The Animation Time line - John Lasseter

 Figure 1, (2009), Luxo Jr

John Lasseter is the director of Pixar, originally part of Lucasfilm before finally separating as it's own company in 1986. Lasseter began created animated shorts such as Luxo Jr which was based on his desk lamp and looking at how an inanimate object can appear life-like which was the influence for Wall E because the character was a robot but had human characteristics in his movements and showed emotion through his telescopic eyes. The dance sequence explored a familiar like human movement as both robots twist and turn, lasseter also managed to capture the sense of speed to tell the viewer that they dancing. "Wall-E's camera moves like a real-life apparatus. And its introductory act has as much of a silent - film feel as any 21st - century production can - with only a handful of human voices." (Rogers, 2011) Unlike the other Pixar films, Wall E had to drive the performance with realistic human-like movements and expression especially in the first act, where the audience is only introduced to Wall E and the cricket so the charming movements makes Wall E an instant loveable character.

Figure 2, (2008), Wall E

 Figure 3, (2009), Toy Story

 Figure 4, (2009), A Bug's Life

Toy Story was Lasseter's first feature length animation at Pixar and also plays the idea of animating the inanimate object. It creates the idea of what a child's toys experience once their owner has left. "the movie lovingly touches on such grownup concerns as nostalgia and the loss of childhood. Of course kids love it too - so this is what happens when we leave the playroom, their wide eyes seem to say." (Larsen, 2010) The film allows the viewer to experience how a child breathes life into a toy when they play with it as if they are seeing it through their eyes. A Bug's Life explored the idea of how a colony of ants operate underground and allowed the viewer to experience another world that they wouldn't usually see because it is hidden from them. It had huge competition with Antz from Dreamworks which followed a similiar story line but both companies put in their own ideas of what an insect world be like. "While A Bug's Life is never less than pleasant and full of luscious cinemascope visuals, coming on the heels of Antz it can't help but suffer in comparrison..." (Sanford, 2002) The evidence implies that eventhough A Bug's Life's story line suffers against Antz, it does have the Pixar charm of good CG animation and loveable characters that the audience can familarise themselves with.


Illustrations

Figure 1, (2009), Luxo Jr, @ http://obamapacman.com/2009/11/john-lasseter-pixar-creative-computer-animation-pioneer-mac-user/, Accessed on: 11th November 2009

Figure 2, (2008), Wall E, @ http://www.filmofilia.com/tag/pixar/page/3/, Accessed on: 3rd June 2008

Figure 3, (2009), Toy Story, @ http://www.moviemobsters.com/2009/12/03/top-ten-pixar-films/, Accessed on: 3rd December 2009

Figure 4, (2009), A Bug's Life, @ http://www.moviemobsters.com/2009/12/03/top-ten-pixar-films/, Accessed on: 3rd December 2009

Bibliography 

Larsen John, (2010), Larsen on film - Toy Story, @ http://www.larsenonfilm.com/index.php?Page=SoloReview&ReviewID=1891, Accessed on: 10th June 2010

Rogers Nick, (2011), Heroes of the Zeroes: Wall E, @ http://www.thefilmyap.com/2010/11/24/wall-e/, Accessed on: 2nd December 2010

Sanford James, (2002), A Bug's Life, @ http://www.imdb.com/reviews/159/15933.html, Accessed on: 23rd June 2002

The Animation Time line - Sylvain Chomet (1963 - Present)

Chomet mixes three dimensional and hand - drawn animation to tell a heart warming story, they have no real dialogue so relies on body movements and exaggeration. "Chomet's wonderful artwork and lively characters and worlds make for an incredible viewing experience. It's not easy to create a film with no dialogue-not to mention an animated film... His characters' actions speak louder than words ever could..." (WordPress, 2011) Chomet's film return to the familiar technique of a silent movie but the performance is not forced, it is left to play out between the interaction of the characters. The Illusionist shares the bond between the small girl and the old entertainer which could have been received out of context but Chomet has created a real bond and understanding of the characters. "The Illusionist amounts to a quiet act of defiance with its hand-drawn tale of an ageing, outmoded music-hall entertainer. The Illusionist is sweet and sad and shackled to the past." (Brooks, 2010)  The evindence siginifies how the story's back log makes the Illusionist inviting but also sad when the viewer realises the truth with the ending scene and the photograph but Chomet's intention is not to disturb the audience but draw them into the world of rich colour and warm characters.

Figure 1, (2010) The Illusionist still 1

Figure 2, (2011), The Illusionist still 2

Chomet's other examples also express the mix of styles, for example The Triplets of Belleville which allowed him to become introduced to a much wider audience but the story is not in the same league as The Illusionist. "A gorgeous mix of hand drawn animation, CGI, and video, Sylvain Chomet's wild adventure is a beautifully rendered odyssey that delights with humour and flair, even if it doesn't make a lick of sense in terms of intent." (Leo, 2004) Chomet created a great mix of 2D and 3D that allowed the worlds to feel life-like and experimented with this style across all his animations but it wasn't until the illusionist that this technique and the narrative came together as a full performance.

Figure 3, (2003), The Triplets of Belleville

Figure 4, (2011), The Old Lady and the Pigeons

Illustrations

Figure 1, (2010) The Illusionist still 1,@ http://www.awardsdaily.com/2010/03/sylvain-chomet%E2%80%99s-the-illusionist/, Accessed on: 22nd March 2010

Figure 2, (2011), The Illusionist still 2, @ http://www.daemonsmovies.com/2010/04/20/lillusionniste-the-illusionist-29-movie-photos/, Accessed on: 2007

Figure 3, (2003), The Triplets of Belleville, @ http://www.awn.com/articles/people/sylvain-chomet-s-ithe-triplets-bellevillei, Accessed on: 20th November 2003

Figure 4, (2011), The Old Lady and the Pigeons, @ http://www.atpfestival.com/events/illbeyourmirrorjapan/view/filmsinfo.php, Accessed on: 16th February 2011

Bibliography

Brooks Xan, (2010), The Guardian, @ http://www.guardian.co.uk/film/2010/jun/16/the-illusionist-sylvain-chomet-review, Accessed on:17th June 2010

Leo Vince, (2004), The Triplets of Belleville (2003), @ http://www.qwipster.net/triplets.htm, Accessed on: 2004

WordPress reviewer, (2011), All Film Reviews - The Illusionist, @ http://allfilmreviews.wordpress.com/2011/03/03/the-illusionist-sylvain-chomet2010/, Accessed on: 3rd March 2011

Life Drawing week 25

After a stressful and disappointing day on Tuesday with Premier Pro this was a great session to help me loosen my 'animating drawing hand' and just have a bit of fun and experiment. There was no model so we took turns to pose and Chris suggested to switch to charcoal to try be more expressive with my drawing technique.

The Geriatric Toadstool Animation

I have struggled on this and it is still not perfect but it works how i wanted so here it is:

Animation Walk Cycles

The Animation Time line - Raymond Briggs (1934 - Present)

Figure 1, (2011), When the Wind Blows Still 1

Raymond Briggs is a cartoonist and graphic novelist, who has produced hand drawn animations for adults and children. His best known work is The Snowman, which was entirely wordless and produced only in crayon. "The simplicity of the story (a boy makes a snowman which comes to life and takes him on a magical flight through the night sky) only serves to heighten the tragedy of it's ending: when a boy wakes up the morning after, the snowman has been reduced to a puddle." (Secher, 2007) Briggs has visualised the magic of Christmas and imagination as exciting and fast pace but also allows the story to slowly build up to the what has to happen in the final act which captures the real world of when a child loses their snowman as the temperature raises and they are devastated. Briggs continued this simplistic style to create more adult based content which captures a real event that has happened, in the case of When the Wind Blows, tells the story of an elderly retired couple living in a rural cottage when a bomb strikes. Both these characters survive and at first it seems to be that the shelter protected them, until the story plays out and the viewer witnesses the effects of the fall out radiation take over and the symptoms are clearly show in their appearance. The mood of this story turns dark as the area looked pretty in the beginning until the bomb hits and changes the tone and reduces the countryside to rubble, emphasising the impact of a sudden disaster. "Written and illustrated by Raymond Briggs, When the Wind Blows was his first attempt at an adult graphic novel. Released in 1982 ... A heavy topic, but the dark, yet compassionate sense of humour pervading the book lightens the mood somewhat. Twinned with the cosy, pastel shaded art - work, the unsettling, yet warm - hearted story closely examines the initial effects of a disaster on two people who have never done anything to deserve it." (Ciao Reviewer, 2011) The point in this quote explores how Brigg's soft pastel style makes the animation seem more friendly but it also entails a serious fact of how a person would try to fight an unstoppable force and how in the end they are beaten.

Figure 2, (2011), When the Wind Blows Still 2

Figure 3, (2010), The Snowman

Briggs continued to produce works for children in the form of a television series, including The Bear recapturing the lovable quality of The Snowman  of a child's bond to the bear. "The Bear has all the marks of a classic. Lauded by animal rights groups for it's respect for the integrity of all species, it manages to speak out eloquently against the senseless hunting of wildlife without having to depict killing to make it's point. Instead, it emphasizes the ties that bind the human and animal worlds together." (Brussat, 2009) Briggs has managed to implant a series message in his animations but still retain the soft appropriate style that allows any age range to view it and in the Bear, it is to protect and look after the animal kingdom without showing all the horror and darkness.

Figure 4, (2011), The Bear

Illustrations

Figure 1, (2011), When the Wind Blows Still 1, @ http://123nonstop.com/pictures/When_the_Wind_Blows , Accessed on: 2009

Figure 2, (2011), When the Wind Blows Still 2, @ http://www.dvdactive.com/reviews/dvd/when-the-wind-blows.html, Accessed on: 19th September 2005

Figure 3, (2010), The Snowman, @ http://georgesjournal.files.wordpress.com/2010/09/christmas_tv_the_snowman_82.jpg, Accessed on: 24th December 2004

Figure 4, (2011), The Bear, @ http://www.channel4.com/programmes/the-bear, Accessed on: 2011


Bibliography

Brussat Frederic and Mary Ann, (2009), Spirituality and Practice - The Bear, @ http://www.spiritualityandpractice.com/films/films.php?id=2825, Accessed on: 21st August 2002

Ciao Reviewer, (2011), CIAO - When the Wind Blows, @ http://www.ciao.co.uk/When_the_Wind_Blows_Raymond_Briggs__Review_5840341, Accessed on: 27th May 2009

Secher Benjamin, (2007), The Telegraph - The Snowman, @ http://www.telegraph.co.uk/culture/books/3670140/Raymond-Briggs-I-dont-believe-in-happy-endings.html, Accessed on: 24th December 2007

Art Of The Geriatric Toadstool

ART of the Geriatric Toadstool

Character Bible for The Geriatric Toadstool

Character Bible

Disk Artwork/Branding for Unit 5

Stand up animation

A 7 frame animation to show the gestural movement of Meg standing up from a siting position

Essay Structure/Plan

This is the original plan that I showed to Tracey but there was too much information and I needed to twick the beginning and change one of the quotes.


Essay Structure - Ray en



This is my Current Essay Plan after the changes made from Tracey's guidance and is much simplier to read and flows better with corrections.

Essay Structure 2 - Ray en

The Animation Timeline - Bill Plympton (1946 - Present)

Figure 1, (2008), How to Kiss

Figure 2, (2009), The Tune

Bill Plympton began his cartooning career by creating cartoons for publications such as the New York Times and Playboy. He then went on to produce his first feature films in the style of surreal musical fantasy with inspired animation. "It's quintessential Plympton in that it has a hand-drawn look that emphasizes pencil lines and shading, and it offers up somewhat disturbing absurdest humour that relies on the extreme plasticity of form that only animation can deliver. Plympton is an animator's animator not only because his drawings are magnificent (and magnificently weird), but because he plays the medium for all that it is worth-Plympton's odd and hilarious vision of reality can only be expressed via animation." (Mancini, 2009) Plympton's technique allows a controlled form of how the characters can be exaggerated as if the have a clay feel, able to be morphed and merged to produce disgusting and disturbing forms.

Figure 3, (2011), The Tune 2

Plympton has expressed dark humour in his animations allowing him to exaggerate on serious themes and turn them into something twisted. "Plymptons, dating back to the physiognomy transmutations of 1987's "Your Face", "have always relied on sudden eruptions of sex and violence to elicit audience response." (Staff, 2008) the evidence states how Plympton has taken issues that a viewer would probably find serious in the real world and tend to avoid but in the animations it is appropriate because of the style and light heartiness of the performance. The exaggerations gives the viewer an idea of the emotions that Plymptoon was trying to communicate as in 'The Tune' that reveals two characters separated with the man's successful to write a new hit and become successful and in the process meets a range of unusual characters that have some back story of how they have ended up or where they see themselves going which inspires the main character to see the world different and causes the audience to sympathize with him. "Plympton goes for mood over sight gags, which gives his fans an idea of his range. As an '80's time capsule, the live action portions of the video itself are absurdly amusing." (Lineberger, 2006) The quote picks up on 'mood over sight gags' so basically Plymptoon tries to draw his comedy from emotion and how we hear and feel instead of the obvious.

Figure 4, (2007), Guard Dog

Illustrations

Figure 1, (2008), How to Kiss, @ http://www.plymptoons.com/biography/anishorts.html, Accessed on: 2003

Figure 2, (2009), The Tune,@ http://www.taringa.net/posts/tv-peliculas-series/2003996/The-Tune---Bill-Plympton.html, Accessed on: 13th January 2009

Figure 3, (2011), The Tune 2, @ http://hotfileserve.com/tune-extras-1992-dvd5-641745/, Accessed on: February 2011

Figure 4, (2007), Guard Dog, @ http://www.body-pixel.com/2009/07/22/pocket-cinema-bill-plympton-short-films/, Accessed on: 22nd July 2009

Bibliography

Lineberger Rob, (2006), DVD Verdict - Plymptoons, @ http://www.dvdverdict.com/reviews/earlyplympton.php, Acessed on 28th April 2008

Mancini Dan, (2009), Bill Plymptoon's Dog days, @ http://www.dvdverdict.com/reviews/dogdays.php, Accessed on: 23rd July 2009

Staff Variety, (2008), Film Reviews - Idoits and Angels,@
http://www.variety.com/review/VE1117937044?refcatid=31, Accessed on: 6th May 2008

Life Drawing week 24

Nacoleptic, Aristacratic, Aboilant, Manical, Fertiveness and Melchony

We had to characterise the figure by trying to emphasis the adjective as in the last session, This page was a trail experiment trying to further emphaisis the pose but as Chris pointed out they are not exaggarated enough but a good start.

Demonic

On this sheet Chris made me step away from the sheet and use my whole arm to draw and I wasn't allowed to step over my mark as this drawing was my first attempt it didn't go to successfully because although I was making progress in the hands and position of the head.

Angelic

 In this drawing I tried to look more at the shapes but still wasn't emphasised enough because it felt too symmetrical.

Angry

In this last drawing I really went for exaggarating the figure, really trying to bring out the hips and give more shapes to the legs and feet. I really liked this drawing and Chris agreed that this one has come along way from the first page. I feel more confident in making the drastic decisions to over emphasis the body to get it closer to model's shape and it something I hope to continue in the future classes.

Notes from Stop Motion Passion, Process and Performance by Barry Purves

Purves Barry, 2008, Stop motion Passion, Process and Performance, Oxford, Focal Press

5. Getting Personal

- dinosaurs - idea of them being inanimate objects that animators have to create illusion of life - relates to Harryhausen's fantasy creatures
O Brien's attempt at Lost World impressive movement but little account of mass and scale of the creatures betray them as minatures
- the take of a huge creature flicking their long necks and tails from side to side in a few frames doesn't feel believable
- during the age of O Brien, Harryhausen and Danforth used stop motion to animate non exisiting creatures as far as they could be taken
- mix of stop motion and live action not very popular anymore so public expects a stopmotion world as in The Nightmare Before Christmas or Wallace and Grommit
- animators sometimes had to ignore facts and create the credible, not the real as MC Cooper did in King Kong giving the impression that dinosaurs could roar with a range of vocal chords
- "... but bringing Talos to life thorugh stopmotion is so appropiate. Today, a sophisticated CG model might convey the scale better and fit him into the environment more seamlessly, but I doubt that CG would have given Talos the quirky =, ponderous movements that define him one of the greatest animation characters." (Purves, 2008: 63) how stop motion is outdated but also successful
- music sequences helped Harryhausen's scenes breathe life perfectly complementing the animation e.g. skeleton fight in Jason and the Argonaughts used rattles and Cacophony alongside movemnts of stillness and tension
- stop motion creates impression that material is alive changing shape as demonstrated in Morph

8. Different Techniques

Puppets
- "Most of us enjoy stop motion because we like touching something, but there are many different techniques, each one affecting the narrative and how you film." (Purves, 2008: 131)
- puppets - performers already crafted so just manipulated them
- the animators skill is excluded and reduced to mechanical
- puppets don't allow animators to feel the movement
- just an element of the puppet works better as in Creature Comforts and James and the Giant Peach that includes a mouth or whole face that is replaceble bu other pieces

Cross - Over Techniques
- model and 2D animation combined
- e.g. Joan Gratz uses clay and combines this with paintings for extra texture, shadow and movement
- only 2D images survive as 3D models are continuely manipulated so not much life by end of shoot

Cut - Outs
- another technique that allows different forms of animation to merge together
- one example is Lotte Reinger who cuts out black paper to form silhouttes against a bright b/g
- gives uniqueness and depth as they act as table top puppets that can move around in the space more freely

Sand
- sand or salt needs precision
- animators don't get the same sensation as touching or moulding a material as they push it round with a brush
- placed on translucent screens and lit underneath, creating a silhoutted texture

Claymation - clay and plasticine
- need skills of animating and sculpting
- models manipulated into a number of poses to get the shots
- distorting a clay motion puppet through strentch and squash for over emphasisng facial expressions and physical form
- mostly shot on 2 frames per second
- sometimes single frames work if appropiate to let a movement flow better
- examples are Brother's Quy and Jan Svankmajer that animate things that disturb and mix different techniques trying to really emphasize the character

Notes from Ray Harryhausen An Animated Life by Ray Harryhausen and Tony Dalton

Dalton Tony and Harryhausen Ray, 2003, Ray Harryhausen An Animated life, Great Britain, Aurum Press LTD

1. Discovery of a Giant Ape

- Young built three dimensional objects including prehistoric dioramas - clay saurians provided b/g to realise Ray's dreams when older
- Pg 18 Ray's early example of stop motion and model making
- "It was a Cooper/ Schoedsack adventure that was to be the inspiration for my life - the one and only King Kong (1933)" (Harryhausen, 2003: 17)
- he collected everything he could on King Kong and realised was filmed by means of special techniques
- "Once I realised this, it became the most important thing in my life to discover the true secrets of King Kong." (Harryhausen, 2003: 18)
- he met people who worked on production and told him of stop motion how the process was done
- read magazines that made process clearer - ball and socket joints, glass paintings, scaled down scenery and props

2. Another Ape and a Beast 

- Obie befriended Ray during and after war and told him of new gorilla flick Mighty Joe Young and wanted him to take an active part in the production
- Mighty Joe Young a chance to recapture magic of Kong in more light heartening manner
- Pg 34 - Ray and model of Mighty Joe Yound
- sculpted 2 clay busts that were used as reference for Joe
- one favourite model he nicknamed Jennifer because special and reflects essence of creature from Duel in the Sun - Jennifer Jones small hands reminded Ray of the mould's small and delicate hands
- looked at real gorilla to provide mannerisms and quirks but the character was made more sympathetic with human traits
- Joe's character is important in scene of him pounding on lion cage and looks up as if he doesn't know where sound is coming as chimpanzees do same thing

6. Almost Human

"Greek and Roman mythology had never been a favourite subject of mine as school but as I grew older I began to appreciate the legends and realise that they contained a vivid world of adventure with wonderful heroes, villians and most importanly, lots of fantastic creatures." (Harryhausen, 2003: 151)
- Talos based on Collosus of Rhodes, in additon to model, constructed two fibre glass copies and sections of his body for close ups
- for Talos, Ray deliberately used stiff and mechanical movement in keeping with a bronze statue brought to life
- Talos images pg 156 and 157
- the fall of Talos inspired by silent movie of an enormous clay figure falls on some one
- Ray chose to make harpies more bat - like and to interact a lot with human characters (live action)
- the models were put in later to finish the sequence
- harpies allowed Ray to create winged demon models making characters that had female human characteristics
- Pg 164 - original Hydra model
- Ray based design of creature on classical vase paintings like Talos
- "When designing such a creature I always have to ask myself, Can I put this on the screen? If I had no such limitations, my imagination would run riot, ..." (Harryhausen, 2003: 165)
- reference taken from the actors photographed in the angles to obtain best likeness
- the gripped by tail began with actors suspended by wire and wrapped in full size section of tail
- pg 166 - Hydra emerging from cave from model - projection and scene
- skeletons/ Children of the Teeth were animated individually as they rose from the gorund developed from an idea It Came From Beneath the Sea
- models had to be animated on aerial wires due to the way they were designed
- he designed skeletons to have human touches to give them character

11. In the lap of the Gods

- Medusa in Clash of the Titans was a unique charater that allowed possiblities for dynamation
- "I still managed to complete majority of the hands - on animation myself. It wasn't that I wanted to say that this was my picture - not one film I have worked on can I truely say is 'mine', as all pictures are team efforts. The real reason was that I preferred to work alone." (Harryhausen, 2003: 265)
- 266 - pictures /models of Kraken
- 15ft model for opening underwater sequences
- Pegasus - Ray watched real movements of horses, during flight part real, part imaginative legs motion in straight forward gallop to tread the air like a race horse
- Calibos - not from Greek mythology but classic halfway transformation of man and beast, Ray gave him demonic look accentuated by a cloven hoof and a reptilian tail
- first dynamation character had lines
- to develop medusa, Ray looked how she was portrayed in art, literature and films
- not given garments as Ray felt too hard to animate
- models of Medusa 274 and 275
- pg 282 Ray's views of CGI and how field wouldn't have suited him
- Ray had to continously animate the twelve small snakes on Medusa's head based on Hydra in Jason

Notes from Stop Motion Craft skills for Model Animation by Susannah Shaw

Shaw Susannah, 2004, Stop Motion Craft Skills for Model Animation, Oxford, Focal Press

1 Introduction - Playing God

- animators not need only create a character but how they would sit in a whole world. They have to treat it like god - make puppet live, then perform
- 2d became 'house style that top animators can identify the rules and guiding principles in the way they worked mostly applies to puppet and model animation
- model animation has grown out of a tradition of story telling, fable or legend. Most developers found their own way of working with the material as there is no principles as there is for 2D but basic laws of movement still apply
- large traditional of puppetry in Eastern Europe had to breathe life in wooden dolls, etc and very important to the story telling process
- rotoscoping and motion capture are only used for the most complex scenes as straight forward coping makes the animation appear lifeless and loses the art and performance
- Starewitch animated a frog and began with life like movements but this didn't work so animated him caricatually and it came out better
- caricature is vital to the character design e.g. Wallace and Grommit allows a range of emotions described through the smallest movements as portrayed by Grommit's brows
- "The model animator is working in a subtler area, where the body language is employed to greater effect" (Shaw, 2004: 4)
- enough replacement models are made for the different movements
- two types of model animation evolved
1. the style that derived from fairy tale and fable
2. the model animation that derieved from Willis O' Brien = hyperrealistic
- O Brien and Ray Harryhausen both were a huge inspiration on today's model animators
- Harryhausen laid the foundations with his armatures, latex, drawing and bronze casting skills
- "His animation had a more naturalistic movement than seen before, and his animation of the skeletons in Jason and the Argonaughts is one of his most enduring sequences studied by animators." (Shaw, 2004: 5)
- Harryhausen influenced many animators including Phil Tippet who worked on Dragon Slayer, Jurassic Park and Star Wars
- model animators today tend to embrace CG as allows more freedom with fewer constraints

6. Model Makers - the Professionals

- make a 3D maquette from animator's sketches which is the blue print from which the model is formed
- sculptors have to mimic the style so models fits in costumes and sets in complete world
- at maquette stage the sculpt is made over a basic brass sleeve and wire armature so it can be disassembled
- separated elements to mould makin process: sculpting, mould making, casting, painting and armature making
- ball and socket armature is durable and reuseable and tougher than wire
- gives animator a greater control and smoother movements
- animators need to consider how may limbs a character has and aware of how it moves
- a character flying or leaping need a rig (k and s)
- if puppet is made from foam latex or silcone, a mould would be cast, allowing materials in
- textures gained from existing surfaces of old leather, almond stones, bark, leaves, etc
- under cut - a corner or curve that would be problematic when trying to release the mould
- seams - careful looking where joints come on the model
- 7 rules for moulds
1. for hard cast, use a soft mould and opposite
2. plan your under cuts
3. think ahead with seams, flashlines
4. remember to add location, keys to mould pieces
5. remember release agent
6. remember to block vents after casting
7. don't rush

Life Drawing week 23

Terrified, Scared, Astounded and Cantankerous

Oafish and Conceited

Devious, Petulant and Persnickety

Geriatric and Gymnastic

In this session the model acted out the adjectives we have been given for Unit 5, asking what sort of pose would be useful to study. Each pose was five to ten minutes so I tried to capture the sense of character of the way the model was acting out the adjective and to give more emphasis and life to the drawing. I found this quite useful to develop my understanding of how the position of the body changes to identify what sort of person is being portrayed.

Animatic - The Geriatric Toadstool

I will probably hand draw the title sequences when I come to do the final animation and I haven't added a music track because I felt this might be too much.

Animation Tasks - resolved ball and camera tasks

I had to go back and look at the previous workshops and make sure that it is set at 12 frames per second and change the drawings to make the movements more fluid.

Final Storyboard/s

This is the storyboard I have completed based on version 3 of my script and below are the sperate frames that will be used in the animatic.