PPP2 - Poster Designs

Inspirational poster from Faith No More gig

Lucky enough, I got contacted by a friend and event organizer alike for the recurring underground Macedonian band concert that occurs annually for the third year in a row. I had been commissioned to design the poster as well as some of the band logos last year and due to the satisfaction of my client I was spontaneously called for the same job yet again several days ago. Anything music or performance related instantly catches my eye since it is a broader collaborative aspect that always hails quality. With the only mandatory prerequisite being using the preexisting signature logo in the poster, I wanted this year's poster to reflect the event's whimsical and multifaceted nature. The concert promotes different types of bands that have not yet quite seen the light of the stage properly, and because of this I wanted the poster to give off that free-spirited rock and roll vibe. Initially, I had a design on the top of my head inspired by a myriad of festival posters I've seen throughout the years along with the DIY minimalist punk-rock posters of the 70s and 80s. This design was something I did as an intended suggestion since the client asked for an engaging poster with no concrete preferences and it hinged on the duo-chromatic style of thresholds in images being drawn over to adapt a cartoon style. Instantly, right after I sent him the style suggestion he IMMEDIATELY liked it and told me to go that direction and provide him with a draft of what I think might be a good final version of the poster. Honestly, I was amazed at this level of candor and trust he had with my artistic style, something which I found flattering. Nevertheless, I kept working on it and have constructed several designs for it after he told me that I am to use an actual picture of the venue for this year in order to shift the style. I don't know why but the aesthetic of posters always grabbed my eye along since it gave me a general feel of how the atmosphere at the event is going to be. Based on this most recent draft of the design, I believe that every color duo-chromatic has a different effect and it either repels the eye or captures it.

Initial template design whose style the client liked

Second design, needs a bit of polishing up

PPP2: Reg Isaac's Insight into the Industry

Although I don't much envision myself to be a fully-functioning part of the industry, the future foretells no definite destiny so one is to learn about every aspects regarding their practice from different perspectives, just in case. Reg Isaac solidified this claim with his story as to how he became an animator as well as how he tackled the parameters of the animation industry. I was flabbergasted to find out that he initially wanted to do photography but because of a small quirkish problem (there not being any more space in the photography department where he studied) he became an animator. It just goes to show that life is as flexible and unexpected as is the nature of the nomad. What I found personally applicable was Reg Issac's life drawing holiday on which he managed to improve his drawing skills - which is what his first goal since becoming an animator was. Furthermore, I empathized with his necessity to improve his drawing and gain confidence in his lines, which is why I found his tactic of using only pen without an opportunity to undo any movement very invigorating. I believe that I am to use the same tactic for drastically improving my line seeing as I am interested solely in 2D animation and the flow and form of character designs. Alongside this, the insight into how the roles in the animation industry are split really belabored the importance of details as he had been hired as an inbetweener several times where he only worked on completing the movement of the characters. Another one of his jobs consisted of him fixing the line details of every character's frame to perfection, which informed me of the specialization that is instilled in the workflow of the studio. I believe that understanding how the synchronized workflow of a studio work will both destroy any expectations I have as well as giving me experience for a future such endeavor.

PPP2: Animation Studio Research - Post-Presentation

Finishing up with the ordeal of analyzing a studio and delivering the presentation to my peers and tutors, the main thing I realized was the omission of several points one can make under pressure and a thorough time limit. In particular, I believe that I delivered the presentation in a manner that met all requirements, however, managed to miss several points out due to a bit of stage fright (generated by the significance and importance placed on the task itself) and a not-so-coherent line of notes which were hard to follow during presentations. Moreover, I mentioned the key people within the studio however I did not mention the contacts I acquired of Lynx's peripheral team of animators and creative practitioners from an international scope. Furhtermore, I could have aligned them with the notable works they participated in such as Daniele Rudoni being the creative art director of Nincow. Nevertheless, I managed to successfully outline and divide the presentation in coherent points which I then went into detail consecutively. I am satisfied overall although I believe I need to reevaluate my presentation skills if I am to assert myself as a professional speaker, which will go hand in hand with the future possibility of delivering pitches to studios.

PPP2: Fraser Maclean: Insight Into the World of Animation

I firmly believe that this talk was the most invigorating one so far hence Fraser Maclean turned out to be quite a facetiously witty animator that not only knew his practice but the parameters that orbit around it from a commercial point of view. I was flabbergasted at the rhetorical analysis he gave of the art of painting and how it synthesizes with the storytelling aspect of animation. Furthermore, he uncovered the commercial reality behind animation by giving examples of practitioners that survive off doing advertisements and such, not necessarily sustaining themselves through the whole-hearted preference of work. Nonetheless, the main points he drew were three such points revolving around animation - what we shall be working between: art and creativity, technology, and money, with the latter being divided into "dirty and clean money". I perceived this as the broken model of the visual industry where the actual practitioners work solely according to a temporary contract. Fraser Maclean belabored the point of openness to collaboration since the whole industry is such a practice no matter how much one tries to avoid this. With examples of the processes of how traditional animation was made where people were divided into very specific departments (with Maclean doing just the cartoon character shadows of Space Jam, for example) he was able to portray the intricate, well-oiled machine that is the animation industry. Furthermore, character animators are only a small puzzle piece in the assemblage as the same importance lies behind concept artists, background artists, layouters, although the mass perception places emphasis on only character animators. With a bit of personal insight, Maclean showed us how animation and the demand for different media of animation has evolved throughout the years. Finally, out of the plentiful points of advice he brought up, I reveled at the notion of "what does not benefit the flow of the story is redundant" no matter how much it makes the scene look better - unnecessary bits need not be considered. Through his life story and progression of profession the concept that Responsive brought upon us - an animator does not have to do just animation - was fortified. For example, Fraser Maclean worked for Sands Films as a sound organizer through the initial wish of being a filmmaker, whereas he then spread to animation for Who Framed Roger Rabbit and Space Jam. I found his entire life endeavor very exuberant as it showed the flexible path of not an animator, but a creative practitioner that is amenable to work with a team and cooperate fully to make a vision a reality all through the concluding piece of wisdom he shared - be nice!

Book Maclean suggested for young aspiring animators

PPP2: Animation Studio Research - Methods of Research

Contacting the studio formally through The Micho (the practitioner I contacted for A Creative Presence), I was able to get an exclusive tour around the studio to quickly report on their workflow, methods, infrastructure, along with seeing pre-production assets from several of their projects. Thus, my presentation is based on both primary and secondary research. Firstly I sat down with the general creative director of the studio and had a chat with him about how the departments are divided along with the multitude of projects they have had or have underway. What I was mostly interested in was their peripheral team which consists of a myriad of international animators from all over the globe. The Italian illustrator Danielle Rudoni was the art director for Nincow - one of the studio's first ever projects along with a range of other practitioners. Writing down all the information I was given during the tour, I then went on to do secondary research through their highly immersive Facebook page where I looked at picture-framed time stamps of when and how their projects were conducted. I'm quite happy that I managed to make connections with the studio as well as some of the practitioners personally as it establishes a small network that I will utilize once I'm done with college to excel in animation and establish a possible opportunity for work.