Con A de animación - No 06 (2016): Especial motion graphics
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Editorial
- 20 años sin Saul Bass
Reseñas
- Gravity falls, títulos de crédito como carta de presentación
- Animación de guerrilla
- Carles Porta. 20 años de imagen gráfica del Animac
Reportajes
- Pablo Núñez. Los créditos de la imaginación
- Jamie Caliri: pasión por contar historias
Perfiles
- Cocoe. La conspiración gráfica
- DVEIN. El 3D que respira
Espacios expositivos
- La animación española en el escaparate internacional. Crónicas desde Stuttgart y Annecy
Producción
- Belli Ramírez, dirección de producción para proyectos de animación
Firma invitada
- Why not make it move?
- Secuencias de títulos de animación en series de ficción. Un paisaje general
Investigación
- Qué es Motion Graphics
- Animando los títulos cinematográficos: de los pioneros a Saul Bass
- Experiencias de videomapping en la animación contemporánea. Formas híbridas y nuevos contextos
- El armario de McLaren: expresión y ocultación del deseo homosexual en la filmografía de Norman McLaren, a través de la reinvención del cuerpo y el espacio
- Redefiniendo una escuela de animación
- El camino de la coproducción en el largometraje de animación vasco
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- Publication20 años sin Saul Bass(Universitat Politècnica de València, 2016-05-01) Herráiz Zornoza, Beatriz; Dpto. de Comunicación Audiovisual, Documentación e Historia del Arte; Dpto. de Dibujo; Escuela Politécnica Superior de Gandia; Grupo Animación de la Universitat Politècnica de ValènciaEn este 2016 se cumplirán 20 años sin la presencia de esta figura del diseño y la animación, al que podemos atribuir el mérito de haberse convertido en el padre de los títulos de crédito cinematográficos.
- PublicationRedefiniendo una escuela de animación(Universitat Politècnica de València, 2016-05-16) García Moreno, José[EN] The Animation Department at Loyola Mary-mount University (LMU) was founded in the 90’s based on the pedagogical idea of the auteur model that Dan McLaughlin used successfully at the University of California, Los Angeles (UCLA): one student, one film. In 2007, a cu-rricular innovation redefined its pedagogical approach. A new approach promoted critical thinking for purposes of development and con-ceptualization, promoted teamwork and diver-sity in student projects. An intense program based on the analytic virtues of observatio-nal drawing supported all of these. The chan-ge elevated the value of production but most importantly it unleashed an unexpected social and artistic dynamic change that affected the program as a whole. This school’s redefinition has contributed to educate several generations of artists tolerant to diversity and enthusiastic about collaboration.
- PublicationCarles Porta. 20 años de imagen gráfica del Animac(Universitat Politècnica de València, 2016-05-16) Álvarez Sarrat, Sara; Dpto. de Dibujo; Facultad de Bellas Artes; Grupo Animación de la Universitat Politècnica de València[EN] NIMAC celebrates its 20th anniversary, and from the beginning, Carles Porta signed the festival’s graphic image. From an interview with the author, we dive into in the evolution of the festival and the challenges it brought to his work. Carles Porta, author of the amazing posters and bumpers for the festival, talks about this project that has allowed him to reinvent himself at each edition.
- PublicationCocoe. La conspiración gráfica(Universitat Politècnica de València, 2016-05-16) Rodríguez, Sergio[EN] Cocoe is a studio formed by David Duprez and Gabriel Suchowolski, devoted to Motion Design for advertising and television. They have produced several bumpers for TV channels such as La Sexta or Boing, as well as commercials for Telefónica, Repsol, Ibercaja or Letras del Tesoro; they have even dared with animated graphics for the feature film Gabor (Sebastian Alfie, 2013). Their work focuses mainly on ani-mation, developing research processes for most of his pieces, that combine animation with pro-gramming language
- PublicationEnglish information(Universitat Politècnica de València, 2016-05-16) Animación Arte e Industria, GrupoDatos en inglés de los artículos incluidos en este número de la Revista Con A de animación
- PublicationWhy not make it move?(Universitat Politècnica de València, 2016-05-16) Sanz Melguizo, Julio[EN] The paper reviews the legacy of Saul Bass, seminal graphic artist in the history of commu-nication and indisputable responsible for incor-porating film design as relevant discipline, from its disappearance twenty years ago until today. Graphic visual language resources are analyzed and how they use have transcended graphics applied to media for print. It also emphasizes the contemporary design of title sequences of these two decades and how audiovisual lan-guages of today have taken contributions from Bass. In this latest revision we try to avoid the big names, entering certain works that help us think about the great master’s legacy lives on.
- PublicationJamie Caliri: pasión por contar historias(Universitat Politècnica de València, 2016-05-16) López Izquierdo, María Angeles; Dpto. de Dibujo; Facultad de Bellas Artes; Grupo Animación de la Universitat Politècnica de València[EN] Jamie Caliri’s work is known by its quality and warmth. He is a director best known for his opening credits and spots. He has won se-veral awards, including an International Emmy Award and three Annie Awards. The following text reviews his work, stressing its evolution and main features.
- PublicationQué es Motion Graphics(Universitat Politècnica de València, 2016-05-16) Alonso Valdivieso, Concepción[EN] What exactly are ‘Motion Graphics’? Many people still aren’t entirely sure. Taken literally they are just graphics in motion, but they also mean much more than that. Motion graphics use incredibly expressive techniques and as a result are often found in advertising, corporate videos, credit sequences, etc. They can translate a complex idea into a clear message with just a few seconds of animation.At the same time they have a very particular, simple and stylish aesthetic. But, if any anima-tion could match these characteristics, what is the difference between Motion Graphics and other types of animation? We will try to find the answer by looking through their evolution and the analysis of their main features
- PublicationDVEIN. El 3D que respira(Universitat Politècnica de València, 2016-05-16) Herráiz Zornoza, Beatriz; Dpto. de Comunicación Audiovisual, Documentación e Historia del Arte; Dpto. de Dibujo; Escuela Politécnica Superior de Gandia; Grupo Animación de la Universitat Politècnica de València[EN] DVEIN is a studio settled in Barcelona, which has created several opening credits for festivals, television branding, advertising and videoclips. In this interview, the group starts a journey through his professional career and tells the way they are currently working
- PublicationAnimación de guerrilla(Universitat Politècnica de València, 2016-05-16) Torrecillas, Mario[EN] Last October premiered in Spain El rey de la Habana, the latest film by Agustí Villaronga. Its opening credits were created by PDA (Pe-queños Dibujos Animados). Although the co-llective is mainly engaged with workshops for children worldwide, its leader Mario Torrecillas combines this task with other professional crea-tions. Throughout the following writing, Mario himself reveals how came the process of desig-ning and animating these opening credits
- PublicationGravity falls, títulos de crédito como carta de presentación(Universitat Politècnica de València, 2016-05-16) Delamorclaz Ruiz, Carolina[EN] This is a journey through the opening credits of Gravity Falls. In less than 40 seconds we get a rough idea about the story of the series, cha-racters and many references about American culture and folklore, its past and present. Alex Hirsch, strongly influenced in his childhood by shows like The X-Files or The Simpsons, delivers his particular approach to the essence of the Eighties; a work of mystery and comedy with a large dose of autobiographical elements.
- PublicationExperiencias de videomapping en la animación contemporánea. Formas híbridas y nuevos contextos(Universitat Politècnica de València, 2016-05-16) Furió Vita, Dolores; Dpto. de Escultura; Facultad de Bellas Artes; Grupo de Laboratorio de Luz[EN] What are the features of the expanded animation? How can the new techniques of videomapping contribute to contemporary animation? The displacement of animation from theaters to museums and galleries evidences the overflow into new media and territories. It opens a new way to relate traditional animation, installation, video and digital media. This article comes from moving image artists, experimenting from the early avant-garde and the precinema, such as optical devices and other early visual media, up to the digital era and the videomapping. The dematerialization of the artwork, the theatrical staging and new narratives, they call all together for a redefinition of contemporary videomapping animation techniques, from an interdisciplinary point of view, disciplinary and postdisciplinary.
- PublicationPablo Núñez. Los créditos de la imaginación(Universitat Politècnica de València, 2016-05-16) González Monaj, Raúl; Dpto. de Comunicación Audiovisual, Documentación e Historia del Arte; Escuela Politécnica Superior de Gandia; Grupo Animación de la Universitat Politècnica de València[EN] If you are someone who waits to read every feature film’s ending credits, if you are interes-ted in these more than in films themselves, you have probably seen a trademark repeted in each Spanish production from 70’s to nowadays. We refer to Pablo Nuñez/Storyfilm, the responsible company for wrapping and introducing with style the film and certifying each professional involved. But Pablo Núñez is not only respon-sible for typing nearly 2.400 feature films, but he is a true Renaissance man at the audiovisual field, able to invent professions and to imprint the most absolute modernity in everything he has done. Pablo welcomed us at his house to talk about a whole life devoted to cinema.
- PublicationBelli Ramírez, dirección de producción para proyectos de animación(Universitat Politècnica de València, 2016-05-16) Meneu Oset, Juan Ignacio; Dpto. de Dibujo; Facultad de Bellas Artes; Grupo Animación de la Universitat Politècnica de València[EN] Belli Ramírez is a Production Director, Pro-duction Consultant and a teacher. Her pro-fessional experience began in 1992 at D’Ocon Films, as a production assistant. Later, from 1994-1999, Belli worked at Neptuno Films as a Production Manager. The company produ-ced television series broadcasted worldwide. Her curiosity led her to join an internatio-nal production in Australia at Animal Logic studios. There she worked on the film Legend of the Guardians: The Owls of Ga’Hoole. (Zack Snyder, 2010). She has co created, with some partners, the animation studio Able & Baker where they are developing several projects. Belli is a restless entrepreneur who has wor-ked as a producer on very interesting projects. We value her opinion as a production expert on planning and organizing animated films. Also, her role as a teacher and lecturer provi-des a view on what the new generations who want a career in animation are demanding.
- PublicationLa animación española en el escaparate internacional. Crónicas desde Stuttgart y Annecy(Universitat Politècnica de València, 2016-05-16) Álvarez Sarrat, Sara; Herráiz Zornoza, Beatriz; Navarro Álvarez, Adriana; Dpto. de Comunicación Audiovisual, Documentación e Historia del Arte; Dpto. de Dibujo; Facultad de Bellas Artes; Escuela Politécnica Superior de Gandia; Grupo Animación de la Universitat Politècnica de València[EN] The Spanish animation has had an exceptio-nal showcase in 2015: for the first time two of the biggest International animation festivals, the Trickfilm Festival Stuttgart, (Germany)and the veteran Festival International du Film d’Animation in Annecy (France), agreed to invite Spain for showing its production in ani-mation. Adriana Navarro, Sara Álvarez and Beatriz Herraiz and tell us the highlights from both festivals
- PublicationEl armario de McLaren: expresión y ocultación del deseo homosexual en la filmografía de Norman McLaren, a través de la reinvención del cuerpo y el espacio(Universitat Politècnica de València, 2016-05-16) Martí López, Emilio[EN] Norman McLaren’s homosexuality has not been taken into account in readings of his work, which is often characterized as abstract and highlighted for its technical value. We propose to bring his sexual orientation to the foreground, outing his work from the episthe-mological closet where it remains cornered. We will use the surreal Love on the Wing as an entry to that hidden and codified in order to thus interpret the birds that appear in his films as representations of the author’s homosexual desire, as well as all the flying and mutating ele-ments, which participate in a dialogue among his surreal, abstract, and even realist works. We shall see how after the censorship of Love on the Wing, McLaren could have wanted to make this sexual code more difficult to read and how this tension and ambivalence created a fluid, frag-mented, very queer body and space as far as the meaning that the new phenomenologies and theories of space and body are giving us. McLaren’s intention was gradually to make the corridor disappear, so that the viewer’s initial imprisonment would give way to the freedom of the infinity of space. McLaren once said his fascination with space came from being accidentally locked in a cupboard when he was about 7 years old.
- PublicationAnimando los títulos cinematográficos: de los pioneros a Saul Bass(Universitat Politècnica de València, 2016-05-16) Blancas Álvarez, Sara[EN] The emergence of Saul Bass in the design of title sequences in 1954 (Carmen Jones, Otto Preminger), and his dedication to this field un-til 1995 (Casino, Martin Scorsese), represented a period of experimentation and continuous change in motion graphics. During this period Bass designed the title sequences for fifty-three films, which allowed him to explore the various expressive possibilities the film medium offered him: live action images and animation, abstract and figurative images, static and moving text. However, his proposals always followed his “simple idea” concept. This paper first offers a journey from the origins of film industry, iden-tifying the use of animation title sequences, and then focuses on the contributions made by Saul Bass in the use of animation
- PublicationSecuencias de títulos de animación en series de ficción. Un paisaje general(Universitat Politècnica de València, 2016-05-16) Solana, Gemma; Boneu, Antonio[EN] Gemma Solana and Antonio Boneu are the authors of Uncredited, Diseño Gráfico y Títu-los de Crédito, the first book on film credits in Spain. If in such publication they display the film history credits, in this text they proceed the same way with fiction and animation se-ries, covering some of the major milestones in the history of this genre
- PublicationEl camino de la coproducción en el largometraje de animación vasco(Universitat Politècnica de València, 2016-05-16) Junguitu Dronda, Maitane[EN] The Animation of the Basque Autonomous Country, although it has not been recognized neither by the Academia or by the industrial environment, is one of the biggest cinematogra-phic exponent of the territory. With 40 features films released between 1985 and 2014, the co-llaborations of the film production companies have been increasing. During the first decade, there were only examples of totally Basque productions. After the second decade, the co-productions between Basque and Spanish en-terprises have grown, and in the last years we also found international co-productions.As the varieties of co-productions raised, the plots of some films still showed a local setting with stories about universal values. At the same time, we found some films that get close to the terror genre. In the last decade, there has been also time to experiment with animation tech-niques. We found examples of films made by Flash and stop-motion techniques. All these considerations are exposed in the following pa-per, in which the type of production, plots and techniques join to identify the main tendencies of the industry in the last decade.