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tapakah0 · 9 months

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Girl omg I am IN ABSOLUTE LOVE with your animatics- I’dmarrythemifIcould- can I ask what program do you use for animatics? And do you have any tips on making animatics (especially abt character and camera movement) or any sneak peaks into your process? I’ve been wanting to dip my toes into trying it out but I’m not quite sure where to begin.

I have Clip Studio Paint EX, but I’m still trying to figure out the animation features etc and, again, I wanna try my hand at making animatics, that’s why I’m asking :3

Okay... For almost all animatics I use Toon Boom Harmony Premium (it has a lot of stuff and it's comfortable for me) Also sometimes I use Krita and Clip Studio Paint (I used this video to understand main features of this program (Little fact, I used Clip Studio to animate "Yellow light" for the first time). Lately started animating in Procreate too, pretty funny and comfortable one About tips... I had one about smoother shifts between frames (but for some reason I can't find it? Even with the fact that I did put a special tag on it) and I don't know what exactly you need about other tips. Almost everything I make intuitively, I kinda see where to move camera too make right effect? But I can tell one most useful tip, if you really wanna animate, try to imagine how it will move in your head, use references (just watch video and copy on paper on program moves from there), look how things in your life moves, it will slowly stuck in your head if you will be stubborn enough. Because, I will be honest, I didn't learn any animation basics but over time, as I look at video lessons, I understand tha I do know them (but I think it will be important to know them theoretically, not only intuitively, if you will work with other people, because they help to specify how it should be animated (key frames, inbetweens, timing and other things) Artists which lessons I use to watch from time to time or I just love their way of animating: Toniko Pantoja, Alex Grigg // Animation for Anyone, GOBELINS Paris, ToastyGlow, pollovy, -岂几Kai-, Neal Illustrator, SAD-ist, Casserole :D, WolfyTheWitch, Rodrigo Sousa, Amelia B (There are more, but these are the first ones I always remember, and of course a lot of cartoons)

About wips...... I have a lot... "I bet my life", "Finale" Leo's pov, "Earth" and others in queue... I almost completed key frames for "Agnes" animatic (Full song, about 4 minutes? I'm making my dream live over here he-he-he), but I am so crazy about sending wips so that I created my little rabbit hole (to hide from Cass *giggle*) to stop sending them on tumblr because I want to make full emotional experience from completed work... It's not so cool if you already experienced first emotions from this when you could experience the whole thing biting your knees

I hope something from there was helpful, don't rush, try to understand how it all works firstly, try to understand what kind of animatic you want to make and what you want to show and make it~~~~ You will love it when you'll see what you're able to create~~~

#tip #I really wanted to make a tip about something but sorry not today #Head bad #good luck! ;0;#What I use to animate

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theliterarywolf · 3 months

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...So!

Every so often the YouTube algorithm will remember that I like watching animated short films (you know, your Gobelins, your ESMAs, your overshadowed pilots).

Last night, it kicked in and recommended me an animated short film called "Marmalade is Missing"

youtube

And while you may look at this thumbnail and go 'Lit, what the fuck is this? This seems sus as hell', the animation quality art direction are actually really good: it's a story about a Burlesque dancer's pet cat who goes missing right before showtime.

However... You never want to be the type of person to look at certain body-types presented in media and go 'oh, this must be someone's kink' or 'oh, I must be on the weird side of YouTube!' Because even looking up the studio that posted this video on YouTube, Winding Snake Productions, brings up a legitimate, small-time, non-profit independent studio.

However... There were several moments while I was watching this where I just couldn't help but think 'Is... is this a fetish thing? I feel like this is a fetish thing'.

Edit: I almost forgot to mention that the name of the director/head-animator for this short is James Nutting.

#animation #animated short film

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demifiendrsa · 1 year

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Star Wars: Visions volume 2 will stream on Disney+ on May 4, 2023.

Volume 2 shorts:

Title: “Sith”

Studio: El Guiri

Writer-director: Rodrigo Blaas

Rodrigo Blaas is an Emmy Award®-winning director who has spent more than 20 years in animation. After co-founding Stromboli Animation in 1997, Blaas joined Blue Sky Studios in 2000, working on the feature film Ice Age, before transitioning to Pixar Animation Studios. There, he worked on such projects as Finding Nemo (2003), The Incredibles (2004), Ratatouille (2007), and Wall-E (2008) and on the Oscar®-nominated short film La Luna (2011). More recently, Blaas partnered with Guillermo del Toro to develop the award-winning series Trollhunters, served as creative director for Mikros Animation Paris and, in 2021, created El Guiri Studios in Madrid with his partner, Cecile Hokes. He also wrote and directed 2009’s award-winning short film Alma.

Title: “Screecher’s Reach”

Studio: Cartoon Saloon

Director: Paul Young

Paul Young is a co-founder of Cartoon Saloon, an IFTA winner and Oscar®, Emmy® and BAFTA nominee. He produced the animated features My Father’s Dragon, WolfWalkers, The Secret of Kells, Song of the Sea, and The Breadwinner as well as award-winning TV series including Puffin Rock, Dorg Van Dango, and Viking Skool.

Title: “In the Stars”

Studio: Punkrobot

Writer-director: Gabriel Osorio

Gabriel Osorio majored in Fine Arts at Universidad de Chile, later specializing in 3D animation. After working in commercials, movies and television series, he founded Punkrobot Studio. Since 2008, he has directed projects for children’s television including Flipos, Muelin y Perlita, Soccer Girls, and television spots. In 2016, his short film Bear Story became the first Latin American project to win an Oscar® in the animated short category.

Title: “I Am Your Mother”

Studio: Aardman

Director: Magdalena Osinska

Magdalena Osinska is an award-winning director who has been with Aardman for eight years. She has directed stop-motion, CGI, 2D and live-action commercials including Wallace & Gromit’s “The Great Sofa Caper” and “Share the Orange.” Osinska directed development of the children’s series Joyets and has also directed films including Spirits of the Piano and Zbigniev’s Cupboard. A graduate of the National Film and Television School in Beaconsfield, UK, as well as the Polish Film School in Lodz and Art College in Warsaw, Osinska is currently developing the feature film Jasia, based on her grandmother’s memories of WWII Poland.

Title: “Journey to the Dark Head”

Studio: Studio Mir

Director: Hyeong Geun Park

Rising star Hyeong Geun Park had already made a name for himself when he entered the Korean animation industry in 2017, thanks to his strong drawing and animation sensibilities. He has directed animation for dozens of cinematic game trailers and has since expanded into animated series, working on projects including Dota: Dragon’s Blood: Book 3 (2022) and Lookism (2022). Journey to the Dark Head is the first title he has executive produced from start to finish.

Title: “The Spy Dancer”

Studio: Studio La Cachette

Writer-director: Julien Chheng

Julien Chheng is CEO of Studio La Cachette, an Emmy Award®-winning French animation studio he co-founded in 2014 with fellow Gobelins school’s alumni Oussama Bouacheria and Ulysse Malassagne. Chheng was trained in visual development at Disney and has worked as a character animator on acclaimed 2D animated features The Rabbi’s Cat, Mune, and the Academy Award®-nominated Ernest and Celestine. In 2021, he won an Emmy Award® as animation executive producer of Genndy Tartakovsky’s Primal, for which he also served as animation supervisor. In 2022, Chheng directed with Jean-Christophe Roger the Cesar-nominated feature Ernest and Celestine: A Trip to Gibberitia.

Title: “The Bandits of Golak”

Studio: 88 Pictures

Director: Ishan Shukla

Ishan Shukla started his career as a CG artist in Singapore. For more than a decade, he spearheaded projects ranging from TV commercials to series and music videos. His 2016 animated short, "Schirkoa," was long listed for the Academy Awards® after receiving dozens of awards and playing at 120 international festivals, including SIGGRAPH Asia where it was named Best in Show. He then set up his own animation studio to work on adult-oriented animated feature films including a feature-length version of Schirkoa, set to hit festivals in summer 2023.

Title: “The Pit”

Studios: D’art Shtajio and Lucasfilm Ltd.

Writer-director-executive producer: LeAndre Thomas

Co-director: Justin Ridge

LeAndre Thomas is an award-winning writer and director from Oakland, Calif., whose most recent film won Best Director at the Pasadena International Film Festival. In addition to his independent films, Thomas is a part of the franchise studio team at Lucasfilm Ltd. where he has worked for more than 11 years being credited on recent titles such as Light & Magic, The Mandalorian, Obi-Wan Kenobi, Star Wars: Tales of the Jedi, and many more.

Justin Ridge executive produced the Emmy®-nominated series Star Wars Resistance. His credits also include Star Wars Rebels, Storks, The Cleveland Show, Star Wars: The Clone Wars, and Avatar: The Last Airbender.

Title: “Aau’s Song”

Studio: Triggerfish

Writer-directors: Nadia Darries and Daniel Clarke

Nadia Darries is a director, animator and co-founder of Goon Valley Animation, with an avocation for songwriting. Born in the Cape Flats in South Africa, Darries has worked on high-end animated film and motion design as an animator, project manager, creative director and director since 2015. Her experience includes animating at Triggerfish Animation Studios on the award-winning BBC films Stick Man, Revolting Rhymes, and Highway Rat.

Daniel Clarke is a Cape Town-based director and artist working in animation, film and illustration. He started his career in animation in 2008 at Triggerfish Animation Studios, where he has served as production designer, art director and director on projects such as the feature film Khumba, BBC’s Stick Man, and The Snail and the Whale. In 2018, along with James Clarke and Daniel Snaddon, he completed the graphic novel Kariba.

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linoleumm · 3 months

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bande demo - 2023

extraits d'animations perso, d'animations réalisées pour la série Collège Noir du Studio La Cachette,d'autres pour le cour métrage étudiant Gobelins Try Hard et aussi des exercices réalisés dans le cadre de l'école des Gobelins.

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canmom · 1 year

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Animation Night 156 - THREE YEARS

I did it.

Happy birthday Animation Night, my weird little baby. You are now three years old.

Three years ago, I was watching the Japan Animator Expo. I was blown away and charmed and overwhelmed. So I was like, I have to make people experience Me! Me! Me! for themselves. And while I’m at it, everyone needs to absorb Aeon Flux. What if I were to... stream some cool weird animations on Twitch instead of my usual videogames?

Well, that was a hit!

So I did another week, pulling in package films like Robot Carnival. At some point I decided to try screening entire movies. My friends helped me research films I’d never heard of, and compiled two wonderful lists of animated music videos. At some point we switched from mostly short films to mostly movies. Runtimes got more and more ambitious. The writeups got stupidly elaborate. Every week I’d nerd out and research some new director or studio or subject.

Before I knew it, I was celebrating a whole year of that. And then another! And now, what do you know, it’s three. We have covered a truly startling cross-section of animated films from across space and time.

At this point it feels like if I missed a week, I’d die or something.

(You might be thinking, hold on, I thought you said the anniversary was next week? Well, I did a maths oops. I was trying to take into account the difference between ‘52 weeks’ and ‘365 days’ and I screwed up! No, 156 is the closest week to the anniversary. Except... actually all the previous anniversaries were actually celebrated a week early, since I was counting from a notional ‘Animation Night 0′. But uh... having established that tradition I’m not gonna break it.)

So, let’s go over a few highlights from the last year, as has become traditional. But what are we watching tonight? Well, previously we marked the occasion by rewatching some of my faves from the early days, like Aeon Flux, Tekkonkinkreet or Dahufa. This time, the spotlight is going back to the Japan Animator Expo, which was a thing that Hideaki Anno’s Studio Khara organised, pulling in an incredibly varied collection of short films from all sorts of different studios - a chance for some of the greatest animators to cut loose and make some concepts that would be too weird or elaborate to make normally. More on that in a bit!

So. The last year. The first week AN 105, we took a look at old school Imaishi at his most stylish in Dead Leaves, and a strange Japanese-French angle on LA in Mutafukaz. Fun movies, a promising start.

But the next week, I lost my friend Fall. It still makes no fucking sense, and it won’t ever. On Animation Night 106, I used this ritual to remember her by showing Haibane Renmei, an anime deeply important to her. It proved to be exactly what I needed to see at that time - one of the most truthful depictions of grief. I still miss Fall. I wish I could talk to her about everything that’s happened in the last year. (I’ve done my best to learn Japanese in part to honour her love of languages, but now I’m at the point I can somewhat hold a conversation, it hurts that I can’t actually talk to her in ‘her language’.)

The next few weeks, I kept this up despite everything. We visited the ingeniously grotesque ‘gekimation’ of Ujicha (AN108), visited Mamoru Hosoda twice to more or less charming effect (AN107, AN 113), recreated Studio Ghibli’s one-two punch of 1988 (AN 111), and had a look at some absolutely unique directors like Bill Plympton and Joann Sfar (AN 112, AN 114). I got to show @mogsk‘s original fansub of a film of Croatian animator Milan Blažeković (AN 116). On AN 117 I wrote another love letter to independent/web animation.

Short films would continue to have a presence all throughout - AN109 we checked out the latest Love Death and Robots and nearly every CalArts film of the year, and AN135 we did the same with a fantastic selection of Gobelins films as well as some unique animators like Poul Robertson and Pulpe. AN 141 took us out to China, with the glorious return of Shanghai Animation Film Studio, and the brilliant Mee’s Forest by Busifan of Dahufa fame, now with a fresh translation by the writers of Animation Obsessive.

On AN 119, I wrote a post about Richard Williams and The Thief and the Cobbler, telling the story of Williams’ lifelong project to try to live up to his ideal of Disney’s Nine Old Men, no matter the cost. That proved to be one of my post popular posts of the whole year and it’s definitely one of the bits of writing I’m happiest with.

The next week on AN 120 I was in America! We saw something just as technically ambitious in another way: Richard Linklater taking Bob Sabiston’s ‘rotoshop’ software and a great deal of animator sweat to portray the world of dreams, and then Philip K Dick’s tragic scifi version of his experiences at edge of society, caught between exploitative cops and the effects of heavy drug use. It’s a unique style, and an effective one. Another American week took us into the archives of Liquid Television, the incubator of Aeon Flux and Beavis and Butthead, to see what else they had in their vault (AN 121).

On AN 122, we had a look at The Hakkenden, an incredibly ambitious and varied OVA... if one that’s now mostly remembered only by sakuga fans. AN 125 took a look at the rest of Peter Chung’s career besides Aeon Flux, notably the delightfully strange Alexander Senki, which we’d revisit to finish a few weeks later, but also some of his franchise work like Riddick and Tomb Raider.

AN 127 took us to see the three adaptations of the works of ‘Project Itoh’, Hideo Kojima’s best friend and purveyor of sharp near-future scifi. Itoh died tragically young; these posthumous adaptations by three different studios each have a very distinctive style and are powerful films in their own right.

Halloweens are when we go and take a look at horror animation - they’re always memorable. On AN 129 we got to see more of the work of Ujicha, and dive into the baroque, slimy hellish dreamworld of Phil Tippett’s thirty-year magnum opus Mad God.

On AN 130, I got to have another headscratch at the old question of ‘what the hell is up with Hayao Miyazaki’, comparing his old film Porco Rosso against the most recent The Wind Rises, which both approach the tension between his pacifism and his love of old warplanes.

On AN 136 I took another leaf through Animation Obsessive to collate their writing on the Zagreb School into a film night. This unique group of animators put a unique spin on the UPA style, breaking all the supposed rules of animation timing.

Back in the day I wrote a monstrously long post about samurai to introduce an animation night on jidaigeki, Japanese historical stories. AN 137 returned to that subject, with three very different but all excellent films by Production I.G. and Toei.

AN138 was a chance to compare Pinocchios old and new, with del Toro’s new stop-motion interpretation making a hell of a splash. The new one was undeniably beautiful, but could its story hold together..?

On Animation Night 139, I had a look at the mighty realist animator and occasional director Hiroyuki Okiura. Okiura was one of Production I.G.’s secret weapons, renowned for his contributions to films like Ghost in the Shell, but we had a look at some of his more obscure works like Run, Melos. The next week (AN 140) I followed this up with a deep dive into Oshii’s ‘Kerberos Saga’, trying to figure out what Anpo man Mamoru Oshii was doing with all that nazi power armour. Of all the films in that sprawling story, Okiura’s Jin-Roh: The Wolf Brigade was certainly the most impactful and coherent, but Oshii’s bizarre pixilation film Tatsuguishi-Retsuden was a historical oddity I was glad to discover despite the wonky translation.

On Animation Night 143, I finally gave the Lupin III franchise its due. We took a look at some of the wonkier entries in the long history of Lupin, such as The Mystery of Mamo in which Lupin goes up against a weird blue immortal guy, and the recent attempt to reboot it in C.G. And we had another look at Takashi Koike’s dark, heightened take on Lupin, which is always... an experience.

The next week on AN144, I continued my efforts to get into Gundam by taking a look at Sunrise Studio 1′s overwhelming film duology Gundam Thunderbolt. Jazz and space battles, a nonstop orgy of robot violence, it was a ride.

On Animation Night 146, we commemorated Leiji Matsumoto, one of the most influential artists in the history of sci-fi anime, creator of such immortal characters as Captain Harlock. It was a chance to take a look at his whole career, even the early WWII comics, where we saw his fixation with the figure of a reluctant soldier on the wrong side. The next week (AN147) we saw the time that Daft Punk collaborated with Matsumoto and Toei to make a movie for their album - and some weeks later on AN152 we’d return to Captain Harlock again, with Shinji Aramaki’s odd CG interpretation.

Animation Night 148 was a long overdue return to the world of Korean animation, with a fascinating set of angles, from viciously dark drama to rural nostalgia to... kinda like yugioh? AN149 took things historical, looking at Toei’s adaptations of mythological stories from the earliest days of anime - which hold up really quite well.

Then on Animation Night 150 came the long-awaited day where I got to show everyone Masaaki Yuasa’s incredible film Inu-Oh. A blind monk and a cursed boy join together to tell the stories of the fallen in medieval glam rock. It’s such an expression of the joy of what animation can be, and honestly one of my favourite films, and I’m really glad everyone seemed to enjoy it as well.

After all that, were we running out of steam? Not at all! Animation Night 151 saw the release of Lackadaisy, showing that webcomic dorks on Discord can make animation to rival any big studio; Bani-Chan’s beautiful film for Toby Fox and Itoki Hana, and most of all, Studio Ponoc’s Modest Heroes, the effort of a bunch of former Ghibli staff to bring something new to anime. The third film Invisible, featuring the unbelievably sophisticated animation of Akihiko Yamashita, has to be seen to be believed.

And that almost brings us up to now! Animation Night 153-154 took us into a dive of an early work by the master of chuunibyō, Kinoko Nasu, with year-spanning nonlinear story of wizards and traumagirls and murder - as envisioned by the madly ambitious early Ufotable. And last week, I wrote a monster of a post covering the story of Kunihiko Ikuhara for AN 155 - the man launched from Sailor Moon to create such uniquely powerful works as Utena, Penguindrum, and Sarazanmai. Thanks for reading that, it means a lot that so many people did!

So... phew. Hell of a year.

I wasn’t sure I’d be able to bring new material every week for a third year running. I’m kind of amazed that I did - and it’s not like this is the dregs, we’re still finding things that amaze and delight. But that said, I am kinda running out of stuff to show. Animation Night will continue, but I’m going to start introducing more reruns - which I hope isn’t a bad thing because a whole lot of you joined quite recently so it will probably be new to you!

And with that in mind, it’s time to go watch one of the very first things I ever showed on this film night: The Japan Animator Expo.

If I was to write a full writeup on the Animator Expo, it would take so long that we’d have no time to actually watch the films. So with that in mind, here’s the short version.

So. Hideaki Anno (AN: if u don't know who she is get da hell out of here!) left the hot organisational mess that was Gainax to run his own studio Khara, their primary mission being to create the four-movie Rebuild of Evangelion series (see: AN 18, AN 66). But this mammoth project was not their only undertaking. In 2014, Anno and Khara organised a series of short films for the Tokyo International Film Festival, designed as a showcase of both new and old animators. The series was called the 日本アニメ（ーター）見本市 Nihon Anime(etā) Mihonichi or Japan Animator Expo. Each week, a new short would be released on the web.

The shorts vary incredibly wildly. Some of them are incredible technical flexes by some of the most experienced in the business; others rougher work by independent animators. Some tie in to existing franchises (mainly Eva), or function as pilots for later works; others are standalone. Some are music videos, some are short films, some blur the lines. Some use a relatively standard anime style, some are CG, some have a unique design aesthetic. It’s an incredibly varied and cool collection.

^a brief clip from the psychic bomb that is Me! Me! Me!

I will write up a full breakdown of every film in the animator expo and what’s interesting about who made each one at a later date. Tonight let’s just watch the thing - it’s not short! So Animation Night 156 will begin pretty much right now; movies will begin in 10-20 minutes once people are in so please get over to twitch.tv/canmom and watch for as long as you like! ^^

See you there!

#animation night

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neitherabaron · 1 year

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You mentioned that you've finished writing Gobelins, and I'm wondering if you're gonna raise money to produce it, or do it out of your own pocket? Either way, I'm very excited to hear it, hope your op goes well!

Thanks for a great question! There's definitely gonna be an Indiegogo fundraiser at some point before I start production, but the scale of that is going to need to depend on what my life is looking like at that time. In other words, when I’m physically able to devote time to the album again, I’m going to have to assess my capacity before deciding the scope of the project.

Basically, there's an "ideal" way I'd like to make Carnaval des Gobelins, with a physical edition, cool merch for backers, guest musicians and liner art commissions. I think it's gonna be the most satisfying experience for listeners and the best move from a "growing my business" point of view - producing that kind of stuff gives me a chance to order excess merch and another little revenue stream, which would take me a little step closer to making this my main job. But, it's also a big project to manage and as much as I want to do it that way, I'm not gonna bet on being physically well enough to do that until things are clearer. I'm pretty dang ill.

Then there are other options - like limiting that stuff to a digital version for Bandcamp and streaming, plus physical CDs that are a bit more pared-down in terms of liner content. And on the other side of the spectrum, there's just producing a digital album, like I did for The Wassailant, which while still a big project would be logistically simpler and would require the least amount of funding.

I'm going to run a fundraiser no matter what the scope ends up being and the reason for that is that I'm handling the production for C des Gs alone, in my studio. I have a great set-up and good technical knowledge nowadays and can make stuff with much higher production values without the spiralling costs of studio and engineer hire. However, to get the album done, I'm going to need to treat it as a part-time job for about a year and so I'm going to have to find a way to help me through that time financially. The reason I was able to finish The Wassailant within a year was because of all the time spent at home during the pandemic! I'm not going to start production until I find a new part-time day job anyway, so I certainly won't be trying to raise the sort of money to depend on! But I probably will be earning less from a day job while I work on the album and I will need a small amount to supplement that/keep for emergencies if something goes wrong for me in that time - so that I don't have to halt production part way through.

So the low-scope, digital-only version would still be a crowd-funded affair, just a fairly low scale one. For the big one with all the cool rewards and awesome CDs and everything, I guess my other mini-worry is I don't actually know whether the funding goals I’d have to set to produce all the awesome extras are actually realistic to what people can afford. I don’t know if I could fund a project at the same level as a Mechanisms album for example, because I don’t have the same reach the band did. But we’re probably looking at something comparable, cost-wise, to The Bifrost Incident (but closer to its goal, not the final amount it was pledged) to produce the “full scope” version. Plus, the last time I ran projected costs for the project was before the cost of living crisis, so I don't know right now whether the CD/merch suppliers' costs will have increased.

I genuinely feel a ton of support and goodwill from people like you who really want to listen and I know there are plenty of you! But also I truly don't want to assume anything from you, so we'll have to see how realistic it is to make the full bells-and-whistles version, financially or in terms of my capacity, nearer the time. The way I'm feeling as I type this is that I may run the Indiegogo with a lower inital goal and just a couple of reward tiers (aiming to fund production and release the digital album and a simpler physical edition) and try to do some of the other stuff like an expanded liner or producing merch (and making merch available at discounted rates to backers who want it) as stretch goals.

Anyway, that is almost definitely a much longer answer than you were looking for, so I'll stop now. I really do appreciate the great ask; having the chance to thing about a proper answer has helped me straighten a few conflicts in my head that were causing me a little worry. Hope you have a great day!

If you've read this far, thanks! Please reblog this if this sort of thing is something you'd be interested in supporting and would like to spread the word. I don't know when I'll be ready to start a campaign, but I want more than anything to get dates for my ops, recover to the extent I can, and do it soon.

#kofi young #carnaval des gobelins

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dutch-and-flemish-painters · 7 months

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Adriaen Frans Boudewijns - Landscape with ruins -

Adriaen Frans Boudewijns (Brussels, 3 October 1644 – Brussels, 3 December 1719) was a Flemish landscape painter, draughtsman and etcher. He was known mainly for his landscapes with trees, Italianate landscapes with architecture, rivers and villages, city, coast and country views and architectural scenes.

Adriaen Frans Boudewijns was born in Brussels where he was baptized in the St Nicolas Church on 3 October 1644. He was the son of Nicolas Boudewijns and Françoise Jonquin. He married Louise de Ceul on 5 October 1664. The couple likely remained childless. On 23 November 1665 he was registered at the same time as a pupil and master of the Brussels Guild of Saint Luke. He was a pupil of the landscape painter and engraver Ignatius van der Stock.

On 16 December 1666 Boudewijns is recorded in Paris when he entered into a 3-year contract to work in the service of the Flemish painter Adam Frans van der Meulen. He is recorded as working with van der Meulen on the design of 12 Gobelins representing the months for French King Louis XIV. Van der Meulen executed the smaller figures and part of the landscapes. The remainder of the landscapes was completed by Boudewijns and Abraham Genoels, another Flemish painter active in Paris.

Boudewijns also travelled with Genoels to make sketches of a castle near Brussels for a design of a tapestry for the King of France. While in Paris, Boudewijns engraved many of van der Meulen's compositions. He also made engravings after the work of Genoels, the Dutch artist Jan van Hughtenburgh and his own designs.

Boudewijns married the sister of Adam Frans van der Meulen called Barbe or Barbara on 12 January 1670. The couple had two children of whom the oldest named Frans became a painter. Barbe Boudewijns died on 2 March 1674. Around this time Boudewijns must have returned home. He is documented in Brussels in 1677 when he was present at the baptism of his nephew Adriaen Frans on 4 June 1677. He married a third time in Brussels in 1670.

He had a studio in Brussels where he received in 1682 Andreas Meulebeek as his pupil and the next year Mathys Schoevaerdts. His nephew Adriaen (Frans) became his pupil in 1694. He also trained his son Frans.

It is believed that he was ruined during the bombardment of Brussels, the vicious artillery bombardment of Brussels carried out by French troops on 13, 14 and 15 August 1695 which caused the destruction of a third of the buildings in Brussels.

He died in Brussels on 3 December 1719.

#Adriaen Frans Boudewijns #golden age #brussels #france #landscape #ruin #history

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cryptic-hq · 10 months

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If you're looking for any indie animators, studios or upcoming/current series to support here's a list of some that ik of

Studio Heartbreak

GOBELINS (paris)

Studio Flint Sugar

Lackadaisy

Murder Drones (GLITCH)

Far-Fetched

Renegade Dreamer Entertainment

GODs' School: The Olympian gods

Shingo Tamagawa

Defenders Of Alodia

Jennifer Shi

Lorenzo Fresta

KRUGSTON

THE LEGEND OF PIPI

#entertainment strike #animation strike #actor strike #writers strike

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meogam · 7 months

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REVELIO

Hogwarts Legacy: L’héritage de Poudlard, jeu développé par Avalanche Studio, connu pour sa série de jeux Disney Infinity, sort cette année pour répondre aux promesses non tenues de la saga Harry Potter. Car il faut l’avouer, les jeux de cet univers ne sont pas mémorables. Nous commençons donc l’histoire environ un siècle avant l’enfant connu à la cicatrice en forme d’éclair. Notre protagoniste peut aller dans la maison Poudlard de son choix. Il ou elle apprend qu’une magie ancestrale et puissante gronde en lui/elle. On va faire copain-copain avec un professeur du château afin de déjouer le plan d’un gobelin avide de pouvoir.

BIS REPETITUS Le gameplay du jeu est fluide et dynamique. Pas le temps de niaiser ou de marcher aussi calmement que dans un GTA. Il y a tellement de lieux à découvrir et d’activités à faire que on en oublie même de s’attarder sur la beauté des paysages et architectures. Malgré un effort pour donner une durée de vie au jeu justifiant 80$ à l’achat, l’aventure se transforme en “un jour sans fin”. Si comme moi vous êtes chasseur de trophées, ça va être une longue expérience. Redondante. Rapidement limitée. Jusqu’à ne plus pouvoir entendre pour le reste de votre vie l’incantation “revelio”. Pour les amoureux du Quidditch vous attendrez le prochain Harry Potter : Quidditch Champions. Dans Legacy on a droit qu’à quelques défis de vitesse pour te donner l’impression d’un univers totalement immersif. Warner Bros. sait comment remplir le portefeuille. En dehors du fait que le Quidditch soit absent du jeu, pour que ton balai te serve de monture et se traine la patte dans les airs, on ne saurait dire ce qu’il manque à ce jeu après 7-10h de gameplay. L’univers est vraiment respecté : Sorciers, gobelins, animaux fantastiques, décors, ambiance, costumes. Tout nous aide à se laisser transporter dans ce monde et savourer chaque instant de jeu. Or, un sentiment de manque s’installe au fur et à mesure qu’on avance dans l’histoire. Comme si on nous avait préparer le plus magnifique des gâteaux, mais que sa manquait tout de même de sucre.

UN POUDLARD SECONDAIRE

Après l’introduction du jeu, vous partirez directement à Poudlard. L’action s’y attarde les premières heures du jeu. Puis à vous de découvrir les secrets de Pré-au-lard et ses alentours. Ainsi que des régions inventer et plausibles à ce que pourrait ressembler les paysages voisins du célèbre château. Génial me direz-vous. Oui mais le titre du jeu perd un peu tout son sens quand on se rend compte qu’on passe plus de temps à des kilomètres de Poudlard, que dans Poudlard lui-même. J’espère que vous aimez la forêt interdite, parce que vous allez en faire des randonnées. Vous passerez le plus clair de votre temps à visiter des grottes, résoudre les épreuves de Merlin et essayer de trouver tous les objets de collection répartis sur le monde du jeu.

DES ANIMAUX FANTASTIQUES

L’un des points importants du titre sont bien évidemment la cueillette aux créatures. Avec une salle sur demande à embellir, il vous faudra récupérer à un moment de l’histoire toutes les bestioles possibles. L’hippogriffe remplacera votre balai de vol. Bien qu’il n’aille pas plus vite, malheureusement. Les rares phases avec le Grapcorne seront tout de même appréciables. Pour le reste, j’espère que vous n’êtes pas arachnophobe comme moi parce qu’il y en a des araignées ! Une multitude de créatures disponible dans le jeu mais peu d’intérêts pour autant. Elles sont présentes juste pour combler l’histoire de quelques quêtes secondaires. Mais d’un autre coté heureusement. Parce que si on avait voulu concentrer le jeu sur elles, on l’aurait nommé autrement.

ACCIO

Hogwarts Legacy est un très bon jeu. Les graphismes sont très beaux. L’histoire est bien pensée. La musique s'adapte selon où l’on se situe où selon l’action du jeu. Et il y a de l’action un peu partout où l’on va. Mention spéciale pour la quête secondaire « la boutique hantée de Pré-au-Lard ». On ne s’attend pas du tout à ce style d’aventure. C’est creepy, glauque, mais on en redemande ! Mais la machine perd en puissance quand on a fait la moitié du jeu. Les objectifs sont redondants et un sentiment de lassitude s’installe. On est beaucoup à dire qu’il manque clairement quelques choses à ce titre pour être inoubliable. Et c’est vrai. Certains accusent le manque de Quidditch. D’autres auraient aimés retrouver le fan-service (bien doser pour le coup) possible pour combler une nostalgie de la saga des films qui a pris fin en 2011. Bien qu’il y ait eu la trilogie Les animaux fantastiques et qu’une série retraçant toute l’histoire d’Harry Potter sera bientôt sur nos écrans. Les trophées du jeu sont simples à obtenir. Si on ne prend pas en compte le bug des comptabilisations de collection. Qui m’empêche personnellement d’accéder au platine du jeu. Dommage parce qu’il est vrai que pour l’instant, je n’ai pas la force de reprendre l’histoire depuis le début pour finaliser ce jeu. Ce jeu reste le meilleur proposer à ce jour sur cet univers, et en vue des bénéfices depuis sa sortie, on attend quand même une suite qui saura nous faire comprendre que ce studio de développeur en a sous le coude et pourra élever encore le niveau avec un gameplay et une histoire qui nous tiendra en haleine pendant toute la durée de vie du jeu.

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#hogwarts legacy #ps5 #harry potter #video games #jeu video #art critique #poudlard #daniel radcliffe #emma watson #rupert grint #avalanche studios #warner bros #animaux fantastiques #j.k. rowling #magie

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