The innovation of Kentridge's drawings

The drawings made by William Kentridge are considered innovative since they were done on the same sheet of paper with a sense of transformation. His illustrations consist of creativity in utilizing unique stop-motion techniques. On the same paper, he draws the first image and then continues to modify it either by adding new ideas or erasing the old ideas. This idea was contrary to the traditional way of animated drawings, which was done on different pieces of paper. He would draw the first scene then take camera shots after which he would go again to the picture and make some changes according to the aligned idea and take some camera frames, and the system continues in that manner. The relationship sequence between the camera and drawing continues from the first scene up to the last stage. Generally, the Kentridge’s drawings can be considered to be innovative since they are done on the same sheet of paper. 

Furthermore, his distinct charcoal drawing and prints, as well as animated films, are considered innovative since they are drawings in motion. The filmed drawings “inhabited a curious state of suspension between static to time-based, from stillness to movement” (Karam, 2014, p. 17). His drawings were innovative as they could undergo redefinitions and changes which were constant. The luscious charcoal surfaces drawings projections used by Kentridge are creative methods as they retain tangible tactility. In this case, “the smoky surfaces and rough-hewn marks morph into incessant” (Keram, 2012, p. 19). There is a constant flow of the associations of the prints, and the audiences can see the motion of the drawings and connect the association of the images. His new and unique ideas on transformational arts can portray a story themselves without using words. Generally, Kentridge’s drawings are considered innovative since they seem to be in motion due to the series of drawings made. 

Reference 

Karam, B., (2014). William Kentridge's animated Drawings for Projection as a post-memorial aesthetic.  De Arte ,  49 (90), 4-23. Retrieved from https://youtu.be/5_UphwAfjhk