Animation under the camera.
In this collaborative exercise we played with silhouettes or “cut outs” to explore some of the animation principles and I really enjoyed the process, because I had no idea of where I was going. I like the sense of freedom that the “straight ahead” or “straight forward” animation techniques give you but when you actually sit down to animate, you see the need of having a clear understanding of timing and the relation of the space and the forms.

My puppet (the waterbird)


200 drawings / 1 sheet of paper

Ok, so the idea was to make 200 drawings about something without too much planning, just to jump in to the action. I wanted to do something around the idea that there are many things involved in the creative process and that even behind the simplest idea there is a huge collection of images, filled with all the things that we have seen and/or experienced, bombarding our heads. I think that in one way or another, these images influence the output of our thoughts therefore, the first idea, sketch or drawing might be full of clich├ęs and unintentionally subjective to many stereotypes. In other words, I believe that the process of creating something, charged with our own essence, requires trial and error.

...At least this is how it works for me, that’s why I never really put too much effort in the first attempts to create something, hoping that within the next stages of developing a piece of work, the idea will potentially grow - the more I let go, the more I get back.

The ‘200 drawings’ experiment doesn’t necessarily depict what I suggested above. It only tries to illustrate the idea of the need of “waste” (all the things rubbed out to get to one single drawing) and at the end, this is not really a waste of time or a waste of drawings, if you enjoy the process.

 The experiment


The animation