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John: Quickly retrieve arms from MAGIC CHEST.
You retrieve your FAKE ARMS from the chest. You use these for HILARIOUS ANTICS. You CAPTCHALOGUE them in your SYLLADEX. You have no idea what that actually means though. There are other items in the chest.
> John: Examine contents of chest. (updates every Friday)
Start Over / Go Back / Add Coffee Can to RRRT
This is a gif I came across on Facebook, it’s from one of my favourite animated TV Series Gravity Falls. I believe this is a rough set of 2D traditionally drawn frames that plan out the movement of the character Dipper Pines. This is a great example of a really well-done expression change, it’s a very detailed and informative plan, that includes, for example, where the light from the candle would hit Dipper’s body as he turns and it falls. Other than that it was a lot of exaggeration both in his features, the way he swings his body and drops the candle, perfectly matching his determined but awkward personality. I attached a gif of the final version of this movement to compare and is very close to the plan.
Continuing my research into expression change for my 3D Digital task, I thought these three videos were helpful in showing what good 3D Digital expression change looks like, as well as thinking about what I want my 3D Digital expression change to be. I am planning so far to have a bored expression into a sort of disgusted/shocked impression into anger, possibly including a double take before the disgust/shock if I have enough time.
This is my new version of my third animated sequence that I am still working on. This time I add more frames for the expression change from angry to sad and also more to the turning of the head. I think the process is going ok, it’s just taking time, the only thing I think I’m struggling with is how to space and time the turning of the head. I think the whole sequence is a little too consistent in terms of timing so I did some research. I found this video, shown below, which reminded me of how to do good timing and I hoping when it comes to doing my inbetweens and fine tuning I can get more interesting timing differences. Another reason why my timing isn’t perfect is because I’m animating this in photoshop because it had the drawing utensil I liked, however, I think I’m going to have to put this into TV Paint to get the best animation, that I can do with the best equipment the university provides.
In the same workshop that I worked on my third sequence with Ralph, I drew two more frames for my first self-portrait expression change sequence. Unfortunately, I couldn’t find the same pencil I used in photoshop to do the previous frames, so it looks a little different which is frustrating and is why I didn’t do any more frames. To get around this problem I think I will do all of the frames on the photoshop I have at home which has the right pencil, then put it into TV Paint if I need to. Alternatively, if that doesn’t work out I can start again on TV Paint or leave it as it is.
These are the keyframes for my first sequence based off a self-portrait video I took, which can be seen in my previous post. This is quite different from my plan for this sequence, for one I have changed the style that it is drawn into my own sketchy, continuous line style, that I’m a lot more confident and comfortable drawing in. I have also changed the sequence of events, adding in a turn of the head with a look of sadness. This addition makes the sequence a lot more dynamic but also realistic, I’m hiding away my face from the person that has angered and shocked me, maybe even shedding a tear.
I think these key frames show the emotions clearly with good dynamics. I think I could have made the principles of animation I wanted to include more clear, for example, timing and a slow blink to show myself processing the shock.
This is the mutoscope video I was missing, lucky one of my coursemates had a video of it in action that she kindly said I could use. My series of drawings go past very quickly and they’re a bit difficult to describe but hopefully, I will get the pictures themselves back and be able to a take a picture of them for my blog.
While researching blinks I found Aaron’s Art Tips and because I found them super useful, I had a look at some of his other videos, in the process I found this one. This video is all about clear expressions and he talks about the key to this being the very simple and exaggerated expressions we did as a child. They are clear and effective so it is important to remember these clear expressions when creating our own, more complex designs. Another surprising comment he made was ‘the more detail you get the more messed up the stuff you put on these iconic faces, the more deluded the expression will become’, I hadn’t really ever thought of this but it’s a valid point. The animator Aaron Blaise is known for his work on Disney classics such as Aladdin and The Lion King, his simplification of animals and humans, with their clear expressions have resulted in classic characters that really engage with our emotions.
