Con A de animación - No 06 (2016): Especial motion graphics

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Tabla de contenidos



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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Recent Submissions

Now showing 1 - 5 of 19
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    Publication
    English information
    (Universitat Politècnica de València, 2016-05-16) Animación Arte e Industria, Grupo
    Datos en inglés de los artículos incluidos en este número de la Revista Con A de animación
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    Publication
    Why 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.
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    Secuencias 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
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    Redefiniendo 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.
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    Qué 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