After I wrote about The Dot and the Line animation, Nigel Brachi contacted me to tell me about the book which came out a few years before the film. He kindly sent me some scans of the pages, which show just how faithfully the animators followed the drawing style. The typography of the text is often rather nice too:

Joseph at the Book Design Review posted his favourite book cover designs of 2008. There’s some good ones in there, and makes me think I don’t read nearly enough long-form writing. I particularly like the one for “Abraham Lincoln: Great American Historians on Our Sixteenth President”, but that might just be because it’s from the five dollar note and I like banknotes… As for the others, I want to see the original of that aerial view of Manhattan, and the other two are just nice images. Go and look at the others.

This is a fantastic piece of illustration and lettering. Well worth watching. It’s all good, but some of the illustrations that I find noteworthy are the pavement-level view of walking feet (0:27), the yellow and black spread (1:04) and the multiple mouths (1:54).

People are strange from Denis Fongue on Vimeo.

This is fantastic. I think I saw it here, linked from Design Observer first, though quite a few sites have linked to it too, but that’s no reason not to link to it again. It’s got some beautiful touches in it, with a gentle kind of humour and some reasonably groan-worthy puns. I love the little joke about the perfect proportions of the dot, playing off the classic ‘36-24-36’ hourglass proportions supposedly ideal at the time for women. The calipers are great, with the little hearts instead of arrows for the dimensions, and just demanded to be redrawn:

A few sites I’ve seen it on have lamented that things like this aren’t made anymore because it wouldn’t be popular, that people would be afraid of anything that mentions ‘hard stuff’ like mathematics. Perhaps they’re right, and maybe it is really anti-intellectualism preventing stuff like this being made today, but the animation is hardly a mathematical treatise. The only mentions of anything mathematical are the title and a few puns scattered here and there, ending in the rather nice, “To the vector go the spoils”.

The real point of this animation is the animation itself. It’s certainly not the story: a simple morality tale on the importance of hard work and discipline (and also, avoiding narrow thinking) to achieve your desire; in this case, a remarkably shallow and feckless sounding creature who is easily wowed by flashy glitz and glamour. Perhaps these days we might wonder whether that was worth all the poor line’s effort; “You can do better than that” we might say.

So the animation seems like a kind of showreel, a portfolio piece, beautifully done of course, but more remarkable in that it was released by the studio commercially. I have a little theory that it might have been released with the new technology of colour TV in mind - the audience at the time was very small and would have consisted of those who could afford it; professional, college-educated people? That might explain the choice of story too.

Pascal Blanchet has some great illustrations and artworks on his site, well worth a look. Follow a few links and you get to Drawn & Quarterly, with more of his (and many others) graphic novel work, which is definitely worth a look.

Funny how coincidences arise. I found both Mario Feese’s Air Lines and Chris Harrison’s Internet Maps at about the same time and was struck by how recognisable the continents are, and, as I’m fond of maps I thought I’d compare the two images. On the Air Lines map, most of the continents are rendered as a ghostly but fairly accurate outlines, with South America rendered as a beautiful abstraction, right to its tip. The Internet Map is obviously somewhat different, with almost all the connections between cities in rich countries; Africa barely exists and the tip of South America is shown with a single faint line, whereas North America and Europe are smothered in a riot of lines. I overlaid the two maps onto each other and I noticed an interesting thing about the Internet Map, which I describe below.

So, to align the maps I needed to use various groups of cities that appeared in both maps; using the southern hemisphere to get the horizontal scale right - there are sharp points for cities in South America, southern Africa and Australia, and in the northern hemisphere I used San Francisco, LA and Tokyo to get the vertical scale. Thankfully, both maps are using the same projection.

Everything pretty much lines up nicely, except there’s that node in the Gulf of Guinea which I originally thought might be some satellite uplink affair at Sao Tomé, maybe a huge data haven I’d never heard about. However, after lining up a map of Africa with both maps it turns out to be nowhere near any land at all. In fact, when I was trying to mark the point on Google Maps, I realise this big data interchange point (the biggest in Africa!) is at 0.0°N, 0.0°W, which is a suspiciously default sounding location. Maybe in the data that Chris Harrison used there are a few unknowns, with their locations set to null, and these connections should be shown elsewhere? If they were removed, Africa would be even more ghostly.

Two of my favourite animations of all time are the advert H5 did for Areva, and their Royksopp video. I can watch them over and over again; they’re so good. So I went to the H5 website recently to see if there was anything else they’d done like that, and found the video for Alex Gopher. I’m sure I’ve seen it before somewhere, but it was a long time ago and I hadn’t made the connection it was done by H5 too. It’s available to view on YouTube, but you can see it on H5‘s (all flash) website by clicking ‘films’, then ‘clips’, then ‘alex gopher’.

Anyway, I like things like this, where the label is the thing itself, and it reminds me of the National Geographic trailers for Seconds from Disaster that I linked to before. I’m thinking it would be amusing to remake Powers of Ten in this style - zooming into the word ‘galaxy’ to see it made up of widely spaced words like ‘star’ and ‘nebula’, and so on, down to the sub-atomic level, with everything its own label.

Screen captures from ‘The Child’

Screens from the Areva advert, the Royksopp video, and this rather good public information film by Japan’s Ministry of Agriculture, Fisheries and Food.

Talking of labels becoming the object itself, there was a short film, I think on the Sci-Fi channel, about a post-apocalyptic future where the apparently normal, happy, consumerist lifestyle everyone leads is in fact an illusion. There are many layers of unpleasant illusions underneath the ‘nice’ one to stop people trying to break free and see the real world. I particularly remember the ‘real world’ in the film as being made up of cardboard boxes labelled with the name of the object it was supposed to be, and a big barcode (the name set in Helvetica, natch), with one scene showing a load of cardboard boxes labelled as ‘Black Leather Briefcase’ going through some device (gotta love sci-fi) and emerging fully-clad in the illusion of black leather briefcases. I’m sure the film is nowhere near as good or as profound as I remember it, but does anyone know what it was?