Learning Outcome
2D Character Animation, Imaging for Narrative and Storyboard
In this module for this semester, main things that i learnt is how to design a simple character according to the story. Besides, from this module my storyboarding skills are better than before.
Moreover, as to be an animator, basic principles of animation are very important. From two modules i learnt designing an original character by using a proper digital tool such as the Creative Suite.
Other than that, mind mapping a story is very important, and now i had learnt that too from this module. Planning a story and developing it is the main knowledge that i had learnt from this module.
Other than that, breaking animation into parts to make storyboard is essential because for a reference. And this was from the storyboarding module. Writing stories for animation is another skill that i had gained from this module. i had experienced a good technique of editing clips and sound using the digital tools. The ideas for my animation are by the assist of each scope by this module and The module 2D Animation by Mr. Andrew.
Showing posts with label Imaging for Narrative and Storyboard. Show all posts
Showing posts with label Imaging for Narrative and Storyboard. Show all posts
Sunday, January 25, 2015
2D Animation, 2D Character Animation, Imaging for Narrative and Storyboard
2D Animation, 2D Character Animation, Imaging for Narrative and Storyboard
After going through all the task in this semester, as a final task, we were required to make an 2D Animation at a minimum duration of 2 minutes. Additionally, storyboards and the Characters are need to be included as from the module 2D Character Animation and Imaging for Narrative and Storyboards.
I am about to make an animation about life of stationery sets and this is just based on my own imaginary.
My animation's title is 'Eraser'. In this story, there are 2 erasers and a pencil.
Summary:
Stationery sets have their own time to have fun during no humans watch them. Here comes 2 erasers and a pencil who are very best friend since they were together. One day, after school, the pencil case were left on the desk in the class. Then, these 3 friends came out of the pencil case to have their own time for enjoyment. During a game that they plan to play, the 2 erasers start to fight each other and vanished at last.
This short animation is the first animation in my life, and it seems to be much difficult for me to make one. At the same time, I'm enjoying to make this animation. As the requirement, the animation should be at least a 2 minutes animation.
I have learnt a lot of things from this task. I learnt how the other big animation industries struggle to produce a good animation. Its really fun to be an animator and a designer.
some of my animation images:
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After going through all the task in this semester, as a final task, we were required to make an 2D Animation at a minimum duration of 2 minutes. Additionally, storyboards and the Characters are need to be included as from the module 2D Character Animation and Imaging for Narrative and Storyboards.
I am about to make an animation about life of stationery sets and this is just based on my own imaginary.
My animation's title is 'Eraser'. In this story, there are 2 erasers and a pencil.
Summary:
Stationery sets have their own time to have fun during no humans watch them. Here comes 2 erasers and a pencil who are very best friend since they were together. One day, after school, the pencil case were left on the desk in the class. Then, these 3 friends came out of the pencil case to have their own time for enjoyment. During a game that they plan to play, the 2 erasers start to fight each other and vanished at last.
This short animation is the first animation in my life, and it seems to be much difficult for me to make one. At the same time, I'm enjoying to make this animation. As the requirement, the animation should be at least a 2 minutes animation.
I have learnt a lot of things from this task. I learnt how the other big animation industries struggle to produce a good animation. Its really fun to be an animator and a designer.
some of my animation images:
For all this animation works, Thank you Mr.Andrew and Mr.Sukor.
Imaging for Narrative and Storyboard
Introducing Storyboarding comics
A short movie video were given, and we were required to break the video frames to produce a storyboard for the video.
Title of the short movie is 'Deaf and Dumb Dad'. The duration of the video is about 3 minutes and 3 seconds. We were instructed to sketch the storyboard to make the audience understand the story without watching the movie.
The story of this movie is:
'a father who is not able to talk and hear since he was born, and he has a daughter whose a teenager. She feels embarrassed because of her father's inability. She was embarrassed her friends too. So, she would like ti have someone who is more cared about her. On her birthday, the father had a cake to celebrate with her, but she committed suicide. That night, the helpless father carried her and yelling for help on the street where no one came. He rushed her to the hospital and the doctor said that she lost a lot of blood and the father. When she woke at the hospital, she found that her father are the only one cared of her and she regretted so much for what had she done and she realised that her father loves her very much.'
The storyboard imaging for this movie are :
From this task i learnt that storyboard is equal to a mind map. Storyboard for a movie or animation is a guideline for the video. It is reallly interesting to work on storyboard for an animation or a movie.
A short movie video were given, and we were required to break the video frames to produce a storyboard for the video.
Title of the short movie is 'Deaf and Dumb Dad'. The duration of the video is about 3 minutes and 3 seconds. We were instructed to sketch the storyboard to make the audience understand the story without watching the movie.
The story of this movie is:
'a father who is not able to talk and hear since he was born, and he has a daughter whose a teenager. She feels embarrassed because of her father's inability. She was embarrassed her friends too. So, she would like ti have someone who is more cared about her. On her birthday, the father had a cake to celebrate with her, but she committed suicide. That night, the helpless father carried her and yelling for help on the street where no one came. He rushed her to the hospital and the doctor said that she lost a lot of blood and the father. When she woke at the hospital, she found that her father are the only one cared of her and she regretted so much for what had she done and she realised that her father loves her very much.'
The storyboard imaging for this movie are :
From this task i learnt that storyboard is equal to a mind map. Storyboard for a movie or animation is a guideline for the video. It is reallly interesting to work on storyboard for an animation or a movie.
12 Basic Animation Principles
12 Basic Animation Principles
1. Squash and stretch.This action gives the illusion of weight and volume to a character as it moves. Also squash and stretch is useful in animating dialogue and doing facial expressions. How extreme the use of squash and stretch is, depends on what is required in animating the scene. Usually it's broader in a short style of picture and subtler in a feature. It is used in all forms of character animation from a bouncing ball to the body weight of a person walking. This is the most important element you will be required to master and will be used often.
most common example of squash and stretch:
3. Staging
A pose or action should clearly communicate to the audience the attitude, mood, reaction or idea of the character as it relates to the story and continuity of the story line. The effective use of long, medium, or close up shots, as well as camera angles also helps in telling the story. There is a limited amount of time in a film, so each sequence, scene and frame of film must relate to the overall story. Do not confuse the audience with too many actions at once. Use one action clearly stated to get the idea across, unless you are animating a scene that is to depict clutter and confusion. Staging directs the audience's attention to the story or idea being told. Care must be taken in background design so it isn't obscuring the animation or competing with it due to excess detail behind the animation. Background and animation should work together as a pictorial unit in a scene.
example of Staging :
4. Straight ahead and pose to pose animation
Straight ahead animation starts at the first drawing and works drawing to drawing to the end of a scene. You can lose size, volume, and proportions with this method, but it does have spontaneity and freshness. Fast, wild action scenes are done this way. Pose to Pose is more planned out and charted with key drawings done at intervals throughout the scene. Size, volumes, and proportions are controlled better this way, as is the action. The lead animator will turn charting and keys over to his assistant. An assistant can be better used with this method so that the animator doesn't have to draw every drawing in a scene.
example of Straight ahead and pose to pose animation :
5. Follow through and overlapping action.
When the main body of the character stops all other parts continue to catch up to the main mass of the character, such as arms, long hair, clothing, coat tails or a dress, floppy ears or a long tail (these follow the path of action). Nothing stops all at once. This is follow through. Overlapping action is when the character changes direction while his clothes or hair continues forward. The character is going in a new direction, to be followed, a number of frames later, by his clothes in the new direction. "DRAG," in animation, for example, would be when Goofy starts to run, but his head, ears, upper body, and clothes do not keep up with his legs. In features, this type of action is done more subtly. Example: When Snow White starts to dance, her dress does not begin to move with her immediately but catches up a few frames later.
example of Follow through and overlapping action:
6. Slow in and Slow out
As action starts, we have more drawings near the starting pose, one or two in the middle, and more drawings near the next pose. Fewer drawings make the action faster and more drawings make the action slower. Slow-ins and slow-outs soften the action, making it more life-like. For a gag action, we may omit some slow-out or slow-ins for shock appeal or the surprise element. This will give more snap to the scene.
example of slow in and slow out:
7. Arcs
All actions, with few exceptions (such as the animation of a mechanical device), follow an arc or slightly circular path. This is especially true of the human figure and the action of animals. Arcs give animation a more natural action and better flow. Think of natural movements in the terms of a pendulum swinging. All arm movement, head turns and even eye movements are executed on an arcs.
8. Secondary Action
This action adds to and enriches the main action and adds more dimension to the character animation, supplementing and/or re-enforcing the main action. Example: A character is angrily walking toward another character. The walk is forceful, aggressive, and forward leaning. The leg action is just short of a stomping walk. The secondary action is a few strong gestures of the arms working with the walk. Also, the possibility of dialogue being delivered at the same time with tilts and turns of the head to accentuate the walk and dialogue, but not so much as to distract from the walk action. All of these actions should work together in support of one another. Think of the walk as the primary action and arm swings, head bounce and all other actions of the body as secondary or supporting action.
example of secondary action:
9. Timing
Expertise in timing comes best with experience and personal experimentation, using the trial and error method in refining technique. The basics are: more drawings between poses slow and smooth the action. Fewer drawings make the action faster and crisper. A variety of slow and fast timing within a scene adds texture and interest to the movement. Most animation is done on twos (one drawing photographed on two frames of film) or on ones (one drawing photographed on each frame of film). Twos are used most of the time, and ones are used during camera moves such as trucks, pans and occasionally for subtle and quick dialogue animation. Also, there is timing in the acting of a character to establish mood, emotion, and reaction to another character or to a situation.
example of timing process :
10. Exaggeration
Exaggeration is not extreme distortion of a drawing or extremely broad, violent action all the time. Its like a caricature of facial features, expressions, poses, attitudes and actions. Action traced from live action film can be accurate, but stiff and mechanical. In feature animation, a character must move more broadly to look natural. The same is true of facial expressions, but the action should not be as broad as in a short cartoon style. Exaggeration in a walk or an eye movement or even a head turn will give your film more appeal. Use good taste and common sense to keep from becoming too theatrical and excessively animated.
11. Solid Drawing
The basic principles of drawing form, weight, volume solidity and the illusion of three dimension apply to animation as it does to academic drawing. The way you draw cartoons, you draw in the classical sense, using pencil sketches and drawings for reproduction of life. You transform these into color and movement giving the characters the illusion of three-and four-dimensional life. Three dimensional is movement in space. The fourth dimension is movement in time.
example :
12. Appeal
A live performer has charisma. An animated character has appeal. Appealing animation does not mean just being cute and cuddly. All characters have to have appeal whether they are heroic, villainous, comic or cute. Appeal, as you will use it, includes an easy to read design, clear drawing, and personality development that will capture and involve the audience's interest. Early cartoons were basically a series of gags strung together on a main theme. Over the years, the artists have learned that to produce a feature there was a need for story continuity, character development and a higher quality of artwork throughout the entire production. Like all forms of story telling, the feature has to appeal to the mind as well as to the eye.
example:
This principles were developed by the 'old men' of Walt Disney Studios, among them Frank Thomas and Ollie Johnston, during the 1930s. To say it in short , this 12 Basic Principles brings the animations alive if it is applied in a proper way.
1. Squash and stretch.This action gives the illusion of weight and volume to a character as it moves. Also squash and stretch is useful in animating dialogue and doing facial expressions. How extreme the use of squash and stretch is, depends on what is required in animating the scene. Usually it's broader in a short style of picture and subtler in a feature. It is used in all forms of character animation from a bouncing ball to the body weight of a person walking. This is the most important element you will be required to master and will be used often.
most common example of squash and stretch:
2. Anticipation
This movement prepares the audience for a major action the character is about to perform, such as, starting to run, jump or change expression. A dancer does not just leap off the floor. A backwards motion occurs before the forward action is executed. The backward motion is the anticipation. A comic effect can be done by not using anticipation after a series of gags that used anticipation. Almost all real action has major or minor anticipation such as a pitcher's wind-up or a golfers' back swing.
example of anticipation:
3. Staging
A pose or action should clearly communicate to the audience the attitude, mood, reaction or idea of the character as it relates to the story and continuity of the story line. The effective use of long, medium, or close up shots, as well as camera angles also helps in telling the story. There is a limited amount of time in a film, so each sequence, scene and frame of film must relate to the overall story. Do not confuse the audience with too many actions at once. Use one action clearly stated to get the idea across, unless you are animating a scene that is to depict clutter and confusion. Staging directs the audience's attention to the story or idea being told. Care must be taken in background design so it isn't obscuring the animation or competing with it due to excess detail behind the animation. Background and animation should work together as a pictorial unit in a scene.
example of Staging :
4. Straight ahead and pose to pose animation
Straight ahead animation starts at the first drawing and works drawing to drawing to the end of a scene. You can lose size, volume, and proportions with this method, but it does have spontaneity and freshness. Fast, wild action scenes are done this way. Pose to Pose is more planned out and charted with key drawings done at intervals throughout the scene. Size, volumes, and proportions are controlled better this way, as is the action. The lead animator will turn charting and keys over to his assistant. An assistant can be better used with this method so that the animator doesn't have to draw every drawing in a scene.
example of Straight ahead and pose to pose animation :
5. Follow through and overlapping action.
example of Follow through and overlapping action:
6. Slow in and Slow out
As action starts, we have more drawings near the starting pose, one or two in the middle, and more drawings near the next pose. Fewer drawings make the action faster and more drawings make the action slower. Slow-ins and slow-outs soften the action, making it more life-like. For a gag action, we may omit some slow-out or slow-ins for shock appeal or the surprise element. This will give more snap to the scene.
example of slow in and slow out:
7. Arcs
All actions, with few exceptions (such as the animation of a mechanical device), follow an arc or slightly circular path. This is especially true of the human figure and the action of animals. Arcs give animation a more natural action and better flow. Think of natural movements in the terms of a pendulum swinging. All arm movement, head turns and even eye movements are executed on an arcs.
8. Secondary Action
This action adds to and enriches the main action and adds more dimension to the character animation, supplementing and/or re-enforcing the main action. Example: A character is angrily walking toward another character. The walk is forceful, aggressive, and forward leaning. The leg action is just short of a stomping walk. The secondary action is a few strong gestures of the arms working with the walk. Also, the possibility of dialogue being delivered at the same time with tilts and turns of the head to accentuate the walk and dialogue, but not so much as to distract from the walk action. All of these actions should work together in support of one another. Think of the walk as the primary action and arm swings, head bounce and all other actions of the body as secondary or supporting action.
example of secondary action:
9. Timing
Expertise in timing comes best with experience and personal experimentation, using the trial and error method in refining technique. The basics are: more drawings between poses slow and smooth the action. Fewer drawings make the action faster and crisper. A variety of slow and fast timing within a scene adds texture and interest to the movement. Most animation is done on twos (one drawing photographed on two frames of film) or on ones (one drawing photographed on each frame of film). Twos are used most of the time, and ones are used during camera moves such as trucks, pans and occasionally for subtle and quick dialogue animation. Also, there is timing in the acting of a character to establish mood, emotion, and reaction to another character or to a situation.
example of timing process :
10. Exaggeration
Exaggeration is not extreme distortion of a drawing or extremely broad, violent action all the time. Its like a caricature of facial features, expressions, poses, attitudes and actions. Action traced from live action film can be accurate, but stiff and mechanical. In feature animation, a character must move more broadly to look natural. The same is true of facial expressions, but the action should not be as broad as in a short cartoon style. Exaggeration in a walk or an eye movement or even a head turn will give your film more appeal. Use good taste and common sense to keep from becoming too theatrical and excessively animated.
11. Solid Drawing
The basic principles of drawing form, weight, volume solidity and the illusion of three dimension apply to animation as it does to academic drawing. The way you draw cartoons, you draw in the classical sense, using pencil sketches and drawings for reproduction of life. You transform these into color and movement giving the characters the illusion of three-and four-dimensional life. Three dimensional is movement in space. The fourth dimension is movement in time.
example :
12. Appeal
A live performer has charisma. An animated character has appeal. Appealing animation does not mean just being cute and cuddly. All characters have to have appeal whether they are heroic, villainous, comic or cute. Appeal, as you will use it, includes an easy to read design, clear drawing, and personality development that will capture and involve the audience's interest. Early cartoons were basically a series of gags strung together on a main theme. Over the years, the artists have learned that to produce a feature there was a need for story continuity, character development and a higher quality of artwork throughout the entire production. Like all forms of story telling, the feature has to appeal to the mind as well as to the eye.
example:
This 12 basic animation principles are the first to be considered in an animation, and this helps to make our animation have a real life look.
2D Animation, 2D Character Animation,Imaging for Narrative abd Storyboard
Movement
This task is about drawing movements.
It is about life drawing, fast Character sketch, fast movie sketch and perspective.
this task was conduct as a person hold their body movement for a certain time and the movement need to be sketched as a fast figure.
life drawing is to capture and to be more reflective to the motions of a character. This helps a designer to sketch a motion as fast as possible, where this exercise is a practice for the animator to be more sensitive to all the movement and the motions.
These are the sketches for life drawing by me.
fast Character sketch
Fast character sketch is a task where we are required to draw our colleagues as in the simplest form in animation. Time and lines are to be limited in sketching characters in this task.
These are some of my sketches with line limitation and so as time.
this sketched character is Aisyah.
this sketched character is Alexis.
this sketched character is Budu.
this is a simplest sketched character of Alexis.
This activity is about recognising our friend and their characteristics which can easily expressed by drawing.
Perspective
Perspective sketches are sketches drawn by angles and distances that differentiates the image length, depth, distance and etc. For perspective drawing, usually there will be a point where all the perspective lines join. Understanding perspective is easy than sketching it.
For this task, i did some simple perspective sketches , and these are those sketches :
From all these tasks, what i learnt is how to draw in the simplest form but as it is in a good animation.
This is just for the first trial, but it helped me a lot to understand the main element to go through before going through the animation process.
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