Behind The Collection: Nanda Ormond on Rhythm's Australiana Collection
The project influenced by our Australian heritage, its unique offering of flora and fauna, pristine waves and rugged coastline is back! We’re talking of course about Rhythm’s Australiana Collection, available now exclusively to SurfStitch.
Known for its unique, standout prints, cuts and styles, the Australiana Collection is much more than a fresh wardrobe. The collection spreads Rhythm’s lifestyle message, showcasing the brand and their love for free surf and adventure better than ever before. As well as Rhythm’s talented in-house designers, there is one man who helps bring the Australiana campaigns and collections together, and that is resident artist and full time, off the map frother, Nanda Ormond.
He’s graced us with his unique and interesting style of art in the past and he’s now back doing it again with the latest Australiana animated clip. After many late nights sourcing and editing animation over surfing, the finished product is exactly what you’d think it would be, EPIC!
In honour of the latest collection, we caught up with Nanda to find out how it all came to fruition, the challenges faced along the way, his sources of inspiration and much more. Join us and check out Nanda’s mindblowing work below.
Nanda, thanks for catching up! You’ve recently put together the animation for Rhythm’s latest Australiana Collection, and its epic! Tell us all about it.
Hey no worries, my pleasure. Yeah I made some animation have you seen it? For me it was another step towards creating the kind of surf movie I’d like to see; like an augmented reality, Space Jam kind of surf movie. ULTRA HDD, super dramatic slo-mo drone footage is cool too but I remember a time when surf vids were fun, like the Veeco films. I want to make stuff like that.
From surfing on animated crocs and everything else in between, you’ve got such a unique style of creation, where do these crazy idea come from?
Pinterest, where else do ideas come from? Or I don’t know, I was just trying to think what would I have drawn happening on waves when I was a kid? I had the whale barrel in my head from early on, that was something I wanted to see, a guy in a barrel getting barrelled, a double barrel sounds pretty cool. But the Croc surfing just came from watching the clip and noticing I could reference the movement of the board to a crocs head. And the fish kiss and stuff, that was just mild delirium on the last few sleep deprived nights of the deadline.
How long do the edits usually take to put together?
Soooooo long. This long (I am holding my arms at maximum spread). This one took around two months, with the second month being pretty much full time except for a day I had to go to a wedding and maybe another day or two when I had to do chores. If I told you what hours I actually worked it would sound like I was exaggerating, so I’ll just say I worked 26 hrs a day, 12 days a week, got up 2 hours before I went to bed and worked myself literally to death every night and had to resurrect myself in the morning. I even had another animator Sid on the same program but I suspect he skived off to go surfing and maintained a semblance of a healthy lifestyle. He animated most of the Whale Barrel and all of the best moving flowers.
Did you study the art or have you purely taught yourself from scratch?
I have a diploma in Classical Character Animation, I guess that makes me pretty legit. Diplomas aren’t just something middle aged people get from community college you know.
What was the biggest challenge in putting the clip together?
It was all challenging, nothing about trying to make good animation is easy. Sourcing the footage was surprisingly difficult, I kind of thought filmers would be more eager to hook me up with footage but most of them ghosted us, we ended up using clips from existing edits around the net, of which Matt Kleiner’s are an absolute standout, I used heaps of his clips. One of the easiest bits was the song, after sniffing around buying rights for a few classic aussie songs I thought would work, the cost of which would have been triple the budget I had for the entire thing, I got my friend Nimai to make a track. The first version he sent through it pretty much the version we used in the final, it was so good.
Describe your workplace and what keeps you sane while making magic happen?
I don’t know if I would exactly describe myself as sane when I’m working on animation… I think you have to be a bit insane to do this kind of work, it’s very tedious. I was working from a studio on our farm in a nice valley just away from the beach I grew up on. There’s a stream going through it which I could go jump in to clear my head, and sometimes I would walk around the gardens and pretend to know what trees were what but really I’m pretty out of touch cos I do too much drawing. To keep my body running I had to take up a regime of old lady yoga in the mornings, and unreasonably healthy super smoothies which were so thick I had to eat them with a spoon. I also invented a very luxurious coffee, with three types of oil and butter blended in to it, that was like putting Nitro in the system. It was very 2fast 2furious.
As for the garments, do you have a favourite piece?
When I was animating I liked the Confetti print best cos there was so much happening, but looking at the range I think the Camo Jam shorts are my cup of tea. I like all the boardies tho I’ll have one of each please. Just give me the lot.
Thanks legend, looking forward to next years collection!
Oh next year I’m just going to change the colours of this one and re-release it, I hope Jake and the boys at Rhythm will agree with me on this, it’s just too much work making new stuff really.