An animator is an artist who creates multiple images, known as frames, which give an illusion of movement called animation when displayed in rapid sequence. Animators can work in a variety of fields including film and video games. Animation is related to filmmaking and like filmmaking is labor-intensive, which means that most significant works require the collaboration of several animators; the methods of creating the images or frames for an animation piece depend on the animators' artistic styles and their field. Other artists who contribute to animated cartoons, but who are not animators, include layout artists, storyboard artists, background artists. Animated films share some film crew positions with regular live action films, such as director, sound engineer, editor, but differ radically in that for most of the history of animation, they did not need most of the crew positions seen on a physical set. In hand-drawn Japanese animation productions, such as in Hayao Miyazaki's films, the key animator handles both layout and key animation.
Some animators in Japan such as Mitsuo Iso take full responsibility for their scenes, making them become more than just the key animator. Animators specialize. One important distinction is between special effects animators. In large-scale productions by major studios, each animator has one or more assistants, "inbetweeners" and "clean-up artists", who make drawings between the "key poses" drawn by the animator, re-draw any sketches that are too made to be used as such. A young artist seeking to break into animation is hired for the first time in one of these categories, can advance to the rank of full animator; the creation of animation was a long and arduous process. Each frame of a given scene was hand-drawn transposed onto celluloid, where it would be traced and painted; these finished "cels" were placed together in sequence over painted backgrounds and filmed, one frame at a time. Animation methods have become far more varied in recent years. Today's cartoons could be created using any number of methods using computers to make the animation process cheaper and faster.
These more efficient animation procedures have made the animator's job less tedious and more creative. Audiences find animation to be much more interesting with sound. Voice actors and musicians, among other talent, may contribute vocal or music tracks; some early animated films asked the vocal and music talent to synchronize their recordings to already-extant animation. For the majority of animated films today, the soundtrack is recorded first in the language of the film's primary target market and the animators are required to synchronize their work to the soundtrack; as a result of the ongoing transition from traditional 2D to 3D computer animation, the animator's traditional task of redrawing and repainting the same character 24 times a second has now been superseded by the modern task of developing dozens of movements of different parts of a character in a virtual scene. Because of the transition to computer animation, many additional support positions have become essential, with the result that the animator has become but one component of a long and specialized production pipeline.
Nowadays, visual development artists will design a character as a 2D drawing or painting hand it off to modelers who build the character as a collection of digital polygons. Texture artists "paint" the character with colorful or complex textures, technical directors set up rigging so that the character can be moved and posed. For each scene, layout artists set up rough blocking; when a character's bugs have been worked out and its scenes have been blocked, it is handed off to an animator who can start developing the exact movements of the character's virtual limbs and facial expressions in each specific scene. At that point, the role of the modern computer animator overlaps in some respects with that of his or her predecessors in traditional animation: namely, trying to create scenes storyboarded in rough form by a team of story artists, synchronizing lip or mouth movements to dialogue prepared by a screenwriter and recorded by vocal talent. Despite those constraints, the animator is still capable of exercising significant artistic skill and discretion in developing the character's movements to accomplish the objective of each scene.
There is an obvious analogy here between the art of animation and the art of acting, in that actors must do the best they can with the lines they are given. More Chris Buck has remarked that animators have become "actors with mice." Some studios bring in acting coaches on feature films to help animators work through such issues. Once each scene is complete and has been perfected through the "sweat box" feedback process, the resulting data can be dispatched to a render farm, where computers handle the tedious task of rendering all the frames; each finished film clip is checked for quality and rushed to a film editor, who assembles
Ștefan Luchian was a Romanian painter, famous for his landscapes and still life works. He was born in Ștefănești, a village of Botoșani County, as the son of Major Dumitru Luchian and of Elena Chiriacescu; the Luchian family moved to Bucharest in 1873 and his mother desired that he would follow his father's path and join the Military School. Instead, in 1885, Luchian joined the painting class at the Fine Arts School, where he was encouraged to pursue a career in art by Nicolae Grigorescu, whose work was to have a major effect on his entire creative life. Starting in autumn of 1889 Luchian studied for two semesters at the Munich Fine Arts Academy, where he created copies of the works by Correggio and Rembrandt housed in the Kunstareal. After his return to Romania, he took part in the first exhibition of the Cercul Artistic art group, he showed himself unable to accept the academic guidelines imposed by the Bavarian and Romanian schools. The following year, he left for Paris, where he studied at the Académie Julian, although taught by the academic artist William-Adolphe Bouguereau, became acquainted with impressionist works of art.
Luchian's painting Ultima cursă de toamnă shows the influence of Édouard Manet and Edgar Degas, but echoes of the Société des Artistes Indépendants and Post-impressionism. In 1896, together with Nicolae Vermont, Constantin Artachino, the art collector, Alexandru Bogdan-Pitești, Stefan Luchian was one of the main founders of Bucharest's Salonul Independenţilor, opened in front of the official Salon. Two years the group led to the creation of Societatea Ileana and its press organ, with Luchian as the original illustrator. From on Luchian began integrating Symbolist elements in his work, taking inspiration from various related trends: Art Nouveau and Mir iskusstva. In 1900, Luchian contributed two pastels to Romania's Pavilion at the World Fair, in the same year suffered the first symptoms of multiple sclerosis, the disease which, after some initial improvements, was to haunt him for the rest of his life. Nonetheless, he continued painting and, until 1915, had his works displayed in numerous exhibitions, albeit to a indifferent public.
At his 1905 exhibition, the only buyer of a painting was his former teacher Grigorescu. Despite being appreciated by a select few, Luchian lived in poverty. Paralysed from 1909, he had to live the rest of his life in an armchair; this did not prevent him from working on an entire series of flowers. He had begun flower paintings earlier, but from 1908 he concentrated all his creative energy into the subject. Toward the end of his life, Luchian was no longer able to hold the painter's brush with his fingers, was instead helped to tie it to his wrist in order to continue work. At the time, he had begun enjoying considerable success — a phenomenon which the writer Tudor Arghezi attributed to the momentary rise of Take Ionescu as a politician; as his disease became notorious, a rumor spread that Luchian allowed someone else to paint in his name. Arghezi took pride in being one of his few defenders. One of the last events in Luchian's life was a visit paid to his house by composer and violinist George Enescu.
Although the two had never met before, Enescu played his instrument as a personal tribute to the dying artist. He died in Bucharest and he was buried at the Bellu Cemetery. By the 1930s, Luchian's impact on Romanian art was becoming the subject of disputes in the cultural world, with several critics claiming that his work had been minor and the details of his life exaggerated. Arghezi was again involved in the polemic, wrote passionate pieces which supported Luchian's art and attributed adverse reactions to jealousy and to Luchian's voiced distaste for mediocrity. In 1948, Luchian was posthumously elected to the Romanian Academy. An art school in Botoșani bears his name, his life was the subject of Nicolae Mărgineanu's 1981 film, where his character was played by Ion Caramitru. Click on an image to view it enlarged. Ştefan Luchian, Biography at LinkDesign.ro Ştefan Luchian at Artline.ro Tudor Arghezi, Scrieri. Proze, Editura Minerva, Bucharest, 1985 Vasile Drăguţ, Vasile Florea, Dan Grigorescu, Marin Mihalache, Pictura românească în imagini, Editura Meridiane, Bucharest, 1970 Adrian-Silvan Ionescu, "Artachino", in Observator Cultural.
Damir Mulaomerović is a Croatian professional basketball coach and former player. He serves as a head coach for Sloboda Tuzla of the ABA League and the Bosnian League, as well as an assistant coach for the Croatia national team. Mulaomerović started his career with Sloboda Dita in 1990. Not too long after the start of the Bosnian War, he fled to Zagreb and where he joined Cibona Zagreb. Mulaomerović played there until the end of the 1997–1998 season, he left Cibona. He played with Real Madrid. In Greece, he left a big mark, he won the EuroLeague championship with Panathinaikos, in 2001–02. While he played with PAOK and Panellinios, he was one of the Greek League's leading assist and point scoring players. At the start of the 2006–2007 season, he had been signed by Olympiacos, in order to fill the void created in the team by Arvydas Macijauskas' start of the season severe injury, but in Olympiacos, he did not get along with head coach Pini Gershon, before the end of season, he got an early termination of his contract.
After Olympiacos, he was signed by Bruesa GBC, on 22 January 2007, but because of an injury, he did not play as expected. During the summer of 2007, he was in serious contract discussions with Cedevita Zagreb, from Croatia, but after Cibona approached him, he did not have to think twice about which team he was to join, he signed a 1-year contract with Cibona. After 9 years, he returned to Cibona Zagreb. Saying that he was, "excited about his return, that it had always been a privilege and commitment to play for Cibona", he was brought to them by the special insistence of the new Cibona head coach, former Croatian basketball player, Josip "Joke" Vranković. He expressed his desire to finish his career with Cibona. In January 2009, he joined another basketball club from KK Zagreb. Although being a veteran, he was a key player in Zagreb's first Croatian League championship title, won in 2011; the next season, as Zagreb was eliminated on a title defending path in May 2012, Mulaomerović announced his retirement.
Being born in the Bosnian city of Tuzla, which he left as a refugee at the outbreak of the Bosnian War, Mulaomerović wanted to represent the newly formed Bosnia and Herzegovina national basketball team. The Bosnian team failed to see potential in Mulaomerović, so he accepted the call from Petar Skansi, the senior Croatian national basketball team's head coach. Mulaomerović represented Croatia at the 1996 Summer Olympics, EuroBasket 1997, EuroBasket 1999, EuroBasket 2001, EuroBasket 2003. Mulaomerović started his coaching career soon after his retirement from playing basketball, he took over as head coach of Sloboda Tuzla. In December 2015, Mulaomerović was appointed the head coach of Cibona. In June 2017, after reaching the finals of the Croatian League and the Cup, losing both to Cedevita, he left Cibona. In 2016, the Basketball Federation of Bosnia and Herzegovina named Mulaomerović the new head coach of the senior Bosnia and Herzegovina national basketball team. But, Bosnia didn't qualified to the EuroBasket 2017, Mulaomerović was sacked.
In August 2018 he took over the Kosovo national basketball team. Two months he became the head coach of KB Prishtina, the most prominent club playing in the Kosovo Basketball Superleague. On 29 November 2019, he moved back to Sloboda Tuzla as the head coach. In February 2020, shortly before the EuroBasket 2021 qualification, he joined Croatia's coaching staff under the head coach Veljko Mršić. Damir Mulaomerović at fiba.com Damir Mulaomerović at fibaeurope.com Damir Mulaomerović at euroleague.net Damir Mulaomerović at acb.com Damir Mulaomerović at legabasket.it Damir Mulaomerović at tblstat.net
Myurella pertusa, common name the perforated auger, is a species of sea snail, a marine gastropod mollusk in the family Terebridae, the auger snails. The length of the shell varies between 115 mm; this species occurs in the Indian Ocean off the Mascarene Basin. Bratcher T. & Cernohorsky W. O.. Living terebras of the world. A monograph of the recent Terebridae of the world. American Malacologists, Florida & Burlington, Massachusetts. 240pp. Terryn Y.. Terebridae: A Collectors Guide. Conchbooks & NaturalArt. 59pp + plates Fedosov, A. E.. Phylogenetic classification of the family Terebridae. Journal of Molluscan Studies "Hastulopsis pertusa pertusa". Gastropods.com. Retrieved 16 January 2019
Ronke Ojo popularly known as Ronke Oshodi Oke is a Nigerian film actress, musician and producer. Ronke is a descent of Ondo State but was born in Oworonshoki, Lagos State Southwestern Nigeria, where she completed her primary and secondary education, she began her acting career with a drama group called Star Parade under the leadership of Fadeyi, a Nigerian actor but became an household name in the year 2000 when she featured in a movie titled Oshodi Oke, from which she got her stage name. Her musical career began in 2014, the same year she launched her debut album, yet to be released. In 2015, she released a single titled Ori Mi. Succubus Isan Laye Eesu Agbere Oju Return of Jenifa Abeke Aleko Abeke Eleko 2 Ajiloda Aimasiko eda Okun Ife 2 Okun Ife Asiri Oshodi Oke List of Nigerian film producers List of Nigerian Yoruba actor Ronke Oshodi Oke on IMDb
The Great Rose Bowl Hoax was a prank at the 1961 Rose Bowl, an annual American college football bowl game. That year, the Washington Huskies were pitted against the Minnesota Golden Gophers. At halftime, the Huskies led 17–0, their cheerleaders took the field to lead the spectators in the stands in a card stunt, a routine involving flip-cards depicting various images for the audience to raise. However, a number of students from the California Institute of Technology managed to alter the card stunt shown during the halftime break, by making the Washington fans inadvertently spell out CALTECH; the prank has been described as the "greatest collegiate prank of all time" and received national attention, as the game was broadcast to an estimated 30 million viewers across the United States by NBC. One author wrote, "Few college pranks can be said to be more grandly conceived planned, flawlessly executed, publicly dramatic" than the Great Rose Bowl Hoax; the hoax was planned by a group of Caltech students in December 1960, subsequently known as the "Fiendish Fourteen".
Their leader was 19-year-old engineering student Lyn Hardy. They felt that their college was ignored up to and during the Rose Bowl Game, though the school's teams played in the Rose Bowl Stadium a few miles from campus; the students decided to use Washington's flip-card show to garner some attention. To discover the details behind the Huskies' show, Hardy disguised himself as a reporter for a local Los Angeles high school, interviewed Washington's head cheerleader, he learned that they would be able to trick unsuspecting Washington fans into holding up the incorrect signs by changing the 2,232 instruction sheets. The students broke into the Cal State Long Beach dorm rooms where the Washington cheerleaders were staying and removed a single instruction sheet from a bedroom, they altered each page by hand. On New Year's Eve, three of the "Fiendish Fourteen" reentered the cheerleaders' dorm building and replaced the stack of old sheets with the new; some of the helpers were: Michael Lampton an astronaut.
At halftime on January 2, 1961, the Washington card stunt was executed as the Caltech students had hoped. NBC cameras panned to the section raising the flip-cards as they uneventfully displayed the first eleven designs; the twelfth design modified the design of a husky into that of a beaver but was subtle enough that the audience did not notice. The thirteenth design called for the word Washington in script to appear from left to right, but it ran backwards. Other sources say that the routine intended to spell out HUSKIES, but that it had been altered to spell out SEIKSUH. Regardless, it was dismissed as a simple mistake; the fourteenth design, was an unmistakable prank. CALTECH was displayed in big block letters on a white background. Mel Allen and Chick Hearn covered the game for an NBC national telecast; the announcers and the stadium fell silent for several moments before breaking into laughter. As the Washington band marched off the field, the cheerleaders did not give the signal for the fifteenth and final image.
The Huskies were unaware that the Caltech students had not altered the last design, an American flag. The game resulted in a 17–7 victory by the Washington Huskies, their second straight win at the Rose Bowl. A similar hoax by Caltech at the 1984 Rose Bowl was inspired by this one. A group of students altered the scoreboard to show Caltech leading its rival MIT 38 to 9, it was the UCLA Bruins leading the Illinois Fighting Illini by that score in the 3rd quarter. Another hoax reminiscent of the Great Rose Bowl Hoax is Yale University's November 2004 prank against Harvard. For the 2014 Rose Bowl, Caltech students built a large white "PASADENA" sign overlooking the stadium. Just before halftime, they turned on lights on the sign which spelled out "CALTECH"