More great work from Canada’s impossible filmmaker Julien Vallée… this time showing a very considerate way of getting a set of sponsors into a promotional piece with a lightness and wit that only enhances their reputations. The piece was made for the fantastic OFFF festival in Paris where Julien was one of the keynote speakers.
Being neither a rapper nor an illustrator I can’t be sure, but I imagine that when a hiphop artist comes to you asking you to make a video for his new song Superfuck it could go one of several ways. Rest assured that illustrator and animator Ewen Farr chose the absolute best one when he decided to make a joyfully lo-fi felt-tip animation playing on the song’s ludicrously filthy sexy workout themes. It’s colourful, cheeky, and it’s delivered with a great big dirty wink, and you have to admire his dedication to a concept that must have taken a lot of man hours to complete.
There’s nothing fishy about Thomas Traum’s films. Apart from all the fish. These five animations made for Kenzo’s Spring/Summer 2014 collection are oozing cool. Taking ten patterns from this season and riffing on its Pacific coast theme, the German designer has reminded us why we once called films “motion pictures.” The way these prints are made to move and the manner in which he has magicked up a story from a pattern is exactly what is interesting about the films. His animated illustrations whirl you along with the waves and through the water, past palm fronds swaying in the breeze, flocks of wiggling fish and almost imperceptible little surfboards. It’s simple, yet mesmerising.
If the sole intention of animation was to create visuals nothing short of magical then Parabella would get my vote as the very best in the game every single time. The “young but experienced Bafta award-winning animation studio” (their words) co-founded by Mikey Please and Daniel Ojari has made truly astounding work from the off, gathering up awards alike they were marbles hard-won in the playground. Hard-won being the operative term here; the six minute-long stop-motion film was a year in the making, and features, as Parabella explain, “the voice of comedy wiz Josie Long, one zillion hand-carved tiny things, literally tens of carved foam puppets, two eyefuls of in-camera, long-exposure light trickery and a pair of tiny dolphins, smooching.” Safe to say, the efforts paid off; the final short is a masterpiece of patience and enchanting filmmaking.
Ever since it was announced earlier this year that FOX was working on a Simpsons and Family Guy crossover hour-long special, fans of one or both shows have been interested to see how it would work. And yesterday they got their first glimpse when a five-minute excerpt was screened at Comic_Con which gives us a taste how these two cartoon competitors will be joined in creative matrimony. So it seems we can expect beer, bonding, brawls and bitchiness when the Griffins wind up in Springfield; consider our appetites well and truly whetted.
Simple story, this one. A man gets a new next door neighbour and watches her through a hole in the wall (don’t try this at home, folks) and one day when she returns from a jog he gives her an ice lolly. Wanting to see her eat the lolly he looks through the hole but sees her instead dabbing it on her sweaty armpits. Enraged, he breaks into her house every day for the next few weeks when she’s out and wrings out her clothes into a bottle to make sweat ice lollies from there-on out. You know someone’s a consistently entertaining animator if the top comment on their Vimeo is: “Wow! you finally made something that is safe for work.” Bravo Wong Ping, bravo!
To tell the truth, when I heard that Morph’s creator was bringing him back around again for another go, I wanted to hate it. Being a true child of the 90s I feel like our little orange plasticine friend belongs solely to that era, and to attempt to bring him back for the soiled, desensitised, X-Box-obsessed youth of today is akin to animating Rosie & Jim and plonking them on a speedboat with a robot where the duck should be.
Self-initiated projects are the best, aren’t they? I think of them as an excuse to peel the dollar signs off your eyeballs and replace them with love-hearts for a while, and more often than not it’s a transaction that pays off a hundredfold in the long run.
There’s nothing quite like when someone takes something you associate with your innocent childhood and uses it to slap you across the face with a controversial, dark statement. That’s what Greenpeace tend to do to get their point across, and boy does it work. Their most recent plea is directed at LEGO, urging them to discontinue the production of kits for children that are emblazoned with the Shell logo. I’ve seen a lot of LEGO parodies in my time here at It’s Nice That, but none have made me feel dark to my very core like this one did – nothing says wake up and address this horrible issue more than smiling children’s toys drowning in a sea of black oil. Bravo Greenpeace.
Anyone that played (and now misses) Monument Valley will love this new animation from Fabrice Le Nezet. It was a bit weird to get an email from Fabrice with this animation, as last time we checked up on him he was making enormous sculptures of metal and stone. People change I guess. Anyway, what he’s doing now with the help of Benjamin Mousquet and Raphael Azel Martinez is totally fine by us, as it’s one of the most spectacular and unique animations we’ve seen in a very long while. Watch as teeny little men manoeuvre their way around a monochromatic, cubist landscape and get chased by enormous marbles and climb the infinite stairs of winding minarets. It isn’t as weird as it sounds, but it is seriously impressive, enjoy.
There’s no shortage of comics, books, films and radio programmes that deal with the subject of dystopian futures. If you believe the predictions of our greatest sci-fi auteurs, the distant future will be one in which governmental control is complete and our civil liberties and basic human rights lie in tatters; emotion, procreation and relaxation banned in favour of order and efficiency.
One of my favourite columns in the New York Times, apart from all of the important news bits of course, is Modern Love. While I’ve only been able to read the ones they publish online, it’s still a fascinating glimmer into the absolute highs and desperate lows of love. The stories and the honesty within them are what make them so compelling and because love is so universal you can somehow connect with each author.
Whenever Tom Darracott and Carl Burgess join forces the results are spectacular. The two directors and digital specialists are experts at creating polished 3D-generated worlds that feel part computer game, part hyper-real dream – every element a slightly altered version of a recognisable, real-world object. Even when they’re advertising clothes the pair produce unconventional results that delight and disorientate your eyes with their effortless surrealism. Their latest campaign for Loft is no exception, showing the brand’s brightly coloured collection folding itself into a state of geometric order.
Of all of the areas of art and design that I write about on a daily basis, animation is probably the one that falls furthest from my realm of understanding. No matter how many behind-the-scenes pictures I stare open-mouthed at, or how many conversations I have about the hours that went into constructing one perfect shot, I’m absolutely torn between disbelief that anybody has the patience for such a meticulous process and relief that somebody has the right composure for it.
