We all know the Walis and Grometes and Green sheep of the Ardman. But the animation studio also has a forty year of living, inventive and memorable advertisement for television, as we have seen in our 10 -famous order of advertising.
The studio work in Commercial Space is underway with the premiere of today (May 2), the latest in the recent series of wash of cider advertising. It uses dynamic 2D animation with a refreshing handmade look to launch juicy Apple Cider-which is perfect for the summer season (choose our best advertising and best animation software for more inspiration).
The former Ardman’s former Thatcher’s advertisement was for the brand’s main line. Since it is a new spin of product, they have taken a different approach. We interacted with creative leads, Dan Bons (Director) and producer (Joseph Bell) to learn how they chose the direction of creating a unique style for the piece.
Dean notes, “The previous (advertising) stop motion was and if it was not 100 % realistic, it realized it, but a world of coffee and beautiful stop motion was created.”
“For this product, called juicy Apple, it seemed like there was a reasonable opportunity to do something different. The artwork and packaging around it was quite different from the central Thatcher product, and therefore there was a bit of room to play. They were thinking about some different things but 2D looked suitable for this new commercial.”
Those who remember that “Dean started the whole thing: the pitch that was a reflection of the single frame and the key frames that showed the moments of this ad gave us the edge and we kept repeating it. There was a lot of talk about how we make Apple’s realism and how we make the world’s color.
“Once we had a design frame, we did a raw enamel so that we could get time, because this whole concept is a journey and to work on how the movement was really important, and thus we have shown a completely completely after the Flying Throw-Throw-A world version.
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About the creative decision of Ardman, what would be the most attractive view of the animation, Dean says, “It is always a journey, so talking. We worked with the advertising agency Bare Leveen and he (the story) beats.”
He added, “The main idea of graphical journey in the world of product was from the beginning and after that there was more about tampering with its better performance and we added the magic moments.” “As long as it reached us, they were already thinking about the possible route of 2D and then the possible route to the stop motion. We raised the 2 de -route and then we had to prepare it a little as soon as we left.
“There is a lot of graphic style in the new product packaging. Here is literally only one apple and a leaf, but it is something that feels different from the previous Thatcher plans. We started a lot of graphic and then we went very real and then turned back to some more graphic.
“We always jump to add a kind of journey and charm by creating a product in Ardman, and I know that Thatcher really wanted it to be all about sustainability and the fact that they had sunburn apples and solar panels to make products.
“In terms of product, he continued to talk about crisp and freshness, and Dan’s example works that arrest, refreshing shape and this was something in which Thatcher really wanted to dial more crafts, compared to preventing motion staff.”
Which notes that since the commercial is basically understanding how this product is created “there are many clear lines and messages that are needed.”
“There were some good ideas about Dan how nature is involved in this process and there are some really good moments with a dog in the beer garden.” “Every time you see a new ad, you smile and say,” Oh, I didn’t pay attention to it before. ” There are some really good moments that make him feel alive.
The new ad has a craftsman form that is bright and refreshing (Image Credit: Thatchus Cider)
With an aesthetic to establish the juicy Apple commercial, Dan and Joseph decided to prepare for the project with a small team in several months.
Dan says the commercial “you end up as a mixture of this style so that you can still be brought back to a dynamic version working at the beginning of the image. At the beginning, we were thinking, ‘Well, it will be 2D and have a handmade feeling.” But then ideas change and different things come out, and suddenly we need a lot of camera approaches and 3D items, so we played a bit after the impact, handling 3D items a bit more.
“Maya jumped a little after the effects and had to bring 3D items in it. Therefore, each shot is a scroll of 3D items and more traditional 2D flat planes, after that, with handmade animation on the iPad.”
Among the combination of ‘new’ and ‘traditional’ perspectives, Dean does not think “it has a traditional way and a new way”. He says, “Everything has a different degree of combination of them.” We did conceptual art as 2 -D drawing and paintings, but it still happened on the iPad. This is a total mixture but hopefully, in the end, is that you don’t see much work. “
Which notes: “I know that it is always the case that I feel as if we have a digital digital. Dan entered it after the effects of scary. Even though we were doing some experimental things, we still feel that it seems that it seems that it is true.
“To distribute another nougat, we have mobilized on the trousers. It is in two places with a stop motion, and it feels the step, but some of it is on the three and it gives it a stylization and moments of hand -made contact. After the effects we have a sense of handmade.”
“We were trying things,” Joey said about experiences through the project. “There were some plugs with which we played, and there were some points with whom we played, and I think we came to a very big solution and he gave us energy and attention.”
We were interested in a subtle structure in the piece, making it an authentic, ‘human -made sense of’ human -made sense. “When a lot of structure boils, I spend a few days to collide and pull the stains and this art is like returning to school,” said Dean.
“Like a stop motion or hand -pitched things, such as ‘noise’ or, as we refer to it, where things are a little away, I think humans have liked to see evidence of doing something, whether it be a stop motion or 2 D. We are trying to leave this evidence here.
Joe and Dean notes that like any ordinance ad, this piece is related to the long heritage of the studio. Who explains, “The basic creativity and craftsmanship of ordered projects is the same.” This is the same order magic, even if – aesthetically – it doesn’t look like what people expect from the studio. “
The Dean adds: “This leads to the fact that I think the order is: it’s about characters and humor and works with your hands and doing things with your hands. You can still do all these things but can be exposed in a completely different form.
“The important thing of our end is that we try and reach the root of the client and the agency, and for this project it was all about light and sharp and summer -time feeling, and so we were thinking about summer time and holidays and shining water in the sea.
Which brings into the appropriate sun, noting our conversation: “You feel that this commercial has made the center of love and attention.”
If you are looking for new programs to understand your vision, see the choice of our best animation software. For more advertising news, watch Nintendo’s amazing throwback Paul Road Switch 2 AD.
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