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I have plans to animate other songs by the B52s or at least excerpts from them. I use these examples in my character design, traditional animation directed study and Flash classes at the Academy of Art University. My students like it when I am working on a film of own as I teach them the grueling process of layout on their own films. I know darn well that I am torturing them. The JOB is torture. However, misery loves company, so I make little films here and there.
So here are screen captures from Song For a New Generation and Wig using inspiration from modern art and my favorite BG artists Maurice Noble and Ernie Nordli. I’ll adapt a few ideas from Rowan and Martin’s Laughin. It’s perfect for the B52’s and the B52’s music is perfect for cartoons. Although eventually I should move on other musicians before I end up in a rutt.
The opening cadence for Song For a New Generation. This can use the Laugh-in treatment. I don’t want to mimic Laugh-in completely. I just want the essence of it. It will take some more research to find a proper design for this title.
Wig: On the neon side of town! There will more from Wig which will be a simple-simple film using Flash’s tools and very few hand drawn character animation principles. I recently lost a commission for a Flash job, because the lack of the use of tools. The recruiter said that the other candidate had more character animation on his reel. I saw the reel and there made of been more character animation, but priciple weren’t applied. There was heavy use of Flash tools like tweens, but no weigh on the characters as they ran and the timing was that of a first years student. This is proof that recruiters outside of the best studios have no idea what they’re doing and I should simply comply. So, a tween film it will be. You never know, perhaps the recruiter is thinking economics and character animation with the principles applied does take a great deal more time.
This is the first version of wig. The foreground characters in the standard linework style does not work with the pasten BG’s, so I have to give up one or the other. After losing the aforementioned Flash commission I’ll work in favor of the pastel. It’s time for a different style. I loaned this style to Sesame Workshop which adapted from my film Detour Through Your Mind which in turn is derived from comi. Producers and directors will feel that I am a one trick pony for working in one style for so long, so it’s best to switch. Character designers should have at least five distinct styles on display in their portfolio.