This animated short film was made in by Osamu Tezuka. It is remarkable in that it is all drawn animation. A subject that might be easy to produce with today’s 3D computer animation software was a painstaking business when this film was animated. The hand drawn nature gives it a freshness that would be difficult… Read More »
Fred Wells tells us of his simple method of adding mouth movements to cut-out animation. My knowledgeable friend (we all have one) then suggested that I might find lip synch. a more difficult exercise for cut out animation. Unable to resist a challenge (the mark of an animator, I subsequently found) I picked up the… Read More »
Film student lain McCall tells us of a film he made on the animation course at Liverpool Polytechnic. For the last two years, I have been involved with the many aspects of single frame film making. Whilst being conscious of the traditional concepts of animation, I am acutely aware of the infinite possibilities of expression… Read More »
Frame enlargements from Christmas for Sale. Original drawings were pencil on paper and then filmed on 16mm negative stock so that the projected picture is white lines on a black background. page 1 | page 2 Printed in Animator’s newsletter Issue 10 (Autumn 1984)
Sheila Graber is a well known professional animator whose work is often seen on television. She gives us some tips on getting our characters moving. These are not meant to be definitive methods of timing two and four legged movement they are just based on sequences that I’ve done in the past which I have… Read More »
RUNNING TOWARDS CAMERA: can easily be done in as few as a dozen drawings. Use a vanishing point: and draw a few guide lines from it to establish the size of your character. Starting with the smallest let the figure grow step by step. When filming zoom into centre field over the last two or… Read More »
MARK FULLER TALKS ABOUT THE ANIMATION COURSE AT LIVERPOOL POLYTECHNIC AND THE MAKING OF HIS FILM ‘GALLERY’
After three years at Liverpool Polytechnic under the guidance of Ray Fields, I feel I am only now beginning to benefit from his seemingly unique philosophy concern¬ing the development of a young film maker.
To move away from a reliance on technical understanding and rational thought I feel is not necessarily a mistake at times, and has for many proved profitable in terms of develop¬ment of the true spirit of art and ideas, the awareness and depth of vision that can be liberated from areas below the conscious self, where true creativity originates, can take art, and animation as the new art form, away from its traditional portrayal of life, which has been my grounding up to now, towards a more internal approach hopefully with depth of meaning universally.
There are obvious ideas of being a spectator, which I hope I have recovered from now, which is also suggested in the title, this I think came from my interest at the time in existentialist ideas found in the outsider. Apart from this as an influence it was quite a personal film, which I am aware of now finishing college, has its pitfalls, for if the work is too precious or only understood by close friends it plays a very limited role, something I would not wish, even though it is only personal experiences and immediate surroundings that can be of real value, as source for me to comment upon with feeling.