Wednesday, June 17, 2009

donnie yen

Wednesday, June 10, 2009

emmanuelle beart,


i challenge anyone to show me a prettier face.

working hard again

Monday, June 08, 2009

awesome

Monday, June 01, 2009

old man,

Sunday, May 31, 2009

Supernova

Thursday, April 30, 2009

Eliana




Tuesday, April 21, 2009

spaghetti-ooo~

Monday, April 20, 2009

made it to stash, y'all



www.stashmedia.tv

Friday, March 27, 2009

wenchbird



this is pretty homoerotic, it was a commission tho

Wednesday, February 18, 2009

tadanobu






Saturday, February 14, 2009

new work

Tuesday, February 03, 2009

buzz

Monday, January 19, 2009

preview


Saturday, January 10, 2009

time to bust out the x-acto and acetate again



Rei Melody Mai




Monday, January 05, 2009

why handmade animation ?

Bicycles, trains, cars and other things that go have been iconic images in cinema ever since the Lumière brothers filmed an approaching locomotive in 1896. Animation in particular shares a common genealogy with these 19th-century technologies; early animation was the province of eccentric tinkerers and bricoleurs like Muybridge, Otto Messmer, and Ladislas Starevicz. These people were motivated by a fascination with motion itself and what it's made of.

In Triplets, the bicycle becomes a beautiful metaphor for handmade animation: certainly not the fastest or easiest mode of transportation, but one with its own satisfactions, chief among them the sheer joy of motion brought into existence through the agency of one's own body. If traditional animators are cyclists, isn't animating a feature equivalent to riding the Tour de France? Lives there an animator who doesn't connect viscerally with Champion's indomitable urge to just keep pedaling?

by Luke Jaeger for frames per second magazine 2004