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- Finish all of the work for your films.

Prepare a presentation to present your project to the class. In the presentation please include:

- Your final film, exported in HD (1920x1080) format with sound, credits and title.

- All of the pre-production work for the film. This should include any preliminary sketches, character designs, turns-arounds, pose sheets, storyboards/scripts, location design, sounds notes, material notes.

- Photos or videos from 'behind the stage' of your film - photos of your characters and sets being made

- Evidence of your research: character research that you prepared as homework for the first session plus any other research relevant to your story.

- Prepare to talk reflectively about your artist journey within this project. How does the final result look like comparing to the original idea? What would you change in the design/animation process? What do you think was successful in the process? Do you think your story is clear to your audience? What was your favourite / least favourite part of the project? What would you have done differently if you had more time?

- Each of you will enquire/comment on at least two projects that your classmates did. Prepare questions that you might ask them in a crit.

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Everything Everywhere All At Once - Rocks scene

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I drew this in Procreate

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Foley Artists: How Movie Sound Effects Are Made

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I tried to make the puppet with more separate parts to form the body. Although it does not have any joints yet.

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A workshop film for animators exploring some of the material properties of paper using tests and examples from my own work.

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Also in charcoal

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My favorite anime character is Nick the Fox. First of all, I really like his personality. Whenever he encounters something, he always gives a seductive smile, which adds a sense of humor to electricity, as well as his cute and handsome modeling

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My favorite anime character is Nick the Fox. First of all, I really like his personality. Whenever he encounters something, he always gives a seductive smile, which adds a sense of humor to electricity, as well as his cute and handsome modeling

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Magia Russica - Yuri Norstein and Fyodor Khitruk about "The Tale of Tales"

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I drew this in charcoal

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Simplified Version of Objects in Geometrical Shapes

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nick fox nick

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love to talk about Erik from POTO! (not from animation but he's a familiar character right)

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The references: Monkey, badge, and fake rose

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Push This Button if You Begin to Panic - trailer

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directed by Gabriel Böhmer

Bartholomew Whisper went to the doctor today. There he met administrators keen on experimental surgery, and lonely MRI machines. At least the growing hole in his head was becoming quite beautiful.

World premiere Locarno Film Festival 2020

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Cute, little animals, reminds of childhood, timid character, shared fears.

Controversial character (weak and overly negative) - more realistic, indecisive - more human-like

Kind, have high aspiration, feel trapped in his environment, multi-layer character (pessimistic on the outside, but warm on the inside)

Has internal conflict

Adapting or facing society in the way they think they should. Please others in detriment to expressing your true opinions. Cowardliness makes him realistic.

Strong design - recognisable through a mask. He is a genius but doesn’t know how to interact with people. The type of the Beast - good natured but a recluse and scary-looking

Romantic story, complicated story, strong design of inner world, stop-motion but realistic design

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Tale of Tales (1979, Yuri Norstein) 720p + ENGLISH SUBTITLES / Сказка сказок (Юрий Норштейн)

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A two-minute animated voyage through nature's life cycle, following the trials and tribulations of a humble apple seed.

The film was kindly funded by Adobe, made using their CS4 range of software. It was produced at Nexus Productions and features a soundtrack by Jape. It was made using a mixture of stop motion papercraft and 2D drawn animation. 

See making of here: vimeo.com/2425610

--

Credits for the film are as follows:
Story and direction : Johnny Kelly
Production manager: Jo Bierton
2D animation: Michael Zauner
3D animation: Eoin Coughlan

Paper modeler: Elin Svensson
Assisted by: Anna Benner
Stop frame DOP: Micolaj Jarosewicz
Stop frame animation: Matthew Cooper
Compositing: Alasdair Brotherston

Music: Jape
Sound supervisor: Mike Wyeld
Foley artist: Sue Harding

Executive producers: Charlotte Bavasso, Chris O’Reilly
Producer: Christine Ponzevera

Agency: Goodby, Silverstein & Partners
Creative director: Keith Anderson
Associate Creative Director: Tony Stern
Associate Creative Director: Frank Aldorf
Art director: Johan Arlig
Copywriter: Steve Payonzeck
Art director: Karishma Mehta
Copywriter: Gregory Lane
Interactive Producer: Stella Wong
Art Buyer: Jenny Taich

www.nexusproductions.com
www.johnnykel.ly
www.goodbysilverstein.com
www.matthewcooperfilm.com
www.japemusic.com
www.mikewyeld.com
www.kontrastiv.com
www.elinsvensson.com

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The English translation of JEOM means "black dot" or "birthmark."
For this film, JEOM is also a metaphor on the powerful hereditary force that each of us receives without our consent before we are even born.
It is inevitable that we are all tied to this heredity.
No matter how much we try to erase or change this fact, our ancestors will always live through us.

점의 일차적 의미는 몸에 있는 점(몽고반점)이다.
이차적으로 점은 세대간에 원하든 원치 않든 물려받아야만 하는 유전의 강력한 힘을 상징한다. 
유전의 힘을 떠나 후천적으로 완전한 자립을 바라기는 어렵다. 
우리는 그 위에서 살아가고 그것을 지우기 위해 노력할뿐이다.

film by Kangmin Kim
sound, music by Barratt Slagle
produced by Micah Cordy, David Braun, Jason Milov, Kangmin Kim
production by Open The Portal, studio ZAZAC
voice by Teo Kim, Kangmin Kim 
color by Seulhwa Eum

JEOM is a sequel to 38-39°C
vimeo.com/22683060

Open The Portal
opentheportal.com

studio ZAZAC
studiozazac.com

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"Para todo mal, mezcal, y para todo bien, tambien."
- "For everything bad that happens, there's mezcal, and for everything good, there's still mezcal". 


A short animated film made with life-size woodcut cut-out puppet. 
Made in collaboration with Collectivo Subterraneous.

Puppets made by: 
Eloisa Flores Guerrero 
Jose Antonio Rojas Ramirez 

Animation direction: 
Dominica Harrison


Filmed in Oaxaca, Mexico. 2022

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My favorite character is Peridot from the Cartoon Steven Universe. She is not one of the main characters in the show though. Instead She started out as a villain for episodes, and has been a problem for the lead group Crystal Gems. Because she followed orders from her superiors to let the Cluster which is a huge monster, take root on Earth. After being captured by Crystal Gems, she loses her electrical limbs and when she finds herself forgotten and abandoned by her superiors.

At first she is desperate after losing her power because she became weak. Instead of listening to her superiors, she listened to Crystal gems’ order. she begins to assist Crystal Gems in the preventing disaster. In the process, she went from being an egoist to a gem who discovering the charm of the earth's beauty of life, and also found in music and art since everything on earth is new for her or different from what she have heard from home planet.

She and Lapis produced works of art, which they affectionately called Meep Morp, giving birth to their own understanding of art when they live together. She has since explored her own interests, including alien dolls, tapes, agriculture, machinery and the TV series Camp Pining Heart instead of only taking orders from others and bully the weaks.

By the end she was a good friend, a knowledgeable gem, and the perfect aid. Peridot has a cat-like personality, sensitive but mischievous and her self ego always let her be strong inside and never give up on her friends.The magic laughter ,her passion on things and her keep developing personality also brought me a lot of fun.

Her appearance have two stages first is the one with her electrical limbs one is without. In the first stage, she is tall and strong, with the power of technology, she can do cool tricks during a fight and even fly like a helicopter. On her second stage, she became small and cute. She use her knowledge and kindness to help her friends and found out the power to love instead .

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New to our newsletter? We do this every Sunday. You can keep up to date right from your inbox by signing up for free:

Now, let's get going!

What else can you say about him?

Despite his fame, though, Norstein's career is full of bends and alleyways that few have ventured down. He's been active since the 1960s - and has outlived most of his peers from the Soviet Union. During that time, he's put out a small but fascinating trickle of animation in his one-of-a-kind stop-motion style.

For your enjoyment, we've rounded up as much of that animation as possible - in the highest quality we could find. You'll find tidbits about Norstein's career along the way.

Yuri Norstein is famed as both a director and animator, but he started out in the latter role. Working at Soyuzmultfilm, a state-owned cartoon studio in Moscow, he animated for some of the top directors of the 1960s.

According to Clare Kitson's book Yuri Norstein and Tale of Tales, Norstein began his career on Living Numbers by Roman Davydov. Developing a knack for puppets, he went on to animate for masterpieces like My Green Crocodile, and more. He quickly caught the eye of the doyen of Russian cartoons, Ivan Ivanov-Vano, who championed his career.

Norstein was, like Miyazaki, highly opinionated and particular even in his early years. Soyuzmultfilm was in the middle of a creative boom, but Norstein was still unhappy with many of the projects he animated on. He complained openly.

"I hated myself, the films, the studio," Norstein remarked later. He grew to dislike puppet animation as an art form, preferring to animate with paper cutouts.

Norstein's first chance at the helm was 25th - the First Day (1968), a cutout film that he co-directed with Arkadiy Tyurin. It's a wild, evocative vision of the October Revolution, done in a modernist style. It looks like propaganda at first glance - but Kitson writes that "Lenin was still a hero and Norstein and Tyurin's revolutionary fervour was genuine." Government censors were leery of the film and demanded cuts.

While 25th is a little obscure, it's almost famous compared to Norstein's sophomore project as a director, Children and Matches (1969). This PSA about fire safety is very nearly unknown, and Norstein has called it "complete rubbish," but it packs more than its share of charm and invention. Decide for yourself whether he's been fair to it.

Two final films from Norstein's early period deserve mention - (1969) and The Battle of Kerzhenets (1971). He co-directed both with Ivanov-Vano. The first, a whimsical ode to the seasons, is Norstein's only puppet film. The second is a beautiful cutout project about a legendary battle, rendered in the style of Russian icons.

Norstein made his most iconic work in a small window of time, during a flurry of creativity in the 1970s. The key was Francheska Yarbusova, his wife.

Yarbusova has designed and art directed all of Norstein's post- Kerzhenets films. Their first major work was The Fox and the Hare (1973), a warm, lovely take on Russian folk art and lore. In 1974, Norstein found his signature style through The Heron and the Crane. He animated Yarbusova's cutouts atop numerous sheets of glass layered below the camera.

This technique drives Norstein's most famous film, Hedgehog in the Fog - a quiet classic that debuted in 1975. The titular fog was made with thin tracing paper. When placed directly over the hedgehog, the paper is almost invisible. Move it several layers up, closer to the camera, and the hedgehog disappears.

Within a few years, Norstein was one of Soyuzmultfilm's top directors. The saga of what he did next, Tale of Tales (1979), fills a book. To put it briefly, his artistry, boat-rocking and messy workflow combined to infuriate the film approval board Goskino.

Tale of Tales is a dreamlike masterpiece "about simple concepts that give you the strength to live," Norstein says. It pushes Hedgehog's look to its limit. And it was banned for several years. The influential Fyodor Khitruk, who co-directed Norstein's newly-unearthed The Day Before Our Era, was key to saving Tale of Tales from the shelf. And then it took off worldwide.

The film adapts a story by Nikolai Gogol, and Norstein has displayed it in partial form over the years. ( Watch a few minutes here.) It's by far the most complex and intricate cutout animation of Norstein's career, and probably of all time. It looks like a painting in motion, but without the paint.

"The first three years were bedevilled by stops and starts and changes," Kitson writes. It wasn't ready by its due date of 1986. Norstein ran into another team's booking and lost his studio space at Soyuzmultfilm, moving his setup into his own home. When the Soviet Union fell in 1991, artists like him suddenly had to rely on private investors.

Over the years, Norstein has made a few small projects alongside The Overcoat. Russkiy Sakhar, a sugar company, hired him to do commercials in the mid-1990s. One is widely available, but the others are tough to find. Luckily, Norstein still shows them at events, and you can see a rare off-screen recording on the Russian social media site VK. The ads reveal an animator transformed, his skills honed since Tale of Tales.

The same applies to Norstein's opening and ending sequences for the children's series Good Night, Little Ones! in the late '90s. Valentin Olschvang designed them. They were controversial in Russia and didn't air long - the rabbit's teeth scared young viewers. But these are gems of cutout animation, with a level of workmanship that defies description.

Norstein's newest release is a segment in the 2003 Winter Days anthology by Kihachirō Kawamoto. ( Watch it here.) The process, which he found even more difficult than The Overcoat, took him between nine and eighteen months. The four sugar ads and Good Night, Little Ones were similar, lasting about a year and a year and a half, respectively

It's unknown whether Norstein, now 79 years old, will finish his magnum opus. The Overcoat has long since overtaken Richard Williams' belated Thief and the Cobbler in the record books. Either way, as the master craftsman enters his twilight years, we can all be grateful for the trail of beauty that Yuri Norstein has left in his wake.

Two of the world's most important animation festivals, Animafest in Croatia and Annecy in France, this week revealed more of their lineup for 2021.

Animafest has picked out 42 projects for its Films for Children Competition. It's an international bunch, ranging from Iran's Happy Banana to two shorts from Soyuzmultfilm, Little Snowman and Under the Clouds. (That last film also competes in Annecy's Young Audiences category.) Find Animafest's full list of children's films via Animation Magazine.

Meanwhile, Annecy has unveiled this year's showcase of works in progress. As reports, this particular showcase is "among the most highly anticipated events of the world's animation calendar." Quite a few projects are set to appear, including the long-awaited Maya and the Three by Jorge Gutiérrez. Also announced this week: Annecy's Mifa Pitches selections, among them the Taiwanese series Who's Our Sub Today?

India boasts a huge animation industry, but it works mostly in outsourcing. Original ideas, and the inspiration to carry them out, can be rare. "Of some 10,000 animators (as in people who just animate to a brief), we may have 10 animation filmmakers who are passionate about making a film using the animation medium," director Suresh Eriyat said in 2017.

This is what makes Punyakoti, or A Truthful Mother, so interesting. Based on a folk song and billed as the first animated film in Sanskrit, it made waves on India's crowdfunding platform Wishberry in 2015. The film debuted last year on Netflix, and has drawn eyes at festivals in 2021, picking up an award at a small one in America this week. That follows its selection in April for festivals in Mumbai and Tokyo.

Netflix and Sony launched The Mitchells vs. the Machines late last month to positive reviews - it's currently at 97% on Rotten Tomatoes. This week, we've learned that audience engagement isn't far behind.

Looking at the daily top-10 rankings on Netflix, Sony's film has seemed to dominate. On Friday, Business Insider confirmed that impression. The Mitchells vs. the Machines was the platform's most successful film of the week. Despite its last-minute title change and switch to a straight-to-stream release, the film has struck a chord with audiences.

At one time, access to most classic anime was a luxury for superfans with deep pockets. It's become easier and easier to watch in recent years - as streaming platforms have filled themselves out by grabbing the rights to rarities and treasures. Services like RetroCrush and Funimation make a business out of it.

But great old anime pops up even on platforms that barely advertise it. Crunchyroll's brand is built on new releases - good luck finding the beautiful, high-definition remaster of Like the Clouds, Like the Wind it's streaming right now. The film's characters were designed by Katsuya Kondō of Studio Ghibli, and it's quite a bit of fun. Less fun, but still valuable, is Sanrio's horrifying anti-war fable Ringing Bell.

Meanwhile, Tubi is a general-interest streaming platform, but its collection of A-list retro anime continues to grow. Don't miss Junichi Sato's cult favorite Junkers Come Here, about a young girl's troubled home life and a wish-granting dog. And, if you haven't seen it on RetroCrush, Tubi's also streaming . It might be the best anime anthology of all time, and it was all but unavailable in English until recently.

Thanks for reading! We hope you've enjoyed.

If you've missed any of our recent issues, you'll find them in our archives. Last week we published a longread about the animator Jim Simon - a figure the press once dubbed "the Black Walt Disney." His story is quite a trip.
Until next week!

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A Guide to Yuri Norstein - 'Hedgehog in the Fog' and Beyond

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Plus: retro anime gems and animation news from around the world.

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The Unofficial Art of Coraline - ARTWORK PDF

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The Unofficial Art of Coraline - ARTWORK PDF

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ikari shinji is definitely the character that had influenced me THE MOST🥹and he is my favorite. i luv the animation neon Genesis evaangelion sooo much…and it is definitely my favorite work😼😼😼

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Colored and Monochrome Cut-out Design of Character

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I love the art style of this animation, it excel in generate and create the atmosphere.

I have a sense of connection with Coraline as I contain a similar experience with her. The relationship between Coraline and her parents is also appealing and realistic.

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favorite character

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spider-man across the spider-verse

Gwen

The film was very famous in the last year，I found her appearance attractive to me before I saw it at first. because I liked girls with short hair very much. Later, I went to see the movie and found that I liked her more

I really like loving her voice and her very cool looks，Strong fighting capacity，She has a lot of courage.Because I am a very timid person, I admire her bold ideas.

Her posture is just like a gymnast, (g mi nest) so i very like it and i think it is veryhandsome ，I really like the design of her clothes

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storyboard

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my characters :-)

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A weird creature hhhh