When Ian Lumsden, the UK’s most revered animation blogger, reviews your work it’s more than an honour. It’s a testament to his unwavering ability to sort through all noise, and regardless of paid PR, level the playing field. His focus is on good animation and speaks only to that. So, it is in itself a reassurance that even in this commercially overloaded world, and somewhere within the overcrowded bandwidth, there’s a person out there of great wit and intelligence who notices – and some how it makes it all worthwhile.

Thank you Ian for everything you do to promote incredible animation from around the world with no thought of financial gain and industry sway. Yours is a review worth having.

It is a pleasure to see the work of skilled professionals and Jerry van de Beek and Betsy de Fries (littlefluffyclouds) are consummate professionals. Bose: The Power of Sound embraces a host of animation techniques, from 2D to 3D to origami. Jerry is a master, artist and technician both, employing whatever software, or scissors, it takes to convey the message.

Given a high end product like Bose, it figures the one minute piece requires something extra special. Technologically advanced article waveforms emanate from the music itself, scissored horses and cranes soar through the skies and scarlet sampans traverse the ocean; there is even a mathematical Fibonacci sequence of numbers in free flight.

This orchestral and visual feast is a masterclass. I’ve not asked but I guess the ad is linked to the tsunami that hit Japan. The giant wave crashes down and soaring out of the explosion red flowers climb towards the moon. It seems like a rebirth to me, a proud nation responding to devastating adversity.

I need to add that I had intended, and still do, to write about two other ads in the small (in size not stature) California studio’s impressive library of work, one a very traditional cartoon (like they used to do it) and, secondly, a follow-up to an earlier piece I had written about on the blog. But I got waylaid. Jerry, by the way, hails from the Netherlands and Betsy from the UK. It’s warmer in California.

Check out Ian’s animation blog http://www.animationblog.org/ and spend sometime catching up on some incredible animations.

What do Americans like to do best? Drive, drive, drive! Hey people, it’s a vast and beautiful country out there and there’s lots to see. But in this age of rising gas prices how can we satisfy our yearning to explore, save money and still be true to our conscience and the planet by being ever “greener”?

Well, like Toyota says in this ad campaign, brought to you by the creative team at Hoffman Lewis, drive a hybrid and you can have it all. Statistics show that you can drive more 535 miles in a Prius averaging 50 MPG. Catch Lucy as she drives across the country underlining the point and take a quiz on-line at www.toyota.com to see which car fits your needs.  Toyota – Do the Math.

Nimbly animated by our very own team here at Little Fluffy Clouds, this multi-spot full campaign includes TV, print, radio and web. Voiced by San Francisco favorite, Denny Delp. Lucy airs from April 2012. It’s fast, it’s fun and it’s cost effective - Save the Planet!

At Little Fluffy Clouds we’re always thrilled when one of our more cerebral projects is plucked from the archives, dusted off and given some national attention.  So, we were more than pleased when our animated, Billy Collins poem, TODAY, was featured by Chicago Public Radio as part of their poetry awareness month. The former poet laureate was interviewed and read some of his favorite poems from the collection, Nine Horses.

This tiny nugget of literary appreciation came courtesy of Chicago blogger and WBEZ radio host, Amy Krouse Rosenthal. Her program and associated blog, Mission Amy KR, is brought to you from the same folks that bring you, This American Life. Here’s what Amy had to say:

Just when I thought Billy Collins’ poetry couldn’t possibly get any better, this comes along. I’d rather not taint your experience with unnecessary intros and blabbing.  So here, just enjoy:   Billy Collins Action Poetry   (And let me know if you were able to stop at one, or if you simply had to watch them all.)

In 1993 the Hugo award winning ScFi writer, Vernor Vinge, wrote an essay entitled, “The Coming Technological Singularity“, and opened the door to a theory which fired the imagination of both scientists and the public alike. This theory, simply stated, recognizes the creation of superhuman artificial intelligence and pressages a moment of no return one at which Vernor Vinge states “the human era will be ended”. This event horizon for the human race is of such advance that it is believed that no current models of reality are sufficient to predict beyond it.

In the decade that followed the futurist computer scientist, Ray Kurzweil, wrote and rewrote his book on the notion of Singularity culminating in the 2005 Viking edition: The Singularity is Near: When Humans Transcend Biology. In his book Kurzweil makes many predictions for the future of The Singularity and for mankind. (See http://bit.ly/6Womy).  This fired the neurons of many scientists worldwide and debate ensued on the accuracy of these predictions which has raged on in academia ever since.

Fast forward to 2012 and the timely release of documentarian, Doug Wolens‘ film, The Singularity.  Wolens explains the theory and his film thus:

The Singularity is an inevitable moment in our history when we will be able to create computer systems with greater-than-human intelligence, bio-engineer our species and re-design matter through nanotechnology. These future technologies will transform the course of civilization. THE SINGULARITY sidesteps the sci-fi cliches about robots versus humans, presenting an intellectually thrilling debate that begins with a basic question: What kind of humans do we want to become?

Director Doug Wolens speaks with leading futurists, computer scientists, artificial intelligence experts, and philosophers who turn over the question like a Rubik’s Cube. Those who insist this paradigm shift is only decades away emphasize that we’re on the cusp of creating nanotech machines that patrol our bloodstream and repair cellular damage, athletes with jacked-up genetic code who sprint like gazelles, an Internet that downloads directly to the mind, and medical labs with computer-replicated brains working by the thousands to cure disease.

Ultimately, if we become more machine-like, and machines more like us, will we sacrifice our humanity to gain something greater? Or will we engineer our own demise? Even if the answers are impossible to know, THE SINGULARITY makes clear that we cannot postpone addressing the questions.

Intriguing? I think so. And Little Fluffy Clouds was happy to provide the animated elucidations that accompany the many entertaining interviews and explain the deep and diverse concepts of The Singularity. More info and festival screenings here: http://thesingularityfilm.com/index.html

Imagine the incredible surprise of being awarded not just one, but two, platinum Pixel Academy Pixies. Well, that was the news around here this morning. Making the win super sweet is the knowledge that these awards are judged by our fellow animators and VFX artists. High praise indeed.

First up, with a 9.7 score, was Power of Sound, itself an interesting take on the character of sound. This traditional 2D animation uses origami to illustrate the narrative whilst skillfully synthesizing that imagery with CG models to underscore the use of technology in sound applications today. The sampans, water, moon, ocean and skies are created using only particles and projected lights and are not models. The “waveform” is also particle based but here movement is initiated by the music. VFX, using plug-ins, comprise the transitions. The origami horses, boats, kites and cranes are all 2D as is the floating text and the Golden Ratio shell animations. The larger shell in that scene is it’s 3D counterpart. Here’s what the judges had to say:

“A very powerful creative work. Imagery is very strong, created by excellent animation.”

Next up, with a 9.2 score, was CALU Built, which like it’s companion piece, Journey, is a veritable kaleidoscope of images, beautifully layered together in 2D and 3D. These stunning Super Bowl spots combine hand-drawn imagery with CGI to recreate the textured and layered look of a traditional watercolor painting – one that breathes life into the canvas. Built scored 9.2 and here the judges said:

“A very well done animation with very realistic body movements. Good job!”

Winning the Pixies does feel like a good job indeed. So, well done us!

Pittsburgh Pennsylvania is a beautiful city of rivers and bridges with wide stretches of recreational areas but, like many of the north east industrial towns, the air quality is still not everything it could be. In an effort  to identify and focus attention on this real environmental threat local philanthropists, The Heinz Endowments, have sponsored a multi-platform ad campaign – spearheaded by The Breathe Project and San Francisco agency, Citizen Group - to encourage businesses and citizens to work together to provide a solution for the betterment of all.

Having a great affection for the Steel City, Little Fluffy Clouds was more than happy to step in and provide animation, VFX, color correction and motion graphics for such a worthwhile cause. The entire campaign includes on-air PSA’s, print, billboards and a 30 minute informational awareness film.

Air was voiced by Pittsburgh favorite actress, Blythe Danner, whose dulcet tone strikes just the right note to bring across the message. Airing regionally from September 2011. Go Steelers!

Using simple animation accompanied by programmed expressions, Power of Sound, gets an interesting take on the character of sound. The animation, running at just over a minute, is a pretty good example of a mostly 2D piece using 3D cameras in 2D space, coupled with occasional CG models to underscore the use of technology in sound applications today.

The sampans, water, moon, ocean and background skies are made using only particles and projected lights. These are not models. The “waveform” section is also particle based and movement is initiated by the music. VFX, using plug-ins, comprise the transitions. The origami horses, boats, kites and cranes are all 2D, as is the floating text and the “Golden Ratio” shell animations. The larger shell in that scene is it’s 3D counterpart.

There are moments in the life of an animation when the subconscious takes over – even in a commercial.  And so it was here, where Power of Sound became less about the technology and the message and more of an artistic response to the shock of the Japanese EQ and their resultant tragedy. It became an homage in a way to the Japanese people and a small story about the lifting and triumph of the spirit in such a dark moment.

Software: AFX, Trapcode, Sapphire and Maya.

In his continuing foray into live action, Little Fluffy Clouds director Jerry van de Beek, explores with visuals, graphics and music, the dreams and plans of today’s independent investor in, Portraits, two companion pieces for on-line broker, TD Ameritrade.

Conceived as personal moments in busy lives both spots were shot on location – one at work and one upon arriving home. With deft use of slow motion, enhanced with VFX and text graphics, the viewer is drawn into a seminal and private moment. A space where time slows down and the outside world becomes very still – allowing ideas to spin through the mind in free fall motion – allowing the modern day, time crunched, person the breadth for inspiration to formulate just the right plan of action.

Both spots were filmed on the same day in snowy Denver Colorado for local agency, Karsh\Hagan, using a small but very nimble crew. Footage was then transferred and transported to Little Fluffy Clouds here in sunny California for editing, post, color grading and VFX. Trivers Myers Music LA, composed original music on a theme for both spots. These sponsorship “billboards” air on all PBS stations from April 2011.

About a year ago I wrote about, Designing with Color – Concepts and Applications, when it was still in it’s formative stages. You can read that post dated Jan. 10, 2010 in our archives. I commented then that good design books are hard to come by and how pleased we were to be contributing to one that, from the galleys, looked like it would be just that.

As an animation and design studio Little Fluffy Clouds often provides images and commentary on our work to writers, editors and publishers, only to find that for whatever reason the book in question never sees the light of day. I could write an entire post on the whys and wherefores of the publishing industry and how difficult it is to bring a book – particularly an instructional one – to market in this day and age of instant apps but for right now I’m just happy to report that the book is now published.  Hats off to Fairchild Books, a division of Conde Nast Publications, for staying the course and making this happen.

Written primarily as a workbook for students who want to work in the field of arts it might also benefit art directors across the board  in the way that only good design publications and the theory of art outlined within can do. After all, the joy of the “happy accident” is short lived in an artist’s entire career, of far more use is the ability to confidently articulate why an image – a project – a campaign – was created that way and publications such as this one help put you on that path of knowledge backed up by experience.

Designing with Color takes examples from nine disciplines: advertising, animation, fashion, fine art, graphic design, illustration, industrial design, interior design and photography. The idea of this is less to separate these areas of art but to “inspire” and illustrate “the interconnected nature of all the visual and applied arts.”

The book is divided into 17 subject areas in two parts: part one color, part two design. Each chapter is choc-a-block with images from artists: photos, drawings, diagrams, paintings that come together to succinctly illustrate the chapter point. Space is allowed for those keen enough to contribute their own ideas –  a sort of journal of art –  along the lines of “process and idea” so the entire book can be personalized and students can take advantage of the myriad of tools – camera phones, apps, iPads – available to them.

Here’s an introductory quote from the authors talking about the porous nature of the crossover in media that is the mainstay of today:

One defining feature of the postmodern era we live in is the breakdown of disciplines. An artists practice might resemble that of an architect: an illustrator’s that of a 3D modeler. With the pervasiveness of marketing and media in our current culture, people in disciplines such as advertising, photography, graphic design, illustration and 3d animation frequently collaborate. The disciplines of fine art, industrial design, interior design and fashion also merge to create, represent and disseminate a product and the visuals that surround it.

Designing with Color – Concepts and Applications, by Chris Dorosz and J.R. Watson, published by Fairchild Books a division of Conde Nast Publications, is available now – go out and get your copy.

Blue sketches appear on a painted canvas. The spokes of a bicycle wheel spin. Singular watercolor images emerge from the framework of an underpainting – that gives way to richly textured architecture and foliage.  A student rides forward weaving a tapestry of imagery as the campus of the California University of Pennsylvania reveals itself before his wheels. Ever advancing, buildings grow, from the imagined to the constructed.

This is the story of Built, a 30-second HDTV commercial that is the second in a continuing integrated campaign of broadcast TV, web, print and radio, crafted for the California University of Pennsylvania by Pittsburgh agency, Dymun + Company.

Built, like it’s companion piece, Journey, is a veritable kaleidoscope of images beautifully layered together. 2D and 3D animation are combined with hand drawn painting to recreate the textured and layered look of a traditional watercolor. In a spectacular display of animating genius Little Fluffy Clouds’, Jerry van de Beek, breathes life into this moving painting.

In Built the camera moves forward with the main character creating the campus as he rides towards the new Convocation Center which makes it’s debut in October 2011.  The effect of the growing color palette, as it washes over the canvas to create vivid moments and fleeting glimpses of the campus, is nothing less than stunning. Once more a gentle pullout transports us skyward, like a serenely gliding plane, over the rooftops of new and older buildings to lay the entire campus before us and cradle us in the crook of the river bend.

The campus, characters and shaders were created in Maya. The animation created in multiple layers and finessed using After Effects. Compositing, color correction and post was handled in-house at Little Fluffy Clouds. Built, airs on the east coast from January 2011 including Super Bowl XLV.