’m locked into the pocket of an agreeable groove the present moment enlogates, freeing me to appreciate it. I’m not a ‘live in the moment’ kind of person but I want to be and, as a result, tend to get attached to whatever helps me get over my instinctual aversion to now.
Hearing the same thing over-and-over again, especially if it’s imperceptibly evolving either by a shift in composition or the slight tweak of a filter knob, gives me the space to unpack and understand exactly what about it is motivating my body to move.
The visuals on display above, by Morgan Beringer, inspire that same inquisitive spirit. The colorful psychedelic sloshes keep hinting at images but we never get to know exactly what they are. Was that a bee? A white pine branch? A set of fluffly clouds? Right as your mind catches on some known object it’s already been washed away and replaced by another.
Over a year ago I posted a similar video Morgan made for Matthew Dear (go watch it!) and it’s great to see he’s still exploring this layered datamoshed style.
The Who’s and What’s don’t really matter though cause the visuals in the attached are off-the-chain great and super-trippy; if you’re a regular visitor here I’m confident you’ll love it. My only gripe is that it’s far too short, I can watch stuff like this for hours.
P.S. If you’re interested in process then definitely give the ‘making of’ a watch, too.
The vast majority of suggestions I receive are accompanied by rather lengthy and well-written messages explaining exactly why the suggestor thinks their submission is perfect for the site. The best ones tend come from the original creators themselves and, the better and more passionately they are written, the worse I feel when I decide not to share their work.
It’s strange to me that there are talented, creative people out there who want ME SPECIFICALLY to see their work. It never fails to validate my existence which, as you might expect, feels good man. My natural tendency in those moments is to post what they’ve shared, thereby increasing my good feels by way of returning their original kindness. But I have other feels to think about! As stated previously, I am rather obsessed with making all of you happy which means that, by extension, I am terrified of wasting your precious time.
As evolved social primates we are all tasked with balancing this ‘feels economy’ and my experience has taught me that any temporary twinges of pleasure I might derive from validating the time someone took to write in are vastly inferior to the satisfaction of knowing I consistently enhance your collective leisure hours.
Which brings me to the attached, a suggestion (via Facebook) from Tilio Canicola accompanied by a simple, two-character message: :)
It’s all he needed to say.
GENESIS is two-minutes of pleasingly-smooth, constantly-evolving abstract shapes (and a few wormhole dives) directed by Francisco Miranda and Guillermo Daldovo with animation/compositing/editing/sound design from MALEVO and set to a song by adapt.
It’s gorgeous stuff and, as far as I can tell, absolutely worth your time: so full screen, volume up and – most importantly – ENJOY!
Secondly, considering that today is a bit of a special occasion for those who tend to frequent this little corner of the internet, I thought it’d be fun to celebrate by compiling a playlist of what are, in my opinion, the best ten videos posted to the site during this past year. Without further ado, I present…
9. LAMENTO by Joshua Catalano for John Talabot: “About ten seconds in I started smiling, immediately caught off-guard – in the most pleasing of ways – by this Joshua Catalano-created journey through a hard-lined, cell-shaded, abstract geometric landscape. The slightly muted palette compliments the loopy, minimal tech-throbs of John Talabot rather well – so much so that I’ve re-watched it a dozen times already.”
8. GOLEM by Patrick McCue and Tobias Wiesner: “My first thought after watching the attached was, ‘this could have easily been in The Animatrix,’ so prep yourself for some late-night, cerebral, sci-fi shit.”
7. Hide by Mathieu Bétard for Kris Menace: “A delicate mix of mirrored-and-repeating geometric ‘morphables’, rotoscoped figures and bizarre transitional touches where everything besides line, form and movement is swept aside. Just absolutely gorgeous stuff.”
4. I, pet goat II by Heliofant: “Oh shit. Do yourself a favor and prime your environment for an optimal viewing experience – lights down, full-screen and volume up – this gem deserves your undivided attention.”
3. Bye Bye Macadam by Dimitri Stankowicz for Rone: “The visuals in the attached sync up beautifully (both in timing and spirit) with Rone‘s deep, synth-driven, spaced-out sound. The net-effect is pure, distilled atmosphere…”
1. Evoking Spirits by Ori Toor for Kingdom Crumbs: ”[Ori’s] latest veers into new territory and I’m absolutely loving how he’s mixed in some representational imagery to compliment the usual assortment of evolving, fluid structures.”