#hagen toons | Explore Tumblr Posts and Blogs

zoueriemandzijnopmars · 7 months

Text

Het is Kinderboekenweek! En nu ben ik benieuwd:

Pin me hier niet op vast, maar volgens mij zijn dit ze allemaal

Keesje Kruimel, Hans Dijkhuis

Viermaal J en Janus, Hans Andreus

De blauwe boekanier, Tonke Dragt

Het kleinste sprookjesboek , Annie M. G. Schmidt, Mies Bouhuys, Eleanor Farjeon, Pieter de Zeeuw, Hans Christian Andersen en de Gebroeders Grimm[12]

Arthur en de lettervreter, Henk van Kerkwijk

2 is te veel, Henk Barnard

Ogen op steeltjes, Jan Wartena van Staatsbosbeheer

Het verdwenen plakboek,?Het Schrijverscollectief, bestaanden uit: Jan Riem, Ries Moonen, Arie Rampen, Fetze Pijlman, Hans Dorrestijn, Karel Eykman en Willem Wilmink

Wie je droomt ben je zelf, Paul Biegel

De tram is geel het gras is groen, Gertie Evenhuis

De klepel of de klok, Mies Bouhuys

Spook tussen spoken, Willem Wilmink (1980)

Je eigen tijd, Hans Dorrestijn, Alet Schouten en Willem Wilmink

Retourtje ver weg

Mijnheer van Dale en juffrouw Scholten, Kees Fens

Een tijdje later, Willem Wilmink en Paul Biegel

Houden beren echt van honing?, Midas Dekkers

De zaak Jan Steen, Karel Eykman

Die van hiernaast en van de overkant. Kinderen en boeken in Europa, Marja Baeten en Paul Arnoldussen

Duizend dingen achter deuren, Joke van Leeuwen

Het eiland daarginds, Paul Biegel

Jorrie en Snorrie, Annie M. G. Schmidt

Het wonder van Frieswijck, Thea Beckman

Het raadsel van de Regenboog, Jacques Vriens

Het weer en de tijd, Joke van Leeuwen

Fausto Koppie, Anke de Vries

Bombaaj!, Els Pelgrom

De huiveringwekkende mythe van Perseus, Imme Dros

LYC-DROP, Paul van Loon

Mijn avonturen door V. Swchwrm, Toon Tellegen

Bikkels, Carry Slee

Eiber!, Sjoerd Kuyper (2000)

Ik ben Polleke hoor!, Guus Kuijer

Boris en het woeste water, Rindert Kromhout

Het Zwanenmeer (maar dan anders), Francine Oomen

Swing, Paul Biegel

Wat rijmt er op puree?, Edward van de Vendel

Laika tussen de sterren , Bibi Dumon Tak

Kaloeha Dzong, Lydia Rood

Vlammen, Hans Hagen

De wraak van het spruitje, Jan Paul Schutten

Mees Kees - In de Gloria, Mirjam Oldenhave

Bert en Bart redden de wereld, Tjibbe Veldkamp

Het Akropolis Genootschap & De slag om bladzijde 37, Tosca Menten

Je bent super... Jan!, Harmen van Straaten

Zestig spiegels, Harm de Jonge

Per ongelukt!, Simon van der Geest

Oorlog en vriendschap, Dolf Verroen

Kattensoep, Janneke Schotveld

De eilandenruzie, Jozua Douglas

Haaientanden, Anna Woltz

De diamant van Banjarmasin, Arend van Dam (2020)

Tiril en de Toverdrank, Bette Westera

Waanzinnige boomhut verhalen, Andy Griffiths

Ravi en de Laatste Magie, Sanne Rooseboom

#nederblr #Kinderboekenweek #nederlands #dutch #kinderboekenweekgeschenken fascineren me #ik heb een hele stapel omdat mijn moeder een tijd in een boekhandel heeft gewerkt en ik heb eens geprobeerd ze allemaal te lezen #maar er zitten echt wat slechte tussen #en weinig zijn echt goed want het zijn zulke kleine boekjes #iig vgm heb ik er 19 gelezen en dat is vrij veel gok ik #ergens wil ik een bracket maken voor kinderboekenweekgeschenken maar ik gok dat de meeste mensen er maar zo’n 5 hebben gelezen #ik heb wel meningen #i made an original post #polls #part time booklr

12 notes · View notes

astromics240 · 1 year

Text

Why Am I Interested In Animation?

Since I was little I always liked cartoons and animated movies in general, just like any other kid, but I decided to go a little bit further than just watching it and started drawing characters of whatever series I watched and sold my drawing for $10 bolivares ($1 dollar at the time); a couple of years later, my best friend at the time was watching a Comedy Web Series called ASDFMOVIE which was so funny to me, and all the characters were really easy-to-draw, so I said: "hey, why do I not do the same thing?" And than I started making the same kind of animations on my computer on Paint, kind of creating my own stories and then playing them in Movie Maker. I was more interested in comics, but animation got me so passionate when I started animating (if we can call slideshows with flat images and text beside it animation).

I think animation is the best way we can develop and show our creativity and humanity by sharing stories of our own, with fantastic characters that live in our imagination and heart, and just the fact of creating something of your own is amazing.

My 3 Favorite Animated Things

I like many animated things, but if I had to mention 3 of my favorite ones they would definitely be Web Series and small animators, such as:

1. FNAFHS (Five Nights At Freddy's High School)

So basically the series tells the story of a band of students (based on the horror game Five Nights at Freddy's) that go through many things and a lot of high school drama to win a Band Competition.

So nowadays I think the series is really cringey, but it's really valuable to me, since I got a lot of influence from this series when I was little, and now my current art style is based on the FNAFHS creator's, because it inspired me a lot and I liked it so much.

2. Hagen Wolfhowl/Hagen Toons

Hagen is a Mexican animator and YouTuber who makes game and anime parodies, and I talk about him because I was also really influenced by him, because I started making my own animated parodies because of him and even created my own YouTube channel to start sharing my animations.

3. Piemations

Piemations is an American YouTuber, animator and writer who makes movie parodies, such as: Disney, Pixar movies' parodies and game parodies. I also got some inspiration from him since I liked his comedy and the way he animates.

2 notes · View notes

wheredidyamileavemenow · 6 years

Video

youtube

Loved this interesting Yu-Gi-Oh! Parody featuring LK but it needed more Bakura.

#hagen toons #yugioh parody #needs more bakura #4 kids parody #oh dear

25 notes · View notes

falseprotagonistsofbatim · 6 years

Note

Why would Susie do this to them on her own? She doesn’t know how the machine works.

((Seeeeeee, anon? She thinks she does.

After she was called in by Joey to help him figure out the new Ink Machine, she was approached by the maker of the Ink Machine with a deal. He gave her information on how the machine worked, in exchange for her life.

What she was TOLD was a little similar to what Joey was told: They need humans to serve as molds for the cartoons. Once they went through the machine, they would come out as living cartoons, and be free of their previous lives. She THOUGHT they would be okay. Memories wiped and made in a perfect image. She wasn’t told that bodies would be crushed in the machine. Or that throwing them in time after time after time would make them lose more and more of their humanity.

Wonder who like to her like this?))

#ask the butcher gang event #mun answers #susie hagen campbell #joey wasn't told humans had to die to make ink beings #susie wasn't told that there was no guarantee that being turned into a toon would work perfectly #and no one told them belief was a cornerstone to making this work #Anonymous

6 notes · View notes

xxxdreamingflowerxxx · 7 years

Link

I just can't help but rewatch this. It's so funny. XD

#super kawaii frenzu #Hagen toons #super kawaii friends #lol #crack

0 notes

yellowfeaverpainting · 4 years

Text

Wisdom i learned from Uta hagen’s respect for acting

Reading chapter 1

Representational

Presentational

The representational actor deliberately chooses to imitate or illustrate the characters behavior

The presentational actor attempts to reveal human behavior through a use of himself, through an understanding of himself and consequently an understanding of the character he is portraying

The illustration of a character's behavior at the cost of removing one's own psyche, no matter how brilliant the performance that results, creates an alienation between actor and audience

Formalized, external acting (representational) has a tendency to follow fashion

Internal (presentational) acting rejects fashion and consequently can become as timeless as human experience itself

Talent alone is not enough. Character and ethics, a point of view about the world in which you live and an education, can and must be acquired and developed.

Reach out to others

It is necessary to have a point of view about the world which surrounds you, the society in which you live; a point of view as to how your art can reflect your judgement.

To rebel or revolt against the status quo is in the very nature of an artist

Rebellion or revolt does not necessarily find its expression in violence. A gentle lyric stroke may be just as powerful a means of expression.

To portray things the way they are , to hold up a mirror of expression to the society, can also be a statement of rebellion

To maintain one's ideals in ignorance is easy; to maintain them with the full realization of the existing circumstances is not.

To accept “the way it is” is the opportunistic way out or the way of the ostrich; to attempt to battle it takes knowledge and character.

“I want to be the best actor in America” epitomizes the american disease of ambition for success accompanied by fame and fortune as proof of worth.

One may be the favorite of a certain group, but others have a different preference.

There is nop best each worked to create his own best, not to be the best

Love the art in yourself, not yourself in the art

Chapter 2

You have a tendency to copy what you have seen others do on stage, rather than to search within your own life experience to bring forth a new human being on stage

Why should every lady in waiting move like a ballet dancer? Why should every spare carrier stand as rigid as a cardboard? Why should the king and queen intone like bad opera singers without music? Where are the real human beings in these plays? They are lost behind ready made , fale forms

We look for the ordinary rather than the extraordinary in our daily lives, and so the explorations of ourselves become smaller and less important as we go along

Our sense of reality is limited. We look at our daily lives for convenient, recognizable behaviorisms to transfer to the stage

Water down the truth to make our stage life natural

My own self-image in a given situation, who i think i am, is not always what i really am

For each person you will present a different you

Previous circumstances and existing circumstances will bring about a different you

We must learn to understand and accept the facets of ourselves which we don’t wish to recognize

We must become self-observant enough not only to recognize our needs and define our feelings, but to connect them to the behavior which ensues.

The continuing job of learning to find out who you really are, of learning to pinpoint your responses and even more important, the myriad, consequent behaviorisms with result.

To seem to want or need a mask behind which to bury oneself often comes, not only from an incorrect concept but from a distrust in ourselves

The cat really exists with strong, spontaneous, forward-moving attention, and so it can surpass the actor, who is predictably busy with his stage life.

What is boring is not the real you in action, but the mechanical execution of a task whether it be over dimensional or tiny.

Your own identity and self knowledge are the main sources for any character you may play.

In sections of the country we are shaped by a society which is ashamed of spontaneous emotion.

Keep pace with the present. Take a trip to the moon. Envision the future

When looking at painting, put yourself into them instead of looking at them.

We must overcome the notion that we must become regular. It robs you of the chance to be extraordinary and leads you to the mediocre.

Chapter 3

One should reject the desire to show off.

Each object of the thing that I see or come in contact with must be made particular so that it will serve the new me and bring about the psychological and sensory experiences necessary to animate my actions.

I may even use a dozen elements from a dozen different relationships from my past and put them together to build this new relationship with my stage stella.

To do is a synonym for to act,

We are nowhere near the acting; I am still in the process of building a sense of reality and faith in my character.

When the actor has difficulty in finding a substitution for the content of a given scene as a whole, he can usually find the root of the problem in the fact that he's being too literal.

Taking this substituted psychological reality and transferring it to the existing circumstances and events in the play

I have used the past to make the present real

To work for an involvement for its own sake on stage bogs down the movement of the play, disconnects you from the play, makes you blind and eaf to the play. Beware.

There is much in a creative process that is almost intangibly real and mysterious, why compound the felony and make it moreso?

You must find your own substitutions if they are to be real value to you.

That substitution is the aspect of the work which strengthens your faith and your sense of reality in each stage of the total work on character, it is a way of bringing about justified, personal character actions.

Particularizing or to make something particular, as opposed to generalizing or to keep general, is an essential for everything in acting from identification of the character right down to the tiniest physical object you come in contact with.

I have made what is there particular rather than just assuming any ashtray.

Nothing should be allowed to remain general.

Chapter 4

An emotion occurs when something happens to us which momentarily suspends our reasoning control and we are unable to cope with this event logically.

At the moment of the release of the control, plus our adjustment to an attempt at control, we are overcome.

Human beings do not want this loss of control and usually make an attempt to cope with the emotion as it hits them.

Release object, a release of the censor which moves along with us and says, don’t lose control.

The consequence of this discovered procedure is endless.

Avoid the examination of any past experience which you have never talked about or wanted to talk about.

Without an understanding or a degree of objectivity to the experience it is useless to you artistically.

Actions themselves, verbal and physical, can generate strong emotions and can sometimes be as stimulating to an emotional release as any remembered inner object.

Emotion if furthered by the action.

When you claim that an emotion or a recalled object is wearing out for you by repetition, that it has lost freshness, you are failing technically.

Chapter 5

Sense memory, the recall of physical sensations.

Since the body has an innate sense of truth, we must learn some physiological facts to help us avoid the violation of the physical truth.

Bringing about your physical sensations for the characters stage life is fraught with many of the same pitfalls as the reproduction of emotional sensations

In that moment of adjustment, of attempting to overcome the heat, you will have a sensation of heat.

I am emphasizing the adjustments to overcoming the sensations because I believe that the sensations occur most fully at the moment when we are occupied with the attempt to overcome it.

After stimulating the imagination to the remembered feeling, they will bring it into the present for you.

This technique, recalling a localized sensation and finding a physical adjustment to alleviate it- is applicable to and condition you may be called upon to play.

The discovery of the sensations and how they influence you is there toon your action truthfully in the scene.

You are dictating the sensations, they are not dictating you.

Chapter 6

As a nation we have evidently become so desensitized that encounter groups, an essential part of whose programs seems to be learning to touch each other, have sprung up all over the country.

Full human contact employs all the senses, the more intense they are, the more highly they are developed, the more available is the potential of the actor this area of high sensitivity is where true talent lies

What we make of this sensitivity determines whether or not we can call ourselves artists.

A great danger is to take the five senses for granted.

You must also realize that self-involvement deadens the senses, and vanity slaughters them until you end up playing alone.

How the smell and sound of sizzling bacon can produce a feeling of well being. An unpleasant smell can be just as suggestive psychologically.

Taste is not only important but must be fully explored because in most instances on stage you won’t have the real thing.

I want a powerful sense of taste so that when i substitute another object for them on stage i will have similar sensations and adjustments

The visual contact we make with another human being or worth something in nature can act on us like a stroke of lighting

To really receive the nuance of verbal action and tone of voice rather than merely factually clicking it off with our auditory sense makes the difference between an actor and a hack.

Words are sent actively with content. You must listen for the intent of the words in order to receive them.

We also listen with our eyes. We interpret content and intention from an expression or movement which the action has given to the words.

Looking as well as listening, hinges on needs. Seeing is also balanced against expectations, immediate needs, and your past knowledge of the object.

While we talk we look intermittently at the person to whom we’re talking in order to see how they react to what we’re saying, to see if we have their attention, to see if they get the point, ect. What we see in these moments conditions how we continue our tale.

Simulated looking and listening must produce bad acting.

Anything dormant which you might awaken through daily concentrated attention to your senses will add to your growth as an actor.

Give meaning to what you receive when you see, when you heat, when you taste, when you smell, when you touch.

Chapter 7

Thought moves with such lighting rapidity that any attempt to slow it down is inaccurate, and so must bring about false behavior on stage.

Feeling obligated to illustrate thought, bodily or facially, comes from the mistaken notion that the characters thoughts manifest themselves in an organized progression.

Real thinking precedes, is accompanied by, and follows action.

Real thinking is active.

My thoughts spring from the contact with these inner objects (things or people not present in the room only as images in the mind) and bring about an inner action.

By contacting these inner objects, not present in the room, my thoughts flow forward quickly.

I never ask, “what were you thinking?” Instead I ask, “what were your inner objects?” so that you will get out of the habit of even verbally analyzing your thought process.

The actor's thinking depends on the subjective process of weighing the course of action by contact with inner and outer objects.

To act is to do, not to think.

The fight against these intrusions on true thought can be conquered only by strengthening and enlarging the circle of inner objects belonging to the play.

If any inner object in the play is not real to you, it will have no consequence in producing genuine thought.

The thoughts are anchored to the events and to the other characters.

Not only must these people and events and the things which tangibly surround you be clothed in reality for you by particularization and substitution, but everything that has happened connected with the surrounding circumstances as well.

Your objects will channel your attention into the private circle of your character's life.

You cannot dictate the order of your thoughts.

You must keep them fluid for your character's needs.

Chapter 8

Suddenly, the very act of standing became awkward. You became aware of your hands as unnecessary appendages. You lost a sense of character and place, and you became an exposed actor on stage, not a human being in a room. Then, you protected yourself by assuming a stance, a stage pose. This protective pose was probably borrowed from your earliest and most inept stage experience.

The reason for walking is destination.

The movement you create must come from carefully selected action which allows for the organic development of the character and the primary action of the scene

Each movement of true wandering has a destination, and is focused on a relevant object that we deal with in order to further the character and the story.

On stage, where every second counts, the objects should be selected and dealt with to reveal something new about the character or the circumstances, or both. The seeming illogical objects you have contacted in a strange order must be substantiated by the logic of the play.

0 notes

berghausp · 5 years

Video

youtube

Dr. Homer A. Ferguson III plays La Casa de Cristo Lutheran Church's Berghaus Pipe Organ - Scottsdale, AZ

"Vater unser im Himmelreich" by Toon Hagen - A set of minimalist style v...

0 notes

sterrevandertak-blog · 5 years

Text

Ontdekking

Bij het schrijven van de tekst voor mijn animatie (vorige post) deed ik een belangrijke ontdekking.

Ik had een bepaald gevoel en een bepaalde sfeer die de tekst moest hebben, maar wist niet goed hoe ik dit onder woorden moest brengen, laat staan in een lopende tekst. Ik besloot na een gesprek met Maya een brontekst te schrijven (doorschrijven zonder je pen van het papier te halen voor een bepaalde tijd, denkend aan het onderwerp), en daarnaast heb ik fragmenten uit voor mij belangrijke teksten gehaald (De ontdekking van de honing - Toon Tellegen, Onzichtbaar - Hans hagen). Daarna ben ik mijn eigen schrijfsels gaan markeren om de kern eruit te kunnen halen. Toen heb ik alle losse flarden op verschillende post-its geschreven en deze net zo lang verschoven en gepuzzeld tot ik een bepaalde opbouw kreeg in het verhaal, en er voor mij een logisch en kloppend geheel ontstond. Toen heb ik dit achter elkaar gezet en dit 6 keer herschreven, uiteindelijk is dat de tekst geworden.

En nu? Linde, een vriendin van ij, doet de theateropleiding en zij gaat mijn tekst vanavond inspreken. Zelf heb ik dit ook al een keer gedaan maar ik wil graag horen hoe zij dit aan zou pakken aangezien zij ervaring heeft met verschillende spraaklessen etc. Dan ga ik timen hoe lang elk stuk duurt en hierop verder tekenen.

0 notes

howlingday · 2 months

Text

Jaune Arc-tist

Ren: Oh, are you using the new tablet I bought you?

Jaune: Yeah, and thanks again for it, man. I've been making a lot of drawings with it! Wanna see?

Ren: Yes, please.

Jaune: Here, I made this yesterday.

Pyrrha: Have you considered making an online account on Schneeter or Bumblr? A lot of artists do that, I hear.

Jaune: Mhm, I know. That's why I set one up. See? But, uh, not getting a lot of likes on my drawings.

Nora: I left a review on your drawing!

Jaune: You just wrote "cringe".

Nora: (Wearing glasses) I take my job very seriously.

Ren: You have followers, though.

Jaune: Yup, and I recognize a couple of them from their art pieces.

Pyrrha: You should check out what they made and be inspired by them!

Jaune: You're right! I'll check out this one and... (Sniffles)

Ren: What's wrong?

Jaune: Their... Their art is so much better than mine.

Ren: No, no, don't think like that.

Pyrrha: Everyone improves at their own pace, Jaune.

Nora: Jaune SUCKS!

Pyrrha: Don't get discouraged, Jaune! No one is a master in a single day!

Jaune: ...You know what, you're right, Pyrrha! I can't be the worst one on the internet! Like, look at this girl! Rose_Bud13 is only fifteen years old! She can't be that goo-

Jaune: Also, there's a lot of porn.

Nora: Neat~!

#rwby #hagen toons #jaune arc #nora valkyrie #pyrrha nikos #lie ren

68 notes · View notes

rubbersoul333 · 1 month

Text

Background for Hagen Toon's animation "Audrey's Gift", this was for a video to promo the last day to get Audrey's plushie in Makeship, I should've shared this sooner T _ T

#background #hagentoons #hagen toons #illustration #digitalart #digital art #background art

1 note · View note

thepolarnova-blog · 6 years

Text

0 notes

artsvark · 7 years

Text

Die Begin van groot dinge vir Lizandra Winter!

The Beginning of great things to come for Afrikaans singer Lizandra Winter as she releases her debut album in Hatfield on July 22 and 23.

Hoendervleismooi is die perfekte woord om LIZANDRA WINTER se splinternuwe enkelsnit op te som. DIE BEGIN bou voort op die sukses van haar eerste amptelike solo-snit en musiekvideo, Fluister, wat nie net deel was van die 2016-lokettreffer, Vir Altyd, se klankbaan nie, maar ook steeds gereeld speeltyd kry oor die radio en op die kassie. Volgens haar, gaan hierdie Pop-Rock-treffer daaroor dat ’n mens so vasgevang word in die gejaag van die lewe, dat jy vergeet wat regtig belangrik is. “Ek sê altyd vir my man dat ek nie vir eendag wil leef nie en tog vang ek myself so baie dat ek toelaat dat ‘môre’ die skoonheid van vandag steel. Ek het die lied geskryf om myself te herinner dat die tyd soms moet stilstaan, en ek myself moet verloor in die oomblik. Ook dat geld nie geluk kan koop nie. Die lied het ’n goedvoel-verwerking waarby die meeste luisteraars sal aanklank vind,” vertel sy opgewonde. “In vandag se tyd is dit die norm dat, terwyl jy besig is met een ding, jy alreeds besig is om aan die volgende een te dink. Dan mis jy so maklik die mooi van die hier en nou. Die eenvoudige goedjies wat werklik saakmaak.”

LIEDJIES OP DIE ALBUM

Geraas

Winter kom

Tranedans

Die begin

Fluister

Bekende vreemdeling

Ek wil vir jou

Liefde van ’n kind

Kleurblind

Jy sien my

Sielsvryheid

Liefde Wen

Afrika grond

Haar selfgetitelde Afrikaanse debuut-album word binnekort bekendgestel en sluit ’n spesiale duet van die Christa Steyn-treffer, Ek wil vir jou, in saam met sangsensasie, Joshua na die Reën, wat beloof om selfs die kritieste oor te beïndruk. “Die liedjies wat ek gekies het om op die album te wees, is oor ’n tydperk van twee jaar geskaaf. In elke seisoen van my lewe, was daar nuwe inspirasie en het ek geskryf oor die lesse wat ek geleer het en die dinge wat ek voel ek nog moet bemeester. Die musiek op die CD gaan oor daardie kosbare dinge in die lewe, wat geld nie kan koop nie en waarin ewigheidswaarde lê,” verklap die ster. “Ek het besluit om dit ’n selfgetitelde album te maak, omdat die liedjies vasvang wie ek is. Dis amper soos ’n aankondiging wat sê: ‘Hier is ek, Wêreld!’.”

SOSIALEMEDIASKAKEL

Facebook

Twitter

Instagram

www.lizandrawinter.co.za

KAARTJIES VIR DIE BEKENDSTELLING Bespreek aanlyn by Quicket: www.quicket.co.za

LIZANDRA, wat haar musiekopleiding in Jazz, Populêre Musiek en Uitvoerende Kunste aan die Tshwane Universiteit van Tegnologie verwerf het en spog met ’n Gr 8-musiekkwalifikasie van Unisa, kom uit ’n musikale familie uit en sing al vandat sy vyf jaar oud is. Sy het aanvanklik in 2013 naam gemaak as die ‘blonde meisie wat saam met Joshua na die Reën sing’ na die vrystelling van sy debuutalbum, waarop hulle die liedjie, Soos Altyd, saam geskryf het. Omdat hulle stemme mekaar so mooi aanvul, het die sangers ook verskeie duette opgeneem daarna, waaronder die oorspronklike snit – Until Love – waarvan daar ook ’n musiekvideo gemaak is. Sedertdien het sy haarself ook gevestig as liedjieskrywer en solo-kunstenaar. Buiten vir optredes by verskeie musiekfeeste en korporatiewe funksies, het sy ook al die verhoog gedeel met gesoute kunstenaars soos Bobby van Jaarsveld, Chris Chameleon, Koos van der Merwe, Elvis Blue, Riana Nel, Touch of Class, Roan van As, Bittereinder, Len Muller, Vernon Barnard, Armand Joubert, Dozi, Karlien van Jaarsveld en baie ander. Sy was ook deel van Bobby van Jaarsveld se M-Net & Friends Special in 2016, wat in Desembermaand uitgesaai is.

Die komende album, wat deur Joshua na die Reën en Jason Ferreira van LittleBig Studio vervaardig en deur Stefan Swart vermeng is, bestaan uit 13 snitte wat sorgvuldig uitgesoek is om hierdie begaafde kunstenaar se talent ten toon te stel, die hartsnare te prikkel en jou onwillekeurig te laat saam neurie. Die inhoud van die CD is ’n vars en indrukwekkende versameling van genres, wat Rock, Kontemporêre Wêreldmusiek- (Liefde Wen en Afrika Grond) en Popmusiek insluit, asook ’n paar emosiebelaaide ballades soos Sielsvryheid. Baie van die liedjies is uit die sangeres se eie pen en spreek temas aan waarmee almal sal kan vereenselwig. “Ek wil nie nét oor romantiese liefde of liefdesteleurstellings sing nie. Daar’s reeds soveel liefdesliedjies daar buite. Ek voel dis nodig dat ons oor meer as net dít begin praat in ons musiek,” vertel sy. Haar man, Ryhno von Hagen, het ook bygedra tot die musiek en verwerking van die album en liedjies, soos Geraas, spog met ’n sterk orkestriële en klassieke aanslag. Gesoute kitaarspelers soos Nathan Smith en Andrew ‘Rixi’ Roman was betrokke by die skep van die agtergrondmusiek, terwyl Joshua na die Reën ook sy klaviervernuf ten toon stel.

“Wanneer lirieke, melodië en verwerkings saam iets skep wat vervaardig kan word om ’n mens op reis te neem na plekke in jouself, wat jy nie eers geweet het bestaan nie, dán wéét jy dat ’n kunstenaar, avontuur binne-in hulself ontdek het en nie anders kan as om hul lewe daaraan te wy – om hopelik daarmee die wêreld ’n beter plek te maak nie. LIZANDRA WINTER het nie net hierdie kuns bemeester nie, maar het ook die vaardigheid van stemgebruik so versuiwer dat dit ’n perfekte verhouding met die musiek skep. Ek was nog nóóit so trots om deel te wees van iemand anders se musiekwêreld, soos van hare nie,” verklap Joshua na die Reën.

Alhoewel sy nie een is wat daarvan hou om te ver vooruit te beplan nie, het LIZANDRA nog verskeie musiekdrome om te verwesenlik. Sy het groot bewondering vir kunstenaars soos Ed Sheeran en sou graag ’n verhoog met hom wou deel en saam met Chris Chameleon ’n duet wou opneem. Sy luister ook graag na rockgroepe soos Live, Muse, Alter Bridge en Dream Theater en meen dat sangers soos Josh Groban, Imogen Heap en Florence Welch van Florence and the Machine ’n invloed gehad het op haar eie styl. “As my musiek luisteraars kan help om met nuwe oë na hulself en die lewe te kyk, sodat hulle weer opnuut besef waaroor dit alles eintlik gaan, dan voel ek die album en my musiek het bereik wat dit moet,” sê sy.

LIZANDRA WINTER se nuwe enkelsnit en strelende fluweelstem, gaan nie net diep spore in die Afrikaanse musiekbedryf trap nie, maar is ook ‘die perfekte begin’ van ’n baie belowende solo-loopbaan vir hierdie talentvolle kunstenaar. Haar album word op 22 en 23 Julie 2017 amptelik vrygestel by die Encore Teaterkompleks in Hatfield en beloof om luisteraars, van die eerste noot af, soos ’n warm winterskombers te omvou en weg te voer na ’n wonderland van luistergenot.

Die Begin van groot dinge vir Lizandra Winter! was originally published on Artsvark

0 notes