Research

http://www.andersen.sdu.dk/vaerk/register/info_e.html?vid=16

2015
sdu

(Narrative Research) 'A Guide to Everything- From Flip Books to Flash "The Animation Bible" '

'A Guide to Everything- From Flip Books to Flash "The Animation Bible" '

(Furniss M, 2008, The Animation Bible A Guide to Everything from Flipbooks to Flash, 1st edition, Laurence King Publishing Ltd, City Road, London)

(Furniss, 2008, p. )

'[Animations] can be entertaining, fun, inspirational and can leave viewers with satisfaction of having expanded their knowledge or experience

Research

'The arts have always needed an audience, but the nature of audiences has changed over the centuries, and never more radically than during the past 100 years. In turn, audiences have changed art'
-

By Brian Hunt

12:00AM GMT 13 Jan 2001

http://www.telegraph.co.uk/culture/4721019/The-untold-history-of-the-audience.html

The untold history of the audience

Research

“Let’s face it, the form of a book is different from the form of a film, is different from the form of a television series'  Bissinger

body language

http://www.innergladiator.com/body-language-the-ultimate-guide-for-men-kindle/


Lower power to high power



I was researching in ways that show the difference between shy and confident, anayalysimg the way a powerful figure looks compared to a small figure.

Final Panel, taking a bow.

Inside Cafe Panel

London street panel

Printing

The first print v.s the original ;
The tones are much different, the print being darker, (despite fitting the design of the sky nicely) it hides some of  the details on the river, like the reflections. And takes away the representation I had being trying to create, my original was supposed to represent the weather clearing, with the rainbow appearing after my previous raining drawings. Along with the rivers reflections, a connotation of self-reflection. But with the print being darker, it connotations a continuous theme of stormy weather.
I could ignore  this, as it is not completely significant difference, however I would prefer to print on a different type of paper, of better quality. I have chosen to print out on photographic/ glossy paper to ensure the brightness and colours I have used will be shown.

Priniting and biding

This is how my drawings look printed out (on normal white paper), the drawings came out much darker compared to the original image.

In my attempt to bind, I sewed the pages together then added binding tape to the spin, despite fixating the photo's together, I feel it could look neater. Sewing 8 pages proved difficult as pages kept moving; so i have decided to re-print, in better quality paper and bind in a different way. 

Market scene panel

Panel four

In this panel, I have moved the "Journey" further down the river, yet still very close.  I took reference once again from a photograph I had took earlier on in the week, and a observation drawing i had done of a ballerina. What intrigued me was that the narrative showed more a clear trip, and the hard reflections from the calm river. I also the thought the colours would be interesting.

for the based of this panel, I made the rain (shown in the earlier panel) calm down in this one, with the sun breaking through causing a rainbow. Adding a drawing in the background of the ballerina with the umbrella (from an earlier panel) on the bridge with a man shows that time has gone one passed. And also links my panels together. In some what of a narrative form.

I focused a lot of time on the detailing of the buildings in the background, as I felt they where central and would "make" the image. Originally I had a bun for the dancer however, I thought the hair falling freely felt more effective, not only fitting with the posture and shape she was creating with the pose, but the sense of 'freedom' and letting go with this image.
The river and reflections have  connotations of self-reflecting, seeing through layers of deception. Adding to  this, the sun breaking through the dark clouds and the bright rainbow appearing through the miserable wet has a positive expression, as if overcoming the negativity in life. The pose of this dancer has expressions which fits with in this representation also. Fitting well.
I feel that this one was most effective, due to its colours and focus on expression and emotion, rather than atmosphere.

This took a day and half, it has more contained detail but less time token to do it. I have also discovered other short cuts.

Pannel 3

(Shortened time-lapse)

I decided that I would draw the bridge on St Georges street, to give more of a routed journey for the narrative aspect. As the distance between the Haymarket Starbucks and the playhouse are far apart that it may seem random dotted places. Also, to further link the panel to the first panel of the imaginary coffee place I created, 'Coffee Buzz' aka Starbucks, I redo one of the takeaway coffee cups seen in that previous drawing with the same logo, (but different type of coffee) to show its a different person in this scene.
I enjoyed playing with different colours and tones and textures to create different effects for the river, to give a more realistic look, I also played with the layers- adding reflections, leafs and twigs on top with their own reflections and shadows, weeds at the bottom and fishes, which I feel gives more depth.
I found the smudge tool useful into giving a blended smooth look for the metal fence. The trees in the background could have more work and details done to them, however that would have been even more time consuming. This drawing roughly took a day and a half. The university building also lacked detail like the previous drawings, however it was less major.
I like the way the dress ended up looking, however it took time deciding how I wanted the bodice to look, continually changing the colour tones and texture. I also had the same trouble with the colour of the hair, changing the hair from brown to strawberry blonde, eventually changing the hair colour to a darkened candyfloss pink that is more modern and fashionable.

Panel two

(Time-lapse of my second panel)
- Using Procreate and Ipad Pro

This drawing was based off a photograph I had took of St Georges street, focused on the Play House Bar, and a observation drawing I had done of a ballerina, using them both for reference. In this drawing I decided to play with colours more, and reflections. I also tempted to experiment with a new atmosphere, one of pouring rain. An experiment with the tools to give the illusion of rainfall and stormy weather, which I feel was successful. I also experimented with different tools to try and great a more interesting dress.
I also did it from a different perceptive, allowing to see the sky, surrounding environment and not  time focused on the  interior of the café/bar.

To create the reflections;  I duplicated the lights, flipped them round, changed the opaqueness down, and then blended it so they slightly loose there shape, for a more puddle like nature instead of a hard reflection like a still river. I also took reference from my previous studies from the rainy day where I draw people with water colours whilst sat in the rain.
Once again the layers where useful to edit objects and be able to work on them separately.

However what I found unsuccessful was the perceptive of the back building, something I continuously seem to struggle with. However I decided to create an Illusion by creating clouds over the mistaken shape.
Also what made this one quicker, in the background I duplicated a lot of the windows so it was less time consuming, however I feel not all fit the windows correctly- anther error with the perceptive of that building.
Once again I am yet to see how this will Print.

First panel, panoramic drawing.

(time-lapse of creating my digital drawing for the first panel. )
Program used: Procreate App
Device: Ipad Pro

For this panel, I used reference from my observational drawing of Starbucks to create the architecture that can be seen from the exterior view. However I decided to use and experiment with different colours and textures; especially in the interior where I used mainly original ideas for the interior design.
However experimenting with new tools took time, it also allowed much more texture and a closer realism than what I would have done using art materials instead of digital.
I had previously started my drawing on my Ipad 2, on the much older version of procreate, where I drew the ballerina for it. However this was a frustrating process as its capacity stopped it from working mostly. Purchasing the Ipad Pro and carrying on working from that meant I had to restart the piece again, (taking more time) but I did use a pixilated picture of the previous drawing to re drawn the new ballerina.
Using the apple pencil gave me much more possibilities and details than my previous technique of using my fingers, also the updated modern version of procreate had more advanced tools, helpful tools included 'touch ups' ; including zombie skin, fine, flowing and short hair and many others to add textures.

Adding textures took more time, including experimentation with them, however I feel these where important in making my drawings more effective. Using procreate allowed my to use layers, meaning that I could work on the interior, bit by bit- adding floors, wall paper, doors, furniture, decoration, lights, then people. Slowly building up the details around the drawing, trying to give the illusion of a real café atmosphere. The layers also allowed me to work on the exterior in parts and then add them together. It also allowed me make windows that reveal parts of the café with out fully closing it off unlike my ink experiment for this piece where it over bled and took the full colour away.

Overall this drawing took me along time to do, roughly a fortnight. However I feel now I have played and experimented with materials the next seven drawings should hopefully take me much less time.

The pros of using procreate is that enables me to duplicate, layer, erase which makes it much easier to to fix  mistakes and change, and do some things quicker. At the same time this is a negative as I had become obsessed with silly details, which when  zoomed out and added layers back wasn't even able to see.

I am yet  to print this off and seeing how the quality comes out, the colours and texture could possibly not come out as vivid and clear due to printing, inks and types of paper. which is something else I may to need to test, the look on card, glossy and matte paper.

Animated films - James Clarke

Clarke J, 2007, ‘Animated films’, VIRGIN BOOKS LTD, Thames Wharf Studios, Rainvillie Road, London, England.

‘Walt Disney is one of the most significant popular culture figures of all time, both as an artist and so on a movie maker induralist.’ P.26

‘His [Walt Disney ] story telling impulse has been criticised for homogenising the fairytale narrative, his studio adapted into features in 1937 with Snow White and the seven dwarfs.’ P. 26

‘What is most undeniable is his personal advancement of the medium of the classical or full animations inwhich drawn characters are animated against visually realistic background using ink and paint, it is perhaps the form of animation closest to the tradition of the picture book and certainly the illustrated fairytale’. P.26

‘In adapting fairytales and previsouoy existing stories, Disney (both the man and the collective effort of his titular studio) reframed them in the public imagination to the point they have become to be the thought of the definitive. 27

‘ if one where to read the orginal Pinocchio or snowwhite, tale recorded from the European oral traditions by Jacob and Wilhelm Grimm, the difference in action and tone would be astonished.’ 27

‘Famously, he [Walt disney] stated that "until a character becomes personality, it cannot ring true to an audience’ 29

‘By the mid 1930’s  Mickey Mouse’s merchandising was vital to covering studios costs and it allowed the Disney narrative to become increasingly ingrained in the American and eventually global imagination and cinematic genetic code’ 30

‘Disney is often cited negatively as narrowing in audiences sense of what a fairytale can be.’ P.30


‘In Disney’s films the magic is often explained as being a mechanical process demgestifing royalty, empthasing the age group of between  children and parents’ 30

‘ ever since the little mermaid, the gently rebellious heroine is domesticated by love in Disney films. Disney hero’s search for happiness and accept responsibility.

Oxford companion to fairytales quoted by animated films; ‘ Disney’s version of the fairytale focus on the the ‘PRIVILEGED OF innoncence, the valorisation of sentiment ... a jovial disdain for ugliness or deformity, a luxuriant, infantelis cel eratipn of cute’ 31.  

First panel draft

This is my first panel plan, outlines so far are pencil. The paper I am experimenting with is water colour paper. I would like to add colour to the café then add the window panels, however this will be challenging with art materials, I plan to experiment with inks, as they can be diluted to be weaker and more opaque. 

I feel Adding ink will stop the bleed taking away the drawings boldness. However I will most likely need to reapply after the ink dries.  However I used by copic marker ink pen, which is supposed to not be effected by pens.  I also added more details, such as the way I want the window panels to look, dress and characters. I added a bag what  says 'Work load' to show she presents  a normal worker who is represented as a perfectionist ballerina in response to coffee. 

Although I may add more details in relationship with coffee, a possible idea of having zombies customers who have the complexion of zombies, as they have not got their deuce of coffee yet. Although I have not left for room of this, I may have to  redraw this. 

I would also like to show the coffee shop employees as drained, tired entirely. (showing the effects of working in this job industry.) 

https://www.theodysseyonline.com/the-epic-of-moana

The Epic of Moana

An analysis of the hero's journey in Disney's new movie.

'And that was one of the first things I thought coming out of the new Disney movie, Moana, that it was a perfect example of an epic! Specifically, of the hero’s journey, one of the defining features of epic stories.'

'As is often the case with Disney heroes and heroines, Moana is not completely happy where she is, although she tries to be. '

'Moana feels this tug from the ocean, this call to leave the ordinary world behind and embark on the adventure she has been chosen for. '

' It is only through the encouragement of her grandmother, who plays the role of the mentor, that she decides to eventually accept the call and cross the threshold. '

'As she enters the special world, or the unknown, she learns the rules of the new world and goes through a series of tests as she strives towards her goal. '

'In these stories there is often help in the form of some sort of supernatural ally or assister. The aid doesn’t necessarily have to be magical, but is often supernatural of some kind. '

'A talisman is a special and often magical item that assists the hero on their quest.'

'Maui plays the role of the ally in Moana’s journey, helping her along the way, and saving her life, so that she couldn’t do it without him. '

'The hero in their journey progress through a series of tests or ordeals as they strive to complete their quest. These test the hero and make them stronger as they face enemies or other perils to prepare them for the final showdown'

the final showdown. It is the main obstacle, the last large threat the hero or heroes have to face. ' 

'

Observational drawing- Pret Cafe

Today I sat in the café Pret, and drew the scene that I could see. I wanted to practise perceptive, and constructing a scene. Also, I wanted to capture the atmosphere of cafes. I would like to draw from some other cafes, and at different time periods that may effect the atmosphere and business. 

One thing I would like to practise is trying to scale my drawings so they fit everything in. 

I also need to practise with other materials, so far I have mainly used finer liner. 

Observationall drawing; Haymarket, Fatface

Today I sat on the second level of Starbucks, drawing from the window. I attempted to draw the building of the shop 'FAT FACE' hoping to draw the street, building and the environment around it. So that I can further understand the relationship of the people with the city.

Drawing with fine liner, I started drawing from the rooftop going downwards,

however, Once again I have struggled with space and composition- I drew it too big that I did not get to fit the whole length of the building, nor mange to get the whole height. (Which I wanted to get the street setting.) The positive is I managed to get more detail of the building in a bigger scale, which will be useful when drawing the street. And I like the way the building looks in fine liner.

I need to practise my composting, and plan size as I tend to go off the page. 

For this drawing I used copic markers and spectrum noir pens, I did basic block colouring, but also added over lays of over colours to get the right tone. There is no shading other than the fine liner, to get a more bold comic like look. 

I would like to try using water colour and also experiment with dyes instead of using marker pens to colour in. 

 (Window view from Starbucks).

As I was unable to capture the street in my first drawing, I decided to do a page dedicated to people walking past- However this proved to be difficult. I only had one view from the window, so once some had walked past the window, they were gone from sight. A lot of people walked very fast, so I only have a few seconds to draw them before they were gone. I coloured in the parts of different people I did get, even though the lack of detail makes them look like abstract shapes. 

Stop Motion: lesson one, bouncy ball

Week 15
Today in our introductory to stop-motion, we animated a ball bouncing; using plasticine, an animation rig, and the programme Dragonframe.




Our object was to make the ball appear to be bouncing, in one spot (straight line). We used pre made rounded balls (made from plasticine) and also a oval, rugby shaped one. To give the effect of squash and stretch. This helps emphasise the bounce.
We attached the ball to a rig, and then stabilised it with pins stabbed into a board. (roughly it took 7 to stabilises the weight at different angles,). However we still occurred some problems, such as; at low pointing angles, the ball would slide off the rig, when positioning the ball at some angels, the rig would form back into anther position, from a previous shot. which made it a little more temperamental. To solve this, we had to hold the rig whilst also taking the photo, so the positioning  would not move. Which sometimes our fingers and tips were accidently caught in the frame- however this could be solved later in post-production; by using photo shop to rid of the fingers and rig (which I am yet to try).

First we took a 'clean' shot of the scene (so later in Photoshop or/and after effects we can use this as our background when wiping away the visual of the rig and any other anomalies).
and check the exposure of the frame, which was editable in the cinematography section of Dragonframe.

My first try was quickly done, only taking a few minutes.

#Test one


In this test, I feel there is a clear bounce, however this could have been further empathised. I feel that the bounce lacks elasticity, kinetic energy that it should have shown a stronger pull force from gravity. I could have achieved this by having less shots for the ball going down, so it was quicker paced. Also, I feel I needed to exaggerate more the squash and stretch.

#test two


I should have saved and exported this animation at a lower speed rate, or doubled the amount of frames, as it plays too quickly. I feel this animation was unsuccessful in the reasons that 1. it plays to fast, 2. the pace between falling and rising is even, which It shouldn't be. The fall should be quicker than the ball rising. To change this I should have added more frames to show empathise of the force of gravity. However What I did like about this animation, I further exaggerated the squash and stretch by creating a third model, one that is further stretched out that makes the illusion of a bounce. However this too, could have been improved by smoothing out the  plasticine. 
I also feel I should have repeated the action a few more times to give it a true loop and bounce. 

If I were to do this again, I would create a drawn out plan physically on paper and try to draw a diagram to follow on Dragonframe, which exact positioning of where I want the ball to be. (As, despite using the onion skin layer, and looking back at presivous frames, it was hard to remember presicoulsy where the ball was before hand to mirrior the action.

I also experimented with adding a character, getting squished by the ball.
#Test three


For this I used three different models, the first- the character, the second a smaller squished looking version and then lastly a completely flattered version. Once again, I feel I should have further empathised  the bounces, making them more exaggerated, longer and adding more bounces.
I would like to try this once again, this time with a plan and with a different model.

'Stop motion basic tips: Bouncing'

‘How to colour the fast way on tb paint’

So fSo far I have being struggling to keep up with my morph project, I have created one to many frames, where to many thing are moving at once, and the props I have used have significant details, not only is it taking me time to animate, but colouring is taking a lot of my time up. So I have begun to research into ways and techniques that I could possibly quicken colouring in on Tv paint.

Using references, from my previous drawing based of a video of a ballet dancer- I tried out different drawings of poses/in-betweens. I need to continue practising, as I do not favour any of them. However this has helped me construct how I would imagine it too look.

Ballet refference video

For reference, I am searching for footage of dancers, including live performances, documentaries, edited footage such as music videos.
To not only note poses, but have reference to action, speed/pace and flow of movement- which will help me later on in animating. It also helps my drawings look more alive, and understand different perceptive.

I attempted  to capture the movement, but the dancer is to quick to draw, (hence unfinished drawings that are unrealistic in shape) despite not being visually accurate, they show me the movement of the feet and their poses.

I tried to slow down the footage to get some more detailed movements.

I then tried stopping randomly to capture the full body in-between movement and poses, to truly capture the way the legs and body has to move to get to each pose and position.

Ballet dancer - 'How To Pirouette'

For reference, I attempted to capture movement and poses of a ballerina, however due to the quick edits and fast foot movement, I struggled to get detailed drawings. 

dance move, leg repetitively comes back to this position. 

Reparative pose, between above drawing and this one.  

Toes on pointe, pose

Positioning of feet

Positioning of feet

This has shown me a basic shape and form of the body that is used for twirls and basic footwork. 

Also shows different foot poses. 

Stopmotion test and introduction

In todays session we were introduced to stop motion animation, where we got to experiment. We used magnetic figures, a cannon camera and dragon frame programme- which was a programme we were already comfortable with, as we had previously used it for our 2d f12 paper animations. However the difference was we could not come back and redo each frame adding in-betweens unlike 2d drawn animation; everything was physical and in the 'moment'- not being able to go back to past frames.
Which means being observant about each frame and the importance of onion skin. Everything has to be figured out, especially with walk cycles. Normally you would focus on drawing different poses and then adding in between- but with stop motion you have to directly address the order of the poses and in-betweens.
Using magnets was tricky, as they were not always strong enough to hold an unstable pose, and if accidently moving magnets it can cause the figures to be unbalanced or move. The figures where stiff to move at times, especially harder to move one part with out affecting the other.  If I were to use this, I feel I would have to draw precise storyboards first for smooth production. I think for this sort of animation it would be very difficult to work on your own, with making sure the camera is in place, moving each camera and being able to take the snap. working in a group makes this work much quicker.
Overal I enjoyed using this, as it was much easier to work logic with something physical- and when the figures moved they had much personality and quirkiness.

Life Drawing;

In today's session we covered are paper in charcoal and used erasers to draw and create tones with. 

For the first drawing, we were only allowed to draw horizontal lines using an rubber, I found this difficult resting to draw curves for the sides- however the end product has created an interesting texture. 

For the next drawing, we had to once again use charcoal to cover the entire page, and use an eraser to draw with. This time we were allowed to make up marks and textures, but were not allowed to draw straight lines or blend. Which proved difficult. I struggled to get strong highlights, as it needed a lot of pressure and movement. The textures I tried was hatching, twisting my rubber, dots and finger prints. I think this would have looked much more effective if my eraser marks should up more clearer and whiter- making them more bold. Which I could have done if I had added more pressure. 

Folktales and Fairy Tales: Traditions and Texts from around the world

2nd edition
edited by Anne E. Duggan Ph.D., Donald Haase Ph.D., Helen J. Callow

ABC-CLIO, 12 Feb 2016 - Social Science - 1590 pages

https://books.google.co.uk/books?id=WXWACwAAQBAJ&pg=PA47&lpg=PA47&dq=why+is+animation+used+for+fairy+tales?&source=bl&ots=V_yckKFZZL&sig=rlVdevrICkeg2g_A4jDihSttITw&hl=en&sa=X&ved=0ahUKEwjezJGvltrYAhXCCewKHU8XCNY4ChDoAQgoMAA#v=onepage&q=why%20is%20animation%20used%20for%20fairy%20tales%3F&f=false

‘animated film, whether the popular hand-drawn or the computer-generated cartoon, claymation or puppet animation, has a long history of association with folk-loric and fairy tale forms. This may in part be attributed with the domination of the Walt Disney Company over animated film and its recurring reliance on fairy tale narrative.’ 43

‘The effect of Disney’s dominance and its recurring use of fairy tales has been to reconfigure the fairy tale in the twentieth century as exclusively, or at least preferably, a Disney product.’ 43

‘Rooted in more general parallels between the medium of animation and the fairytale Disney, while dominant, is certainly not the only producer of animated fairy-tale films. ‘ 43

‘While the popular narrative film of any sort has structural parallels with the shape and pattern of fairy tale, particularly in its utopian impulse, aspects of animation’s self-conscious constructedness and, in particular, it’s simplicity and stripped down texture to provide a visual echo of the classic sparseness and essentialism of folkloric forms.’ 43

‘Animation as a medium relies on action rather than dialogue and visual trickery far more than sound; this  roughly parallels the folklore tendency to rely on action rather than words and to externalize the meaning in plot.’ 43

‘’The infinite, magical possibilities and metamorphoses of animation’s unrealistic surface seem to predispose to intrinsically to magical narratives’ 43

‘Explicit fairy tale content in animated films is perhaps even stronger than the implicit; from its earliest days, the animated film has repeatedly generated new versions of familiar fairy tales.’ 44