Friday, December 31, 2010

Need help: Tank Error

Today I have came across a problem.
I used a script called CurveDistribute which is meant to duplicate one object around a curve, and I used it on the small blocks around the curve(figure 1).It works but when I move the time line they disappear (Figure 2), I don't know if this is because my laptop's graphic card is low or it is a problem with the script that I am using.
If anyone knows the problem please help out, and this is also to Alan as well.

Figure 1

Figure 2

Maya Troubles...

Here's the normal texture for the UV layout, but as soon as i select it, the grid changes, as shown below...

Then whenever i go to look at the model in smoothed view, the grid and model goes like this (Image below) and i can't seem to figure out why...

Maya problem @Alan

Hi Alan, hope you had a good Christmas?

I'm stuck on one of the camera rig tutorials and was wondering if you can help?

Here's a screenshot of my problem, I've created a nurbs plane and assigned a lambert material to it and loaded the HD_1080_Thirds.tif file into the colour channel with the alpha baked in. For some reason the hardware texturing isn't showing it as a grid? I checked the "alpha is luminance" box in the file node but that had no affect.

I did get an error message when creating the lambert stating : // Error:Object 'lambert_qualityMenu' not found. Is that the problem?

Any advice is greatly appreciated!



Hi Alan,

starting to panic a little now as texturing is a huge part of unit 3 and I really don't want this to affect my environment. I made a transparency map as suggested and loaded it into the transparency channel but it still has no affect... here's another screen shot....

I've made a solid red 1080 image without an alpha channel, loaded that into the colour channel with a transparency map, still nothing. The only thing I haven't tried is using jpeg images instead of tiffs.

Please HELP!



Online Colour Scheme Designer - and it's Free!

I happened upon this rather useful freebie - an online Colour Scheme Designer that enables you to confidently put together ranges of colours guaranteed to work together. Once you've identified the desired spectrum, you can export the resulting palette to Photoshop as a .AOC file.

  • The .ACO file is used in Photoshop as a swatch.
  • In Photoshop, you can add, remove and edit swatches by going to the preset manager (File->Edit->Preset Manager), or open up the "Color Window", by pressing F6, and select the "Swatches" tab.
  • On the top right of the color window there is a small arrow, which will display a menu when clicking on it.
  • Go to "Replace Swatches", open the color scheme, or click on "Load Swatches" to add the color scheme to the current color set.
  • You should now be able to use the colors from the color scheme.

Thursday, December 30, 2010

Very interesting Bombay Sapphire project

Ok, I found a very interesting international project here in one lithuanian page. The project winner will have the honor to work with the best artists in the world and will be called upon fulfillment of 3D projection by using unique and latest technology with the prize of £ 5,000 cash. (sorry just by giving this google translation), but I couldn't find any further information about it. That facebook just didn't worked for me and the other one was only in Italian language.

IMPORTANT! Back-Up Your Project Work!

Okay - it's obvious, I know - but please - all of you - remember to back-up your project work regularly. As you get more engrossed, more up against it, and more tired, backing-up your stuff can get pushed to the bottom of the priority list, so write yourself a post-it note reminder and stick it somewhere 'high-vis'. Every year, someone on the course falls foul of sudden hard-drive death or a spilled tea catastrophe or similar. In terms of mitigation or extensions, the course team are powerless to grant additional time in these circumstances. Back-up your work - then back-up your back-up. Don't hesitate - do it now. Then do it again. Then keep doing it...

Wednesday, December 29, 2010

A Gentle Warning + A New Year Message From David Keefe

Be warned: this is a dangerous time for CGAA students!

Christmas encourages us all to wind down, our bellies round and livers throbbing - and yet the last 2 weeks of semester 1 still require from you huge amounts of focus, energy and stamina if your creative projects are to achieve all they should. We have third years up against the clock with hugely ambitious workloads; second years in a race to ace their Retrofest submissions, and first years working creatively in CG for the first time. This is crunch time for everyone. If you've still got your hand in the Quality Street, while sitting slumped in front of Channel Five's 100 Best Catfood Commericials, you might want to think about giving yourself a shake.

If motivation is in short supply, a few words from CGAA graduate, David Keefe, might kick-start some inspiration and remind you what all the hard work is for. I asked him to put together some advice born from his experience on the course - and all that happened next. This is what he had to say:

"My name is David Keefe and I survived CG Arts and Animation…

I used to hate it when people told me ‘ohhh yes mate, your 3 years at uni will go so quickly’. I didn’t believe it at the time but now I’m one of those people: ‘ohhhhh, yes my friends. Your 3 years at uni will go so bloody quick. You’ll be sitting on your sofa with pint and a packet of Rowntrees Randoms, writing a little something for the CGAA blog, thinking…..what the hell just happened?!

You’ve got to make it as enjoyable and challenging as possible, so you can collect your scroll at the end, and not care you’re dressed like a plonker in a Harry Potteresque outfit because you’ve only gone and smashed it!

I’ve got a few bits of advice I think you can all benefit from. This course is a really tough one but at the same time, it’s really rewarding.

Having a working method that suits you is really important - whether you choose a 9am-5pm working day and the rest of the night to do whatever - or working solidly all week, but with the weekends to drown yourself in Snake Bite. You need to find a method that works for you because everyone is different. For the hardcore students, tell your flatmates and parents you’re going on a 15 week trip to Asia, buy lots of ready meals from Asda (it’s the cheapest - usually £1 or 3 for 2), stock up on some Rooster, a few packs of sweets, then lock your door.

In all seriousness, make sure you have time to enjoy yourself - and get out the house, well away from computers. Get your heart pumping, otherwise you’ll end up a corpse. Go for a jog, play some footy, go swimming or something. Give your brain a break from Maya and use your legs.

Coming up with ideas can be really difficult so choose a subject that interests you. Working on a 15 week project which you hate is pointless. You’ll go mental. Having an emotional connection with your work will give you the incentive and inspiration to create something immense.

Don’t forget that this is your gig. You won’t get many opportunities after uni where you play every role, the director, art director, production manager, concept artist, cg Artist, tea lady - even the cleaner. Give yourself a raise: for every 30 seconds of animation you complete, eat a whole trifle.

Keep your ideas simple. Don’t try pulling an ‘Inception’ plotline out the bag because you’ve only got 3 minutes max. Don’t bite off more than you can chew. I came very close when doing my final two projects. It’s like trying to force too much turkey down your neck at Christmas; very tempting with a bit of cranberry sauce, but lay off the turkey, and save room for pudding. It’s about knowing your limits. Spend the time getting your films perfect instead of producing something long and fragmented that loses its punch.

Becoming a master of problem solving is really helpful, especially in the 3rd year. Unfortunately, I don’t think we can clone Alan - I’m still working on that. If you can find other ways around problems it will make life a lot easier; google it, ask a mate or do what I did and cleverly conceal the problems so nobody sees them. If it’s out of shot, forget it. It looks like you new guys and girls have a quality community spirit - which is great - utilize it as much as you can.

Be consistently brilliant in all your projects - obviously because of the grades, but also because it gives your tutors a better picture of how you think, your style and what you can achieve. When you come to pitch your ideas, having them 100% behind your project and ability is a massive confidence boost. Earn your stripes and you’ll have no problems.

Since I finished uni, a fair few opportunities have come my way. There’s a lot of freelance work out there if your portfolio looks good - and if you do a good job then they’ll come crawling back with more gold. Because this course isn’t just 3d based, I’ve found myself doing hand drawn illustrations for a fella in Holland alongside the 3d stuff, which is great – a bit of a variety - like Revels.

I’ve done a few jobs for the sculptor and art film maker, Hilary Koob-Sassen. Somebody recommended my work to him. I went for a quick interview with a few other CG guys, who turned up with briefcases and pale Maya faces. It’s important to remember a client is not just after someone who can work, but someone who isn’t a gray, wet flannel. They want someone with spark and personality - so don’t let computers turn you into wet flannel. (There is nothing more boring than a flannel; if there is, I’d really like to know. Even an ironing board is more exciting).

Since finishing UCA, I’ve been lucky enough to win a couple of awards for my final major project - with a few more competitions in the running. As soon as your films are finished, send them everywhere. You never know who’s watching.

On a final note, you must make sure you all start each project with a clean slate; in other words, celebrate the hand-in of the previous project as hard as you can without getting arrested.

That’s all from me. I hope you all have a great start to 2011. If anyone has problems with work or anything, you can give me an email. Maybe it’s a personal problem - in that case, just use the cream.

Good luck!


Email -

Tuesday, December 28, 2010

Fur Troubles

Hey everyone, I was wondering if anyone knows whether theres a way to control fur length using something like a texture map? I have a big rabbit that is basically finished, but I need long fur on some parts and quite short on others, and then even bald in most places. It would be easier if I didnt have to break him up into separate pieces to do this, help? thanks :)

Monday, December 27, 2010

One-a-day: 'Baby Snakes' (1979) dir. Frank Zappa, animation by Bruce Bickford

Unfortunately I couldn't find the complete stop-motion animation on Youtube, so the second and the third part will have to do. I don't think you need to like Frank Zappa to enjoy this, in fact like Zappa's own music and most super weird stop-motion animation I don't believe you have to 'enjoy' it full stop. Just sit back and take it in. The following animation is part of a concert film Zappa produced called 'Baby Snakes', Bruce Bickford animated a number of peculiar sequences and I believe went on to win awards for this.

Friday, December 24, 2010

Wishing You All A Very Merry Christmas 2010!

Have a wonderful time, you lot!
Eat, drink and be merry!

FAO CGAA Year 1/Unit 3/Environment - 'Whistle and I'll Come To You'

You're probably in the pub tonight, what with it being Christmas Eve. If so, you would have missed the BBC's adaptation of M.R. James' classic ghost story, Oh, Whistle and I'll Come To You, My Lad. This latest adaptation reframes the original story and gives it a thematic spin not present in the original text - nonetheless, it manages some unnerving moments - and owes a big debt of gratitude to Robert Wise's The Haunting. It's got a wonderful, sustained atmosphere throughout and encompasses a number of tropes associated with your Unit 3 creative project: things to look out for; great use of framing/cropping to create unease; the empty hotel setting; an uncanny bust; wonderful, wonderful lighting, a nasty bit of business with a door, a creepy doll's head, and a disembodied hand...

Go here to view on iplayer - turn out the lights, turn up the volume, and enjoy...

Merry Christmas!

 Merry Christmas!

Thursday, December 23, 2010

One-a-day..George Grows

This is a short animation I found on It depicts the growing up stage of a man. It's pretty scary to think how this will actually happen to us too.

Watch more cool animation and creative cartoons at Aniboom

One-A-Day: 'Bottles'

After Tom & Jerry's The Night Before Christmas and Alan's festive Snoopy, I want to share this nugget of nostalgia with you - MGM's Bottles, released in 1936. It's not Christmassy in the slightest - indeed, Halloween would be more appropriate - but this Happy Harmonies cartoon looms very large in my memory and synchs somehow with Christmas Eve, and the idea that toys etc. have secret lives. Indeed, when Alan and I were recently discussing favourite, formative cartoons, this one came up as a shared touchstone - an emotive 'hot-key' to our respective childhoods. Do a bit of research around this animation, and you'll see Alan and I are not alone in our respect for it. Enjoy!

Wednesday, December 22, 2010

Costumes - The Wearable Dialog

Comic book Character costume design

An interesting read on costume design in comic book characters, though most of it carries over to every other aspect of character design.

Fantastic Head Modelling tutorial

Not sure if this is of any use to anyone, but here's a fantastic head model tutorial that I've used countless times in my projects. I hope it helps.

Animation Question

What is the best ways of animating waist disposal content spread away from it after meteorite crashes?
Or is it best to animate each box/pipe/tire in the dumpster?

Harry Potter: The Tale of Three Brothers. An Interview with Ben Hibon

Dan Sperrin (Graduate) kindly posted this link on his blog (Thanks Dan)...

...It features a short interview with Dan Hibon who is the creator or the three minute animated segment "The Tale of Three Brothers" in Harry Potter and the Deathly Hallows Part 1. Dan Hibon has now started work with Nexus Studios. Nexus regularly give talks on the CG Arts course and took Tod (Year 3) for work experience last year. And for all you year one people out there take a look at "Lotte Reiniger's" work too. Enjoy!

Shadow Play with Potter's Tale of Three Brothers
Ben Hibon discusses his acclaimed animated sequence in the Deathly Hallows: Part 1. By Bill Desowitz

In a daring move, we momentarily leave the tense world of Harry Potter in Deathly Hallows: Part 1, and enter a stylized animated one, when Hermione (Emma Watson) narrates The Tale of Three Brothers. Conveyed imaginatively in silhouettes and shadows and sepia tones, she describes how three wizard brothers try to outwit Death: a metaphor for the eventual battle with Voldermort.

Ben Hibon (Heavenly Sword), the director of the nearly three-minute sequence, tells us what it was like collaborating with Potter helmer David Yates and Framestore (led by Dale Newton) on this fascinating six-month project. Hibon recently joined Nexus for commercials and other short-form projects, and will also direct a new live-action re-imagining of Pan.

Bill Desowitz: Congratulations: It's quite a feat to pull off such an imaginative sequence without drawing us out of the movie.

Ben Hibon: Yeah, absolutely. These were always the two things, really. It was the look and feel of it because interpretation has never really been done fully animated before in the Harry Potter franchise. This was a big question mark when I first met with David Yates, the director. We tried to define the look. What does the Harry Potter world look like when it's animated? And, as you said, not breaking the flow of the movie was important. And not having seen the movie, it was important to have a back and forth with David about the expectation at that moment in the film when it happens. I think also at that point in the franchise, there is a feeling that when you try new things, there is a greater purpose behind what you're doing because there's a worry of self-indulgence. It was not like that at all. The meaning behind the animation and why it is animated -- the need to break the storytelling formula at that stage of the movie -- was very much on everybody's mind for the very start. It was not about creating artifice but throwing the audience into a narration. I was always felt that you need that break and that Harry, Ron and Hermoine need the refuge. It's a warm and comforting and familiar magical tale that Hermoine reads.

BD: How did you arrive at the shadow puppet style?

BH: That happened in stages. I had preliminary meetings with David and Stuart Craig, the production designer. I dug up a couple of images and one of the early references that we responded to was from Lotte Reiniger for her scissor cut out, silhouette style of animation. And there was something naïve and very graphical that David responded to. So I came away with that and was already fascinated with Asian shadow plays and puppetry -- very crudely articulated puppets on sticks. I thought that merging the two things would look wonderful. But there was always something that bugged me a little bit about all of these references. They were heavily 2D in their craft and I was very aware of breaking the flow of the movie, and so it was very important that we keep the language of cameras and not lose the motion of the cinematic experience as a Potter movie. I tried to devise a way to think of that visual style but in 3D. So we worked on some concepts and once the look was locked, Framestore came on board to produce the piece and we refined the look with their illustrators and made it work with the tools we needed to use because obviously the floating camera through layers of paper and transposing shadows and having 360-degree cameras became quite a challenge.

BD: So, how did you then pull this off with Framestore?

BH: We had to create a number of things, but most importantly the feel of the shadow puppetry and the pulsing light, the quality and texture of the canvas, if you like. Those things are obviously 2D physical things which we could not use because of our ever-moving cameras, so we devised some 3D grain with the camera flying through. It was important to have an eerie feel of something that looks like it's unfolding: you're very much a voyeur of this tale. Dale Newton and the team at Framestore did an amazing job and embraced it with such freedom.

BD: So, technically, I understand that creating a Nuke workflow in 3D space was crucial?

BH: Yeah, it was because of the grain and because of the continuous nature of the cameras. We were able to import the cameras and really integrate all of that and being able to modify that and having great control as long as we could. It allowed us to focus on shadows and shadow passes and things like that. We were not completely sure until we almost had a final image what would be seen and not seen of the characters and of the textures.

BD: Modeling and animation were done in ZBrush and Maya. Pretty straightforward?

BH: Yeah, in terms of the animation it was a pretty standard affair. I think the creative take on the animation style, again, was to keep that slightly older feel to the puppets. At some point we talked about animating on 2s but that didn't work because of all the camera moves. But we ventured in those areas where it is about expressing everything we can with the hands and the heads and body positions, as opposed to facial expressions, because, again, it was all about silhouettes.

BD: And what about the lighting and rendering done in mental ray?

BH: The lighting came about later in the process, which can be tricky for an animator, but we had quite a bit of back and forth. How should the cloth look? You have to go back in there and recode the stuff [for such a stylized look]. It's very exciting because you're misusing the tools, but you might have some surprises along the way. If you have time, you test and experiment -- it's a great thing to have on your side.

BD: Tell me about your new feature project, Pan.

BH: We just finished redoing the script with Ben Magid and it's a re-imagining of it borrowing loose concepts -- not a retelling. And it's simply the story of Captain Hook, who is an ex-detective following the case of kids disappearing and chasing Peter Pan, who appears to be the villain. It's very much a ghost story. He's not a monster or anything, but it's very much going back to this very basic, universal fear of the dark.

BD: And what part will visual effects play?

BH: Funnily enough, there is a great element of light and shadow.

BD: We're back to shadows again, appropriately enough.

BH: We are -- that is an obsession of mine. But shadows have a great role in the story. But we're using it in a way to disrupt reality, if you see what I mean. There's going to be a great amount of very subtle effect that will twist that real world and throw things around in odd ways. There will be some really cool effects, and, obviously, we have quite a crazy Neverland.

BD: Well, I'm sure your friends at Framestore will be thrilled at the opportunity.

BH: Yeah, sure, I have to talk to them about it.


Tuesday, December 21, 2010

//Error: The Undo Queue is Turned Off.

I was about to post asking if anyone knows of this error in Maya and knows of a fix, but instead I 'Googled' it.

If ever you get this error, simply do the following;

Windows - Settings & Preferences > Preferences.

The find the 'Undo' tab on the left hand side, there you can find the On and Off settings.

(Tip: You can also set how big the queue can get, I think some how, it's useful to set it to unlimited, but be wary of your memory usage and file sizes. :) )



Apparently Maya randomly decides to shut down the "Undo" script if memory gets to scarce or something, another quick fix is to go into the mel window, and type; flushUndo; and place that shortcut onto your Shelf.

Monday, December 20, 2010

Character Modeling- Eyes Help!

I've finished creating the replacement eyes for the cartoon character but the pupils are too small. Is there anyway of changing this without me redoing the entire tutorial again? They were created using NURBS spheres and Isoprams

@Alan Re: Modelling heads

Hi Alan,

Would it be possible to upload the tutorials on modelling heads so I could see if it is at all possible to create a 3D marionette in my environment in time?


Sunday, December 19, 2010

FAO CGAA Year 1 - Unit 5 Animation

No - you're not going mad and this isn't a mistake. Unit 5/Animation is a way off yet, but in preparation for this unit, there are a number of essential items you might want to add to your Christmas present list...

As part of Unit 5, you will participate in a weekly series of 2D animation workshops with Meg Bisineer - who comes to us from the Royal College of Art. This is a great opportunity to experience the fundamental principles of animation and Meg has asked you to equip yourselves with an 'animator's kit'.

Meg recommends you purchase the following:

Pre-punched paper and pegbars are necessary for the effective registration of the individual drawings or frames that comprise an animation.

And if you haven't got your hands on these yet, you'll need to add them to your Santa wishlist:

The Fundamentals of Animation by Paul Wells.

Cartoon Animation by Preston Blair

You'll want to already be familiar with these books before Unit 5 begins and you commence your workshops with Meg. Do yourself a favour and get stuck into this stuff nice and early.

A Festive One-A-Day: A Charlie Brown Christmas

A Charlie Brown Christmas (1965), was produced by Lee Mendelson Film Productions, Bill Melendez Productions, and United Feature Syndicate. Based upon the successful comic strip 'Peanuts' (1950-2000) by Charles M. Schulz the 25 minute long special sees Snoopy and the gang’s first outing as animated characters.

The animation successfully transfers the 'semi-adult neurosis' humour of the comic strip as we see Charlie Brown struggle with his depression during the Christmas holidays. We then follow his attempts to direct a neighbourhood Nativity play before he finds the true meaning of Christmas. On the way the story touches upon views about the over-commercialisation and secularism of Christmas in the U.S.

The special first aired on the ABC network Christmas 1965 and has played annually since. Its popularity with a younger audiences proved that children could understand the adult world via animation and its continuing popularity with adults has seen it shown more times on American television than the Wizard of Oz...

..and would you believe that 'A Charlie Brown Christmas' is now 45 years old?

Christmas Time is Here - Opening


Schroeder & Lucy - Jingle Bells

Schroeder, Lucy, & Snoopy - The famous Snoopy Dance

Christmas Dance

The End

Saturday, December 18, 2010

Transcription Brief Questions Alan/Phil

I had some questions in regards to thinking about what area we should take our briefs over the christmas period...but wasnt sure wether to post them or ask about them in more detail in an email perhaps, and who to aim it at lol?

T'was a Cosmos Day Out~

We found a new Chinese buffet to stuff ourself at ~

Definitely going to be the permanent place at every 'end of crit' day.

Alien Leg Fix

Ok here is the fix...However the 'welded' geomtery you have at the top of the foot (Yellow crosses) is not good. Leave space here to create a loop which runs over the foot.

Friday, December 17, 2010

Alien leg Geometry problem...

Tom and i have spent quite a while trying to remove the triangles from the geometry on this leg, and we thought that we'd sorted it out. But it seems two triangles have come out of nowhere and i'm pretty sure they weren't there earlier so i'm not too sure where they came from. But anyway, has anyone got any ideas on how i can rid of these two feisty buggers as they don't seem to want to leave. Help would be muchly appreciated so i can continuing giving birth to my alien leg... thanks

One-A-Day : Tom & Jerry - 'The Night Before Christmas'

School's out and Christmas is fast approaching; what better moment to get all nostalgic and share with you this favourite Tom & Jerry cartoon from 1941, produced by Fred Quimby and directed by William Hanna & Joseph Barbera. This Tom & Jerry cartoon was always shown at Christmas on BBC 1 when I was a child. I loved it for its Norman Rockwell view of Christmas, for its wonderfully evocative soundtrack - and for the clearest indication yet that Tom and Jerry were best friends after all. An inter-species bromance, no less! This is best watched while wearing Spiderman pyjamas and eating chocolate santas stolen from the Christmas tree.

And the winner is....

Announcing the winner of the One-A-Day Design-the-Icon competition, as voted for by you...

Congratulations to Ryan Leitao, whose logo design proved most popular with the CGAA community, closely followed by Jonathan Pearmain in second place, and Sam Hayes in third. Many thanks to all those who submitted designs and those who voted.

We have a new logo with which to preface our 'One-A-Day' offerings - I look forward to seeing it in frequent circulation!

Maya Problem: Importing image planes

What could be the reason Maya doesn't show image planes..
I tried to go into image plane nodes and relode the image,
reset settings and preferences
delete any old image planes

The thing is it still shows images loaded weeks ago, but not the ones just being loaded ..

Such a simple but frustrating problem :/

Thursday, December 16, 2010

Patrick Boivin "White"

Patrick Boivin,a genius director/animator. For those are lookin' for inspiration for uncanny,check out his work. He's a genius.

This is his latest film,which i found beautiful and felt the need to share with all of you.

Wednesday, December 15, 2010

One-A-Day : Cast Your Vote!

Don't forget to cast your vote for your preferred logo design for the One-A-Day icon competition. Go here and make your choice.

One-a-Day: The Black Heart Gang

The Tale of How from Shy the Sun on Vimeo.

"Nine months of part time work gave birth to The Blackheart Gang’s acclaimed short film,The Tale of How. The Tale of How is the second part of a trilogy of works called The Dodo Trilogy. It is later to be flanked by The Tale of Then and The Tale of When. The Dodo Trilogy, in turn, fits into a much greater work called The Household. In The Tale of How we meet a giant octopus with a tree growing in his head, the terror of the Indian Ocean, OTTO THE MONSTER! His lonely pass-time is to devour the innocent dodo’s who lived on his head. We then see the dodos unite and with the help of a little white mouse, we see them escape the clutches of the terrible be-tentacled tyrant and sail off into the sunset on their mother the tree."

I did previously post this on my blog but I really wanted to share it with everyone, just in case someone hasn't seen it.  This was the first animation I saw that made me know for sure that animation was where I wanted to be.  I found it in a book from the library at UCA called 'Animation in Process'. I highly recommend it! 'The Tale of How' is a little grim but I just love the way it looks and I hope that others will too! Plus, it's set to a charmingly unsettling song : )

Awesome B movies

I was stumbling across the internet after hearing about Titanic II and found the people responsible for it (looks okay actually, but we all know how it ends). The company: The Asylum, they seem to knock out large numbers of B movie awesomeness.

One in particular is 'MEGA SHARK VS CROCOSAURUS' which looks amazingly funny, I cant embed the video but heres the page its on:

Tuesday, December 14, 2010


One of many amazing works from Gobelins university. It's a good example of what is posible to create during our third years. It is hard for me to post only one of those short animation, but I tried my best to find my most favorites and here it is.

I also highly recomend watching more animations from there for some inspiration and one of those could also be  Après la pluie (After the rain)  . You can find everything there: intriguing scenarios, absolutely different techniques, increadible creativity with unseen worlds.

One-A-Day: Fallen Art by Tomek Baginsky

Fallen Art is an animated short by self-tought former architecture student,  Tomek Baginski, polish director. His previous works include The Cathedral (2002) animated short posted previously.

Everything happens  in military base, where soldiers with minds or  no longer wanted by army are sent to be expended. There Sergent Al,  Photographer Dr. Friedriech and mentaly lost general A atempts to create wholy different art.

The highly stilised world of animation plays as yet another tool to tell the story : anomalous and grotesque style  reflects  the story being told. But at the same time its soft and rich  colour pallete and smoky  lighting adds to the appeal. As reviewer of World Wide Cinema Festival notices, it is like  director took two illustrators Dave McKean's and Bill Sienkiewicz's styles and brought a new one in this film.

Example of Dave McKean Illustration :

 Bill Sienkiewicz's :

But there would be many other aspects to discuss in the animation, for instanse character design, camera motion or the idea behind it.

life drawing or not today?? :/

I am not sure whether the life drawings lessons take place or not today. Chis mentioned the last life drawing lesson was the last one before xmas right?

One-A-Day Logo Competition Entries - Cast Your Vote Now!

Okay - so, in no particular order, the seven designs for our new One-A-Day Logo. Vote for your preferred design by leaving a comment - give the number of the logo and any constructive feedback - and no, you can't vote for your own design! You've got until 12pm on Friday 17th December to cast your vote. The winner will be announced soon afterwards.

Logo 1/Dan Bright

Logo 2/Jonathan Pearmain

Logo 3/Ryan Leitao

Logo 4/Ollie Fowls

Logo 5/Jordan Buckner

Logo 6/Jonny Stewart

Logo 7/Sam Hayes