(...) When I compose a picture, I try to put the firm more profitable: it avoids the difficult angles, angles ungrateful. Animating a movie I can not omit any of the aspects for which the logic of the movement is forcing me to go. I have to study many things from which the paint is dispensed: I know optics, physiological optics, psychology, neuropsychology of visual perception (sorry but you call it that), the sensiometria and music (and I forget some).
Stirring the compound pendulums to draw abstract figures, I took the course in elementary physics. In addition, I learned that the man has three ways of perceiving moving objects, depending on their speed in relation to something that I can not explain, and I had chamar rate "observation".
types of modes of observation are: the propeller of an aircraft, seen as a hard translucent and brilliant, "totaled." The moon, which is not seen to move (but you can "aggregation" with a long exposure photo) and finally the way we see that we all know, is who receives the object's shape and its movement (and photography can "aggregation" as well).
The AGGREGATION taught me the relativity of the notions of speed and shape of objects. I can say that the animation shows to learn more about the way in which man sees and thinks. It allowed me to enter the real fourth dimension, opening an unknown universe, of which I used to create new effects.
the same way as the painting develops awareness of colors, values \u200b\u200band shapes, the animation of the movements and develops awareness of the durations.
I spend some wonderful moments in my small garden, to observe the Game of the thousands of children only "soft focus" in the foliage of my lime filtered images. Gives the slightest breeze, this feast of choreography that are unnoticed by you, because you do not do animation.
(...)
Alexandre Alexeieff
From the preface of the book "Cartoons" by Gianalberto Bendazzi.
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