Abdul Alhazred wrote:Keep 'em coming, AC.
Seconded (even so they're a bit frightening – but hey, your sisses…)!
The Guardian (2001) wrote: 'I am the king of painters'
Andrew Vicari paints scenes of the Gulf war, motorcycle cops, horses and busty women. If you're not familiar with his work, that's because most of it ends up in Saudi Arabia, where they pay millions for it. Stuart Jeffries meets the man from a Welsh steel town who became Britain's richest artist
Unlike these rivals in wealth, though, Vicari is practically unknown in his homeland. No matter for us insular Britons that in China they hold loving retrospectives of his work. Or that there are three museums devoted to his oeuvre in Saudi Arabia. Or that Iranian mullahs were so furious about his Gulf war paintings that they wanted to pay Vicari £5m to destroy them. Or that Vicari is the official painter for Interpol and the CRS, France's much-hated elite police force. Or that he numbers former subjects as varied as Vladimir Putin and Jonathan Aitken as close friends. No matter at all. In Britain, if you get out the cuttings file on this French-based Welshman the vast majority of stories begin "Britain's least-known but highest-paid painter Andrew Vicari..." He doesn't get a mention in Who's Who.
Redshark wrote:Loving Vincent: how to make a movie using 65,000 oil paintings
Written and directed by Dorota Kobiela and Hugh Welchman, and produced by Oscar-winning Polish production company BreakThru Films, Loving Vincent is a biopic about the artist Vincent Van Gogh’s final days. Set in 1890, the story is told entirely through his characters and landscapes, using 120 of Van Gogh’s famous works as key frames or points of entry into the story, the reimagined subjects of the paintings relating the Dutch Master's passionate life and mysterious death.
There’s no doubt from the teaser trailer that Loving Vincent will be visually stunning. I’m looking forward to seeing the finished piece, but know that the geek in me (and you) can’t help but sneak a look under the hood. In the interest of serving our dear readers, we investigated how the team at BreakThru Films developed the production techniques to bring this animation/live action hybrid to the screen.
The actors are filmed against a green screen, the photographed action is then turned into black outlines that are projected onto the canvas inside the purpose-built Painting Animation Workstation. Here the artists use Van Gogh paintings as a reference to fill out the rest of the frame. The finished frames are then photographed and used to create a 12fps high-resolution sequence ready for the stringent QC process, with the final sequences going through editorial/grade and finishing. It’s cell-frame animation on steroids; I just hope the finished film doesn’t have the look of a drag-and-drop Photoshop filter.
Remarkably, it took 125 artists fluent in Van Gogh’s style and 1300 litres of oil paint to complete the 65,000 hand painted frames. The artists were recruited from around the globe. British Painter Sarah Wimperis was the only UK-artist chosen to relocate to Gdańsk and animate the well-known impasto swirls and twists into a vortex of moving frames.
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