Welcome to the latest Studio Spark, where the CWA design studio shares whatever has been sparking our creative imaginations over the past month – whether that be Art or Design, Film or Theatre, Music or Dance, Technology or Nature…

Here’s this month’s roundup.

Making a good (post-)impression

Written by Chris Nobbs

A captivating trailer has just been released for “Loving Vincent”, which is being billed as “the first fully painted feature film in the world”. The film will detail the story of post-impressionist icon Van Gogh’s life and death, as told by characters from his pictures – and the whole thing is animated to look like his paintings. The trailer shows an enticing mix of styles – some colour, some black and white, some fairly detailed, others more impressionistic. Made using hand-painted oil canvases, over 100 artists have so far contributed to the film, which needs 12 oil paintings per second to achieve the final animation. A Kickstarter appeal was made to raise the funds required and a recruitment process for artists involves going through various portfolio submissions, auditions and intensive training sessions before selection to be one of the final painters on the movie.

Produced by Breakthru Fims and Trademark Films, the team includes producer Hugh Welchman who is a previous Oscar winner (for “Peter and the Wolf”) and Dorota Kobiela, a Polish painter and director, who is the creative lead behind the animation.

It’s a massive task, and still ongoing, but the end result promises to be stunning. You can see work in progress and find out more about the project here.

Technicolor inner-city imagery

Written by Martin Lovegrove

Ben Thomas is a photographer and visual artist born in Adelaide, now living in Melbourne, Australia who’s work is inspired around the cities and urban spaces that we live in. His ongoing series “Chroma” (began in 2015) continues this theme with an incredibly striking treatment to the imagery whereby all of the dark shades have been removed to allow the strong, flat pastel colours to take centre stage, giving them an almost screen-printed quality.




See more of Ben’s work here.

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