It's been blogged a bit by others around the internets, but this recent U2 video from David O Reilly (he of Please Say Something fame) is a really interesting bit of work.
U2 - I'll Go Crazy If I Don't Go Crazy Tonight from David OReilly on Vimeo.
I think the partnership with designer Jon Klassen really helped bring O Reilly's style back into orbit around earth. It's a pretty cool collaboration and a fine win for O Reilly, whose work can be a bit tough on the eyes at times (not ugly so much as purposefully forceful). I like the softer result in the U2 video. The first time I saw his first episode of Please, Say Something I thought to myself -this is very different, but pretty cool. I like how he's exploring using CG in ways that are unapologetically CG. The orthographic style is an old illustration stand by, but it comes off well in notion. In the U2 video there's a neat sense of graphic layering with the semi-transparent squares floating over the imagery. Ever since being blown away by the The Secret of Kells clips I've been intrigued by the use of motion graphics in animation to add layers of emotional and narrative texture without necessarily trying to be "on the nose" about it. I don't know why it resonates with me, but I like how motion graphics are subtly being pulled into these narratives to add a little something more.
O Reilly's an interesting case study in the power of a good idea, lots of work (he's constantly making new stuff), successful self promotion and strategic partnerships. His story can be anybody's story, really.
3 comments:
Thanks for pointing out David's work, Keith. I just went to his site and watched "Please Say Something" and it really is a treat how he uses the aesthetics of what many would call "videogame" language to frame his story. 3/4 Isometric view like the Sims, simple representations of tears/snow like old PS1 games. Instead of looking at what the computer does naturally and forcing it to aim for realism, he keeps it simple, which actually makes it easier to relate to the characters.
"intrigued by the use of motion graphics in animation to add layers of emotional and narrative texture without necessarily trying to be "on the nose" about it."
You've probably seen the The Beatles: Rockband trailer. And ever since then I've been trying to find out a similar type of work; using motion graphic not necessarily for logo flying around and whatnot. I wonder if you know what any other artists that is using this similar technique?
Love your blog as always.
"Instead of looking at what the computer does naturally and forcing it to aim for realism, he keeps it simple, which actually makes it easier to relate to the characters."
I wanted to post in comment to that statement, as it is a very astute observation. It's discussed in one of Scott McCloud's books, either Understanding Comics or Making Comics, but he points out that the reason that cartoon characters resonate with us more than a realistically rendered person is that we never truly see ourselves when we speak or act or communicate, yet we perceive ourselves in a visual shorthand, that translates as a cartoon (An artist essentially creates this shorthand mental vision on a page). Thus, we identify characters that are abstracted because we not only see an appealing design, but ourselves within that design. That same principle transfers very directly to animated films, and I think that is why that the more stylized the film becomes, the easier it is to create the resonance between the audience and the characters.
It's intriguing seeing O'Reilly's use of a camera that always views though a filter, it allows for such interesting vignettes and framing. I hope that it may be explored in films, as I think there is a great potential in utilizing abstract elements to communicate to the audience. All in due time, I suppose...
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