Set design for the TV show ANIMATIK (2012 - )
Client: Croatian Radiotelevision (HRT)

I started preparations for the set design for the TV show “Animatik” in mid-2011.
The emphasis of the show was already conceptually on animated films for, let us say, a more mature population.
The popular animated iconography, characters for children and the like, were immediately written off. However, the focus was on various animated form of cartoons, stop animation, 3D computer animation and object animation, as well as various experimental forms.
Soon I've reached for so-called “armatures”, used in puppet films as a kind of leitmotif. During the summer of 2011 I've sketched first ideas for the basic skeletons as symbols of stop-motion that is stripped to the core. As self-sufficient elements of the set design, these quasi puppet-armatures were the starting point upon which we all agreed, and many of these sketches ended up printed and aspplied on blends around the set. I made 3D models according to the sketches that we were planning to use for spatial simulations and for drafting, so that recordings of these computer models found their way onto the backdrop. However, a combination of circumstances led to the temporary cancellation of the show, but then, almost a year later, the show finally got a "green light" and was eventually realised. On the bright side, this delay ultimately proved beneficial for the realisation of the set design. I should explain that, in spite of considerable opportunities for set design at Croatian Television, my designs did not fit in with the production routines of joinery at the HRT. Also, not my normal mode of work did not fit in with the criteria of strength and endurance within HRT's established system of handling theatrical elements. A compromise was, therefore, adopted: an HRT workshop would make the parts according to my designs and blueprints from durable materials, and then we would assemble, paint and polish them. This opportunity led to the possibility of creating and developing diverse components, which ultimately contributed to a more opulent set design as a whole, especially when the details literally started coming to the forefront.

Scenografija za TV emisiju ANIMATIK (2012. - )
Klijent: Hrvatska radiotelevizija

Pripremu na scenografiji za TV emisiju "Animatik" sam poceo polovicom 2011-e godine.
Naglasak emisije je vec u konceptu bio na animiranim filmovima za, recimo tako, zreliju populaciju, pa je popularna animirana ikonografija, likovi za djecu i slicno, odmah otpisana. Ipak, trebalo se dotaci raznih animiranih formi, od crtanih, preko stop animacije, 3D racunalne animacije i animacije objekata, pa sve do raznih eksperimentalnih formi. Vrlo brzo sam posegnuo za "armaturama" za lutkarski film, kao svojevrsnim lajtmotivom. Tokom ljeta, dakle još 2011-e, skicirao sam ideje za armature - skeletone, kao simbole stop-animacije ogoljene do srži. Kao samostojeci elementi scenografije, te kvazi-armature su bile pocetna tocka oko koje smo se svi složili, a mnoge od tih skica su na kraju završile na printanim blendama koje okružuju set. Napravio sam prema skicama i 3D modele armatura koji su mi u planiranju služili za prostorne simulacije i izradu nacrta, pa su se i snimke tih racunalnih modela našle na pozadinama.
Sticajem okolnosti, realizacija emisije je bila otkazana, da bi, skoro cijelu godinu dana kasnije, ipak nastavili s realizacijom. Medjutim, ta se odgoda u konacnici pokazala dobrodošlom za realizaciju scenografije. Moram pritom pojasniti da se, usprkos znatnim mogucnostima scenografskog pogona na Prisavlju, moji dizajni nikako nisu uklapali u proizvodne rutine HRT-ove stolarije. Isto tako, ni moj uobicajeni nacin rada se nije uklapao po kriterijima cvrstoce i izdržljivosti u HRT-ov uhodani sustav rukovanja scenskim elementima. Stoga je doneseno kompromisno rješenje: u radionici HRT-a ce se od izdržljivih materijala izraditi dijelovi prema mojim nacrtima, a potom je na nama sklapanje, bojanje i dotjerivanje. Takvim postupkom se otvorila mogucnost kreiranja i izrade raznolikijih dijelova, što je u konacnici pridonijelo bogatijem izgledu scene u cjelini, pogotovo kad su detalji doslovce poceli dolaziti u prvi plan.