Readings and Your Comments

Please read the following articles and  post your  brief response  on a connection between; one or more ideas presented in the articles   AND  how you might approach the use of texture in your own work ( texture as content or art direction , texture of visual , audio or narrative )


On the texture of the majority of 3d CGi and Michel Gondry video clip and feature film animation usage;

“Michel Gondry is one of a few contemporary filmmakers to exploit this friction between the photoreal and the real through stop-motion animation. Gondry’s work is largely concerned with materiality rather than photoreality and he is celebrated for his low-fi in-camera aesthetic.”

written by Stop Motion Animator  and  integrated CGI  of  “The Cartographer”


Fine Art animation by Cecille Starr


optional extra brief summary of experimental film;

[1] Patterning In Contemporary Art , Layers of Meaning

curated by Merry Gates   Canberra School of Art  and Asialink Centre University of Melbourne  1997


call  709.94074 Pat

[2]Len Lye, animator, kinetic sculptor, Figures of Motion, 1964

[3]  Tom McSorely, Take One, Summer 1997

Take One (published Montreal, 1966–1979) (ISSN 0039-9132, OCLC 40366931)


1 thought on “Readings and Your Comments

  1. Jane Shadbolt’s essay in Article 1 covers a pretty big discussion over the current obsession with realism. I like the discussion, or question, is it photo realism if what we are looking at are not realistically possible, such as a dinosaur stomping on a jeep in Jurassic Park. I do think though the obsession with combining realism and the so-called ‘ILM aesthetic’ pre-dates Star Wars. Star Wars used a lot of matte paintings and hand made models and go-motion set ups and was strongly influenced by the work of Douglas Trumball ( and the three Production Designers in 2001: A Space Odyssey. The work of Trumball et al can be linked to the earlier work of Norman Dawn’s glass matte paintings that gave the illusion of the impossible being possible even though you could make out brush strokes. The lighting resembled more of a painting than that of a photograph. So I guess I think it has evolved and still diversifies rather than being anchored to a house style that crystlised in the 1980’s at ILM. Wall-E, in the early scenes, I reckon evoked the textures of the traditional glass matte paintings but with digital tools. The lighting and texture is quite unreal, yet cold be described as photo realistic.

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