Abstraction Animation


My concept for an abstraction image is based on my personal feelings and experiences with anxiety and depression, represented respectively through overactive and a seemingly trapped orange line and the slow moving and heavy blue masses. For me, anxiety creates an active sense of unease and almost makes me feel as if I am confined without escape, hence the orange line being restricted by the ‘walls’ of the flashcards. The line begins to speed up as it hits more and more of the walls, reflecting how one’s anxiety can build up if they are left in the uncomfortable situation. Depression has always been a heavy experience for me, hence why the line slows down and ends up falling to the ‘ground’ of the animation. The drips that falls from the top and to the bottom to eventually join in with the blue mass shows the buildup of depression, much like how with anxiety it can grow. To finish the animation off the mass rises and explodes back out into the streams of orange, the anxiety, almost as if the flop from anxiety to depression is a constant flop from one to the other. This animation all together is an excellent conveyance of my personal feelings with anxiety and depression throughout my life, delivering my intended feeling. In order to research the abstract style for this project I primarily watched works done by Len Lye, such as “Tusalava” (1929), “A Color Box”, “Color Flight”, and “Kaleidoscope” (all 1935-37), and Hans Richter, namely “Film Ist Rhythm” (1921), and “Filmstudie” (1925). The work that inspired me most of all was the compilation of Kaleidoscope, A Color Box, and Color Flight. I highly enjoyed the fast paced liveliness of the lines present in the animation, which inspired me to include the fluid speed in my own line for my animation. However when starting this project I already had a strong idea for what I wanted to deliver, therefore the animations I watched didn’t change too much about how I executed my animation. Upon watching my animation back over a few times, I feel as if my strongest and smoothest parts of the animation are from frames 28 to around 66, when the line increases speed and ends up darting all around its boundaries. When slowing down the animation you can see the large skips in motion to help the piece to appear to be moving at a high speed, and the frames coming closer together as the line slows down. I also feel as if the dropping of the blue mass, frames 80 to 100, are fluid and have a heavy feel to them as intended.

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