The innovative experimental artist Mirai Mizue often takes a scientific
approach to animation. With each new
film or film series, he challenges his discipline as an artist (take his
current Wonder 365 Animation Project where he aims to make animation every day
for a whole year) and investigates the theoretical possibilities of his craft.
Modern (2010) and Modern No. 2
(2011) further explore the method of geometric animation which Mizue used for
the first time in Metropolis
(2009). These films are made using isometric
drawings planned out on graph paper, and are inspired by optical illusions such
as the graphic art of M.C. Escher.
In the “Making Of” extra on the DVD Mirai
Mizue Works 2003-2010, Mizue explains that for Modern, he set himself the rule that he could only use three kinds
of lines: one vertical and two slanting.
Thus the film consists only of the transformation of rectangular
parallelepipeds. Mizue was interested in
making as interesting a film as possible using a minimal number of elements in
order to prove the theory that animation can be very good when one imposes a
limitation on movements. It would be
very easy, and much less time consuming, to make films like Modern and Modern No. 2 using CG software but the look and feel of the film
would be very different. There is a
warmth and tactility to Mizue’s films that would be lost if the lines were
computer generated.
Modern and Modern No. 2 have a
lot of visual similarities in terms of graphic style, but they are at the same
time quite distinct from one another.
Modern begins completely in grey scale then the shapes take on bright
colours that stand out against the foggy grey background and the whole frame outlined by a soft
black outline. The rhythm is much slower
in Modern than in Modern No. 2 because Mizue asked his
composer, twoth, to increase the
tempo. Modern also had a much more consistent tempo, whereas with Modern No. 2 Mizue experiments with
variations in speed.
The biggest change with Modern No. 2 is the change in
colour. For his earlier films, Mizue
tended to use plain paper, but for Modern
No. 2 he uses traditionally made paper with texture. This creates a wonderful textured effect with
the threads of the paper visible and jumping about from frame to frame. The colour palette for the geometric shapes
is inspired by traditional Japanese art – colourful and dynamic yet more muted
than in Modern.
It is an exhilarating experience to watch
Mirai Mizue’s geometric films. The
precision of movement and the way in which the animation works in together with
the soundtrack is truly a wonder to behold.
Modern appears on the DVD Mirai
Mizue Works 2003- 2010. Please
support his artist by ordering it today.
Catherine Munroe Hotes 2012
Modern and Modern No. 2 screened
at:
