Compose styles
Rather than blending styles toward a middle, this gives them roles. The first one carries the structure, the next comes in as the accent, and anything after that shows up in a single detail. Where they fight each other, it says so before you start.
How to divide the work
- Composition
- Follow Direct Animation: Ignore the frame line and pull marks as long continuous bands
- Type
- Set in Direct Animation's manner (Write letters by hand one frame at a time and keep the drift), and let Paint-on-Glass Animation's lettering (Keep long copy on a separate layer; if words are painted, reveal and erase them one at a time at the painting's pace) appear only where you want the eye to catch.
- Material
- Ground in Direct Animation's material (Paint onto clear stock, scratch into black, and switch between them); bring in exactly one thing from Paint-on-Glass Animation (Put slow-drying oil paint or gouache on glass and add or subtract it with brush, finger and cloth beneath locked camera and light).
- Colour
- Build on #F4E7C4, #E34B36, #161313 and admit one accent from #342D2A, #9A4C3F, #D7C6A1.
Where they fight
- Direct Animation and Paint-on-Glass Animation are techniques rather than looks. Decide which one runs last in the process, because that is the one that will show.
Caution
- Direct Animation Laying one scanned scratch texture over the footage so the dirt sits still instead of changing every single frame.
- Paint-on-Glass Animation Morphing between finished digital paintings is different. Each frame should carry the actual history of wet paint added to and removed from one surface.
Image prompt
Produce four original images that take their structure from Direct Animation (technique, 1935–) and their accent from Paint-on-Glass Animation (technique, 1940s–). ## What to make Make the kind of thing Direct Animation exists for: short experimental films and titles that put the material itself in front, or abstract runs of color and scratch cut by hand to a piece of music. Choose one subject and hold it across all four. ## Structure comes from Direct Animation - Hand-drawing on film - Scratched marks - Continuity that ignores frames - Physical blots of color Composition: Ignore the frame line and pull marks as long continuous bands. Type and lettering: Write letters by hand one frame at a time and keep the drift. ## Accent comes from Paint-on-Glass Animation, used sparingly - Contours pushed by brush and finger into the next form - The previous image lingering as stains and streaks - Opaque masses beside translucent wiped passages - The whole field transforming fluidly instead of cutting Let one material quality come from it: Put slow-drying oil paint or gouache on glass and add or subtract it with brush, finger and cloth beneath locked camera and light. ## Colour and feeling Build the ground on #F4E7C4, carry the structure in #E34B36 and #161313, and let a single accent come from #9A4C3F. These are read off real works, so a direction rather than a fixed palette. Feeling to carry: rebellion, play, intimacy, calm, exhilaration. ## Where they fight - Direct Animation and Paint-on-Glass Animation are techniques rather than looks. Decide which one runs last in the process, because that is the one that will show. ## What goes wrong - Direct Animation: Laying one scanned scratch texture over the footage so the dirt sits still instead of changing every single frame. - Paint-on-Glass Animation: Morphing between finished digital paintings is different. Each frame should carry the actual history of wet paint added to and removed from one surface. ## Across the four Keep the roles fixed in all four. Vary the framing, the scale and the arrangement so the set shows what this pairing can do rather than four versions of one picture. ## Constraints - Do not imitate, reference or name any specific artist, studio, brand, character or copyrighted work. - Do not reproduce the composition of an existing work. - Produce original compositions in the general period languages described above.
Related entries
- Direct Animation 1935– / Technique / Experimental Film
Images made without a camera, by drawing, scratching and pasting directly onto the filmstrip. The film stock itself becomes the brushstroke and the rhythm.
- Paint-on-Glass Animation 1940s– / Technique / Animation Techniques
Paint-on-glass animation adds and removes slow-drying paint on one pane beneath a camera. It does not replace one finished drawing with another: brush marks, wiped traces and mixed color accumulate as a continuous history on the same surface.
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