Another example of viral fashion advertising, for Prada 2011.

This has SO much personality, partly because the model is doing an excellent job either at having a great time, or pretending to have a great time!
But also because the edit is so high energy and snappy and quick pased!

The ‘Prada’ logo uses really classic typography, but a simple concept like having each letter appear one at a time is really fun and up to date!  

'My Best Friend Is You'  - Kate Nash.

Album Artwork by Kate Gibb. 

Who has also created album artwork for Bob Marley and The Chemical Brothers! 

Click the image to see Kate’s portfolio. Her work has a strong graphic design personaility, with an illustrative edge! 

Brian Wildsmith illustration 

A little section from a documentary, Quentin Blake explaining his methods of working. Which are rather similar to my own! 

Adventures in motion 2011 festival motion identity

An example of an i-dent used for a film festival. 
Sent to me from the client when brain storming ideas for the Kino 10 ident.  

(Source: onedotzero.com)

Collage Research. 

Laura Redburn.

I love the apparent use of ‘found textures’ - something I’ve been doing a lot of.
A real strong sense of obscurity.  

So, as previously mentioned. The Citizen Kane project was great to work on. The nature of working to a week’s brief meant I had to create an aniamtion QUICK! And I’m glad I did because it’s highlighted some issues which I need to address before Final-Major-Hand-In! 

I pride myself on working nearly 100% by hand, although speaking to people recently. I’m coming to realise that it is possible to retain that ‘hand rendered’ feel, but by speeding up processes digitally etc. I can get stuff done faster! Which is always a winner.!

I’m lucky enough to have an excellent 2nd year student to hand, enter: Riz (http://contact-rizzi.blogspot.co.uk/). Who helped a LOT with After Effects on this piece. 
It’s impractical to not know how to have a close up on a part of my work, if that’s what I want to to, and if that’s what the animation requires, I should be able to do it! I need to learn! It’s also a much speeder way of putting stills together, it justworks! 

Also, Alex ‘@mrJOLEAF’ Joliffe (http://vimeo.com/28866492) who I met at the very event my animation was screened at. Has offered to help me in terms of my digital learning! Exxxxcellent networking skills on my part! High Five self.

Citizen Kane Project has made me realise I need to improve my TRANSITIONS. When wathcing the above piece ‘Man With The Beautiful Eyes’. I really appreciate the way Johnathan Hodgson has made one scene merge beautifully into the next, using colour and shape manipulation. (For an example, see 1:50 - 2:05, an example of abstract tweening to create flow, rather than a notable ‘change’). This is something I’d love to bring to my work. And would give it that professional edge I’m aiming for!

I also need to think more creatively in terms of composition. My work often has a lot of white space, is this always necessary? Sometime I think this adds to the piece, quite often animated typography on quite space looks great. But when the animation needs a little more context, in terms of character’s having REAL LIVES etc. It doesn’t really make much sense to have a random woman floating around a piece of paper - COME ON ASHTON, THAT’S GCSE STUFF GURL!

So there we go, time to crack on! Tick tock tick tock. University time is nearly over! 

Another water colour animated piece with commercial context.

Also - notice the subtlety in animation, the little things make it! A slight movement of hair, or a turn of the head… makes a huge difference to the quality and watchability. 
I am learning that not every single moment of an animation needs to be full with dynamic, huge movement. 

Cineworld Brand Ident  - By BD Network.

Cineworld had a great platform as a company, but no real brand distinction when it came to developing a deeper, more emotional relationship with their customers. So when they challenged us with creating that distinction, we came up with the ‘More Than Movies’ concept. From here we developed a full range of creative and strategic programmes, each contributing to the growing success of the Cineworld business.”

This is really interesting to me, although I feel I’m developing a real strong style and method of working. The work I’m creating perhaps doesn’t have an emotional context or connection. This is something I hope to bring to my work in January, during Specialist Study 2.