#Film Work of Norman McLaren

[ducktracy]

Hi Eliza! How are you??

I was wondering, do you like any cartoons or animated series/films of other countrys?

I mean, usually the cartoons of other places that aren't USA or Japan are not very popular and the people look over them (like, its not in a bad mood or echando el sermón, im the first one that barely liked the animation that wasnt from ther)

Its just curiosity about it

HI ANDY!!! i'm well, thank you!! unwinding after a long day of cartooning and gonna see if i can chip at my review of The Daffy Duckaroo this evening! i hope you've been doing well!

AND WHAT AN EXCELLENT QUESTION! i wish i had a more interesting answer :') my exposure to international animation beyond the US and Japan is pretty limited, admittedly--i need more time in the day to watch cartoons!

i have been growing my exposure to European cartoons, though! i was just gushing about Professor Balthazar with my supervisor recently, i LOOOOVE it!! i've been needing to get into more of Zagreb's films (which are Croatian), but even just the intro alone is so happy and spirited and fun, and the cartoons themselves are incredibly quaint and charming! i need to commit to a full watch! linking for the intro here, but there's a full cartoon (yay!)

another very neat Zagreb film i was exposed to earlier this year was Cowboy Jimmy! the designs and stylization is SO striking! again, incredibly charming cartoon and pretty much everything about it is just gorgeous. i'm due for a rewatch, but i had a blast watching this!

some friends introduced me to Yuri Norstein's work a few months ago; Hedgehog in the Fog is GORGEOUS, and i LOOOOVED Fox & Rabbit! the multimedia and how textural and, again, CHARMING everything is just completely floored me. i love how much they look like children's books come to life

continuing on the Russian animation train: The Cybernetic Grandma!! my GOD what a film! it's beautiful and haunting and solemn and heartwarming all at the same time, it left a major impression on me watching it a few months ago. and my stop-motion/puppetry loving heart loves it!! it's a heavy watch, but a damn good one

i'm due to rewatch this one, as i haven't seen it since i discovered it on Twitter of all places back in 2018-2019?? but Meteor on the Ring has always stuck out to me (so much so that i included a clip of it in my 75 influences in 75 seconds video!) again, just OOZES charm--i love the bit of them all marching to the store and in the park! the character designs are extremely appealing... gosh i might have to watch this one after i finish this ask haha, i'm skimming through it now and UUUUGH! so beautiful!

and yet ANOTHER Soviet era cartoon, Myszka Kotek: i actually had a clip i took of this back in NOVEMBER i'd been meaning to post, but never did! i think it was introduced to me as "Soviet Tom and Jerry", the abstract, UPA-adjacent design is just... MWAH! chef's kiss all the way, there's a lot of beautiful distortion in the animation here and general creativity! it's lovely

i'm also a casual fan of Cartoon Saloon's works! i enjoyed Wolfwalkers when it came out, and Song of the Sea--i have yet to see their other stuff, but it's really lovely. likewise within the UK, i LOVE Count Duckula, so consider me a Cosgrove Hall fan! i haven't seen any Danger Mouse yet, but the clips i've seen posted from friends have made me laugh

...that's sadly about it! very Euro-centric, which i'd love to change...

oh my gosh wait actually, i was just reminded of Norman McLaren's work! i love his stuff! he's Canadian--when i visited the Academy Museum back in April, they had a small little exhibit dedicated to his work, which made me happy; iirc he drew/painted right on the film strip! so vibrant and fun

not animation, but his film Neighbors was how i was introduced to his work, which i'm also a big fan of. love the movement style and electronic music, the whimsy and also morbidity of it all

okay, NOOOW i think that's it HAHA! very Euro-centric, i'd love to broaden my horizons and animated geography, but here's a quick list of some favorites if you're looking for them! i agree that there's so so so much beautiful animation from all over the world that gets swept all too quickly under the rug (and, i mean, i could sure do a better job of boosting it myself). so much to take inspiration from, and from all eras and walks of life! international animation is often a great antidote to the doom and gloom that can come up in animation circles and lamenting the state of the modern (US, though the US certainly isn't the only country that has issues with its industry) animation industry... it's a little too easy to get swept up into thinking that the only type of animation that exists is, as you said, either from the US or Japan... and that's so not true! so i'd love to expand my depth of animation more internationally for that reason. there's so much to talk about and so much to love!!

thanks as always for the ask and giving me a chance to share the animated love!!

[k00318579]

13/03/25

First day of Animation

On Thursday, we had our first day in the animation discipline, and I was both excited and worried at the same time. We received our briefs for the upcoming weeks, the first project was Pixilation. We were randomly divided into groups, I was assigned to a group of four people instead of five, additionally, one person was absent that day, leaving only three of us to work together.

We watched a few examples of pixilation, my favourite was "Neighbours" by Norman McLaren. The film has funny, even slightly silly visuals, but it effectively conveys a story about war. I also loved its audio design. After viewing the films, we were asked to brainstorm our own ideas and create storyboards.

Ríon, Katie, and I came up with multiple ideas but ultimately chose the simplest one because we were unsure if we would have enough time to shoot everything on Tuesday. Looking back, it might have been a mistake to oversimplify so early, as it’s often easier to simplify or cut down certain parts than to create something entirely new during the process. 

Our story is as I said earlier simple: it features a person who becomes super energetic after taking a drink in the canteen. The camera follows them down the school hallway and culminates with them flying around a tree and then dropping dead :D

We all created our storyboards based on this idea, but they all turned out to be similar, which probably proves my thought that we oversimplified it.

[irisfilmcollective]

IRIS FILM COLLECTIVE are excited to be teaming up with XINEMA to present a two-part LIVE AND EXPANDED series!

PROGRAM ONE:

NIGHT VISIONS Thursday, January 23, 8pm KW Studios (111 W Hastings St.)

XINEMA and Iris Film Collective present NIGHT VISIONS, a screening of 16mm experimental films and expanded cinema performances by BC-based artists Sidney Gordon, Dave Johnson, Zoe Kirk-Gushowaty,Terra Long, Alex Mackenzie, Lindsay McIntyre, Nisha Platzer, and Amanda Thomson—live scored by Seattle, WA based cellist Lori Goldston.

As the earth cracks, the sun trembles; the night unfolds in splintered shadow. Sound becomes sight, fractured into luminous fragments. 

In these eight works, light carves fleeting patterns and quivering colours that emerge in synaesthetic rhythm. Through this transformation, this program offers intimate reflections on pain, growth, and reproduction, framed by altered nocturnal perception.

TICKETS AND MORE INFO

Program 2:

ROGER BEEBE IN PERSON: FILMS FOR ONE TO EIGHT PROJECTORS Sunday, January 26, 7pm Integrated Motion Studio, Emily Carr University (520 E 1st Ave, Enter through Great Northern Way entrance)

We are thrilled to host ROGER BEEBE, back in Vancouver for the first time in a decade, with a program of 16mm multi-projector performances celebrating the 25th anniversary of his first touring program.

The evening features several newer works including un arbre (2024, 4 x 16mm + video), Lineage (for Norman McLaren) (2019, 4 x 16mm), Home Means Never Having to Say You’re Sorry (2021, 4 x 16mm), alongside the seven-projector show-stopping Last Light of a Dying Star (2008/2011) and more!

“Beebe’s films are both erudite and punk, lo-fi yet high-brow shorts that wrestle with a disfigured, contemporary American landscape.” —Wyatt Williams, Creative Loafing

BIO: Roger Beebe is a filmmaker whose work since 2006 consists primarily of multiple-projector performances and essayistic videos that explore the world of found images and the "found" landscapes of late capitalism. He has screened his films around the globe at such unlikely venues as the CBS Jumbotron in Times Square and McMurdo Station in Antarctica as well as more likely ones including the Sundance Film Festival and the Museum of Modern Art with solo shows at Anthology Film Archives, The Laboratorio Arte Alameda in Mexico City, and Los Angeles Filmforum among many other venues. Beebe is also a film programmer: he ran Flicker, a festival of small-gauge film in Chapel Hill, NC, from 1997-2000 and was the founder and Artistic Director of FLEX, the Florida Experimental Film Festival from 2004-2014. He is currently a Professor in the Departments of Art and Theatre, Film, and Media Arts at the Ohio State University.

TICKETS AND MORE INFO: https://www.eventbrite.com/e/roger-beebe-in-person-films-for-one-to-eight-projectors-tickets-1136817605059

[the-second-soshening]

stuff soshi thinks you should watch no. 56: "le ravissement de frank n. stein" (georges schwizgebel, 1982)

monsieur stein noclips out of reality

to close out a week of 20th-century animation, i thought i'd talk about this film i saw a couple days ago. this one's by an independent swiss animator named georges schwizgebel!

schwizgebel, born in 1944, creates a lot of "animated paintings" with an emphasis on music. he's still alive today, actually, so in the very, very, very slim off-chance he's reading this...hello!

schwizgebel cites animators like norman mclaren and—get this—yoji kuri as influences! if you remember my post on la salla from a couple days ago, norman mclaren worked with the nfb, which hosts one of schwizgebel's films, "romance." it's all coming together now!

a lot of schwizgebel's films, like this one, have a swirly, recursive nature to them. (that's the technical term to it by the way.) they're very mesmerizing to watch, so i thought i'd talk about that using this film.

"le ravissement de frank n. stein," or "the rapture of frank n. stein," is about frankenstein's monster walking through a series of rooms to find his bride. it hooked me with its visuals and...music? so let's take a little look at how it all works!

at the beginning of the film, a lot of the rooms look identical, and a lot of what happens in them is the same: just walking through it in a straight line. as a result, it's really easy to lose track of time. it's almost hypnotic, in a way.

even when schwizgebel starts adding and changing little objects in the room, they don't have a lot of detail. maybe you glance at it for a brief moment, but the door is still the focal point. its unchanging position in the middle of the composition, its dark color, and its distance from the rest of the objects help redirect attention to it.

what adds to a lot of the atmosphere is how schwizgebel plays with this film's form. this film begins and ends in paint, but the rest of it is in ink. (or something of the sort, anyway.)

but at one point, schwizgebel actually deconstructs the composition into a sketch...

...and at the end of the film, schwizgebel has a shot of frankenstein's monster on a screen in an empty theater, rendered on a strip of film. these two shots are such strange meta references to the fact that it is animated, and it is cinema, and personally, that just adds to the bizarre nature of this film.

of course, what also adds to it is the music. "le ravissement de frank n. stein" has a lot of droning, looping music, which only adds to how easy it is to lose track of time watching this. i believe the shepard's tone is used at the beginning of the film, which really adds to how infinite it feels.

overall, i'd say "le ravissement de frank n. stein" was a nice way to close out this week of some older—and often more experimental—animation. next week i'll go back to some more modern animations, but i do want to make an effort to show older animations more often.

animation has a really rich history, and i wouldn't be doing it justice by just talking about more recent stuff. ideally, i hope to show at least one older animation per week.

so i'll see you next week, hopefully with something old, something new, lots of ramblings just for you!

[pinipa-mga2024mi5016]

work shop

with Mehr Chatterjee and Aditya Dutta :)

Brief history of animation

Shadow puppet - china - long long ago

came out 2000+ years ago from china

has chinese culture and music

has used joints fron sticks kinda materials

Magic lantern - 1650's (predates photography )

painting on glass

and used a lantern

used projectors in theaters

Zeotrope / phenaskidtiscope - 1832/ 1834

creating illusion and motion

the horse in motion in 1878

Lotte Reigner - adventure of prince achmed 1926

first animated feature film

Lotte Reigner - Multiplane camera

Walt disney multiplane camaera

Len Lye - A color Box 1935

Evelyn Lamber & Norman MCLaren - Begone dull care 1949

Saul Bass - it's a mad mad world 1963

Yuri Nordtein - Hedghog in the fog 1975

Milt Khal 1960/ 1970

lady tramp

winnie the pooh

101 dalmetions

Edwin Catmull & Fred parke - A computer animated hand 1972

they have made a real hand

first 3D animated film

ALexandra Petrov 1999

oil paint on glass

old man and the sea

World first full painted feature film - loving vincent (vincent van gough)

Paul Bush - Furnitue poetry 1999

Pete Docter - Next Docter 1990

CURRENT ANIMATION

Multiple artists - Wjen I was done dying

DIA Studio - typography in motion

[creativesplashpune]

The Rise of Experimental Animation: Breaking Traditional Boundaries

Introduction

Animation has come a long way — from the hand-drawn magic of early Disney classics to today’s hyper-real CGI spectacles. But a new creative wave is emerging, and it’s challenging everything we thought we knew about animation. Say hello to experimental animation — where imagination runs wild and boundaries are meant to be broken.

So, what is experimental animation, and why is it reshaping the creative landscape? In this blog, we’ll explore how unconventional animation is disrupting the industry, dive into new types of animation styles, and reveal how these modern animation techniques are pushing storytelling into uncharted territory.

Whether you’re curious about creative animation ideas for YouTube, searching for modern alternatives to traditional animation, or ready to experiment yourself, this guide is your starting point.

What Is Experimental Animation?

Experimental animation is defined not by its tools, but by its mindset. It defies convention, prioritizes emotion over narrative, and explores motion as art — not just entertainment.

Unlike traditional animation, which follows a script and structure, experimental works are often abstract, non-linear, and emotionally driven. They invite interpretation, question form, and reject the idea that animation must follow a beginning, middle, and end.

A Quick History

The roots of this bold art form go back to the 1920s. Pioneers like Oskar Fischinger and Len Lye created abstract, music-synced animations. Norman McLaren scratched designs directly onto film, while Jan Švankmajer introduced eerie surrealism through stop motion.

Today, with creative software and platforms like YouTube and Vimeo, experimental animators are thriving — unfiltered and unrestrained.

Why Experimental Animation Is Thriving Today

So why is experimental animation gaining traction now?

Fresh Storytelling

Audiences want more than predictable plots — they want experiences. Experimental animation delivers visuals that evoke curiosity, awe, and emotional intensity. This marks a major shift in the evolution of animation storytelling.

Creative Independence

Independent artists aren’t tied to studio expectations. They can explore personal, political, or abstract themes without compromise — turning animation into a raw form of self-expression.

Accessible Platforms

Platforms like Behance, TikTok, and Instagram have made unconventional animation styles more visible than ever. These bite-sized, visually striking animations are perfect for capturing attention in a scroll-heavy world.

Types of Experimental Animation Styles

Let’s break down some of the most exciting types of animation styles dominating the experimental scene today.

Stop Motion with a Twist

Forget clay. Think sand, broken glass, leaves, or even discarded electronics. These tactile materials bring gritty texture and an organic feel to every frame.

Rotoscoping Reimagined

Once used to trace real-life motion, rotoscoping now gets twisted — morphing human movements into surreal visuals that bend time and space.

Generative & Code-Based Animation

Using tools like TouchDesigner and Processing, animators write code that responds to audio, data, or user interaction — resulting in ever-evolving digital art.

Abstract Motion Design

No story. No characters. Just emotion, rhythm, and pure movement — crafted with shape, color, and sound to create hypnotic visual poetry.

Mixed Media Experiments

Picture hand-drawn textures layered over 3D models, combined with AI-generated elements and live footage. The result? A sensory explosion that defies categorization.

These modern animation techniques unlock limitless creative potential and deliver visuals that surprise, challenge, and inspire.

How Experimental Animation Is Shaping the Industry

This isn’t just a creative trend — it’s an industry shift.

Short Films & Festivals

Animation festivals like Annecy, Ottawa, and Animafest Zagreb now highlight experimental work as a category of its own. It’s where fresh voices debut and bold ideas thrive.

Music & Visual Albums

Experimental animation is the go-to style for musicians who want to break visual norms. Artists like Flying Lotus, Radiohead, and FKA Twigs use it to elevate their sound with mesmerizing visuals.

Ads with an Edge

Brands looking to stand out are ditching glossy perfection for gritty, eye-catching unconventional animation that captures emotion and authenticity.

Social Media & YouTube

Scroll-stopping animation is everywhere — from micro-loops on TikTok to short films on YouTube. Creators are building cult followings through animated experiments that break format and genre.

Beyond 2D and 3D: New Animation Frontiers

Today’s artists are pushing beyond the boundaries of traditional 2D and 3D animation — into virtual, generative, and immersive experiences.

Virtual & Augmented Reality (VR/AR)

Imagine stepping inside an animation. With VR, you don’t just watch — you experience. AR overlays animations onto the real world, creating interactive storytelling like never before.

AI-Assisted Animation

Tools like Runway ML and Kaiber are revolutionizing workflows. Creators can now generate animations from text prompts, manipulate footage with AI, and blend styles with stunning speed.

Projection Mapping

Experimental artists project animations onto buildings, sculptures, and other physical surfaces — turning public spaces into immersive storytelling canvases.

This is the future of animation: beyond flat screens, beyond formats — into spaces where animation styles beyond 2D and 3D fully come alive.

Best Examples of Experimental Animation to Explore

Want to dive deeper? Here are some iconic works and creators redefining what animation can be:

“ Dimensions of Dialogue ” by Jan Švankmajer �� a disturbing yet brilliant stop-motion classic.

“ World of Tomorrow ” by Don Hertzfeldt – minimal design, maximum emotion.

“ Ugly” by Nikita Diakur – chaotic, rule-breaking 3D absurdity.

“The External World ” by David OReilly – part satire, part nightmare, all genius.

Online creators like Eliott Ereckson, Kris Merc, and Andymation also post stunning experimental work regularly. Their bold ideas offer some of the best examples of experimental animation today.

How to Create Your Own Experimental Animation

Ready to make your own mark? Here’s how to get started.

Tools for Creators

Procreate – draw frame-by-frame on your iPad.

Blender – powerful and free for 3D and experimental work.

RoughAnimator – perfect for raw hand-drawn animations.

TouchDesigner – for generative visuals and live interaction.

Runway ML – AI-enhanced creativity at your fingertips.

Creative Jumpstarts

Animate using only circles and squares — no characters.

Use ambient sounds or spoken words to shape motion.

Combine found objects, paper, and digital textures.

Animate a memory, but distort the details.

Pro Tips

Focus on emotion, not perfection.

Play with timing — make pauses as powerful as action.

Let mistakes guide the process — they often lead to breakthroughs.

If you’re wondering how to create an experimental animation, start here, and let your curiosity lead the way.

The Future Is Experimental

We’re at a turning point. The tools have changed, but more importantly, the mindset has changed.

Animation is no longer about following rules — it’s about creating your own. As AI, VR, AR, and new platforms evolve, so do the ways we tell stories. And experimental animation is leading that evolution.

It’s bold. It’s emotional. It’s you, unfiltered.

Conclusion: Break the Mold. Animate Differently.

If traditional animation feels too clean, too expected, or too polished, it’s time to break the mold. Experimental animation offers the freedom to explore, express, and invent — no permission needed.

At Creative Splash, we celebrate brave ideas. We build animations that go beyond trends — telling stories through raw texture, surreal visuals, and motion that moves people.

Let's Animate the Unthinkable

Got an idea that doesn’t fit the norm? We’re here for it. Get in touch with Creative Splash — let’s turn your boldest vision into a visual experience the world has never seen.

[brocoffeeengineer]

Can Animation Be Abstract? Exploring a Visual Language Beyond Story

Animation has long been seen as a tool for storytelling—one that often mirrors reality or creates imagined worlds grounded in logical coherence. From the early days of Disney’s meticulously drawn characters to Pixar’s emotionally resonant digital landscapes, animation has traditionally leaned toward realism or structured fantasy. But there’s a powerful, growing movement that is pushing the medium far beyond its expected limits: abstract animation.

This style defies conventional storytelling, prioritizing emotion, rhythm, and visual experimentation over narrative logic. It’s not about what things look like, but what they feel like. And in a world increasingly saturated with literal content, abstract animation offers a breath of fresh air—an invitation to interpret, imagine, and feel without being told exactly what to think.

The Origins of Abstract Animation

Abstract animation isn’t a new concept—it dates back to the early 20th century. Artists like Oskar Fischinger and Norman McLaren pioneered the form using hand-drawn shapes, motion, and color to evoke moods rather than depict recognizable figures or stories. Fischinger’s “Motion Painting No. 1” (1947), for instance, used oil paints on glass to create a hypnotic, rhythmic visual symphony that still inspires today’s experimental animators.

These works weren’t just artistic indulgences; they were efforts to redefine what animation could be. Without characters or dialogue, these creators used movement, sound, and color as their narrative tools—an approach that remains foundational to abstract animation today.

Why Abstract Animation Matters Today

In today’s content-rich ecosystem, audiences are bombarded with visual media that often follows familiar patterns. Abstract animation cuts through that noise. It challenges viewers to slow down and interpret what they’re seeing based on their own perception and emotion. This makes it especially relevant in:

Art Installations: Abstract loops are now staples at museums, festivals, and projection mapping events.

Music Videos: Artists like Amon Tobin and Flying Lotus often collaborate with abstract animators to create emotionally immersive visuals.

Branding & Design: Abstract animation is being used in UI/UX transitions and brand identities to evoke emotion without relying on overt messaging.

It’s not only an aesthetic movement—it’s a cultural one.

Digital Tools Fueling the Movement

The accessibility of modern animation tools has played a major role in the growth of abstract animation. Software like Adobe After Effects, Blender, and TouchDesigner lets artists create complex motion patterns with relatively minimal resources. Meanwhile, real-time rendering engines like Unreal and Unity are allowing creators to experiment live with visuals that evolve with music or user interaction.

With tools democratizing the process, more artists are blending code, design, and motion into abstract visual art. The rise of generative animation, where visuals are created or modified using algorithms, is a prime example. These innovations are not only making animation more abstract—they’re also making it more reactive, personalized, and multi-sensory.

Abstract in 2D vs. 3D Animation

Abstract principles manifest differently across dimensions:

2D Abstract Animation: Leans on shape morphing, rhythm, repetition, and flat textures. Think of the loopy, musical animations by artists on platforms like Vimeo or in experimental shorts at film festivals.

3D Abstract Animation: Uses lighting, particles, soft-body physics, and surreal environments to induce awe or introspection. These animations often have a dreamlike, otherworldly quality.

Both forms have distinct emotional tones—2D often feels more intimate and whimsical, while 3D tends to be immersive and futuristic.

Recent Shifts: NFTs and AI in Abstract Animation

The past few years have seen two technological game-changers impacting abstract animation: NFTs and AI.

NFTs (Non-Fungible Tokens) have empowered digital artists to monetize abstract animations in new ways. Artists like Pak and Refik Anadol have sold generative or data-based animations for millions, turning abstract visual motion into valued collectible assets. While the NFT boom has calmed, its influence on the creative economy remains.

AI-Assisted Abstract Animation: Tools like Runway ML, Kaiber, and Adobe’s Firefly are enabling animators to experiment with generative visuals that change with prompts, sounds, or even biofeedback. Abstract visuals are now more intuitive to create, blending the artist’s intent with machine interpretation. This intersection of AI and animation has helped birth a new wave of abstract digital artworks showcased in events like SXSW and Ars Electronica.

Abstract Animation in Education and Training

As abstract animation becomes more prominent, it’s also entering education spaces. Art schools and animation programs are starting to include modules on non-linear storytelling, visual music, and generative design.

In India, particularly in Bengaluru—an emerging hub for digital arts—this trend is taking hold. With the city’s vibrant mix of tech innovation and creative industries, students and professionals are embracing experimental animation as a career pathway. New-age curricula often integrate visual psychology, motion design, and interaction-driven animation, reflecting the shift toward abstract thought in digital art.

One such development is the growth in demand for programs like an Animation course in Bengaluru, where learners aren't just taught how to animate characters but how to evoke emotion, create rhythm, and innovate with form.

How Viewers Are Responding

Interestingly, abstract animation doesn’t alienate audiences as much as one might assume. In fact, the viewer response is often more intense—people report feeling meditative, challenged, or deeply moved even when they can’t "explain" what they saw. That’s the magic of abstract: it appeals to our subconscious and asks for interpretation, not answers.

On platforms like TikTok and Instagram Reels, abstract animations often go viral for their calming, hypnotic quality. Looped morphing shapes, color pulsations synced with ambient music—these are formats that users replay repeatedly, finding solace in the lack of narrative. That emotional connection, rooted in pure sensation, is incredibly powerful in today’s overstimulated digital environment.

The Future: From Experimental to Mainstream

Abstract animation is no longer fringe. It’s entering pop culture, design, therapy, and even scientific visualization. The emotional ambiguity it offers makes it versatile, from immersive installations to background loops in therapy sessions.

Looking forward, we may see it more in:

AR/VR environments: Creating emotionally reactive virtual spaces.

Mindfulness apps: Offering calming, interpretative visual content.

Interactive music and performance: Where visuals react to live input from musicians or dancers.

And as education, tools, and platforms continue to evolve, this boundary-pushing form is likely to get even more experimental.

Conclusion

Abstract animation is not just “possible”—it’s thriving. It proves that animation isn’t limited to cartoons or cinematic realism. It can be poetic, chaotic, serene, or surreal. It can express things language cannot. As interest in the form continues to grow, especially in digital-forward cities like Bengaluru, learners are seeking focused programs that encourage this kind of exploration. For aspiring animators looking to master the emotive language of motion, a 2D animation course Bengaluru could be a fitting starting point to dive into this limitless art form.

By stepping beyond realism, animation is not losing meaning—it’s finding new ways to connect, feel, and provoke thought. Abstract is not the absence of story; it’s the liberation from it.

[k00318652]

Artist Research - Norman McLaren

It was recommended to me by a tutor that I look at animator, director, and producer Norman McLaren for inspiration despite doing the painting elective this week. I was particularly drawn to his short film Pas de deux because it features dancing which fits my movement idea perfectly. I love his use of strong shadows and highlights in this piece and want to incorporate something similar into my work. The limited tones in this piece reminds me of the life painting session from yesterday which further convinced me to look to Norman McLarens work for inspiration this week during the painting elective.

[sayaka-mga2024mi5017]

Introduction to History of Animation

I forgot to include Mika's classes but I've included them in here now at least (better late than never i guess)

Our first class with Mika took place, and we were introduced to a brief introduction of the history of VFX. We had been shown several clips from two specific artists Norman McLaren and Ray Harryhausen, both who are two notable figures and have contributed immensely to the animation industry. 

The first few clips we had watched were works from Norman McLaren. The works were experimental and abstract to say the least and I would say really broadened the scope of film and animation within the industry. 

This short animation utilized stop motion along with live action. Despite it being highly comedic due to its absurd and over-exaggerated theatrics it did communicate certain themes such as conflict and war. The destruction of conflict can definitely ruin the peace and the desired object in the midst of the destruction. 

This work acted almost as a synthesia between sound and visual elements where colour highlighted certain notes within the melodic piece and made it more engaging for the audience to ‘see’ music and ‘hear’ colour

We were then introduced to the next animator’s work, Ray Harryhausen. We were mainly focusing on his fantasy works which centered around the use of his stop motion models and how it was utilized as VFX in these live action films. 

We were shown two of his works ‘Jason and the Argonauts’ and ‘King Kong’ both of which displayed fantastic characterization of the models and are considered incredibly impressive especially for its time. 

[fmp2oelanorlamb]

Pas a deux

Norman Mclaren was a film director who's work achieves the same effect of Etienne Marey's work, only this time with film.

Understanding the stages to motion allows film makers and animators to properly understand movement in relation to their characters, and helps them to achieve motion without it feeling uncanny or janky.

[ayodya-mga2024mi5017]

Research

Norman McLaren

Norman McLaren was a Scottish-Canadian animator and filmmaker who transformed the landscape of animation through his innovative techniques and avant-garde style. Renowned for his pioneering non-traditional methods, McLaren frequently circumvented standard animation practices by working directly on film stock. His creations represent a harmonious fusion of artistic expression and technical skill, captivating audiences both visually and intellectually.

Key Contributions:

Direct Animation Techniques: A defining characteristic of McLaren's work was his technique of painting, scratching, or etching directly onto film. This approach eliminated the necessity for a camera, enabling him to produce abstract and rhythmic visual compositions. One of his most celebrated pieces, Begone Dull Care (1949), exemplifies this method, merging vivid colors with the lively tempo of jazz music.

Political Messaging: His 1952 Oscar-winning short, Neighbours, employed the stop-motion technique known as “pixillation,” animating live actors in a humorous yet impactful narrative about the absurdity of conflict. This work served as a powerful anti-war statement, intertwining artistic expression with social commentary.

Ray Harryhausen

Ray Harryhausen was a pioneering American animator and visual effects artist renowned for his innovative application of stop-motion animation. His contributions to the field brought to life a myriad of mythical beings and enchanting realms, captivating audiences and significantly influencing the development of cinematic special effects.

Key Contributions:

Dynamation: Harryhausen developed a distinctive technique known as "Dynamation," which seamlessly combined stop-motion animated figures with live-action scenes. This groundbreaking method created the perception that animated entities interacted fluidly with live actors, marking a significant advancement in the industry.

Iconic Films and Creations:

The 7th Voyage of Sinbad (1958): This film showcased Harryhausen's exceptional artistry, featuring memorable creatures such as the Cyclops and a dragon that breathed fire. Jason and the Argonauts (1963): Renowned for its iconic skeleton battle, this sequence is celebrated as one of the most remarkable moments in the history of stop-motion animation.

Influence on Cinema: Harryhausen's precise craftsmanship and inventive creature designs established a high standard for special effects in the genres of fantasy and adventure. His work has inspired numerous filmmakers, including Steven Spielberg, George Lucas, and Peter Jackson, all of whom acknowledge his profound impact on their creative endeavors.

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Mika's assignment 2 - Create a visual depiction of Norman's and Harry Hausen's work

15/01/2025 (Reposted on 16/01/2025)

Hi everyone. I'm back with an update on my work for assignment 2. I couldn't add any blog posts yesterday since I was busy trying to complete the remaining assignments last minute. Usually, I try my best to get the assignment done early on without leaving much for last minute, but my creativity only hit me yesterday to complete all the assignments lol.

Anyways, I finally completed the work and I'm ready to explain my step-by-step process into making this collage!

Step 1 :- Picture printouts

To be honest, before I could get started on any research for McLaren and Harryhausen, I decided to get some quick printouts of pictures that I would need to create this collage traditionally/manually. Instead of taking the digital route to create this collage, I wanted to spend some time choosing textured paper, use paints and color pencils to create this collage manually.

Step 2 :- Designs/Patterns/stickers for the collage

On a side note, after conducting research for McLaren, I decided to use some 'Spa Ceylon' patterns to decorate his side of the collage since most of his animations are abstract and colorful. (Plus, my mom had too many Spa Ceylon bags stashed away in her cupboard anyway. It was the perfect opportunity to use some of them for the collage design.)

Step 3: - Designing the backgrounds for both animators

I only had 2 types of textured paper to work with. One was a dark green paper with a rough texture and the other was a glossy thin purple paper.

I decided to allocate the green paper for Ray Harryhausen since he had to add in various textures to complete the look of his monsters. It only sounds fitting to add in that paper to Harryhausen's side of the collage.

For McLaren, It was ideal to add in the purple paper for his background since most of the opening credits of his animations are shown on a purple background. For example,

Here is the look of the collage background before adding in the stickers, information, pictures, etc.

Step 4: - Adding the information, stickers, pictures, doodles for the collage.

As mentioned in my previous post, the information added in this collage is from the short notes I've written down after conducting research. I've mainly added information about the techniques used by both filmmakers, their achievements, and popular films/animations.

Down below are pictures of the individual collage designs for McLaren and Harryhausen.

Final collage design!

Overall, I'm quite happy with the final look of the collage. I think it looks quite aesthetic and contains short and sweet information/key terms relevant to both animators.

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NORMAN MCLAREN: RESEARCH

Norman McLaren (1914-1987) was a Scottish-Canadian animator and filmmaker renowned for his revolutionary animation techniques.

He was born in Stirling, Scotland, and attended Glasgow School of Art, where he started experimenting with abstract video and hand-drawn sound.

McLaren joined the National Film Board of Canada (NFB) in 1941, where he produced seminal films such as Neighbours (1952), which earned an Academy Award, and Begone Dull Care (1949), a dynamic collaboration with Evelyn Lambart.

He developed techniques such as direct animation (drawing directly on film) and pixilation (stop-motion with live performers), combining visual art and sound in novel ways.

McLaren's work inspired generations of filmmakers and animators, earning him various honours, including the Order of Canada. He continues to be a significant character in the history of experimental animation.

Links:

https://en.wikipedia.org/wiki/Norman_McLaren

https://www.nfb.ca/directors/norman-mclaren/

https://www.scotland.org/inspiration/norman-mclaren-the-animation-pioneer-who-changed-the-film-industry

https://www.aci-iac.ca/art-books/ottawa-art-and-artists/key-artists/norman-mclaren/

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Norman McLaren (1914-1987)

Director, producer and animator.

Artist and printmaker.

Created new animation techniques like drawing on film, pixilation.

Worked with the National Film Board of Canada (NFB)

Founded the animation department in NFB

Combining sound into his animations, known for creating electronic music

Incorporates political themes in his animations, Neighbours (1952)

Won awards from BAFTA, Venice Film Festival

His most famous work Neighbours his use of the animation style "pixilation". This animation style is where everything is filmed a few frames at a time. It gives a stop-motion effect to live footage.

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stuff soshi thinks you should watch no. 53: "la salla" (richard condie, 1996)

hey, this isn't toy story!

this might be the second canadian animation in this series, which is kind of odd.

canada is rich in animation, and that's because of an organization called the national film board, or the office national du film. it was founded in 1939 by a scottish filmmaker named john grierson, and it became a way for canadian filmmakers to share their works.

you might've heard of some animators who've worked for the nfb, like norman mclaren, ryan larkin, and this film's director, richard condie!

you might know richard condie for his short "the big snit" (1985), which was nominated for an oscar. he's made a number of films for the nfb, including this computer-generated doozy.

having watched both his 2d and 3d shorts, i can say that no matter what medium condie works in, he really takes advantage of it!

a scene with this much clutter would've been difficult to pull off in 2d, especially with all the different camera angles condie uses in this setting.

i think the sequence where he takes advantage of the 3d the most is when the main character's head rolls around the room. it's only 5 seconds, but something like that seems like it would be a nightmare to animate traditionally.

there's also this ripple-y effect that i really like, mostly because it's such a strange thing to watch in 3d.

it's such a bizarre effect, especially with how all the shapes actually go through each other. but even if that was unintentional, it just adds to how odd this whole animation is!

anyways, that's probably going to be it from me. i actually watched this a while back, so it was fun coming back to it.

we've been getting a lot of really absurd animations lately, huh? the 20th century was really something else.

in any case, i'll see you tomorrow with another old-type animation!

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class work

we watched a short film made my norman mclauren and we were asked to do some research about him

Norman Mclaren

Norman Mclaren is a director but best known for his animations and film making and the work he has contributed to the film and animation industry he is also known for his sound design using electro-music and calls himself the half-baked musician, McLaren did not traditionally create music but rather produced his sounds through the physical and technological medium of film.

THE NEIGHBOURS

The Neighbors, stop stop-motion animation film that we watched in class, clearly shows how two friendly neighbors who shared peace started to fight each other for a resource that ended up destroying their house and themselves, including the bond. It shows selfishness and conflicts that happen between people, the "love your neighbor" phase explains a lot about the conflict.

Musical script

the sounds for the film "Neighbours" did not come before the creation of the image track for Neighbours but were created afterward. McLaren noted in 1971 “I had music in mind. So we filmed in various motions with a certain rhythm to them". Speaking of McLaren's perspective on filmmaking, he mentioned that he always had an audience in mind, and he thought about which age category each of his creations would suit.