For COD
Better photos to follow
Better photos to follow
28.11.11
27.11.11
Sound+Vision Animation Workshop
The results of last weekends workshops for the SOUND+VISION Music Film Festival, which took place in the Model Sligo.
I hope you enjoy!
Made with Pádraig Fagan and John Kanu
Special thanks to:
Lara Byrne and the rest of the staff at the Model Sligo,
Colin McKeown of Cinema Northwest,
and extra special thanks to Vivienne Coyle for helping us out over the weekend.
This Workshop was made possible thanks to funding from the International Fund for Ireland, and with the support of the festival partners: the Model Sligo, Irish Film Institute and Cinema North West.
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| Pádraig working with one of the students at the stop-motion workshop |
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| The spinner class being shown a thaumatrope in action |
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| A Truck Thaumatrope |
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| Hiding behind some of the Model's patrons while doing some editing before I hit the road |
Life Drawing Experiments
A series of videos made using my students drawings:
First I set them up encircling the model, evenly spaced, so that the rotation rate would not be too jittery. Each frame is made up of a drawing which would have taken between 10-20 minute to create, using a mixture of charcoal, pastels or whatever else is at hand, so for one person to just create the drawings would take about 5 hours, so the model would probably not survive.
I then photographed each drawing, working my way around the room in sequence, so I could keep track of the order of the drawings and how they are placed in the 360 degree view of the model.
After cleaning up the images a little digitally I then brought them into Aftereffects and lined up any points of reference in the drawing, using a vertical line going (usually) straight through the middle of the head, as the locus of rotation.
By piecing them together, we can see the consistency in the pose over the multiple drawings, what people concentrate on, what is on the periphery. The interesting thing is that even though many of the drawings are quite radically different, in proportions, tone, and colour, our eyes still prefer to view the similarities rather than the differences, and the sequence of drawings feels like one rotating pose.
A video by Aoife Balfe got me thinking about doing something like this a while back: vimeo.com/user5046445
Though attributing a drawing to each person is kind of tricky here is a full list of the Production Design for Stage and Screen Students which participated in these classes:
Make Up Design:
Sarah Butler, James Christie, Amy Connolly, Ruth Curran, Caoimhe Duignan,
Helen McGinty, Ashley O'Sheehan, Marie Sweeney, Hazel Williams
Costume Design:
Molly Burns, Claire Collins, Connor Dalton, Alexandra Delaney, Audra Levinskaite,
Emma Loughlin, Niamh Ryan, Sophie Shannon, Sinéad Smith, Caoimhe Smullen
Production Design:
Chiara Byrne, Victoria Carney, Niamh Devitt, Nicole Kelly, Emily Mahon,
Fiona Patten, Brian Phelan, Gary Monahan, , Nicola Ryan
Special thanks:Martin Marley, Mark Joyce, Laura Venables, Keith Foran,
and the Production Design for Stage and Screen 1st years!
Made with the participation of:
the Drawing Project Dún Laoghaire and the National Film School @ IADT
First I set them up encircling the model, evenly spaced, so that the rotation rate would not be too jittery. Each frame is made up of a drawing which would have taken between 10-20 minute to create, using a mixture of charcoal, pastels or whatever else is at hand, so for one person to just create the drawings would take about 5 hours, so the model would probably not survive.
I then photographed each drawing, working my way around the room in sequence, so I could keep track of the order of the drawings and how they are placed in the 360 degree view of the model.
After cleaning up the images a little digitally I then brought them into Aftereffects and lined up any points of reference in the drawing, using a vertical line going (usually) straight through the middle of the head, as the locus of rotation.
By piecing them together, we can see the consistency in the pose over the multiple drawings, what people concentrate on, what is on the periphery. The interesting thing is that even though many of the drawings are quite radically different, in proportions, tone, and colour, our eyes still prefer to view the similarities rather than the differences, and the sequence of drawings feels like one rotating pose.
A video by Aoife Balfe got me thinking about doing something like this a while back: vimeo.com/user5046445
Though attributing a drawing to each person is kind of tricky here is a full list of the Production Design for Stage and Screen Students which participated in these classes:
Make Up Design:
Sarah Butler, James Christie, Amy Connolly, Ruth Curran, Caoimhe Duignan,
Helen McGinty, Ashley O'Sheehan, Marie Sweeney, Hazel Williams
Costume Design:
Molly Burns, Claire Collins, Connor Dalton, Alexandra Delaney, Audra Levinskaite,
Emma Loughlin, Niamh Ryan, Sophie Shannon, Sinéad Smith, Caoimhe Smullen
Production Design:
Chiara Byrne, Victoria Carney, Niamh Devitt, Nicole Kelly, Emily Mahon,
Fiona Patten, Brian Phelan, Gary Monahan, , Nicola Ryan
Special thanks:Martin Marley, Mark Joyce, Laura Venables, Keith Foran,
and the Production Design for Stage and Screen 1st years!
Made with the participation of:
the Drawing Project Dún Laoghaire and the National Film School @ IADT
10.11.11
9.11.11
30 Day Chez Long Rouge
I've been intermittently putting up drawings on my Tumblr, things along the lines of that 30 day challenge thing, for the last month or so.
Here are some of them I like:
Here are some of them I like:
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