#jasminevallier

[mixedmediaanimation]

Reading Reflection 8

Chapter 5: Production of Selby’s book Animation, deals with the various processes of production in animation: traditional cell animation, stop motion, puppets or advanced computer virtual animation. It offers a description of some basic techniques, and also of the traditional 2D animation techniques, such as rotoscoping, or computer-generated 2-D animation tools, such as Adobe Flash. The author then explains how sets are designed and lighting is used in different techniques of animation. Lighting is extremely important in creating desired visual effects and convey specific moods.

In Chapter 3: Pre-production of the Animation Bible, the author describes the process of pre-production in animation, explaining that producer and director are two key roles in production, although they are not always authors or originators of the project. She explains the process of developing a concept for a work of animation, emphasizing the fact that inspiration can come from anywhere, but that it’s very important to think through all the stages of future production, in order to make the process effective. The author explains the process of pitching an idea, and the scriptwriting process, and even the sound design process, which is important for quality animation. For example, voice recording should be done during the pre-production process. Scheduling and budgeting, as well as promotion and marketing are also briefly explained, as well as some aspects of copyright and the various issues related to that.

In Chapter 20: Character-driven design boards of the book Design for Motion, the author explains the importance of character design in animation, emphasizing the fact that it’s a discipline on its own, and that professionals specifically create characters for animation. The chapter explains that the essential characteristics of effective character design is the ability to create human representations, in the sense that these characters should be emotionally and ideologically identifiable by the viewers.

[mixedmediaanimation]

Reading Response 7

 In Chapter 1: Setting the Record Straight of the book Understanding Comics, the author talks about what is comics and the art of creating comic books, explaining that the art form of comics itself is a useful medium of transmitting ideas and hidden messages. He emphasizes the fact that the main difference between comics and other visual art forms is in its use of space: “Each successive frame of a movie is projected on exactly the same space – the screen, while each frame of comics must occupy a different space. Space does for Comics what time does for film.” HE then discusses the history and the origins of comics, tracing them back to the invention of printing.

In Chapter 2: The Vocabulary of Comics, the author discusses the construction of comics and that it’s based on symbolism and the fact that humans seem to respond to cartoon representations of reality with the same level of involvement as to more ‘realistic’ representations. The author gives an interesting definition of cartoon, as a form of “amplification through simplification”, and that by creating a simplified representation of a concept in a cartoon form, we demonstrate its ‘essence’ better than realistic art. What I find most interesting in this chapter is the fact that the author believes that humans are a “self-centered race”, and that they see themselves in everything, assigning emotions and identities to non-human centered situations and non-human objects. I agree that to a certain extent it is true, but I also believe that given that everything is relative, not all humans see the world in that way, we know that human societies are in reality, part of nature.

[mixedmediaanimation]

Reading Reflection 6

Chapter 17: Type-driven design boards of Design for Motion by Austin Shaw deals with the role of typography in the construction of design boards in animation. Typography serves as a medium of communication. The author emphasizes that the use of words is important in every aspect of our lives. The key phrase is: “In motion design, kinetic type adds the dimension of time and movement”, which demonstrates the importance of according type to these two dimensions in animation. Typography is also closely related to such concepts as culture, emotions and intelligence. The basic distinction between two main type families is serif/sans serif.

In Chapter 10: Stop-motion animation, A Survey of Techniques of the Animation Bible, the author Furniss discusses some of the examples of the different techniques of stop-motion animation, more precisely 2-D and 3-D animation. There are some interesting animation methods related to 2-D stop-motion, such as the use of sand particles, or the use of pins, or clay painting, or cutout animation. He provides some examples of the most famous 2-D animation works, such as the Hedgehog in the Fog (1975) by Yuriy Norstein, or the Adventures of Prince Achmed  by Lotte Reiniger. In the second part of the chapter, the author provides examples of 3-D stop-motion animation, such as the “Brickfilms” method that uses children’s Lego toys, or the use of folded paper in creating animation.

In Chapter 8: The Outer Eye of Design for Motion, the author discusses the role of Mood Boards in animation. Essentially, mood boards serve to demonstrate the intended emotional tones of the future animation project, they “influence the aesthetic and art direction of a project”. They are very effective in the motion design industry. The author distinguishes the “inner eye” from the “outer eye” of the artist, emphasizing that there needs to be a balance between the outside and the inside (individual self) sources of inspiration. In the 2nd part of the chapter, the author provides an interview with Alan Williams who is an art director and designer at Imaginary Forces in New York.

[mixedmediaanimation]

Project 2: Seagulls

My characters are seagulls who will serve as a representation of humans and different types of their interactions. The main goal will be to attempt to understand what is human nature, and if it exists. The most important and interesting part of the project will be to showcase the contrast between the Past and the Present, in a lightweight and subtle way. The two periods corresponding to the Past and the Present will be the Belle Epoque, an important and interesting period of Western History, and the modern-day world. The main goal of the animation will be to explore the paradox of the relativity between space and time and the contrast between the two different eras and physical places in the world. It will be an interesting exploration of human nature through a non-human metaphorical representation, whose main question will be “Is there an innate human nature?”, and “Is it innate?” ...

[mixedmediaanimation]

Reading Reflection 5

In Chapter 10: Cinematic Conventions, Thumbnail Sketches, and Hand-drawn storyboards of Design for Motion by Austin Shaw, the author talks about the basics of cinematography, such as “basic” shots and camera angles, and different types of camera movements. He then explains the connection between design boards and universal cinematic principles. He emphasizes the fact that “A designer needs to think like a director when making a design board”.

In Chapter 7: The Inner-Eye of the same book, Shaw discusses the fact that we all have “an internal editor” in our heads who adjusts our behavior in everyday life. He argues that during the creative process it’s important to let that part of ourselves rest and not control our ideas as much, so that we can explore our imagination more freely. The author then offers a description of the techniques that can help artists use their creativity better and more effectively. For example, the ‘free writing” technique can offer a window into our subconscious and unconscious parts of mind. He emphasizes the fact that every creative process needs to be approached without stress, but instead with a creative and open mind, and an “attitude of play”.

In Chapter 2: Storytelling Strategies of the Animation Bible by Maureen Furniss, the author discusses the process of storytelling in animation. And that almost every animation requires storytelling. She emphasizes the fact that “What makes a story or exploration captivating is the artist’s unique approach to imparting the information. Skilled animators are those who read widely, watch motion pictures of all types and experience life in various contexts. They understand cultural communication and how to appeal to a wide audience.” She then offers a description and explanation of the structure of the process and different conventional forms, such as genre. Then follows an explanation of the structure of the narrative design of animated productions, and their timing. After that, Furniss describes the editing process in detail and the various rules associated to “continuity style” editing. She emphasizes the importance of sound and color in high-quality animation.

[mixedmediaanimation]

Reading Reflection 4

In Chapter 3: The Beginning Basics of Directing the Story: Professional Storytelling and Storyboarding Techniques for Live Action and Animation, by Francis Glebas, the author describes the role and importance of storyboards in animation. He emphasizes the flexible nature of drawings: “the board of drawings is in a state of flux. Nothing is fixed, nothing is unchangeable.” He then provides a description of the different types of storyboards, and explains that before starting storyboarding, animators first create a beat board, and after creating a story board, they need to continue refining the drawings and ideas within the story reels. The pitching process itself is very important also, as it allows the animator to present his ideas to the audience. Glebas then provides examples of storyboards.

In Chapter 13: The Art of Compositing of Design for Motion by Austin Shaw, the author discusses compositing, which is the art of combining distinct elements in order to create a sense of harmony or belonging in animation: “Compositing is used to select, adjust, blend or stitch multiple visual elements into a single image”. He also explains that there is a wide range of compositing types, from concrete to abstract, and that there are multiple attributes of compositing. Also, he describes the duplication process and that it’s made possible in the digital world, as opposed to analog materials that cannot be duplicated if they are not digitized. He also provided a description of the different transformations, retouching and other digital tools used to transform and embellish the visual elements.

In Chapter 18: Tactile Design Boards of Design for Motion, the author Austin Shaw explains the different nature of tactile design, and the ways in which digitized materials can preserve their physical qualities and create an effect of texture, if using a correct approach, and materials. An interview with Italian-born Lucas Zanotto follows where motion design creator explains how he uses a combination of analog and digital media.

[mixedmediaanimation]

[mixedmediaanimation]

Reading Reflection 3

 In chapter 2: Preproduction – Concept, Ideas and Research of his book The Animation, the author Selby explains the process of the development of animators’ ideas and creation of a concrete project plan for the creation of the animation. He explains that first, these ideas and concepts need to be researched and developed structurally in order to become specific and obtain “form and foundation”. These concepts are key in the subsequent creation of the final project and its nature and originality. Its nature arises from the animators’ intents and creativity in expressing these intents. They also need to be presented in an attainable and entertaining form of communication for the audiences, that would allow them to absorb the information both emotionally and intellectually. The author then explains how to develop imagination and where to look for inspiration, as well as how to collect material for the concept development.

In chapter 9: The Mechanics of Movement of the book Stop Motion: Craft Skills for Model Animation, the author offers a detailed description of the process of observing and creating movement in animation. First, she explains how to take movement examples from real life, such as observing yourself and your physical movements and observing examples from nature and other people. Like Selby, Shaw argues that drawing is an important tool in animation, and that drawing from life is a great tool for developing a sense and understanding of how the body moves. She then details the process of using puppets in order to develop that understanding and use it in practice, as well as the importance of developing a sense of timing and its relation to the creation of the feeling of weight in animation. The author also emphasizes the importance of the three principles of animation: “Anticipation, action and reaction” which demonstrates how the illusion of movement is created.

In Chapter 3: Design Boards of Design for Motion, the author Austin Shaw explains that design boards are sequences of style frames that tell a narrative or a story. He tells us how they are created, as well as their role and use in the animation industry. He argues that their level of importance is very high in commercial art, where competition is very high. “Style frames and design boards are like a promise, or a visual contract, that a studio makes with a client.” The author goes on to explain that another important role of style frames and design boards is that they serve as an insurance policy for an artist or a studio, in terms of the legal relations between the artists and their clients. Another important role of design boards is to plan and guide productions, especially in terms of design. Essentially, design boards represent the visuals and the narrative of a creative idea.  And each style frame within is also a representation of the underlying concepts.