Wednesday, November 03, 2010

Inspirations: A Conversation With Onur Senturk, Winner of 2010 Vimeo Awards for Best Motion Graphics

Winner Best Motion Graphics 2010: TRIANGLE by Onur Senturk



"TRIANGLE is a video work done for the book 'Black Material' which showcases Robert Knoke's artwork. Curator Jens Karlson asked me to make a short animation and get Robert Knoke's black and white artwork as base for video. I chosed to create tense harmony between geometrical forms and organic movements. Combustion helped me to expand possibilites of Black material with his strong music and sound design."

TF: What is your background? Did you always work as a motion graphics artist or did you start out doing something different? Did you receive formal training or are you self-taught?

I got traditional painting courses when I was in high school later on, got traditional animation courses in college. I mainly learned animation basics and cell animation there. Also little bit introduction some of my favorite softwares which I am using right now. As you know, In collage there is always room for trial and error. So, I was experimenting different techniques and various styles in animation.

After finishing college, I have done many motion graphics for Turkey market. I have to admit I am not really fan of what I have done in past though. However, I think even the worst experiences are still experiences. As a newcomer, they guided me to find my way.

onur senturk

TF: What programs do you use? Do you use any third party plugins or additional software?

I use mainly 3dsmax also use C4d sometimes. I use AE for compositing. I think third party plug-ins what makes AE a more powerful tool and they fill the gaps. I use Optical Flares and Tinderbox plug-ins for AE. I use MAX2AE to catch missing interaction between 3dsmax and AE. I also use realflow for fluid dynamics.

I am paying attention to support software developers and third party plugin developers as much as I can. Their contributions are enormous to art, animation and motion graphics. I can guess how hard to build these tools, which are makes our jobs easier, look better and the most importantly saves big amount of time.

onur senturk

TF: Do you have a particular style you like to stick to or do you experiment depending on the project? Do people approach you with a "Hey I really like the style of your previous work" and ask for similar ideas due to your portfolio?

I never want to embrace a style or a particular approach in my projects. I think a designer/artist should re-discover what he/she has done before and has to come up again another surprising piece of work every time.

Yes. I am receiving lots of emails about my work sometimes I forget reply some of them. Btw, I mostly get my new jobs ' I like your previous work.' approach. Clients love a particular work and want me to create something like I have done before. Mostly, I prefer to convince them to produce another strange piece.

onur senturk

TF: Your work is an interesting mix of organic movements and textures with geometrical shapes. How do you approach movement and sound in your projects?

Thank you. I love to add a touch of reality to all of my works. I think that approach brings these geometrical shapes and weird animations close to viewer.
I think Imperfection what makes everything life like and creating the magic in my works. When you look at objects real close you can see how perfection and imperfection get along each other. I am trying portray this in my stuff.

For Sound part, I work closely with sound designers. I send my work in early test animation stage to earn more time in production process and create more free playground for everyone. I think sound designers are really interesting and mysterious people they hear silent noises from the visuals. They put their expertise on projects and make something really interesting in the end.

onur senturk

TF: What inspires you? Do you have other artists you admire, do you find inspiration in nature, architecture, films?

Honestly, early avant-garde cinema has a big influence on me. Art cinema of 20, 30's. It is very bold and raw in nature. Expanding boundaries of cinema its aim is to simply to make viewers mind upside down. I am trying to catch the same feeling in my works too.

Other than this, Nature is always a great source for inspiration. While waiting renders, I frequently visit portals like ffffound, butdoesitfloat, fubiz, strange attractor, flylyf, typedesk, ventilate, notcot, behance.

onur senturk

TF: Do you tend to work on your own or within a creative group? Do you prefer one over the other?

I guess both has its on advantages and disadvantages. If you are on your own you always have more freedom on execution and there is no one to argue or convince other than yourself. If you are within a team you have some responsibilities for your team members and only sharing a part of responsibility.

For now, I prefer to work alone. Which is a bit hard I have to admit. You have to design, direct, produce, animate, composite and reply mails.
onur senturk
TF: What advice would you give to those starting out in the industry?

I extremely suggest, watching lots of tutorials, seeing lots of art, understanding of aesthetics, respect others work and they have to judge/ criticize their work fair and honestly.

Apart from all this above, the most important thing is time. When you are taking someone's(viewer) time, At least you have to give something instead.

TF: What do you think will be the future of the motion graphics industry, considering the economy? Will there be less studios, more freelancers, more collaboration, or a resurgence of smaller studios?

I think it is a bit early for me to answer this.However, everything is quite affordable and much easier comparing 5 or10 years ago. There is no doubt there will be many motion designers in future. But For me it is hard to guess more studios or designers.

TF:Thank you Onur for taking the time out for this interview!

Thanks toolfarm for support and this nice interview!

onur senturk

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