Created for the Hadrian Exhibition at the Israel Museum in Jerusalem last December, this short animation details the elaborate process of creating a bronze cast using the lost-wax technique. The mix of stop motion and 2D animation is perfect for showing the materials used in each step along with helpful cross sections of what happens inside the mold. It’s so interesting to realize that the image depicted is transferred five times through different mediums —the original sculpture, plaster mold, wax, plaster again, bronze—before arriving at the final bronze artwork. Directed and animated by Renana Aldor and Kobi Vogman. (via Vimeo Staff Picks)
Minnesota-based graphic designer Paul Johnson has long been fascinated with creating art in the dirt, so to speak, every since drawing in sand with a stick at the beach for hours on end as a child. In college he soon learned of several modern artists working at the intersection of land science and art such as Robert Smithson, Andy Goldsworthy and Jim Denevan. In his Earthworks in Motion series Johnson utilizes some of the same patterns and general ideas from these artists but sets them in motion using meticulous stop motion animation techniques.
Filmed in various nature preserves, parks, and wildlife refuges around the Minneapolis/St. Paul metro area, each animation involves the careful placement of sticks, snow, ice, light, and rocks to create moving geometric formations. We’ve seen a number of animated land art pieces here on Colossal, but Johnson’s precision and ingenuity really set these apart. Watch the video above or see new clips as he creates them on Instagram. (via Colossal Submissions)
Created in 2014 by Estonian animator Anu-Laura Tuttelberg, On the Other Side of the Woods is a beatfully realized stop-motion fairy tale about a small clay girl lost in a creaky painter’s studio. The film was shot mostly with natural light streaming in from nearby windows causing a gentle flicker that helps subtly denote the passage of time. Tuttelberg tells us that it was her intent to express as much about each character as possible through the materials she used.
The materials for puppets were chosen to express their characteristics. The girl for example is made of moist clay to express her dynamic and free personality. She is always flowing along with any event that she comes across in life. I used real clay for making her, and asked the animator to move the surface of her body in every frame so that it is visible that she is made of soft wet clay. The technique was quite time consuming as the clay deforms easily while animating and I had to make a new puppet for each shot.
On the Other Side of the Woods won numerous festival awards over the last year and was made available online for the first time this morning. Watch the film above and you can see some behind-the-scenes shots here.
When watching this short animation by Brazilian animator Diego Akel, you get the distinct feeling he covered a table with clay, turned on some music, and just started messing around while snapping a photo every minute or so, almost like a kid in a sandbox. You wouldn’t think abstract experimentation with clay would result in anything particularly compelling, but in this instance it happens to be amazing. Titled Fluxos, Akel says the piece is “an essay about the constant flows of life, a self-portrait of its own process, an improvise [sic] on Bach, an investigation on plasticine.”
Here’s a fun new music video for ‘Quack Fat’ by Australia-based DJ Opiuo off his new album Meraki. The video was directed and animated by Jonathan Chong of Dropbear who set 240 audio cassettes, 5,600 feet of video tape, 108 floppy discs and 1 retro walkman in motion to create everything you see here. Catchy tune. (via swissmiss)
In this new music video for Son Lux‘s “Change Is Everything,” a montage of singing faces and geometric forms is set in motion with hundreds of pins and rubberized thread moved across the surface of foam boards. The clip was created by The Made Shop who used a mixture of rotoscoping and stop motion to bring Son Lux’s new track to life through 4,000 frames over a period of three weeks. In this making of clip, director Nathan Johnson details the arduous and surprisingly painful process of moving pins thousands of times. (via Quipsologies, NPR)