That animated sequence in Harry Potter and the Deathly Hallows

That animated sequence in Harry Potter and the Deathly Hallows

Giulia Guido · 4 months ago · Art

As someone who not only loves films and TV series, but is probably also slightly addicted to them, one of the things I like to do most is to watch and rewatch my favourite films so that I can finally grasp all the nuances and allow my eyes and brain to focus on certain passages that are not always 100% appreciated on first viewing.
These endless rewatches then lead me to get lost in the meanders of the web to find the names of those who edited that particular sequence, the special effects people, the costume assistant who hand-sewed the clothes, the production times of the props and a thousand other things. In this way, for instance, some time ago I discovered Annie Atkins, the graphic designer who made all those delicious little pink boxes from Mendl’s bakery for Wes Anderson’s Grand Budapest Hotel.
Since a few weeks ago – due to the Reunion – my attention has shifted to Harry Potter, in particular the seventh film, Harry Potter and the Deathly Hallows – Part 1

Of the 146 minutes of the film this time I literally fixated on only 3, namely those in which Hermione reads from The Tales of Beedle the Bard – a book that also exists in a real version, written by J.K Rowilng in 2008 and containing 5 popular tales in the world of Harry Potter – the tale entitled “The Tale of the Three Brothers” to explain what the Deathly Hallows are. 
And it is here that the images give way to an actual animated short film.

And it is here that the images give way to an actual animated short film.
The Tale of Three Brothers” was made by Framestore, a British studio specializing in visual effects not only for the film but also for advertising, television and video games.
At the time of the shoot, Framestore had been working with Warner for many years and was already immersed in the world of Harry Potter, having worked on the VFX for several chapters of the saga, a collaboration that continues to this day with Fantastic Animals.  

But in this specific case, the studio didn’t have to work and add effects to filmed images, they had to create the first and only fully illustrated and animated sequence of all eight films. 
So, although as we all know the film is directed by David Yates, these three minutes are officially signed by Ben Hibon, who not only directed but also did the illustrations. 

The idea for the transposition of the fairy tale into images starts right from the book: the background of all the illustrations was made to recall the grain and texture of the pages when time starts to leave its marks. For the portrayal of the three brother wizards and Death, however, research and testing took Ben Hibon and the team a long way from London, specifically to China. It is clear that the main source of inspiration is Chinese shadow theatre, an art form whose origins are believed to date back to before year zero. 

In particular, I was struck by the fact that one of the most famous legends about shadow puppetry is linked to Emperor Wudi, who ruled China from 140 to 85 BC. The story goes that some of his young servants had the silhouette of his prematurely deceased concubine carved in wood and cast her shadow on a tent. Seeing it, the Emperor thought his beloved had come back to visit him. A tale that cannot help but make one think of the story of the second brother in The Tale of Three Brothers, who uses the Resurrection Stone to see his bride again. 

“The Tale of Three Brothers” stands out for its quality and attention to every little detail, starting with the invisibility cloak and ending with the rendering of the river water. It should come as no surprise – or perhaps it should – to learn that it took over 6 months of work for just this sequence, on which 32 different VFX artists from Framestore worked. Just for comparison: the entire film took 54 weeks to shoot, slightly more than twice as long. 

Watch “The Tale of Three Brothers” again below, a real treat for the eyes! 

That animated sequence in Harry Potter and the Deathly Hallows
Art
That animated sequence in Harry Potter and the Deathly Hallows
That animated sequence in Harry Potter and the Deathly Hallows
1 · 6
2 · 6
3 · 6
4 · 6
5 · 6
6 · 6
“Okja” in ten frames

“Okja” in ten frames

Giulia Guido · 2 weeks ago · Art

Okja” is a 2017 film directed by Bong Joon-ho. Although it did not rake in awards like the subsequent “Parasite“, “Okja” ranks among the South Korean director’s best works and features an ensemble cast that includes Tilda Swinton, Paul Dano, Lily Collins, Giancarlo Esposito, and Jake Gyllenhaal.

The film tells the story of a young girl who for most of her life has raised a genetically modified “super pig,” building a bond of mutual affection with him. But their lives are set to change drastically as the industry that actually created the animal must take it back to begin the slaughtering process.
This is an exposing film against the mistreatment of animals within the meat industry that manages to deal with the topic by focusing on empathy and friendship. For this very reason in 2019 it was named one of the most influential films of the decade by the New York Times. 

In “Okja,” the state of mind of the protagonist and her animal are reflected in the colors of the sets and the choices related to the cinematography, curated by Darius Khondji (Seven, Midnight in Paris, Uncut Gems), which manage to completely capture the viewer. 

Okja
Okja
Okja
Okja
Okja
Okja
“Okja” in ten frames
Art
“Okja” in ten frames
“Okja” in ten frames
1 · 11
2 · 11
3 · 11
4 · 11
5 · 11
6 · 11
7 · 11
8 · 11
9 · 11
10 · 11
11 · 11
The illusion of calm in the illustrations of Kento IIDA

The illusion of calm in the illustrations of Kento IIDA

Tommaso Berra · 2 weeks ago · Art

You know the sky on certain summer days, when you couldn’t find a cloud miles away and everything above our heads is a delicate blue, the color of the sweetest of spun sugars? Illustrator Kento IIDA finds in this atmosphere of calm the inspiration for his works, images of tranquil landscapes but leaving an atmosphere of suspicion, as if something unforeseen will happen soon, or as if something unforeseen has just happened, far from the eyes of possible witnesses.
In these vignettes there are always elements or signs that suggest a movement that breaks the calm, sometimes the movement has already happened or is in progress, as in the case of cars launching from bridges or space missiles lifting angular clouds to the sky like marble sculptures.

Kento IIDA (who is based in Tokyo) incorporates elements of Japanese tradition in his illustrations, thus traditional buildings and views of snow-capped peaks that hint at Mount Fuji appear in these ambiguous scenes, as well as baseball players, a national sport in Japan and probably the artist’s favorite.
There are not only clear skies in the views, however; poetry is also provided by clouds, often single and isolated, or by gloomy skies that sound like an omen, in an increasingly suspended and uncertain time.

Kento IIDA | Collater.al
Kento IIDA | Collater.al
Kento IIDA | Collater.al
Kento IIDA | Collater.al
Kento IIDA | Collater.al
Kento IIDA | Collater.al
Kento IIDA | Collater.al
The illusion of calm in the illustrations of Kento IIDA
Art
The illusion of calm in the illustrations of Kento IIDA
The illusion of calm in the illustrations of Kento IIDA
1 · 9
2 · 9
3 · 9
4 · 9
5 · 9
6 · 9
7 · 9
8 · 9
9 · 9
Vickie Vainionpää’s code-generated works

Vickie Vainionpää’s code-generated works

Tommaso Berra · 2 weeks ago · Art

Artistic expression is now no longer bound only to manual gesture, and in some cases not even to the artist’s choice. Vickie Vainionpää‘s works in fact follow that artistic strand in which works are the result of codes, of an algorithm that creates unpredictable solutions by reworking basic information. The Montreal-based artist creates his works through a generative code, which traces a certain number of points placed in a Cartesian plane.
The result is that of twisted shapes like guts or extraterrestrial organic creatures, in which even the color and shades are dictated by the generative code.

The forms are then the basis for oil paintings on canvas, in which the digital forms acquire a presence and matter through the texture of the support, the shadows and the layering of color. Some of these canvases are recently on display in New York at The Hole NYC gallery for the artist’s solo exhibition entitled “Software.”
In Vickie Vainionpää’s works, the relationship between man and machine merges, the physical and virtual experience become interconnected to the point of blurring the genesis of everything. Who creates? Who is created by whom? A series of questions that help read and complicate the present.

Vickie Vainionpää | Collater.al
Vickie Vainionpää | Collater.al
Vickie Vainionpää | Collater.al
Vickie Vainionpää | Collater.al
Vickie Vainionpää | Collater.al

Vickie Vainionpää’s code-generated works
Art
Vickie Vainionpää’s code-generated works
Vickie Vainionpää’s code-generated works
1 · 5
2 · 5
3 · 5
4 · 5
5 · 5
Stefano Vitale trusted folk art

Stefano Vitale trusted folk art

Tommaso Berra · 1 week ago · Art

Arriving in the United States, in Los Angeles, to study at the University of Southern California, Stefano Vitale sought a way to express his hitherto unexpressed ideas using the skills he had at his disposal. Art began to figure as the most precise and sincere tool through which to do so, so he began a path that led him to a career as an established artist, thanks to his colorful and metaphysical illustrations, evocative of magical worlds in which nature dialogues with man, in which figures are suspended in mid-air in starry skies and under the hot Sicilian sun.

In the early years of his career, Stefano Vitale insists on a recurring subject, a one-eyed Madonna, a subject certainly influenced by the sacred iconography he studied and explored throughout his travels in Mexico and Central America. “I have always trusted popular art more than official art,” Vitale explains.
His look toward an elemental art is reflected in the style that uses simple lines, leaving the decorative component to color. The subjects are celebrations of joy or primal bonds such as that between mother and child or man and nature. Plants and leaves are superimposed on faces, while the sky is always a central subject of the compositions, signaled by the presence of bright stars or moons that make magical nights and sunsets.
Stefano Vitale’s work has then been linked for more than two decades by his collaboration with Donnafugata. For the Sicilian winery, the artist illustrates bottle labels, visually representing an imagery of flavors and smells that originates in Sicily, finds its inspiration from music and the Leopard, and seeps into sensory memory. Below are some of the labels created by Vitale for Donnafugata.

Stefano Vitale | Collater.al
Stefano Vitale | Collater.al
Stefano Vitale | Collater.al
Stefano Vitale trusted folk art
Art
Stefano Vitale trusted folk art
Stefano Vitale trusted folk art
1 · 8
2 · 8
3 · 8
4 · 8
5 · 8
6 · 8
7 · 8
8 · 8