So how does ‘Sweeney Todd’ fare on film?

By: Dexter R. Matilla 

MANILA, Philippines – Why Jack the Ripper is more popular than Sweeney Todd—at least on this side of the world—is mildly bemusing.

But the tandem of Tim Burton, whose gothic imaginings gave rise to movies such as “Edward Scissorhands,” “Sleepy Hollow” and “The Corpse Bride,” and Johnny Depp, who has worked with the director in those films, ought to change that with their sixth pairing in “Sweeney Todd: The Demon Barber of Fleet Street.”

Based on the legend of a barber/slasher who terrorized 18th-century London, the film is not one to shy from use of extreme blood spillage and an even more extreme way of showing how Todd (Depp) does it.

From the onset, his sole purpose of getting revenge against Judge Turpin (Alan Rickman) can be clearly seen in Todd’s face. Turpin had Todd sent to jail on false charges just so the judge could steal his wife and baby daughter.

Upon his return, Todd goes back to Mrs. Lovett (Helena Bonham-Carter), his former landlady, and sets up a barbershop atop her meat-pie shop. This is where Todd plots his schemes to lure Turpin and extract his revenge.

Visual gorefest

Juxtaposing hauntingly attractive melody into the visual gorefest is the film’s obvious come-on.

Depp, who has been known for his choice of sometimes strange acting roles, once again finds himself fit to a T with the Todd character. He brings more to the screen as he begins to lovingly sing “My Friend” to his razor blades.

The entire performance gives off an air of what is to inevitably befall his victims. Credit the music and lyrics to Stephen Sondheim, whose musical “Sweeney Todd: The Demon Barber of Fleet Street” along with Hugh Wheeler, has won a Tony Award.

It is, therefore, hard not to feel for Todd, a formerly “beautiful and naïve barber” who used to go by the name of Benjamin Barker.

Being wronged big time and developing a taste for revenge brought out an overwrought persona that is to become Todd. From start to finish, Depp is nothing short of magnificent.

On the other hand, the same could not be said about Carter, at least in the early goings.

Seeing her sing “The Worst Pies in London” felt like watching the worst way of introducing a character into the story. At times, it was hard not to cringe at the entire scene—and it wasn’t because of the cockroaches. Either the performance was meant to come out that way, flat and unfeeling, or Carter was just starting to feel it out.

As the film progresses, so does Carter, transforming the lovestruck character into a vital part in the story telling.

Adding depth to the story is Todd’s now teenage daughter Johanna (Jayne Wisener), who is being kept in the house of Turpin.

She is seen by Anthony (Jamie Campbell Bower), a young sailor who crossed paths with Todd while at sea and has formed some sort of friendship with the lead character. Anthony then makes it his mission to steal Johanna.

 Published, January 21, 2008 , in the Lifestyle section of the Philippine Daily Inquirer

What’s it like feeling God working on you?

I used to be very, very religious. Then something happened and I cursed to the heavens. Since then I’ve always felt alone. I felt that even God left me. For a while that’s how I saw things. I stopped going to Church. When I do, it’s because I was forced. But when I do let myself be forced, I always pray for one thing.

To this day, I stopped going to Church regularly. Only when there’s an urge to do so. But despite that, despite all the confusion, the questions of why, where, when, how, I felt that God’s always there. Working. How else could I explain:

• Having just enough of what I need?
• Having more than what I ask for?
• Being able to get home even with the gas pedal loosening while driving along Roxas Boulevard in front of Baclaran Church?
• Reaching the gas station just as the car is about to run out of gas? Finding helping hands when the car radiator breaks in the middle of traffic—and still manage to get back home?
• Being given the gut feeling to go somewhere and accidentally find what was once thought to have been lost?

Wish I had written down all the instances when I just called to God and He had an answer right away. How shameful. Remembering Him only when I need something. I may never be as close to Him as I used to be but I now know that whatever it is I want, whatever it is I need, it’s just there. There are no such things as accidents because I realize that God is working to help me, even when I’m not.

The agony and ecstasy of Tomas Concepcion

By: Dexter R. Matilla

MANILA, Philippines – On a frenzied January afternoon in 1969, Jan Palach was walking around Wenceslas Square in Prague with a single-minded task. Upon reaching the ramp of the National Museum, at around 4 p.m., he poured gasoline all over his body and set himself on fire.

Somewhere, Tomas Concepcion learned of the brave 20-year-old philosophy student’s dreadful call for action to his fellow Czechs whose country had been invaded a year earlier by the Soviets.

It made such an impact on Concepcion that he held a protest exhibit at Galleria Baesa Nuoi in Rome dedicated to Palach.

“That was my first encounter with art and protest… and social and political problems,” said Concepcion. “And it never left me. I don’t know why, but this is like an obsession. I’m against the violence of man against man. God did not make the world that way.”

Roughly three years later, Concepcion became part of the Movement for Free Philippines, in which he was chair for Southern Europe.

“It was a very visible movement in Europe,” Concepcion said. “Nobody organized marches and protests like I did.”

At the same time, Concepcion started the Filipino Democratic Workers’ Union as the number of Filipinos working in Italy had risen. He financed the movement as well as his political activities by doing art shows in the US, one of which was graced by Jackie Onassis.

As a 17-year-old, Concepcion, whose mother was of Muslim royalty, went to the US where he studied at San Francisco State College, majoring in Painting and Theater Design.

He moved to New England and worked as a set designer for Warwick Theaters. From there, he set off for Canada, studying at the Ecole des Beaux Arts.

He traveled to Europe to visit museums, spending some time in Paris where he tried to look for a studio but was unsuccessful. He would eventually find his place in Rome.

His first studio was at Palacio Savelli, where the Inquisition used to hold office, and a walking distance from Piazza Navona of the Four Rivers fountains by Gianlorenzo Bernini.

It was at the Eternal City where, as a portrait painter, he got commissions to paint Prince Steno Borghese, Duchess Nicoletta de Serracapriola, soprano Leontyne Price, conductor Thomas Shippers, banker Baron Leon Lambert, and film actors Silvano Mangano and Marcello Mastroianni.

He has completed paintings and sculptures famous the world over. Concepcion enjoys the distinction of being the only Filipino to have done the sculptures of two Popes: Paul VI, which is found at the Vatican University; and John Paul II, commissioned by the Vatican as a gift to Guam.

Concepcion is also proud of the Ninoy Aquino statue he made for the People’s Park at Edsa.

“I had it sent to Manila in time for the first anniversary of Ninoy,” Concepcion said. “I love Ninoy—but who doesn’t?”

Mean representative

Concepcion’s firm resolve to uphold human rights led him to politics, in which he was a very resolute and straight-talking member of the House of Representatives in the 9th Congress. He was a representative of overseas Filipino workers.

“I was a mean representative,” recalled Concepcion.

With his days in politics behind him, Concepcion remains outspoken in discussing his views about the current Philippine situation. The same can be said about the pieces for his “Homage to Michaelangelo” exhibit that opens at Galleria Duemila on March 31.

The large-scale paintings, lithographs and sculptures are sure to evoke emotion, in the tradition of the protean body of work of the great Renaissance artist.

“Art is not about putting people to sleep,” Concepcion said. “It should make them think, make them feel, excite them, disgust them, move them. Art should be provocative.”

Concepcion feels very honored to be sponsored by the Italian Embassy, a first for a non-Italian. Concepcion explains that he intends to reintroduce the Renaissance to Filipino art lovers.

“Michaelangelo was so modern,” he said. “Before Michaelangelo, all the figures were stiff. With his passion for humanity, glorifying God’s creation, he twisted the bodies, made the sculptures look alive. So I have fallen in love with Michaelangelo. He’s a fascinating and tormented artist.”

His lithographs, “Love Signs,” are something to look forward to as they interpret the zodiac signs in a sexual manner.

While the 70something Concepcion continues to make up for lost time with his art, he is also working on his biography, which, according to him, will start with his first sexual experience and end with his stint in politics.

“I’m enjoying writing,” Concepcion said. “It will be two books. The other one will focus on my life in Rome because that part is so rich.”

“Homage to Michaelangelo” will run March 31-April 30 at Galleria Duemila, 210 Loring St., Pasay. Call 831-9990 or fax 8339815. E-mail duemila @mydestiny.net or visit www.galleria duemila.com

E-mail the author at dxmatilla@yahoo.com

Originally published in the Lifestyle section, March 26, 2007, of the Philippine Daily Inquirer.

Mind magician Tony Buzan comes to Manila

By: Dexter R. Matilla

MANILA, Philippines – It is generally believed that humans use only a small portion of their brain. While this belief is yet to be completely proven, there is a method used by professionals that can help tap the brain’s full potential as a powerful tool of creative intelligence. It’s called “mind-mapping.”

Tony Buzan, author of such best-selling books as “The Power of Creative Intelligence,” “Mind Maps at Work,” “Age Proof Your Brain” and “The Power of Verbal Intelligence” will be in the country to share how mind-mapping works.

The Institute for Training and Development, which brought “Chicken Soup for the Soul” author Jack Canfield to Manila last year, is bringing Buzan to the Mandarin Oriental Hotel for the workshop “Unleash the Genius of Creativity and Innovation” on March 26-27.

Described as a “Swiss army knife for the brain,” mind-mapping is a tool that can help anyone in management, brainstorming sessions and problem-solving.

Research on memory shows that the primary way humans remember is by imagination and association. The words trigger the images and the way to embed them in one’s memory is by using arrows, sizes, dimensions and the like.

“All the great ancient memory systems were based on this imagistic view,” Buzan said. “The Greek system of mnemonics, for one, had this concept at its core.”

Memory technique

Buzan’s fascination with mnemonics led him to the development of the mind map. Initially invented as a multidimensional memory technique, the mind map, Buzan discovered with the help of his brother, professor Barry Buzan, could be applied to literally any area of mental activity, including memory, creative thinking, planning, decision-making, communication and writing.

Buzan relates how, as a young kid, he first sought ways to improve his mental skills. He started speed-reading.

“I immediately began training my eyes and brain to accelerate the rate at which I absorbed written information,” Buzan said. “Within a fairly short period of time, I was able to read over 400 words per minute with good comprehension. This was my first realization that my brain was, indeed, somewhat like a muscle, and that its strength could be increased. Speed-reading showed me the way and must therefore be considered as one of my most important mental developments.”

Buzan was able to magnify the power of his short-, medium- and long-term recall. He then immediately began to try his memory skills on all his studies, which enabled him to maintain his class standing.

“I was thus able to spend a lot more time on athletic, social, mind sport and other pursuits,” he said.

Brainy poet

Born in London, Buzan is a prize-winning poet and founder of the Brain Trust Charity, The World Memory Championships and the World Championships of the Brain. He has been hailed as “the biggest name in memory” by the New Yorker magazine.

A co-founder of the Mind Sports Olympiad and originator of the Mental Literacy concept, Buzan has become an international media star over the last 30 years.

He has been featured in satellite broadcasts on television, video and radio programs, including the “Use Your Head” series on BBC, the “Open Mind” series on ITV and the recent “In Search of Genius” series on BBC2.

Most of Buzan’s teaching generally divides up into general awareness of the extensive capabilities and capacities of the brain and its functions, memory skills, reading skills, mind-map note-taking, creativity and how brain functions can be improved over time.

His works have been published in over 125 countries and translated into 32 languages with millions of copies sold.

He has also lectured in over 73 countries to audiences ranging from kindergarten children to university graduates, Olympic athletes and senior executives of Fortune magazineís Top 500 companies.

Personal goals

While the methods are generally useful for executives and adults wishing to develop their mental skills in achieving grand personal goals, Buzan explains that children as young as 5 years old can start learning the mind map.

Buzan’s experience in dealing with disadvantaged students, first-class Oxbridge graduates, and top corporate leaders all over the world and government officials bore the realization that mind-mapping can be done as long as one is determined to learn.

Buzan promises to share the secrets of using mind maps in unleashing the fluency, flexibility and originality of thought that enables infinite creativity and innovation in oneís work and life during the two-day “transformational” event.

Participants can expect a greater awareness of creative and mental capabilities. They will learn how to generate creative ideas at least four times as fast as perceived possible, and how to direct creative powers to the development of new corporate products, services, work processes, systems and business models.

Tony Buzan will hold a book-signing session at PowerBooks in Greenbelt 4, Makati, on March 24, 6 p.m. Call 7576428-29.

For workshop information and registration, call 8877428.
E-mail the author at dxmatilla @yahoo.com

Originally published on the March 19, 2007 of the Philippine Daily Inquirer.

300 Review: Graphic novel gets graphic screen treatment

By: Dexter R. Matilla

MANILA, Philippines-FILM ADAPTATIONS OF COMIC BOOKS (or graphic novels, as they are now more popularly called) seem to be the growing trend nowadays. But while some have been nothing more but disappointments, there are some that transcend the way movies are made. They become instant classics, as some would say, that have the ability to maintain the audience’s attention right off the opening scene.

Frank Miller’s “300″ is one such exception from run-of-the-mill adaptations of graphic novels. Based on the story of the Battle of Thermopylae in 480 BC, the movie follows King Leonidas (Gerard Butler) and his 300 Spartans in their battle against Persian king Xerxes (Rodrigo Santoro) and his army of a hundred nations.
The series of events is triggered after Leonidas refuses to submit to Xerxes’ whims and, despite the advice of the Ephors, proceeds to march his army.

Director Zack Snyder, who worked on “Dawn of the Dead,” said a huge factor in choosing the film’s visual tone involved asking the artists to make the illustrations “look like a painting.”

The heavy use of blue screen made it easier to do just that and literally translate the look and feel of the comic book into the film. Visual-effects art director Grant Freckelton, whose style guides were used for the film, said he had to create still concepts based on frames from the book to effectively bring Miller’s and colorist Lynn Varley’s visual style to life.

It is important to note that “300” isnít merely a magnum opus that relies on its imagery for lack of depth and story. Unlike “The Matrix,” which considerably lost steam due perhaps to the uneven distribution of lengthy dialogue in one film and the barrage of action sequences in another, the use of light conversational and sometimes sarcastic language in ì300î helped balance the gore by showing a smart and funny side to the Leonidas character.

It may have helped that Butler was fit for the role, whether delivering deadpan humor or whether rousing his army by bellowing lines that thankfully didn’t come out corny.

One particular interesting subplot not found in the book thatís worth mentioning is Leonidas’ wife Queen Gorgo’s (Lena Headey) attempt to encourage the elders to send more soldiers to aid the king and his army. Snyder’s decision to add the subplot served as a necessary breather from all the action in the film.

With an equal serving of well-thought script and meticulous visuals, Snyder and the producers of “300” may have studied and learned from the mistakes committed by previous comic book-inspired movies and did everything right with this film.

While Neo and “The Matrix” gave us a peek into the limitless possibilities that movies are capable of eight years ago, Leonidas and ì300î just reset the standards by kicking the door wide open.

E-mail the author at dxmatilla@yahoo.com

 Originally published in the March 12, 2007 issue of the Philippine Daily Inquirer.

Movie Tech: 300

By: Dexter R. Matilla

IF there’s any film worth the anticipation it has been getting—based on its trailer alone—Frank Miller’s “300” would have to be the clear-cut winner.

The graphic novel of the same name released in December of 1999 was an immediate hit among its audience, revolving around the Battle of Thermopylae where King Leonidas (Gerald Butler), along with his 300 Spartans, fought off the invading Xerxes and his Persian army to save Greece.

“I really love him (Butler) in the movie,” Director Zack Snyder said. “Gerry has a big following, but I think to the general world he’s going to be Leonidas when you see him. You don’t see this movie and go, ‘Oh, that’s Gerry Butler. Of course.’ I think it helps you get into the movie because the movie already has a bombastic visual style that kind of keeps you out.”

Hot off the heels of another Miller adaptation Sin City, “300” is expected to be a bigger, more visual feast.

According to Executive Producer Jonah Weiland, the film brings to the big screen Miller’s inspired imagery through the heavy use of “green screens” where actors film their scenes in front of a large solid color screen with backgrounds added to the film via computer imagery in postproduction. The process is similar to how Sin City was filmed although “300” used more natural sets.

A large part in choosing the visual tone, Snyder explains, is that they had to push their visual effects crew beyond to what they’re normally used to doing.

“I’m going to make a standard water bottle, the way they know they got it right is it looks like a water bottle,” Snyder said. “So that’s their parameter. But if we’re saying, ‘Make it look like a painting,’ we’re asking them to do something else. We’re asking them to stretch themselves into another world.”

Credit, he adds, goes to visual effects art director Grant Freckelton who created the style guides used in the film—everything from how rocks should look like, to how the sky appears like coffee stain poured on paper.

“I knew this wasn’t another typical sword and sandals movie, or a seven-hour long lesson in historical accuracy,” Freckelton said. “There are dozens of ways to retell the Battle of Thermopylae, but to adapt the story as presented in ‘300′, I knew this was as much about bringing Frank Miller and Lynn Varley’s visual style to life, as it was about the historical event itself.”

Freckelton explains that his first task had him creating still concepts based on frames from the graphic novel. He even went to rent a Greek warrior outfit, looked for a volunteer willing to dress in it so he could take photographs, which were then loaded into Photoshop and digitally manipulated.

“The results seem crude to me now, but they gave everyone a good enough insight into how the film could look,” Freckelton said.

Miller and Snyder both believe that although it may not be the only way, CG technology is a good enough technology to make films translated from comic books come to life, as obviously proven by the aesthetics of “300”.

“It’s a way that I want to continue with because there’s a lot of pictures that translate very well from cartoon to film by this process,” Miller said. “You can get more extreme and more stylized, and it can feel much more like a living drawing. The panels look painted because they were in fact painted by Lynn Varley and it’s fascinating for me to see her watercolors translated and reinterpreted for the screen.”

Snyder agrees. “For Frank’s work, it’s amazing and the book that he made—every frame is like a painting. So we just felt that the only way to get at that and to respect that and to do it justice was to make sure we weren’t. You can imagine us in some dusty mountain… but I feel this way is more like the drawings, especially in terms of what he does.”

Originally published in the March 2007 issue of SPEED Magazine.

Film Review: Voces Inocentes (Innocent Voices)

By: Dexter R. Matilla

THE LOSS of innocence can be swift. Harrowing. Scarring. It is a scar that one carries his or her entire life.

All over the world, 12-year-old children—sometimes even younger—are drafted into armies, forcefully tasked to fight their respective government’s wars. “Innocent Voices” tells just how real it is.

Based on the childhood of Oscar Torres, the 2005 Berlin Film Festival Best Picture winner effectively narrates the real-life traumatic experiences he and everyone in his village endured.

Main character Chava (Carlos Padilla), who also serves as the film’s narrator, is an eleven-year-old El Salvadoran caught in the middle of a civil war during the early 1980s. It is a time when dinners are almost always never finished as innocent civilians are caught unwillingly between the cross fires of the government soldiers and the guerillas, forcing them to scamper beneath beds to avoid getting hit by stray bullets—guns fired with wanton disregard.

The children are regularly drafted, sometimes during class, sometimes getting hauled from their houses, viciously pulled right out of their parents’ hands. It is therefore not surprising that those who were not “old” enough to be drafted yet tremble in fear at the idea of celebrating their birthdays, something that no children should have to go through.

Acclaimed director Luis Mandoki intertwines these truly distressing events with a few bits and pieces of momentary light-hearted moments throughout the film, proving that happiness can be found in the simple things that people tend to take for granted nowadays.

Finding trouble as it is to merely survive the night, Chava is steadfast in helping his mother (Leonor Valera) put food on the table for them and his two younger siblings. Left to be the “man of the house” after his father abandons their family, Chava tries his hardest to show maturity but more often falls to the calls of innocence and even young love.

Worldwide problem

Based on a recent report by the Coalition to Stop the Use of Child Soldiers, children under the age of 18 are exploited in almost every major armed conflict. Although the condition has improved in countries such as Afghanistan, Libera, and Sierra Leone, there are still nations where conflicts continue to escalate that draft children as soldiers.

Advocacy Director Jo Becker of the Children’s Rights Division at the Human Rights Watch in New York said that even though the international community is becoming aware of the problem, very little is done.

Torres, who was able to escape to the United States and later reunited with his family, hopes that the film will bring renewed attention to the plight of child soldiers.

“This isn’t just a story about me,” Torres, who now works as an actor and writer said. “But about all the other kids that are living this nightmare now.”

Sad as the film may be, this global disease is as real as it can get. Nevertheless, the beautiful innocent voices depicted in the film succeeds as an effective instrument that should open the world’s eyes to the grim truth that children are being stripped of their innocence all over the world, forced to fight for freedom, in exchange of their own.

Rallying (Willing) Myself

It’s one of those days that got me excited more than the usual. USPTA (United States Professional Tennis Association) and USTA (United States Tennis Association) coaches Elmer Dolera, Ted Sayrahder, Kevin Young, and Joy Riley arrived in the country to conduct programs at Ateneo. So I woke up at 5am Friday so I could bring the car and avoid the color-coding SCHEME. Anyway, it was already past 6 and I was still at home so avoiding the SCHEME was out of the question. I decided to commute. So, carrying the heavy bag that carried (among other things) my two tennis racquets, clothes for changing, a 1L Absolute Mineral Water and a bottle of Gatorade, I set off. Took the MRT from Ayala to Cubao. Then for the first time, took a ride on the LRT2. Walked to Ateneo under the hot sun all the way from the Katipunan station.
When I got there, US Ambassador Kristie Kenney had just arrived. Most of the participants were Ateneo students whom I assume are from the male and female varsity teams. After the opening rites, Ambassador Kenney and her partner, Filipino PJ Tierro, played an exhibition doubles game against two of the American coaches.
Later, coach Ted asked for 12 decent players to gather on one of the courts. We then went through some drills that were both fun and challenging. Our team lost after two successful forehands, my third one went out. On the return match, however, we won by a decisive margin.
Before the sessions ended, the coaches divided everyone present into two teams and had us play “Great Balls of Fire” — a dodgeball game using larger, softer tennis balls.
I had a really great time and I would have loved to stay, chat, and get to know all the other tennis players but I had to be at St. Scho after.
After cleaning up and changing clothes, it was commute time again. During the cab ride to St. Scho, my driver got into a shouting bout with a very rude delivery van driver along Ayala Ave. I just told my driver that karma will take care of that van driver. From St. Scho, it was off to Greenbelt for dinner. Then back to my dad’s office. Then to Puregold to pick up my mom and drop her off at our store in Malate. Back to my dad’s office to pick up my dad. Then off to the store again where we went home at past 12 midnight.
It was indeed a very long day and I felt like being in a whole season of 24, minus the guns, terrorists, nukes. I already have the CTU ring tone and I’ve been practicing the Jack Bauer voice so… maybe.
I won’t be able to go to the camp today but tomorrow, Sunday, I’ll be there to learn some more. I’ll be wearing my green Pong shirt and hopefully I won’t get beaten up. Hehehe.

The Frenchman cometh

By: Dexter R. Matilla

FRENCHMAN HENri Eteve is an artist whose imagination is as wide as the cosmos from which he gets most of his inspiration.

His “Versatility Show,” on spotlight at Avellana Art Gallery in Pasay, clearly proves it.

The 65 art pieces (a coincidence, he says) may very well be a personal homage to himself—one for every year since being born in Paris “as the bombs of World War II were falling upon it.”

Eteve, who has been based in Manila for the past 40 years, chose the name Di Meliora, or “for the better,” as his pseudonym.

The reason for this, he says, is that he differentiates the artist and the work from the person. He believes that an artist can be a totally different persona compared to who he is in reality.

Just as the name suggests, Eteve’s versatility in his choice of art forms is a result of his subconscious taking over.

The paintings, sculptures, tapestry and mixed-media works that make up most of the collection displays his unconstrained imagination.

Eteve made his way to the Philippines as a free soul. But his interest in art started quite early, while living close to the Sacred Heart near Montmarte-La Place du Tertre, where artists were living ever since the beginning of the Impressionist movement.

He joined the French Foreign Legion and was sent to the Algerian War. After fulfilling his duties, he found he could no longer re-inject himself to civilian life. The war affected him very badly and the only solution for any one to find themselves once again, he says, was simply to travel.

“When you travel, you see many different things and your problems disappear,” he says. “It’s like renewing yourself.”

With just a backpack and a little money, he boarded a ship and traveled to the Middle East, passing by countries such as Tunisia, Libya, Syria and Jordan before finally settling in the Philippines.

“Before, you could cross borders easily with no problem,” explains Eteve.

In his 30s, he continued his art in a boarding house on Vito Cruz while teaching French at Sta. Teresa and Assumption College.

Cosmovistique art

Eteve, like most artists two decades ago, eventually found himself in the hub of the artistic—and literary—revolution, the Los Indios Bravos café and restaurant on A. Mabini, where the likes of Pete Lacaba and Ben Cabrera gathered. It was, however, ordered closed during martial law.

And it was in those times that Eteve coined the term “Cosmovistique art” to describe his style.

“In French, it means ‘life in the cosmos,’ Eteve says. “Life in the cosmos can be anything. We are part of it.”

He continues: “The reason for this is not just the pictures and symbols of the subconscious, but mainly, its flow, which I liken to a river. It can start from one end of a street wall and be drawn non-stop without erasures or additions, like a river flowing among the rocks. Outside of that, versatility is a great ingredient, meaning, art can be applied to anything. This art has no relation to individuals, but has a complete relation to civilization, which, for me, is the cosmic element of being.”

E-mail author at dxmatilla@yahoo.com

Originally published in the Feb. 19, 2007 issue of the Phil. Daily Inquirer.

Creating animated gif using Adobe ImageReady

By: Dexter R. Matilla

Posting in message boards and forums has always been fun. It’s a cool way to pass time and at the same time, individual opinions on different topics are exchanged with people everywhere in the world. But as individual as the opinions are, so too are the users’ avatars, most of which are animated gifs. Gif or graphic interchange format is an 8-bit-per pixel bitmap image format usually used for short animations for web pages.

So how do you exactly make one?

Here’s how. Step 1: Creating Layers You need to have Adobe Image Ready, which comes together with Adobe Photoshop. The frames in the animation are actually layers that you have to make separately. For this example, we will animate the text “SPEED: Technology for the Advanced Lifestyle”, so that it moves from out of the left side of the frame (white background) and stops in the middle. Keep in mind that layers can be shared between frames in that the white background is used throughout the animation.

Create a new document then type the text. Right-click the “SPEED…” layer in the layer palette then choose Duplicate Layer, thereby creating a new layer “SPEED… copy”. Double-click the layer and rename it “SPEED… 5”. Click the move tool then move the text by hitting the left arrow eight times after which you’ll see both visible layers. Repeat the process (but duplicate “SPEED… 5” and rename it “SPEED… 4”) until you’ve done “SPEED… 1”.

By this time, part of the entire text “SPEED: Technology for the Advanced Lifestyle” would have spilled outside of the frame. You can then view the individual layers by selecting or deselecting the eye icons depending on which layer you want to see.

Step 2: Creating the Animation Frames Now that you have the layers you need for the animation, it’s time to create the frames. You can select Window > Animation from the main menu to see the Animation window. Deselect the eye icon in all layers but leave the “SPEED… 1″ and the background layers visible.

In the Animation window, you’ll see the image in the “SPEED… 1” layer, which will become the first frame of your animation. Open the flyout menu by clicking the small arrow icon near the top right of the Animation window and select New Frame. A new frame is added to the animation. Select the new frame then deselect the eye icon for “SPEED… 1” and choose the eye icon for “SPEED… 2”.

In the Animation window, you’ll see the two separate frames showing the two separate images. Repeat the process until you’ve created a frame for the final and original “SPEED: Technology for the Advanced Lifestyle” layer.

Step 3: Setting the Animation Timing By this time, you’ve almost completed your animation. View the animation by clicking the Play button in the lower portion of the Animation window. The animation plays very quickly and loops since the delay time is set at 0 seconds and the looping option is set to Forever. Choosing Once in the looping option means that the animation plays only once from the first frame to the last frame. To fine-tune the timing of your animation, click the frame delay time under each frame and choose how many seconds you wish to set it to.

Step 4: Exporting the Animation After putting in the finishing touches in your animation, you can choose to save the file either as a Photoshop file (.psd), an optimised Gif file, or export it as a Macromedia Flash File. Saving the file as it is, CTRL+S, will save the file as a layered Photoshop file. If you wish to save it as an optimised Gif file, select File > Save Optimised As from the main menu. You then have the option of saving it as an animated Gif and/or as an HTML page. For simple animations, just save it as a Gif. Adobe Image Ready 8 gives you additional options such as exporting it as a Macromedia Flash file, an original document (.psd, .bmp, .tiff, .swf, .psx, .pxr, .mov, .tga)

(Originally published in the Jan-Feb 2007 issue of SPEED Magazine)