February 19, 2017 in uncategorised
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February 16, 2017 in uncategorised
I finished the animation to my four legged run cycle ages ago but took a while to finish the execution of the paper version of it. After deciding not to cut out each frame from the tissue paper because tissue paper is iiiiimpossible, I outlined my initial frames in dark black, scanned them in, scanned in the different paper textures, erased the inside of each frame to reveal the paper, and added a background.
Inspiration, sketches, pencil test, and finished animation below
February 1, 2017 in Photographic Research
Amanita Design are my absolute favourite game studio. I don’t play a lot of games, but when I stumbled across Machinarium a few years ago I was hooked. Their games are point & click puzzle games, and are very obvious labours of love. Everything is so beautifully designed and crafted and I get giddy just talking about them. Their new game Samorost 3 came out last year and I only recently sat down over the holidays to give it the attention it deserves.
screenshots of Samorost 3
Their games are always so painstakingly detailed and beautiful. Every single part of it feels deliberate and considered, from the background illustrations to their sound design to their super playful character designs.
characters from Machinarium, in particular I love the bottom personified wrench character
I could literally spend all day going on about Amanita Design and the intricacies of the work they create and the stories they tell. They also designed and made the characters for Jan Svērák’s stop-motion movie called Kooky which centres around a teddy bear who gets lost in the woods. Having an ongoing love affair with sprouting vegetables, overgrown roots and dilapidated greenery (they are my all time favourite things to draw) the characters in Kooky give me a ridiculous amount of joy.
all images take from Jan Svērák’s website here
I have each and every one of their games and I love them all equally. What was interesting playing Samorost 3 after Shaun’s technical Tuesday classes was my new ability to pick up on things like their use of parallaxing in their background to give the impression of depth. It’s really nice starting to be able to dissect and recognise techniques in animation, which in turn informs the decisions in my own work.
As someone whose practice is constantly informed by the discussion between intensely laboured illustration and sporadic loose doodles (I value both on equal footing), Amanita Design’s work provides an insight into how these two things can work together successfully. In Samorost 3 there are a series of books that explain the backstory of the game and provide hints if needed, which are playful and loosely illustrated in contrast to the highly worked setting they exist in.
screenshots of the game showing the difference in styles and how the two morph together in the bottom dream sequence
This combination of styles is something I really want to incorporate into my own work as our projects intensify and grow longer, and I’m glad I found a company who encompass everything I strive to achieve. You can check them out here and I really do envy those who get to play their games for the first time.
November 10, 2016 in uncategorised
After a hard week a couple of the MA Character Animation Course students found the opportunity to see a Preview of “The Red Turtle” directed by Michael Dudok de Wit and produced by Studio Ghibli.
I honestly did know little by the director and the film by this point, I had only seen the trailer at some point at the beginning of the year. This event was part of the french film festival UK.
I have to say that I was very positively surprised by the film. The entire film was animated 2D and Dudok de Wit stated that they used TV Paint as the main animation software for the 2D animation. There were of course some cheeky 3D elements in the water and the turtle character itself.
I enjoyed the sense of space during the entire film and the fact that it was a silent film, where no words were spoken. This gave the viewer the opportunity to focus on feelings and story of the film.
I liked the style of the film, it reminded me of Moebius or Tintin. It was simple, but with a very detailed line.
After the film, there was a FAQ session with Dudok de Wit, where he explained that this collaboration with studio ghibli came completely unexpected out of the blue and that this was a once in a life time opportunity to work with them.
later on, Judit and I managed to catch him before leaving and encouraged him to come to our uni to give a lecture and he seemed to be quite happy about it and told us that he might have time to do that early next year.
November 7, 2016 in uncategorised
To be honesty, I did this 3D animation about 1 year before. I read a lot of traditional books, and saw lots of Beijing opera in my university and theaters. And interviewed lots of my alumnus who studied Peking opera. and then design these characters. Finally, I finished this work with music alumnus.
The lotus pattern on the drama costume has recalled the design inspiration. Chinese Peking opera has divided into four stage roles which are opera male roles, painted roles and clowns. Thus, Chinese Peaking opera shows the charm of this form of expression.
(2) CONSTRUCTION OF IMAGES
preface: soundtrack: Peking opera
A lens focusing on an opera costume with hand-painted puzzle style has been divided by PS. Gradually, drawing closer. the pattern on the cost drama has become increasingly clear. when the lens is focused on the drama costume pattern lotus bud, bud with the lens closer, slowly blooming lotus until converted into the big stage.
Main stage: 3d animation scenario fragment soundtrack: Chinese opera
” The first part” Qing Yi( female roles) comes from a lotus in the big stage, performing some kind, gentle, luxurious, elegant and with a sense of justice to the image of women in ancient drama action. when Qing Yi was intoxicating, seven-items-sesame-official (her lequins) broke out of the hole from another lotus and made amusing interacting with Qing Yi, performing a song both humorous and subtle, both witty and fresh. Meanwhile, a Wusheng( horned) with characteristics of fortitude and bravery appeared from behind petals and inserted a stride between Qing Yi and seven-items-seams-official since he mistakenly though seven-items-official was molesting Qing Yi. and he raised a stick to beat seven-items-sesame-official. Just at that moment, a large painted face righteous person(Jing role) are with clouds between his knees to the three persons, and resolved misunderstandings. Finally, they immediately reconciled and get along with each other like good family members.
Trailer(soundtrack: Peking opera)
Finally, the stage is surrounded by petals slowly closed into bud, slowly got back split in the form of clothes above a bud. becoming 2-dimensional bud, which is shifted into a “戏“ （ literally means ” Chinese Opera”) with Traditional Chinese Characters.
October 28, 2016 in ENO Project
Our group had a meeting with the ENO clients last Wednesday. Zuzanna and I stayed on Tuesday until late into uni trying to figure out how we could change some scenes for the better in our Animatic. We also discussed what we could do layoutwise to put into the newer animatic as a comparation how the final screenshot are going to look like.
When we showed Chris and Natasha on Wednesday our animatic, they seemed to like it which was good because we did not need to change the storyboard anymore.
What we need to focus now is to time the animation and shot change with the music we chose for it. Also we need to find a fitting piece for the beginning as for the animation to work better. Another issue we need to focus, is where exactly in the animation the dream- like sequence starts.
Next week on Monday Zuzanna and me are going to meet up and work out the issue with timing for our animatic.
Zuzanna and me realised that we could do something with the Chess floor and make an appearance for it since the beginning.
Thursday we acted out the entire storyboard and also started keyframing some shots. Fan does the keyframes for Partenope, I do the ones for Rosmira/Eurimene and Zuzanna keyframes Arsace.
Kelvin is in charge of animating some of the effects and Valerio will Keyframe the suitors and helped to create the Layout pan for the shadow chase.
I listed in the meantime every shot for the animation so I can put a Production Plan with deadlines on the weekend, because the deadlines are not too far away:
25th November: Neat Cut (meet with client)
9th December: DEADLINE – HAND IN
13th December: Show