This Sunday Artist of choice is Ishu Patel, an acclained animation film director/producer and educator.
Here’s his site: http://www.ishupatel.com/
And his wiki page: https://en.wikipedia.org/wiki/Ishu_Patel
I had the privilege of attending one of his workshops during my time in art school. First he gave an inspiring talk about how he got started in animation, and then he showed us some of his films. At that time, I was most impressed by his short “The Bead Game” (having tried animating with beads earlier that year) and the magical shiny palace effect in “Paradise” (achieved by punching a bazillion tiny holes in black cardboard).
He then talked about his day schedule (oh the self-discipline that man has!) and work process. Apparently, at least for all of his plasticine films, he first animated them in full colour on paper, to make sure he got all the poses and timing right, because correcting mistakes as you animate frame-by-frame (without saving the physical frames, only photographing them) is pretty impossible.
I wish I remembered the amusing story behind how he discovered his underlit plasticine technique, but sadly, I was too excited about trying it out back then to commit it to memory properly.
Here’s a frame from the animation I worked on with a classmate that day:
Underlit plasticine is also the technique I’m planning on using for this month’s Rubber Onion Battle, and I’m hoping to stream the process on Twitch as well. I have a rough idea of the 15 minute story and the characters I’d like to use, so next is the storyboard. I’m not going to animate the whole thing on paper first, like the master that Ishu Patel is (I’ll be mostly winging it), but I’d still like a rough idea of who and what goes where at least, and making sure I have enough frames for the 15 second limit.