Eduardo Darino

"Digital imagine consists of 0 and 1, ON and OFF", Darino explains, "so why not animate at the pixel level?", sort of splitting the atom of CGI, which he does. Since rendering particles is a slow process, he joined forces with programmers to develop a system of real time particles, creating multiple shorts combined by subject: Digital Brush-Pincel Digital, Punta del Este (2010–2013). Darino has completed several interactive installations as "Self Scan" about his cancer, helping other patients to learn and consider options, and the series "Irreverent Realities" including animations for the anniversary of Onetti, Figari, Frasconi, Zitarrosa, Paez Vilaro and recently "New York Virtual Tour", exhibited in "It's Liquid", Venice, 2014 and January 2015, "Apex", world premiere, Cinematheque, San Francisco, "Seagulls, Gaviotas" Uruguay, New York, 2018–2019 animation dedicated to Norman McLaren, "Screening Cocktail de Rayas at Red Cat Disney, Ismo Ismo Ismo and Museo Reina Sofia, Madrid.

Doing interviews for SCIENCE 2000, he was suggested as a reviewer for Typestry. During lunch, they learned about Ed's drawing work and invited him to join a fledgling Pixar studio that had released Luxo Jr and was planning its first feature, Toy Story, in 1995. Darino declined Pixar's offer, preferring to stay in New York.

Darino began to experiment with office duplicators and made Hello? for AT&T for the centennial anniversary of the first telephone conversation. He also produced Carousel, Tango and Kaleidoscope, the first animations using copiers with the CopyMotion system, developed by Darino, which he registered in August 1997. He produced other animated films: Doble o Nada, Setenta veces siete, La Carreta, Gaucho al galope, Rafa-Javi, and Gaviotas-Seagulls based on drawings by his grandsons Rafel and Javier in Punta del Este.

Horacio Schek from Teledoce asked him to make a pilot for the travel series Pasaporte. Turismo asked for El Lapiz Magico, and Daniel Scheck, from El Pais, had him make Campeon de Campeones about the Uruguayan world soccer championships which closed out Darino's work in the 1980s. He made the animated film El Gallito Luis, combining cartooning with live actors, "way before Roger Rabbit", as Peter Cowie says in the International Film Guide.

He signed two series for children, Man the Maker, about inventions, and Forgotten Legends. He tried producing storyboards and pre-production in Uruguay. In the 1980s he attempted to produce animation and films for export from Uruguay, but the political situation made him change his plans. Thirty years later, when he met Nicolás Peña from MoPix and Juan Jose Lopez from Aparato TV they had turned that dream into a reality. Darino Films also animated for The Legend of the Amazon River, narrated by Eli Wallach, The Great Cover Up from Texture Films, Ugly Duckling and Beauty and the Beast with Fred Ladd, and opening animation for Calliope for USA Networks. Maureen Gaffney from the Media Center for Children enthusiastically proposed to include his work in their series. "Your work is wonderful, children like it, and I think our new series would ensure it a place in the brave new world of home video".

Inspired by the acquisition of a Keystone 16mm camera, he shot El Suicida, a fifteen-minute film, with Felipe Lacroze; and Tan Solo Hombres, a thirty-minute film, with Mario Branda, assisted by Alberto Calvelo, with music by Pedro Zalkind, exploring creative editing to tell the story of a marginalized homeless person. Jose Carlos Alvarez praised this film in his review in La Mañana and it received an award at the Florence International Film Festival in 1976.

Born in Montevideo, Uruguay, he studied law at the Universidad de la Republica and came to New York in 1973 where he still resides. During his career he has drawn multiple cartoon characters, produced several films, and made multiple television series and documentaries both in Uruguay and the United States.

In February 1968 he filmed Apex, with Rodolfo Musitelli and actress Adriana Lagomarsino. This was the first short in Cinemascope done in Uruguay using posterization, years before its use by Andy Warhol in 1970.

Darino's next films, El Idolo, Sombras sin Luces and Sombras y Luces (1965), are drawn on film stock, but include magnetic sound, like Cocktail de Rayas, which was re-created in digital form in 2011. This was followed by Correcaminos, aka Caminante, the first basic animation and computer art on the continent. It was cited by Clemente Padin as the "forerunner of Latin American code and web animation" in Ovum and other publications. During this time he illustrated book covers for Arca and designed cartoons for Diario Uruguay.

Cine Club Fax invited him to develop the first full course in film-making. Darino wanted to work with an industry director and contacted Manuel Antin in Buenos Aires. He suggested Pablo Szir. Szir not only accepted, but brought Jorge Goldenberg, from the Escuela de Cine del Litoral in Santa Fe, along with him. As a final exercise the course produced Delito, focusing on social issues, with Mario Branda and Adela-Gleijer. This short received the Award Premio de la Asociación de Críticos Cinematográficos del Uruguay; Premio Festival de Cine Nacional,Cine Club Fax; and the Premio Nacional de Cinematografía Consejo Departamental de Montevideo, 1964.

He participated actively in the Cine Club del Uruguay and taught himself how to make film. His earliest work, Creacion (1963), is the first animation to be created over stock film and hand-painted in Uruguay. It was screened at the Annecy International Animated Film Festival in France, receiving a Certificate.

At this time, Harry Marks was working for ABC and conceived of the idea of the moving logo. Eduardo hung around the 45th Street studios, trying to get a first look at the new technology, and was captivated by the possibilities of motion graphics, a subject he still teaches at Pratt Institute.