Aaron Blaise

ImagineFX: Sci-fi & Fantasy Art magazine - - Imagine Nation | News -

artist insight Hand- drawn an­i­ma­tion is one ca­su­alty of the move to dig­i­tal over

the past decade, says artist and ed­u­ca­tor Aaron Blaise Based in Florida, Aaron Blaise has worked on all kinds of an­i­ma­tion projects for Dis­ney and other big stu­dios. For him, there’s some­thing sad about how hand-drawn cel an­i­ma­tion is now a fad­ing mem­ory, par­tic­u­larly for com­pa­nies that pi­o­neered the tech­nique and sup­ported it, such as Dis­ney and DreamWorks.

“We’ve seen the vir­tual ex­tinc­tion of hand-drawn, fea­ture-length an­i­mated films. I’m so happy that some small Euro­pean an­i­ma­tion houses are still out there cre­at­ing them by hand. A great ex­am­ple is last year’s Song of the Sea, which earned a well-de­served Os­car nom­i­na­tion,” he says.

On the other hand, he’s happy work­ing dig­i­tally be­cause ex­per­i­men­ta­tion is rel­a­tively easy and you don’t have to worry about making a mis­take. For in­stance, he helped de­velop a Dis­ney film called King of the Elves, seen be­low.

“The ink and wa­ter­colour im­ages are pre-dig­i­tal days. While I like them for what they are, they’re a far cry from what the film would ac­tu­ally look like,” says Aaron. “The dig­i­tal im­ages are from my post-dig­i­tal days. Th­ese im­ages much more closely re­sem­ble how I pic­tured the par­tic­u­lar film.”

Aaron Blaise loves the ink and wa­ter­colour il­lus­tra­tions he cre­ated for King of the Elves, and the dig­i­tal stills of the char­ac­ters.

King of the Elves in an­i­mated 3D brings joy to Aaron Blaise.

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