About Me

Basic Information

Gender
Female
About Me
As a child, I was afraid of the dark.

I’d dread waking to it in the small hours, swinging bare legs over the edge of the bed (well within the grasp of the skeletal hands beneath) and dashing across the carpet to turn on the light. Often however, I’d just lie there. Too scared to move for fear of disturbing those hands that had now crawled along the bed frame and were gently scratching at the corners of my mind. As I grew, so too did my fascination with monsters. I soon learnt that every kindly Dr Jekyll harbours his own sordid Hyde and that the manufacture of beasts is the main staple of those who wish to consume us.
Hobbies
I am inspired by places. I want to explore dusty attics, forest thickets, forgotten pathways and abandoned tube stations. I am drawn to texture. I want to run eyeballs over rusty surfaces, viscid meats and the velveteen of flock wallpaper. I am intrigued by dark themes, by urban myths and cautionary tales, distorted dreams and memento mori. Most of all I am eager to lift the mask, to peer beneath and ponder who really has the sharpest teeth.

I am still afraid of the dark.
Favorite Animators
- Jan Švankmajer
- Jiří Barta
- The Brothers Quay
- Robert Morgan
- Adam Pesapane
- Adam Eliot
- Anthony Scott
- Andy Huang
- Piotr Dumala
- The Bolex Brothers
- Ivan Maximov
- Terry Gilliam
- David Firth
- Yuri Norstein
- Ray Harryhausen
- Julian Grey

Favourite Animation Directors
- Tim Burton
- Henry Selick
- Lizzie Oxby
- Joaquín Cociña

Contact Information

City / Town
London
Country
United Kingdom
Website
http://earsandwhiskers.co.uk
WhiteRabbit
WhiteRabbit
'The Bone House' pre-production update:
http://blog.earsandwhiskers.co.uk/2011/12/sound-bites.html
1 year ago
  • Profile Video
  • My Profile Video
  • Karma
  • Member since
  • Friday, 19 November 2010 06:17
  • Last online
  • 9 months ago
  • Profile views
  • 3164 views

Wall

PhD. Aragao
Hi! Nice to meet you, WhiteRabbit!!! Thanks for the comment :D
WhiteRabbitWhiteRabbit on Tuesday, 05 July 2011 05:15

You too my friend :)

Thursday, 30 June 2011 09:39
 
luc
luc,
Very clever your profile video. So simple and so nice. Wow.
WhiteRabbitWhiteRabbit on Thursday, 30 June 2011 03:22

Many thanks for your kind words luc :) Loving your sculpt tests, especially Mr Cockroach. Are these for a particular project?

Wednesday, 29 June 2011 18:39
 
Daniel James
Lovely to meet you to, thanks for the comment, love the design work in your story :)
WhiteRabbitWhiteRabbit on Tuesday, 28 June 2011 05:47

Ta v. much :)

Tuesday, 28 June 2011 05:02
 
Rebecca Smith
Hey white Rabbit! Ah, good old KIAD. No I didn't attend there, but I thought about it! I studied down in Brighton. Glad you like my work, and i'm very pleased you recognised 'The Sandman'! xxx
WhiteRabbitWhiteRabbit on Friday, 10 June 2011 12:08

Ahhh, Brighton... Just wondered as KIAD had a wonderful modelmaking course when I was there. Still, sometime ago now! Anyway, lovely to meet you! ;) x

Friday, 10 June 2011 12:02
 
Metalmadcat
m_) A white rabbit? milk hare, all in march? That looks like heck of a combo to me! :)
WhiteRabbitWhiteRabbit on Tuesday, 01 March 2011 09:29

Hello! Lovely to meet you! Yep, as mad as a box of frogs! ;D

MetalmadcatMetalmadcat on Wednesday, 13 April 2011 11:19

hey there RABBITTUDEEEEEEEEEEE, sorry for the long reply.. jeez where was I? ....enjoy the fest!!!!!! soon to come back here in this virtual universe.
thanks for youtube commnts friend addition, and all feedback.

take care

WhiteRabbitWhiteRabbit on Tuesday, 17 May 2011 09:03

Hello you mad moggie! We seem to be caught in a reply timewarp! Hope to see your Cheshire Cat grin sometime sooooooooon! ;)

Tuesday, 01 March 2011 08:43
 

Feeds

  • 25 Mar 2013

    German Expressionism: Der Geist Ist Willig...


    A key influence on 'The Bone House', both in terms of visual aesthetic and, to a lesser degree, narrative structure is the German Expressionist art movement of the early twentieth century.

    I have long harboured a fondness for the look and feel of Expressionist films, in particular those that were produced during the Weimar Republic between the two world wars.  Although much of my initial contact with German Expressionism was via more contemporary works that drew influence from this avant garde movement, tracking backwards to the root of these flavours has been a journey into a world of frighteningly innovative filmmaking.


    'Nosferatu' (1922)

    I suspect that the first German Expressionist film I saw was F.W. Murnau’s 'Nosferatu' (1922) and although I cannot recall when or where I first watched the film, its imagery remains indelibly etched onto my consciousness.  It may also be the case that some of those images had already silently crept into my head from old film school textbooks, long before I sat down for the full feature; such are the mysterious, almost hypnotic power of them. 

    Weird doesn’t even begin to describe it.

    There’s much that resonates with me as a creative practionner.  From a production standpoint, the use of design to compensate for technical limitations is wonderful.  As early film cameras did not lend themselves to being moved around, nor did they posses the capabilities that we now take for granted, the shots were mostly static (no pans, tilts, zooms, etc.) Lighting was also underdeveloped as a filmic device.  So directors such as Wiene used impossible angles and geometric shapes in set design, for example, to add greater depth and intrigue to their images.    

    Further, the use of high tonal contrast[i] to create high drama in a world devoid of full colour is a useful device to understand and develop.  The influence of Expressionist films on both film noir and the horror genre is due in part to the tension and mystery that such high contrast imagery evokes.  Images begin to breakdown into abstracts, which feel far more suggestive than explicit – rather like watching the shadows cast across the ceiling at night or glancing out of a window at a shape in the darkness that uncomfortably shifts from the benign to the malevolent in the mind’s eye.     

    Of course colour can also convey dramatic tension via use of complementaryor similarly physiologically charged colour schemes – a splash of red against dark green may conjure immediate thoughts of messy surgery, for example.  However, for me this chromatic friction is far more overt, a direct assault on the viewer rather than the visual enigma of black and white shapes, which leave something else for the viewer to discover deep in their own subconscious long after the film has ended.

    'The Cabinet Of Dr Caligari’ (1920)

    'The Cabinet Of Dr Caligari’ (1920)

    In a similar vein, the use of exaggerated, abstract forms has a particularly unnerving effect.  A world that is simultaneously familiar yet unfamiliar – uncanny and reminiscent of altered mental states through drugs or serious illness.  Wiene's 'The Cabinet Of Dr Caligari’ (1920) is particularly rich in this hallucinogenic design.  Government officials perch on impractically tall chairs, windows stretch away beyond the screen (perhaps forever) and the rooftops dissolve into a simple arrangement of rectangles, suggestive of their real-world counterparts, yet hauntingly divorced from them.  As a child I was hooked on Dr Seuss.   I learnt the poems off by heart and would take a copy of whichever new book my parents had given me everywhere I went.  It was not the crazy storylines, the kooky characters or sublime rhymes that captured me however, but his uniquely disturbing illustrations – that fine line between magic and menace that authors such as Lewis Carroll and filmmakers such as Wiene, Murnau and Lang seem to also instinctively understand.

    ‘Metropolis’ (1927)

    ‘The uncanny’ is a recurring aesthetic in my work and I have begun to explore this via animated movement in particular.  In ‘MiLK HaRE’ (2011), the main character’s pixilated motion juxtaposes natural movement with unnaturally static positions to create a disturbing friction between expected and actual motion on screen.  Fritz Lang also explores the uneasiness created between organic and synthetic movement in ‘Metropolis’ (1927).  In a futuristic dystopia, factory workers relinquish normal human movement for a machine-like motion that conveys their symbiosis with an authoritarian industrial environment.  This unanimous, mechanical movement immediately strips away humanity, leaving lifeless automatons to work the machines.
                    
    -------------------------------------------------

    I recently had the real pleasure of watching ‘The Cabinet Of Dr Caligari’ on a cinema screen and with a live musical accompaniment.  Writ large, the film had greater impact and draw as would any other.  However a real surprise was the energy that live music bought to the viewing experience.  At one point, a well timed clash of the cymbals made most of the audience jump and the contemporary sound, while inauthentic in terms of both instrumentation and style, suited the avant garde nature of the film very well.  Although rehearsed in advance, there was an electric immediacy in an art form unfolding in the room alongside these old flickering  pictures that bought a curious necromancy to the proceedings – an unnerving collaboration between artists living and those long since deceased.

    Expressionism may have died in Germany during the late 1930’s with the rise of National Socialism, but it continues to haunt our cinema screens and our minds to the current day.





    [i] Although many of these films were tinted/colourised, personally this feels like a gimmick (rather as 3D does today.)  My preference is to watch these films in black and white where possible.
       
  • 15 Nov 2012

    Monsters Ashore: The Singing Loins

    And here is the final music video.  Producers, actors and co-collaborators, a HUGE THANK YOU for all your hard work and support. I've really enjoyed, appreciated and learnt a great deal from working with you all. I hope that we can all get together for another voyage into the unknown again sometime.





    The good ship Arethusa battles terrifying creatures from deep in nightmarish seascape - but is the real monster at her helm ..?

    -------------------------------------

    Song Written By Broderick & Allen, from the album '...here on earth' (DAMGOOD405CD), Damaged Goods Records. Published by Vacilando '68 (Bucks Music Group). A White Rabbit Animation Production. Director: Emma Windsor, Original concept: Shorebird Crick, Cast: The Singing Loins & Fola Akinsola, Production / Technical: Patrick Murphy & Sylvia Lim, Camera: Dan Wylie & Emma Windsor, Digital Artwork & Animation: Michaela L. Czech, Ellie Dickens & Emma Windsor, Monster Make-Up & Illustration: Katie Broderick, Special Thanks: Jay Allen, Mike Tappenden, Nadia Ward & Seth Woolf. Find out more about the Loins: http://www.singingloins.co.uk
       
  • 30 Oct 2012

    From Illustration To Animation: Making 'Monsters' Move


    Many of the sequences in the music video 'Monsters Ashore' involved the work of more than one person.  A key set of sequences in the video involve the good ship Arethusa on her journey into the dark unknown.  We had decided to use an 'olde mappe' look for these and therefore got to work creating artwork in this style.

    The process was thus:  Katie used references from old sea maps and other materials to create some lovely concept illustrations of terrible sea monsters, waves, charts, a compass and the Arethusa.  These were beautifully hand rendered and some can be seen here.  This concept artwork was then scanned and passed onto Ellie, who traced and coloured Katie's original illustrations to create 2D digital artwork from the pencil drawings.  Although we had to make some alterations for technical reasons, we tried to remain as faithful to Katie's original concepts as we could so her vision was maintained.  These resultant digital files were far easier to manipulate and could be quickly scaled up and down without loss of resolution, for example.


    Having reproduced all of the illustrations, Ellie then animated each element in Adobe After Effects.  We wanted a 'Victorian paper theatre' feel to the movement, so the use of keyframe 'tweened' animation suited well.  Et voilà, the good ship Arethusa was launched onto the high seas.

    Ellie also produced a marvellous and truly monstrous angler fish in a similar style for use in the underwater sequences, which both provided a stylistic link between these and the map sequences and added more visual interest to the scenes (no offense Loins!)  These fabulous specimens were again animated in After Effects, although this time via 3D layers and masks, which was the prevailing technique used to composite this watery underworld.

    Here fishy, fishy, fishy..!




    About Ellie Dickens
    Ellie Dickens is a digital artist and 2D animator. She is currently studying for a master's degree in animation and has an animated film competing in this year's Cornwall Film Festival and UK Film Festival. She enjoys creating weird and wonderful creatures but also has a penchant for parody and mischief. Some of her mockery can be seen at www.arseandelbow.com.


    ---------------------------------------------------------------

    The Singing Loins
    The Loins have a new album '...Here On Earth' coming out on Damaged Goods on 5th November. It's on CD and digital is available for pre-sale now. They're holding the album launch gig up in London at the legendary 100 Club on Oxford Street on the 6th. Tickets are £7.50 (in advance) and available here.


       
  • 12 Oct 2012

    You Make My Loins Sing! The Eclectic Aesthetic Of Fola Akinsola

    I've had the very real privilege of collaborating with a number of artists from different disciplines whilst working on the music video 'Monsters Ashore' for the Singing Loins' forthcoming album '...Here On Earth.'  Amongst those already mentioned is the very lovely Fola Akinsola - a graphic artist, model and all round good sport who lives and works in Kent, UK.

    I hope you like her work as much as I do...

    rustic - quirky - vintage - upcycled - recycled - unique - imperfect 

    Old & rarely new materials say it
    Born via the desire to channel my energy and creativity 
    in a fun and light way
    using words objects and things of beauty
    I've always loved anything tactile, old, textured, 

    shabby, rustic and broken.

    When these things are put together something happens...











    To purchase her work, commission the artist or to simply find out more please contact her: folasart [at] gmail.com


       
 

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