#readingreflection5

[mixedmediaanimation]

Reading Reflection #5

In chapter two of the Animation Bible  Maureen Furniss discusses different storytelling techniques used in motion pictures. She highlights how many times in animation projects storytelling is used to sell products based on the characters the stories contain. Genre defines a recognizable category in literature and motion pictures which includes repeated patterns, conventions, across different projects in their portrayal of their characters, their story, and in the films setting as well. Furniss discusses how animation was never considered its genre because of Walt Disney’s Studio's dominance. But Furniss states that nonetheless, animations can follow similar formulas like using the same character in different contexts and films. Furniss indicates that the utilization of repeated patterns promotes creativity. She states that “People are familiar with the basic structure of the work, which means there is less need to develop characters and their motivations.”

In Chapter 7 of Design in Motion by Susanna Shaw’s she discusses how free writing is a great way to get a character or story developed.  Shaw argues that free writing allows us to tap into our raw creativity and “…evoke the unseen areas of our mind.” The most compelling part of this chapter was Shaw’s suggestion of using a word list. A word list allows you to list the keywords that are most relevant to your concept and creative brief. Shaw argues that they “…conjure images, ideas, emotions, and stories.” Shaw suggests using your internal editor to make decisions about the direction your story or concept will go and recommends a considerable amount of flexibility.  

[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.