Jeff Scher’s latest film, “Pretty, Dead”, a faux noir faux feature in that it’s got a feature’s worth of action in the fraction of a feature’s time. Great score from Shay Lynch, one of Scher’s favorites. >>> watch here.
Mark Webster's Posts
The Little Drummer Boy
Jeff Scher makes a music video for Bob Dylan’s Christmas Album: “The Little Drummer Boy”. All profits from the album go to charity. Bob Dylan & Feeding America.
Living Climate Change
Living Climate Change is a devoted space for the most defining design challenge of our time. It’s also a place to support fresh thinking and share provocative ideas about the future.
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The Animated Life & Work of Jeff Scher
Jeffery Noyes Scher was born in 1954 and graduated from Bard College in 1976. He has since then made well over one hundred films, mixing both painting, typography, graphic elements and film to create beautifully vibrant and emotionally charged works. Scher draws inspiration from everyday life, he is a poetic observer, a modern day Baudelaire enjoying the limitless boundaries of experimentation. To watch his films, is to engage in a moment of pure emotion and a visual spectacle that has you eager to repeat.
I personally was introduced to his work back in 2007, at the outset of his project for The New York Times. At that time, Scher had been asked to do a series of works in which he was to create one film every month for the TimeSelect column. His first piece, ‘L’Eau Life’ is a colourful display of the pleasures of water, full of joy and utterly playful. Each frame is a painting in itself, 2,141 in all make up the short film.
Twenty four films on, the collection is testament to his untiring ability to express beauty and emotion through the medium of motion. For the release of his latest work, ‘The Shadow’s Dream’, I decided to catch up with him and ask a few questions about the project, his process and his love for early experimental film.
Tronic for Comcast
Tronic spot for Comcast
Imago’s typographic promo for The New York Times
When Graphic Plays Beyond Narrative
On that note, we’re delighted to bring you a in-depth review of this piece by Mark Webster (journalist, writer and occasional sound designer). He’s a very knowledgeable and all-around stand-up fellow and we’red please to have this guest contribution from him. Thanks Mark!
There’s been a lot of talk recently about the new animated film, Logorama created and directed by the French design collective, H5. Its particularity, as we all know by now, is that not only does it star the evil killer Ronald McDonald, who is pursued by a bunch of fat Michelin Men cops, it is indeed a film created entirely from logos.
Backgrounds, characters and props are all an incarnation of the pervasive commercial sign, the untouchable symbols of the industrial and financial powers. The film has already been well received by the select few, picking up an award this year at Cannes, screened at onedotzero in London recently and set for a number of international tours in the cultural sector. The particularity of Logorama is of course its road to possible success. It’s fresh, provocative and for some, utterly daring. But the burning question remains. Why the hell did they make a 15 minute animated film using only logos?
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