Animation visionary Isao Takahata of Studio Ghibli fame died on April 5, and Smithsonian magazine published a great written overview that complements the video essay above.
Though he did not draw himself, he had an esthetic vision for the possibilities of animation. Via David Sims' tribute in The Atlantic:
This vision came through in Takahata’s writing and his visuals, which always relied on a hand-drawn look. In defending two-dimensional animation (over the CGI approach favored by companies like Pixar), Takahata said, “By keeping everything flat, animation allows viewers to imagine what is behind the images.” There is plenty of visual beauty to behold in each of his films, but it’s what’s going on behind them that made Takahata such a titan of both animation and cinema.
If you're not familiar with Takahata's work, check out the devastating Grave of the Fireflies, about two orphans stuggling to survive at the end of World War II:
• The Sprawling Legacy of Isao Takahata, Co-Founder of Studio Ghibli (Smithsonian)
Machinist/sculptor Chris Bathgate (previously) is taking a break from small fidget toys and has returned to large format work with the BU 622411311751, which has a distinctly cthuloid/tentacly aspect.
Slovenian designer and web developer Sašo Krajnc, aka Cvern, says he has always been amazed by string art. He creates large pieces in round frames that depict eyes, faces, animals, and patterns.
Artist Kathleen Darby takes viewers through her step-by-step process of drawing a colorful bird on black paper. Start at the beginning for more details. It’s interesting as well as relaxing, as there are some important differences when starting from negative space.
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