The last few weeks I’ve been working on the Mario film again – this is a film I started in Seattle in July of last year, after receiving generous support from 4Culture. I’m hoping to finish it in time for a planned (as yet TBC) presentation in Seattle in February. That’s right, I’ll be visiting Seattle Feb 8-14! Very excited.
If you scroll down you’ll see my previous blog posts about the film – it’s based on an Italian folk song called Tutti Mi Chiaman Mario, about a soldier returning from war to find his girlfriend has left him. I decided to try paint on glass and have since been learning a lot about the medium!
In Seattle I was using water soluble oil paints mixed with stand oil, but since I’ve started working on it again I’ve switched to gouache mixed with glycerin. I found the stand oil was quite thick, and made the paint quite goopy and hard to control. My impression is also that the gouache paint goes farther than the oil – I need less of the paint to cover the same surface. They look about the same on camera:
Either way I have found the paint less easy to control than I thought would be the case, making it hard for me to feel comfortable painting details and hard edges. For this reason in Seattle I experimented with using marker on glass on an upper layer of my multiplane, with the paint underneath (see example above left).
I like the look of this, and have continued it here, except that I have found it easier to animate the marker and paint separately rather than at the same time on a multiplane (partly because the make shift multiplane I made while here is not that comfortable to work with). Luckily it is quite easy to animate each layer separately with Dragon frame grabbing software, because I can line up the different layers easily while animating.
I can even animate different elements of the paint one at a time, meaning I will sometimes be animating the same scene a number of times – first in marker, then paint for the figure, then paint for the background. This lets me concentrate on the task at hand, and it also means I only have to switch between one or two brushes with different colors rather than keeping four or five brushes straight.
Lots more to come! I still have a whole stanza to animate and then a bunch of post production.