2010年12月29日 星期三

Walter Moers



Walter Moers   
1957年出生於德國西部,為德國著名的畫家和電影劇本作家。

離開學校後開始打零工並自學繪畫,從1984年開始出版漫畫。
他所畫的漫畫極具有諷刺世界觀和反政治意味存在。 一開始有許多作品在雜誌上諷刺泰坦尼克號 。 雖然現在沒有在登雜誌了,他扔然有所貢獻。

他最有名的漫畫人物是:
  • Das kleine Arschloch(小混蛋),一個早熟的小男孩。
  • Der alte Sack(倔降老頭),一個身患絕症坐在輪椅上愛說風涼話的老頭。
  • Adolf, die Nazisau (阿道夫,納粹豬),荒謬的方式詮釋現今世界的希特勒。Adolf -我在我的地堡坐 -錄像剪輯(英語版本)
  • MOERS漫畫


 1988年出版故事書《藍熊船長海外奇談》(Käpt'n Blaubär),1999年出版了同部長篇小說《藍熊船長的奇幻大冒險》,此書讓他得到「德國格林文學獎」,並改編為電影"Käpt'n Blaubär"。2001年又出版了《來自矮人國的小兄妹》。
他創造出受歡迎的查莫寧世界並與他創造的角色納赫蒂教授共同建立了Zamonien學校(指存於網路的學校)。

小說作品:

藍熊船長的奇幻大冒險-試閱

來自矮人國的小兄妹-試閱

黑暗世界大冒險《魯莫和黑暗中的奇蹟》-試閱

一隻沃泊亭格的誕生:魯莫和黑暗中的奇蹟-試閱

夢書之城

穿越夜空的瘋狂旅行

 

 

 

 

畫廊外的天賦A Banksy film

英國塗鴉藝術家Banksy過去除了以街頭當做畫板以外,他曾將活生生的動物作為諷喻社會現象的媒介,如大象和豬塗滿粉色系的顏料,噴上充滿諷刺的標語。
這一次在目前是日舞影展的超熱門入圍紀錄片"Exit Through the Gift Shop(畫廊外的天賦)",Banksy進一步以「人」來誅伐藝術市場的荒誕與盲目,有了這樣的提示,各位應該可以多少明瞭副題為「A Banksy film」的「Exit Through the Gift Shop」並不是以Banksy的作品或Banksy本人為主角,除了偶爾串場點評之外,主人翁其實是個法國移民Thierry Guetta,他在LA經營一家二手衣店。

他非常著迷於拍攝生活中的任何東西,店裡的顧客、煮飯的老婆、甚至是記錄他上床睡覺的路線。一直到他見到了姪兒,也是塗鴉創作者的「space invader 」,他開始動了想拍攝一般人沒有機會接近認識的塗鴉藝術家。包括大名鼎鼎的Shepard Fairey、Banksy以及其他LA的在地創作者,都認同塗鴉可以也應該被記錄的想法,於是Guetta順利進入塗鴉的秘密社群,拍攝上千小時的膠卷。然而,如Banksy在片中現身所述,Guetta從來不看這些影片。
對這位「idiot savant」來說,膠卷拍完,任務也就完成了,即使和Guetta建立了一定程度的革命情感,Banksy仍不諱言這位老兄是「someone with mental problems who happened to have a camera」。他接受Banksy建議剪輯出來的短片,也是乏善可陳,完全沒有發揮珍貴拍攝出來的影片該有的力量。

於是Banksy接過了攝影機,決定由他來把原本的故事說完,不過,故事也不再一樣了。原本性質單純的紀錄片在後半部變得辛辣起來,Guetta看到Banksy在藝術市場上的成功,加上Banksy的「鼓勵」,(實際上是Banksy看不下去Guetta糟蹋底片,索性說服他做點別的)決定投入這股熱潮。 

一開始Guetta只是把自己拿攝影機的大頭像做成黑白剪影到處貼,後來他乾脆雇用一群專業設計者,以Warhol和Jeff Koons的藝術工廠運作方式,「大量生產」一批批仿製Banksy +Fairey +Warhol的庸俗作品,並將自己封為Mr. Brainwash,諷刺地是,口味一向挑剔的LA藝術圈非常買帳,一方面是有Banksy和Fairey被誤用的背書,一方面也許是Pop Arts永遠有市場存在,Guetta在LA辦的展覽造成大轟動,賺進了上百萬美金。

當觀眾在鏡頭前大力稱讚Guetta的「作品」時,他的助手以及Banksy都直指Guetta的庸才以及暴發戶心態。Bansky更揶揄Guetta抄襲Warhol,「Warhol’s pop arts are meant to make the icons meaningless, but Guetta’s imitation really makes everything meaningless」不過誰比較愚蠢呢?是自稱藝術家的Guetta,吹捧逢迎的媒體,還是盲目追隨的觀眾?
藝術買家個個希望擁有Banksy,當他們買不起Banksy時,就去找一個看起來類似的,同時亦有一堆後起之秀爭相模彷Banksy的風格,以換取進入主流藝術界的門票。品質對收藏家不再是優先考量。
一位法國的藝術商表示,「Banksy效應」最大的影響是鼓勵愈來愈多的劣質作品在市場上流動,但買家已經失去對品質敏銳的嗅覺,Banksy本人早就對藝術市場一股腦的塗鴉熱潮與投機心抨擊不斷。「Exit Through the Gift Shop」就算是他甜蜜的復仇吧! 

文章引自:Goodforit 

 






這位藝術家,還有導演一部Simpsons的片頭動畫



延伸:
神經性疾病ALS(俗稱“漸凍症”)使塗鴉藝術家TEMPT全身癱瘓,只能靠眨眼與外界溝通。在TEDActive一場精彩的演講中,創業家Mick Ebeling分享了他和他的團隊,如何藉由一個開放資源的發明,給予這位藝術家 - 以及跟他情況一樣的人 - 一個重拾創作的方法。

《世界奇妙物語20周年SP.秋》/世にも奇妙な物語20周年スペシャル・秋


導演:佐藤祐市 等 腳本:坂元裕二 等

演員:江口洋介、笹野高史、大野智、田中麗奈、伊東四朗、遠藤憲一、堀北真希、岸部一德、玉木宏、塚本高史、香川照之、廣末涼子

上映時間:2010年10月4日(日本)

5個小故事分別是:
京極夏彥「厭な扉」、萬城目學「はじめの一歩」、朱川湊人「栞の戀」、東野圭吾「殺意取扱説明書」、宮部美幸「燔祭」

「厭な扉」由江口洋介挑大樑,敘述一個因事業失敗的家破人亡的流浪漢來到一個傳說 中可以得到永恆幸福的旅館,但是要得到財富必須付出一個可怕的代價。關鍵重點在於"永恆"這兩個字,所以聰明的你一定猜的出來這個代價是什麼。很可惜京極 夏彥的暗黑推理氣氛改編成電視後消失殆盡,而且故事太容易猜出來所以並不是很出色。

 「はじめの一歩」是個甜蜜的故事,田中麗奈,大野智演出一對情侶(不搭),大野 智做事龜毛非要考慮到所有環節才行動,往往因此失去時機欠缺行動力。田中麗奈為了改善男友的壞習慣,求神社的神明幫忙,神明用法術封住大野智的一句口頭禪,還真的改變了大野智的後半生。無風無雨的平淡故事,雖然有自戀爸跟憲叔當配角,可惜主菜不成,小菜也挽回不了。 這5個故事裡是最差的。


「栞の戀」是書籤之 戀的意思,這個故事是我最喜歡的, 好到讓我忘記這是堀北真希演的(難得沒快轉耶),配角的書店老闆則是由奸叔來扮演這個畫龍點睛的角色。故事發生在日本戰後經濟起飛的時代,堀北是個開朗熱 心於工作的少女(自從三丁目夕陽後掘北好像成了這種角色的代言人),當然她也有情竇初開的時候,暗戀的對象常常在書店出現,於是掘北開始偷偷跟在後面看他 在看些什麼書,偶然發現書中有一張書籤,於是掘北鼓起勇氣也寫了一張書籤留在書裡,兩人於是開始藉著書籤表達心意,但是最後卻有意料不到的劇情發展,故事 有點悲傷的外皮卻包著溫馨的內裡,整個改編處理相當詩意,保留了原來的文學味。朱川湊人沒想到除了恐怖小說也有這麼細膩溫馨的一面,大推。

殺意取扱説明書(最愛~) 是東野的毒笑小說裡的一篇,如同名偵探的守則一樣,採取毒舌的嘲弄主題。故事圍繞著一個初學者的殺人說明書,東野鉅細靡遺的把初學者從想殺人的念頭到怎麼 付諸實行的步驟與心理障礙照寫電器說明書的方式寫出來,果然是理工科出身的作家!這個故事改編上佔有先天優勢,一方面題材聳動又好笑,另外說明書旁白配了 典型日本百貨公司廣播那種不帶任何感情卻又敬語一堆的女聲,絕對是比光看文字要更有意思。演員方面,兩大帥哥玉木宏跟塚本高史演出精采,特別是玉木宏演這 種衰鬼特別傳神..

「燔祭」広末涼子+ 香川照之, 根本是龍馬傳外傳吧(笑)故事是香川的妹妹被不良少年殺了,法律卻無法將其制裁,兇手有毫無悔意,做哥哥的想要自己復仇卻下不了手,広末是香川的同事,擁有超能力。暗戀香川的她(沒關係啦広末選男人的眼光一向很爛) ,想要助香川一臂之力,無奈香川的個性.....故事頗淒美 ,香川大叔的演技真是沒話說,可惜對手太弱,故事如果不是広末來演應該會更好。

富士電視台從1990年開始製播這個節目,最初每週一集,每集一個故事,後來演變為在每一季的日劇結束後,新一季的日劇開始前的空隙播出一個特別篇,一集裏包括幾個不同的故事。故事的設定其實應該是有參考美國很紅的一個影集"Twilight Zone"(陰陽魔界)。陰陽魔界基本上每集故事都是獨立的,故事的內容包羅萬象,從最基本款的靈異,外星人以外到一些稀奇古怪的設定都有,最常的劇情是突然主角生活的世界裏的運行規則被打破,藉由主角不適應的種種慌張與應變來產生觀眾的緊張感與笑點。可以說是集創意,驚悚,恐怖與溫馨的天馬行空的故事大全。有的故事寫的好的有點希區考克加上卡夫卡的蛻變的感覺,總之除了奇幻色彩外,有時候會有對社會的反諷與批判。

(引自:桑野團結聯盟)

《未完成的宣言》

1988年,Bruce Mau的公司正值成長期和改變的時代。
他應多倫多一家文學出版社的邀請,寫了這篇《未完成的宣言》,解答許多問題,說明設計工作室是如何運作,或者應當如何運作,還有他的信仰、動機和策略。

來源:《How to grow as a graphic designer;頂尖設計師的自我經營學》p.236


1. 容許事件改變你。Allow events to change you.

You have to be willing to grow. Growth is different from something that happens to you. You produce it. You live it. The prerequisites for growth: the openness to experience events and the willingness to be changed by them.

2. 別老想著"有益"這件事。Forget about good.

Good is a known quantity. Good is what we all agree on. Growth is not necessarily good. Growth is an exploration of unlit recesses that may or may not yield to our research. As long as you stick to good you'll never have real growth.

3. 過程重於結果。Process is more important than outcome.

When the outcome drives the process we will only ever go to where we've already been. If process drives outcome we may not know where we’re going, but we will know we want to be there.

4. 熱愛實驗(就像它們是你的丑孩子一樣)Love your experiments (as you would an ugly child).

Joy is the engine of growth. Exploit the liberty in casting your work as beautiful experiments, iterations, attempts, trials, and errors. Take the long view and allow yourself the fun of failure every day.

5. 深入。Go deep.

The deeper you go the more likely you will discover something of value.

6. ?忽視“偶然”。Capture accidents.

The wrong answer is the right answer in search of a different question. Collect wrong answers as part of the process. Ask different questions.

7. 用功學習。Study.

A studio is a place of study. Use the necessity of production as an excuse to study. Everyone will benefit.

8. 讓自己漂浮。Drift.

Allow yourself to wander aimlessly. Explore adjacencies. Lack judgment. Postpone criticism.

9. 準備好隨時開始。Begin anywhere.

John Cage tells us that not knowing where to begin is a common form of paralysis. His advice: begin anywhere.

10. 每個人都是領導者。Everyone is a leader.

Growth happens. Whenever it does, allow it to emerge. Learn to follow when it makes sense. Let anyone lead.

11.採收(編輯)點子。Harvest ideas.

Edit applications. Ideas need a dynamic, fluid, generous environment to sustain life. Applications, on the other hand, benefit from critical rigor. Produce a high ratio of ideas to applications.

12. 持續前進。Keep moving.

The market and its operations have a tendency to reinforce success. Resist it. Allow failure and migration to be part of your practice.

13. 慢下來。Slow down.

Desynchronize from standard time frames and surprising opportunities may present themselves.

14. 別裝酷。Don’t be cool.

Cool is conservative fear dressed in black. Free yourself from limits of this sort.

15. 問點笨問題。Ask stupid questions.

Growth is fueled by desire and innocence. Assess the answer, not the question. Imagine learning throughout your life at the rate of an infant.

16. 合作。Collaborate.

The space between people working together is filled with conflict, friction, strife, exhilaration, delight, and vast creative potential.

17. ____________________。故意留點空白

Intentionally left blank. Allow space for the ideas you haven’t had yet, and for the ideas of others.

18. 熬夜。Stay up late.

Strange things happen when you’ve gone too far, been up too long, worked too hard, and you're separated from the rest of the world.

19. 運用比喻(形象化工作)。Work the metaphor.

Every object has the capacity to stand for something other than what is apparent. Work on what it stands for.

20.小心風險。Be careful to take risks.

Time is genetic. Today is the child of yesterday and the parent of tomorrow. The work you produce today will create your future.

21. 重複去做。Repeat yourself.

If you like it, do it again. If you don’t like it, do it again.

22. 製造自己的工具。Make your own tools.

Hybridize your tools in order to build unique things. Even simple tools that are your own can yield entirely new avenues of exploration. Remember, tools amplify our capacities, so even a small tool can make a big difference.

23. 站在別人的肩膀上。Stand on someone’s shoulders.

You can travel farther carried on the accomplishments of those who came before you. And the view is so much better.

24. 避免軟體。Avoid software.

The problem with software is that everyone has it.

25. 不要清你的桌子。Don’t clean your desk.

You might find something in the morning that you can’t see tonight.

26. 不要參加比賽。Don’t enter awards competitions.

Just don’t. It’s not good for you.

27. 留一半給腦袋思考。Read only left-hand pages.

Marshall McLuhan did this. By decreasing the amount of information, we leave room for what he called our "noodle."

28. 創造新字。Make new words.

Expand the lexicon. The new conditions demand a new way of thinking. The thinking demands new forms of expression. The expression generates new conditions.

29. 去想。Think with your mind.

Forget technology. Creativity is not device-dependent.

30. 組織=自由。Organization = Liberty.

Real innovation in design, or any other field, happens in context. That context is usually some form of cooperatively managed enterprise. Frank Gehry, for instance, is only able to realize Bilbao because his studio can deliver it on budget. The myth of a split between "creatives" and "suits" is what Leonard Cohen calls a 'charming artifact of the past.'

31. 別借錢。Don’t borrow money.

Once again, Frank Gehry’s advice. By maintaining financial control, we maintain creative control. It’s not exactly rocket science, but it’s surprising how hard it is to maintain this discipline, and how many have failed.

32. 用心聽。Listen carefully.

Every collaborator who enters our orbit brings with him or her a world more strange and complex than any we could ever hope to imagine. By listening to the details and the subtlety of their needs, desires, or ambitions, we fold their world onto our own. Neither party will ever be the same.

33. 田野調查。Take field trips.

The bandwidth of the world is greater than that of your TV set, or the Internet, or even a totally immersive, interactive, dynamically rendered, object-oriented, real-time, computer graphic–simulated environment.

34. 多點犯錯。Make mistakes faster.

This isn’t my idea – I borrowed it. I think it belongs to Andy Grove.

35. 模仿。Imitate.

Don’t be shy about it. Try to get as close as you can. You'll never get all the way, and the separation might be truly remarkable. We have only to look to Richard Hamilton and his version of Marcel Duchamp’s large glass to see how rich, discredited, and underused imitation is as a technique.

36. 擬聲唱歌。Scat.

When you forget the words, do what Ella did: make up something else ... but not words.

37. 弄斷它,拉扯它,彎曲它,壓扁它,撞裂它,摺疊它。Break it, stretch it, bend it, crush it, crack it, fold it.

38. 探索另一面。Explore the other edge.

Great liberty exists when we avoid trying to run with the technological pack. We can’t find the leading edge because it’s trampled underfoot. Try using old-tech equipment made obsolete by an economic cycle but still rich with potential.

39. 成長有時是出現在稱為"等待區"(休息)的時間裡。Coffee breaks, cab rides, green rooms.

Real growth often happens outside of where we intend it to, in the interstitial spaces – what Dr. Seuss calls "the waiting place." Hans Ulrich Obrist once organized a science and art conference with all of the infrastructure of a conference – the parties, chats, lunches, airport arrivals – but with no actual conference. Apparently it was hugely successful and spawned many ongoing collaborations.

40. 超越框架。Avoid fields.

Jump fences. Disciplinary boundaries and regulatory regimes are attempts to control the wilding of creative life. They are often understandable efforts to order what are manifold, complex, evolutionary processes. Our job is to jump the fences and cross the fields.

41. 大笑。Laugh.

People visiting the studio often comment on how much we laugh. Since I've become aware of this, I use it as a barometer of how comfortably we are expressing ourselves.

42. 記得。Remember.

Growth is only possible as a product of history. Without memory, innovation is merely novelty. History gives growth a direction. But a memory is never perfect. Every memory is a degraded or composite image of a previous moment or event. That’s what makes us aware of its quality as a past and not a present. It means that every memory is new, a partial construct different from its source, and, as such, a potential for growth itself.

43. 釋放權力。Power to the people.

Play can only happen when people feel they have control over their lives. We can't be free agents if we’re not free.

Carlos Baena_Blog

這是一個皮克斯的員工所成立的Blog"Carlos Baena"

和他的作品

Mountain from Kirsten Lepore on Vimeo.

Headless Productions動畫工作室

Headless Productions Is Independent Animation Studio Founded By Adrian Garcia, Alfredo Torres and Victor Maldonado.


Headless studio reel 2010 from Headless Productions on Vimeo.


I'm a monster from Headless Productions on Vimeo.

工作室網站
Blog在此

SAARI

Saari關於住在一個叫做Saari島上一群朋友的故事,在每一集中,章魚Pulpo,貓頭鷹媽媽Buu,敏感的Pii,還有小鳥Rikitiki一起 在這個小島上探索新的事物,並且發現友誼的可貴,這是一部針對學齡前兒童製作,共39集每集3分鐘的動畫,由西班牙的Stor Fisk製作,跟同樣來自西班牙的Pocoyo一樣,同樣有著非常棒的視覺設計與美術風格,即便用flash作動畫一樣可以作出非常棒的作品:

SAARI - The Pompom from Veronica Lassenius on Vimeo.

延伸閱讀:
Sarri官網
Stor Fisk官網
Sarri的Face Book Fan Page


文章來源:動畫筆記本http://www.animnotes.co.cc/2010/11/saari.html

Dave Mckean Collector

Dave Mckean出生於英國1963年,1982-1986年間就讀Berkshire College of Art and Design。
與尼爾蓋曼有眾多合作。書藉封面。cd封面。編輯插圖。兒童讀物。攝影。電影。
 
Dave Mckean網站
Dave fan建的網站 by Kevin King
Allen Spiegel Fine Arts機構介紹









電影 
"MirrorMask (2005)" _Director。延伸:nterview 官網


動畫 

"第十四道門"(原著小說:Coraline

童書 
The Wolves In The Walls The Wolves In The Walls(牆壁裡的狼)
那天,我用爸爸換了兩條金魚


 

Peter de S`eve A Sketchy Past

Peter de S`eve是著名的插畫家,他的作品常可以在The New Yorker,Time,Newsweek等等知名雜誌的封面見到,除此之外,他也是Blue Sky Studio的冰河歷險記,迪士尼的星銀島,泰山等等影片的人物設計師,除了網站外,他現在也有個部落格

 文章來源:動畫筆記本