Lonnie Busch

(Click on image to view videos, wait a few seconds and a page will pop up with all of his videos, then choose these to see.)

Source: Workbook 33, 2011

Lonnie Busch is a popular illustrator who also has motion graphics in his portfolio. The two examples I've chosen are 30 second commercials that could possibly have been created in Aftereffects. I thought they were interesting because they are full of movement and preset effects. It seemed an appropriate find for this week since one of the homework questions asked about the dangers of using too many presets. Rules can always be broken and sometimes it works :)

Saul Bass

(Click on image to view videos)

While searching for information about well-known motion designers, I stumbled upon Saul Bass who is considered the "undisputed master of film title design." He is also well-known for many logos and film posters.
The first film is for Otto Preminger's The Man with the Golden Arm (1955). Before this film, movie titles were often a still image shown on the stage curtain. This film was shocking because of the animated title. I thought it was interesting because it was so basic—the beginning of a new art.
The second film is for It's a Mad, Mad, Mad, Mad World (1963). I find this style so endearing. I like watching how the "world" is constantly manipulated and new shapes are always forming. It sometimes reminded me of the Pink Panther cartoons.

Brian Stauffer

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Source: Communication Arts, March/April 2010

Brian Stauffer is an award-winning illustrator. His most recent awards include the 2011 Gold Award for Best Cover Illustration from SPD (Society of Publication Designers) and the Editorial Gold Medal from the Society of Illustrators 52 competition for 2010. He has done a few animations which I thought were kind of interesting because they are like watching his artwork come to life. I liked the symbolism in the first video—the flowers wilting and disappearing while the camera pans back to show the message on the billboard. The second video gave me hope that someday I will be able to create a video, too.

Zac and Joan

http://vimeo.com/23049755?iframe=true&width=80%&height=80%

Source: Communication Arts Design Annual, The Best Design of 2007

This video was commisioned by KCD Worldwide, a fashion public relations and publishing industry. It features fashion designer Zac Posen interviewing fashion director Joan Kaner. It it very interesting to watch since the main characters are drawings of themselves talking with each other. There seems to be two different styles of animation. One consists of pictures being drawn as line art in front of you and morphing into new images. The other style, with the characters talking to each other, might be "rotoscoping". If anyone can tell me what type of animation is being used, please do. The two styles separate the video into what I call "real" time, and "history" time.
It is animated by award-winning Juan Delcan, a native of Madrid who began his career as a graphic designer but is now primarily a live action director.
This is a link to another recent animation by Delcan: The 13 Clocks

Her Morning Elegance

http://www.youtube.com/watch?v=2_HXUhShhmY

This is one of my favorite short animations. It is a stop-motion music video for Her Morning Elegance and earned a 2009 Grammy Award nomination for "Best Short Form Music Video." It was written, sung, created and produced by Oren Lavie. I love how the whole story unfolds around the character while she is sleeping. It's fascinating to watch how the motions you expect to see in an upright position are mimicked while lying down.

YouTube also has a video showing how the film was made.
http://www.youtube.com/watch?v=JKptYcQuKxc&feature=relmfu

Bachelor Pad

Society of Illustrators 48th Annual of American Illustration, 2006, p338
Illustrator: Dan Sipple

The designer's "assignment was to create a hip, modern, masculine card [for American Greetings] featuring an African American male" using an assigned palette of colors. I like how the designer was able to pull off the design with minimal detail by using subtle textures. The strie painting behind the man is just enough to separate him from the wall. The textured lanterns, chairs, and patterned floor add visual interest and rhythm. The solid white pants are the focal point and the negative shape of the pants seems to create an arrow pointing to the man. The lanterns hanging directly over the man in combination with the stripes in the wall give the appearance of light raining down on the subject further enhancing the focal point. Finally, the lone orangish-red square hanging alone on the right side of the wall is the final detail to balance the image. Oh, and, of course, you can't deny the importance of the glass on the table. It adds ambiance to the scene and sets the mood. The glass says "it's time to relax and chill out."

Seasons in the Sun

Society of Illustrators 48th Annual of American Illustration, 2006, pp244-245
Illustrator: Andrew Selby

This illustrator creates entire landscapes with simple geometric shapes and limited color palettes. His work is interesting because the more you look, the more you see. I love the illusion of hills and how each drawing has a feeling of perspective created with the bottom of the illustration appearing to be closer. Both illustrations create perspective by size with objects in "front" being larger in proportion to objects at the top of the drawing. Notice the pumpkins larger than trees and the fox larger than the horses. The autumn image also has a road which appears to wind toward the "back" where it eventually disappears in the horizon. Even the ground appears to be flatter in the front with the shapes becoming more rounded and then pointy, indicating hills turning to mountains, as your eye travels upward. The final clue is the cloud shapes at the very top.
Another detail I enjoyed is the illustrator's buildings. None of the buildings are squared. They seem to lean every which way furthering the concept of hills and uneven ground. The combination of the misshaped buildings and curvy shapes create an inviting, interactive atmosphere enticing the viewer to stop and gaze for a while.
As for color, the illustrator's limited color palette very clearly indicates which season each image represents. The limited use of white creates added interest and breaks up what would otherwise be monotonous image.