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You are in:Animation / "De Profundis" / Creative Approaches


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Creative Approaches

The traditional animation was possible thanks to a process of simplification and adjustment to an outline of industrial production. The key of the matter was managing to persuade many different artists to resign their own stiles in order to draw in such a way that their hands came to be indistinguishable -or nearly indistinguishable- in the consecutive shots of a film. Thus, drawing had to be the less complicated possible and synthetic. It had to be limited to the outlines and the essential lines for the image to be properly interpreted. The colour of every mobile element in the image had to be "flat," that is; with no shade or texture or any other feature that hampered the repetition process. By means of this technique, brilliant results were achieved, and masterpieces were made. The way consisted of giving up the plastic values of the image -drawn and painted- to obtain naturalness -and even spectacularness- in movement. These principles are still valid for cartoons standard production. And even, with slight variations, for model animation production in 3D.

As many other times, this kind of contributing factors linked to the creative
processes may turn what were initially simply interim solutions into "canon."

And another unfortunate conviction is the one that mixes language with genre up. Films are language. So is Literature. And, the same way all narrative, poetry, theatre, essay... are Literature; Films are not -they cant be, they musnt be- just narrative. The fact that one opinion is majoritarily accepted does not mean that it is the only one valid. Expecting films to be exclusively restricted to narrative patterns proves that confusion between
language and genre, arbitrarily limiting it.

As a creator, after "standard" experiences in which this
contributing factors turned obvious; I was in the need of making a propossal denying both of them. At a visual level, I aimed to retrieve every expressive possibilty of the image (colour, shade, texture, feature, brushstroke...), although it meant resigning the spectacularness of the movement (we are still lacking in technical means which avoid that resignation; but we wont be so before long.) And at contents level, I aimed to create a poetic discourse, which was focused on passing on feelings and emotions to the audience. To go into that non-narrative nature in depth, I decided to remove the dialogues. And thats why I needed the complicity of music more than usually. Nani Garca was always prepared to share this travel and composed a symphonic score. And no matter how many times I listen to it, it moves me.

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