Hey, so it’s been a while, I hardly use tumblr anymore, I’m mainly using twitter nowadays.
Anyway, here’s something I’ve been making since late January. It's just a little homage to the original Cosgrove hall series from the late 80s/ early 90s. I Hope you all enjoy! And good night out there.... whatever you are!
In one of the latest lessons of my Animation Context class, we watched the documentary Secrets of British Animation by BBC Four. The documentary seeks to answer the question, 'what is distinctly British about British animation?'. After posing the question to several animators - one possible answer is money. When funding is scarce, this can lead to innovation - using simple tools and more imagination - this can result in a unique charm - Morph being a perfect example. A simple chap made of clay, with an expressive face and an even more expressive body that can morph into anything. Peter Lord, one of Morphs creators, purchased a second hand junk shop weighing scales, so he could weigh his original morph and replicate the weight each time he made a new one for continuity sake. Len Lye was a New Zealander living in London in the 1930's. Whilst making his stop-motion animation The Peanut Vendor, he lost his funding and was forced to continue his film with so few resources - he didn't even have a camera! So to depict a frantic dance sequence, he used paint squiggles, dots, wavy lines etc all painted straight onto the film stock itself.
Thinking outside the box has also played a role in saving money and time - such as the work of showman-turned-filmmaker Walter Booth's The Sorcerer's Scissors (1907). Here he took a photograph of a dancing woman, cut out the woman and painted over the scene in stop-motion to give the cut out of the lady a new outfit in watercolor, where it then fades back to the live-action woman wearing the outfit Booth painted. He then stop-motioned the scissors creating cut outs and moved them across the scene. This technique is echoed in Terry Gillians work and others.
One of the other things that this programme brings us is the fact that British animation really isn't wholly British at all. Many of the animators who drove the industry and its ethos were in fact from other countries. Some coming to the UK to flee persecution in their home countries.
This documentary is well worth watching as It gives an insight into what gives British animation its unique style - and the message I think it conveys is that innovation is often achieved through animators being determined to make their ideas come to life regardless of funding being difficult to source.