SINGLE FRAME IMAGERY – REVISITED

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This is my previous post below, it shows a rough design of an idea I had based on a Hercules picture with the impression it is on pottery.

https://hallucinationrain.wordpress.com/2013/12/19/single-frame-imagery/

Below is my new design and also the stages it went through before completion

 

front

 

hercules- new

I originally intended that the piece had a glaze and that is what the shine is supposed to be on the picture below, however as I developed the piece further I believe that it looks better without.

hercules- new- less shine

 

hercules - final wihout shinefinish2

herc black

 

I really liked the idea of this, the story of Hercules fits perfectly with this pottery style art work, however I am not very happy with the end product. Although it does semi look like what I was intending I am not fully happy with the finished look. This was despite spending a long time on it. Usually I would like to revisit projects that I don’t feel I have fully realised my vision. However I did spend a lot of time on this and feel that perhaps at this time I don’t have the skills to create a better version.

PRINCIPLES OF ANIMATION – 12 APPEAL

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PART 1 – RESEARCH

Image

Appeal in a cartoon character corresponds to what would be called charisma in an actor.A character who is appealing is not necessarily sympathetic – villains or monsters can also be appealing – the important thing is that the viewer feels the character is real and interesting.There are several tricks for making a character connect better with the audience; for likeable characters a symmetrical or particularly baby-like face tends to be effective. A complicated or hard to read face will lack appeal, it may more accurately be described as ‘captivation’ in the composition of the pose, or the character design.

 

For the brief we have been set I started researching whatever people had written about appeal and creating an interesting character. I have posted links to several below:

http://johnkstuff.blogspot.co.uk/2008/12/disney-principles-appeal-1.html

http://chrisoatley.com/character-design/

 

The most noteable things that i took from the links were:

 

Pleasing construction: One strategy for creating a likeable character is using symmetry, and smoother curves or shapes in their composition. This tends to create a character that is easier for a viewer to process. Baby-like characteristics, such as large eyes, tend to yield positive results too.

 

Proportions: cartoonists magnify the things we find interesting and shrink the things we find ugly or boring.  A good cartoonist draws emotions rather than precise accuracy or realism.

 

Control of variety of shapes

Slide6

 

Below I will post some of the worlds most famous characters and see how they relate to the notes made above:

Best-Animation 7_cartoon clip-art-tweety-914516 images (1) images Mickey Mouse

 

 

 

PART 2 – INITIAL DEVELOPMENT

Here is the initial brief that we have been set

 http://hesiranimation.wordpress.com/2014/05/01/mini-brief-ap12appeal-pt1/

 

I chose to develop a character around the name “Mort”

Below is the definition of the word:

mort 1  (môrt)

n.

The note sounded on a hunting horn to announce the death of a deer.
[Middle English, death, from Old Frnch, from Latin mors, mort-; see mer- in Indo-European roots.]

mort 2  (môrt)

n.

A great number or quantity.
[Perhaps from mortal.]

 

From this i will research some possible directions and influences.

Below are my notes on avenues that I could explore:

what is ani9 what is ani8

So I decided that I was going to create a vampire or mad scientist in the style of Tim Burton, Below are my initial sketches:

what is ani6 what is ani7

Before deciding on below as a final design:

appeal0003

Next I coloured it,

apeal2

The next part of the brief can be found below

http://hesiranimation.wordpress.com/2014/05/08/mini-brief-ap12-appeal-pt2/

My criteria for redesigning the character were,

  • protagnonist
  • aimed at young children (barney, smurfs etc)

Below is my initial design:

appeal - part 27

Next I coloured it:

appeal- new- plain

appeal- new- lasso

3D ANIMATION

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As part of my degree course we have been learning how to use some 3D animation software called “Lightwave”, I must admit that this part of the course is the area in which I have the least interest and I have no interest in really pursuing. However saying that I did actually find it very interesting and below I have started to compile examples of the animations tests that I have created.

I must apologise for the rendering, for some reason the PCs that we are using don’t have the appropriate AVI software.

SIMPLE OBJECT TEST

This was basically just using the “move” options and the timeline.

 

PARENTING

Here’s a very simple animation showing the different parts are the body are parented and eventually connected to the torso (apologies for the immaturity of the animation)

 

BONES

 

 

RIGS

 

 

PARTICLE BOUNCE

 

 

 

SINGLE AND SEQUENTIAL FRAME COMMUNICATION – UPDATE

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I am revisiting previous projects in an attempt to get all my work completed, below is a link to the previous post.

https://hallucinationrain.wordpress.com/2013/12/11/single-and-sequential-image-communication/

Below is an idea that I am exploring for my Hercules imagery, this is a quick concept that i developed really quickly, I will explore more as so far I like the image below.

hercules mock up 2

PRINCIPLES OF ANIMATION – Exaggeration & Timing

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TIMING

Timing is the number of drawings that make up the action,  this translates as the timing of the action. For example if a ball was bouncing and was made up of 6 frames, this would be twice as fast as the ball bouncing in 12 frames. This helps create the illusion that objects and characters apply to the law of physics. This also allows you to create the illusion of weight to an object, for example a balloon would float slowly and have many frames, contrasting with a bowling ball which would be the opposite.

You can see below the frames for a bouncing ball, more frames are used as the ball reaches its highest point, showing that like in real life the balls movements would slow at this point before descending down and gaining speed again (using less frames).

09_timing-and-spacing-richard williams

Timing is also very important in terms of establishing a characters mood, emotions and reactions.

EXAGGERATION

Exaggeration is an effect especially useful for animators, often a realistic recreation of real life can be static and dull, adding exaggeration can make this a lot more interesting.  The level of exaggeration depends on the style the animation,  The classical definition of exaggeration, employed by Disney, was to remain true to reality, just presenting it in a wilder, more extreme form.

10_exaggeration

 

EXAGGERATION

HISTORIC EXAMPLE

 

CONTEMPORARY EXAMPLE

 

Here is a quick animation test that I made demonstrating the principle.

DINOSAUR – TEST ANIMATION

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We are currently creating animations based on 3 of the principles of animation, see the link to previous post on this mini project  >here<

I started by working out the extreme points of the movement, and once I had thought about the movement of the inflatable dinosaur I worked out how it would move just as a ball. These diagrams can shown below: I paid particular attention to “bounce, stretch and squash” as I wanted to emphasise the fact that it was inflatable.

dino1

I was fairly happy with the movement of the ball so next I looked to add the limbs to the ball and animate the full character. Below is the key frames that I worked out for the initial test.

dino2

I took the drawings above and used them to make a quick animation, this would allow me to see how the movement animates and if it captures “bouncy/inflatable” movement I was looking for.

dino - test 1

I was reasonably happy with the animation, as a whole I think it animates in the way I was hoping. This test animation has enabled me to identify the elements/areas that need to be improved or altered. The tail definitely isn’t quite right and this will be addressed with a “tail test” animation. I also think the shift in weight between the front and back of the character is also too great and this will be slightly reduced, paying particular attention to ensuring the volume of the character stays the same.

TAIL TEST

Below I isolated the tail and animated it separately, I found trying to work out the tail and body at the same time very distracting.

tail test 1

I was happy with the above test and the next step is to add this tail to some new full body drawings. I will create another test animation with double the frames to see if it looks more “inflated” when running more smoothly and slower.