The Making of Taste on Autism: Selective Animation
Taste on Autism was publicly released to public at the Raffles Design Institute Showcase 2009 in Singapore. Before that, however, I had to crank up all its scenes as entirely animated by me in just less than 2 months. Wanting my short film to be animated in the quality styles of the Ward Kimball animations from the Three Caballeros and a rich scene from an episode of Ren & Stimpy, I endeavored on animated the characters with so much pose-to-poses and straight aheads. But because the time limit proved too much for me, the result came out with 75% of limited animation and 25% of full animation.
In one instance, a scene where a Cheesydoesit customer eats his burger consists a cycle with only limited poses and no inbetweens. Any animation cycle like this is found commonly in animated TV shows from the late 1950s to the 1980s. Even the intro of the Bugs Bunny Show has minimal variations in very few cycles, too.
In a contrasting instance, a scene where two Cheesydoesit employees exchanging confused looks with one another involves an adequate number of key poses and inbetweens. Even though they stay put all through, it can still imply there are real essences of life in them. An example like this can be found in certain hand-drawn animated features (e.g. Persepolis, the Simpson Movie) and animated TV shows from the late 1980s to today.
The Iron Maiden sequence from Persepolis
For fun, follow these video links to the animation references for Taste on Autism:
The Three Caballeros theme song sequence
The Happy Happy Joy Joy sequence from Ren & Stimpy, “Stimpy’s Invention”