Tuesday, December 30, 2014
A great little review of the 12 principles
I know everyone has shoved down your throats the 12 principles of animation at every turn, the truth is that you need to know these inside and out in order to become the most effective animator possible. SO if we need to have these points drilled into our skill set, why not find different way to keep reviewing the principles in different styles so that they remain entertaining and fresh. So I scour the Internet trying to find new ways to approach this, so here is one that I thought was entertaining and informational at the same time, enjoy.
Please feel free to leave a comment to let me know what your ideas are on these principles or if you think that there should be more, like a new expanded edition in order to explain modern up-to-date skill sets for 2D and 3D!
Sunday, December 28, 2014
Don't Be Afraid of the Blank Sheet...
This is great insight to what becomes the greatest problem for not only 3D animators, but 2D and beyond. This is the dreaded blank piece of paper. You see a blank canvas that is in front of you and you freeze from the moment you start because as an artist you are always struggling to do your best so that when people see it, and they will, you don't want to suck.
You notice that his first stroke he made he did not even look at the sheet of paper. He applied his hand to the surface and proceeded to just make a random convergence of lines and forms with no real purpose!
"Design is not just what it looks like and feels like, Design is how it works"- Steve Jobs, co-founder of Pixar Animation.
Basics Shape represent design and why it works. Opposites can support and compliment each other unexpectedly.
Symbolism is applied throughout the project so that you don't see what they are trying to show you, but instead you feel it. That is what makes it so successful.
The whole process of making these stories and projects is to be simple, but being simple is not always as easy at it may seem.
Be like a kid, just dive in, simplify and just fill it up! Don't worry about the polished look, just get your ideas out and discover what makes your story work! Don't be afraid of making mistakes, make it your goal as well to draw as a child does.
As they pointed out in the video, "pain is only momentarily, sucking is forever!" So automatically you have this fear of making the wrong stroke, the wrong style, the wrong look for your project, so you are setting yourself up to fail even before you put your first line on that blank piece of paper. This episode of Ricky Vega Nierva Art Director / Production Designer, Pixar Animation Studios
Video from TEDxAthens conference shows that it is just a state of mind that you can overcome by applying simple methods to regain focus over your project.
Video from TEDxAthens conference shows that it is just a state of mind that you can overcome by applying simple methods to regain focus over your project.
Watch it here :
You notice that his first stroke he made he did not even look at the sheet of paper. He applied his hand to the surface and proceeded to just make a random convergence of lines and forms with no real purpose!
"Design is not just what it looks like and feels like, Design is how it works"- Steve Jobs, co-founder of Pixar Animation.
Basics Shape represent design and why it works. Opposites can support and compliment each other unexpectedly.
Symbolism is applied throughout the project so that you don't see what they are trying to show you, but instead you feel it. That is what makes it so successful.
The whole process of making these stories and projects is to be simple, but being simple is not always as easy at it may seem.
Be like a kid, just dive in, simplify and just fill it up! Don't worry about the polished look, just get your ideas out and discover what makes your story work! Don't be afraid of making mistakes, make it your goal as well to draw as a child does.
Sunday, December 14, 2014
New Project
A new 2D Fan Animated series that I am working on.
Based upon the hit game: Clash of Clans!
This is the first character design I came up with.
I do have the balloon bomber as well (not shown)
Exciting personal project. Will keep updated, maybe a fan page
in the near future, watch out for it!
This is one of the reasons I have not posted in a few weeks, takes more time than I realized, but it is fun and exciting!
Based upon the hit game: Clash of Clans!
This is the first character design I came up with.
I do have the balloon bomber as well (not shown)
Exciting personal project. Will keep updated, maybe a fan page
in the near future, watch out for it!
This is one of the reasons I have not posted in a few weeks, takes more time than I realized, but it is fun and exciting!
Thursday, December 4, 2014
Ouch!!
Here is a reprint of the news report regarding this travesty.
Northern District of California federal judge Lucy Koh will oversee the consolidated antitrust suit.
Three
separate class-action suits over alleged anti-poaching and wage-fixing
deals by Disney, DreamWorks Animation, Sony Pictures Imageworks and
other animation studios have been consolidated into a single complaint,
according to a report by Deadline.
Lawyers for digital artists Georgia Cano, Robert Nitsch Jr. and David
Wentworth submitted an amended filing in a San Jose, CA federal court
on December 2 claiming that “the conspiracy deprived Plaintiffs and
other class members of millions of dollars in compensation while the
films they produced generated billions of dollars in revenues for
Defendants.”
Also named as defendants in the suit are ImageMovers, Blue Sky Studios, Lucasfilm and Pixar. In addition to a jury trial, the consolidated suit seeks reclassification to a class action that could grow to thousands of members who worked at the companies from 2004 onward.
The suit contends that the roots of the anti-poaching agreements go back to the mid-1980s, when George Lucas and Ed Catmull, the president of Steve Jobs’ then newly-formed company Pixar, agreed not to raid each other’s employees. The lawsuit alleges that The Walt Disney Co.’s involvement deepened when it bought Pixar in 2006 and appointed Catmull to run Walt Disney Animation Studios. The complaint also names DreamWorks Animation CEO Jeffrey Katzenberg, asserting that Jobs and Katzenberg “personally discussed DreamWorks joining the conspiracy.”
The case has been assigned to Northern District of California federal judge Lucy Koh, who for the past several years has presided over a Silicon Valley employee antitrust litigation case where details of the studios’ anti-poaching deal were first made public.
That class action lawsuit involved Apple, Google, Intel and Adobe, and while Lucasfilm and other companies settled with a $9 million payment in October 2013, Koh rejected Apple and other tech companies’ $325 million settlement attempt to end the case -- a decision the tech giants are now fighting in the courts.
The consolidated amended class action complaint filing can be read in full here.
Disney, DreamWorks & Sony Hit with New, Consolidated Lawsuit
Three class-action lawsuits
over anti-poaching and wage-fixing deals by Disney, DreamWorks
Animation, Sony Pictures Imageworks and other animation studios have
been consolidated into a single complaint under the jurisdiction of
antitrust federal judge Lucy Koh.
Northern District of California federal judge Lucy Koh will oversee the consolidated antitrust suit.Also named as defendants in the suit are ImageMovers, Blue Sky Studios, Lucasfilm and Pixar. In addition to a jury trial, the consolidated suit seeks reclassification to a class action that could grow to thousands of members who worked at the companies from 2004 onward.
The suit contends that the roots of the anti-poaching agreements go back to the mid-1980s, when George Lucas and Ed Catmull, the president of Steve Jobs’ then newly-formed company Pixar, agreed not to raid each other’s employees. The lawsuit alleges that The Walt Disney Co.’s involvement deepened when it bought Pixar in 2006 and appointed Catmull to run Walt Disney Animation Studios. The complaint also names DreamWorks Animation CEO Jeffrey Katzenberg, asserting that Jobs and Katzenberg “personally discussed DreamWorks joining the conspiracy.”
The case has been assigned to Northern District of California federal judge Lucy Koh, who for the past several years has presided over a Silicon Valley employee antitrust litigation case where details of the studios’ anti-poaching deal were first made public.
That class action lawsuit involved Apple, Google, Intel and Adobe, and while Lucasfilm and other companies settled with a $9 million payment in October 2013, Koh rejected Apple and other tech companies’ $325 million settlement attempt to end the case -- a decision the tech giants are now fighting in the courts.
The consolidated amended class action complaint filing can be read in full here.
Tuesday, November 11, 2014
Lessons from the masters 01
This is going to be an ongoing series of informational lessons on how animation was established and how you should not re-invent the wheel of it worked perfectly the first time.
Our first lesson is the "Three Ways to Animate".
The first way to animate weather it be 2D or 3D is the strait ahead method.
This method is rather impulsive and requires little forethought when developing the shot. Basically you just start drawing and see where it leads you. There are more disadvantages to this method then benefits. The greatest benefit to this is that mystery or happy accidents that develop out of pure experimentation.
Here are some of the benefits :
1. Spontaneous Action
2. More Natural Flow
3. Embodies Improvisation
4. Able to adjust rhythm and action on the fly
5. Can produce Happy Accidents or "Magic"
6. Since it is Spontaneous, it is fun
Here are some disadvantages:
1. Lines and mass start to wander
2. Squash and stretch starts to loose cohesion
3. Characters don't stay the same size
4. Timing and plot seem to go to the wayside
5. There is A LOT of clean up
6. Not easy for other animators to assist you
7. Not cheap
8.With deadlines and iterations, nerves can become frayed
Our second way to animate is the Pose to Pose method.
First you need to find the extremes or key drawings in your shot. These again are the extreme poses where the feet touch the ground or there is action taking place, it is the point of main interest. In the days of development of this art form, the masters called the key poses the storytelling drawings. They are the images that tell what that shot is about. The in-betweens are the images that lead up to or down from those high points. Once the poses are established you can begin making your charts and your ease in and out's. These charts and indicators are used to tell your assistant or the tweeners what needs to take place and the timing of the shot from pose to pose. These charts where so accurate and methodical, the key animators would just hand them off and come back later to see the work done and take credit for what the tweeners did.
Here are some advantages to this method:
1. The shot is laid out clearly
2. The plot or point of the shot is clear
3. Very methodical
4. The drawings are more cleaner, less clean up
5. The positions of the characters are more clear and definable
6. The pace and plot is in order
7. your assistants can do most of the work (LOL)
8. The production is quicker and allows more scenes to be completed
9. Nerves and sanity are more entact
10. More productivity, more money (not always a sound route)
Here are some disadvantages to this method:
1. You miss the Flow or "Magic"
2. The action become steril and choppy, unnatural
3. If you try to over correct with overlapping, the integrity of the character starts to suffer
4. Not enough spontaneity or surprises, which audiences crave
The last method is the BEST out of all three, this is a combination of strait ahead and pose to pose.
The first step is to create thumbnails, this step is actually utilized in any project no matter how you approach it.
When we are done mapping out the scene we will then create the key poses or storytelling drawings. Then step three of the rough animatic is to create the extremes, these are the frames where the character touches the ground such as in a walk cycle.
With this structure we have the elements of the pose to pose method.
Now we can take these key-frames and extremes and use them as guides for things such as action and direction of the scene needs to take place.
Work on one element at a time, such as the body movement, then the cloths or capes next and then finish with the hair or other objects that move in relation with the characters movement. Then we can use these "guide post" to improve on or finalize as we work strait ahead, while maintaining spontaneity of pose to pose to capture that magic!
After completing a few strait ahead runs on different elements of the scene, making sure to work on the important storytelling drawing first, changing what you need as you go along.
So first we make a strait ahead run, second we do another strait ahead run to work out the "Kinks" from the first pass. Then you keep repeating this process until the shot is complete, while adding the secondary action of cloths or other objects within the scene that compliments the movement or story.
So the advantages of this hybrid method:
1. Lend the strength and fluidity of both methods
2. Balances between planning and being spontaneous
3. Infuses that technical cold sterile feel and your passion into one successful project.
And above all you made magic and had fun doing it at the same time!
Our first lesson is the "Three Ways to Animate".
The first way to animate weather it be 2D or 3D is the strait ahead method.
This method is rather impulsive and requires little forethought when developing the shot. Basically you just start drawing and see where it leads you. There are more disadvantages to this method then benefits. The greatest benefit to this is that mystery or happy accidents that develop out of pure experimentation.
Here are some of the benefits :
1. Spontaneous Action
2. More Natural Flow
3. Embodies Improvisation
4. Able to adjust rhythm and action on the fly
5. Can produce Happy Accidents or "Magic"
6. Since it is Spontaneous, it is fun
Here are some disadvantages:
1. Lines and mass start to wander
2. Squash and stretch starts to loose cohesion
3. Characters don't stay the same size
4. Timing and plot seem to go to the wayside
5. There is A LOT of clean up
6. Not easy for other animators to assist you
7. Not cheap
8.With deadlines and iterations, nerves can become frayed
Our second way to animate is the Pose to Pose method.
First you need to find the extremes or key drawings in your shot. These again are the extreme poses where the feet touch the ground or there is action taking place, it is the point of main interest. In the days of development of this art form, the masters called the key poses the storytelling drawings. They are the images that tell what that shot is about. The in-betweens are the images that lead up to or down from those high points. Once the poses are established you can begin making your charts and your ease in and out's. These charts and indicators are used to tell your assistant or the tweeners what needs to take place and the timing of the shot from pose to pose. These charts where so accurate and methodical, the key animators would just hand them off and come back later to see the work done and take credit for what the tweeners did.
Here are some advantages to this method:
1. The shot is laid out clearly
2. The plot or point of the shot is clear
3. Very methodical
4. The drawings are more cleaner, less clean up
5. The positions of the characters are more clear and definable
6. The pace and plot is in order
7. your assistants can do most of the work (LOL)
8. The production is quicker and allows more scenes to be completed
9. Nerves and sanity are more entact
10. More productivity, more money (not always a sound route)
Here are some disadvantages to this method:
1. You miss the Flow or "Magic"
2. The action become steril and choppy, unnatural
3. If you try to over correct with overlapping, the integrity of the character starts to suffer
4. Not enough spontaneity or surprises, which audiences crave
The last method is the BEST out of all three, this is a combination of strait ahead and pose to pose.
The first step is to create thumbnails, this step is actually utilized in any project no matter how you approach it.
When we are done mapping out the scene we will then create the key poses or storytelling drawings. Then step three of the rough animatic is to create the extremes, these are the frames where the character touches the ground such as in a walk cycle.
With this structure we have the elements of the pose to pose method.
Now we can take these key-frames and extremes and use them as guides for things such as action and direction of the scene needs to take place.
Work on one element at a time, such as the body movement, then the cloths or capes next and then finish with the hair or other objects that move in relation with the characters movement. Then we can use these "guide post" to improve on or finalize as we work strait ahead, while maintaining spontaneity of pose to pose to capture that magic!
After completing a few strait ahead runs on different elements of the scene, making sure to work on the important storytelling drawing first, changing what you need as you go along.
So first we make a strait ahead run, second we do another strait ahead run to work out the "Kinks" from the first pass. Then you keep repeating this process until the shot is complete, while adding the secondary action of cloths or other objects within the scene that compliments the movement or story.
So the advantages of this hybrid method:
1. Lend the strength and fluidity of both methods
2. Balances between planning and being spontaneous
3. Infuses that technical cold sterile feel and your passion into one successful project.
And above all you made magic and had fun doing it at the same time!
(Tangled: Disney)
Thursday, November 6, 2014
Remembering Larry Lauria
The World Will Miss You!!
A noted and very talented animator has passed on from this world and has left behind a legacy of his own. After 35 years of animating, contributing in many various ways, he has left his mark upon this world. In his long career as an animator he has had the privilege to work as the head of the animation department at the Disney Institute in Orlando, FL. The experience and skills that he had brought to Disney came from his many years as a renowned instructor and educator developing new curriculum's and courses at the European School of Animation in Dublin, Ireland. This program that he had help develop became one of the top three animation programs in the world!
Larry has been honored more than a few times over his life span as Who's Who Among American Teacher's. His website, Larry's Toon Institute is applauded by all around the world as an invaluable source for animation technique and instruction.
The cause of his passing is yet unknown, but the news of his passing has reached out and touched many of Lauria's previous and current students, colleagues and friends.
He leaves behind a legacy of awards (over 50), a well known animator, layout and character designer as well as a beloved instructor. He was currently instructing at Full Sail University in Florida.
From one animator to another, I will, along with the rest of the world celebrate this talented professional animator for all of his accomplishments and contribution to this field. I would personally grant him a life time achievement award for all those years of dedicated professionalism to his art and students.
A noted and very talented animator has passed on from this world and has left behind a legacy of his own. After 35 years of animating, contributing in many various ways, he has left his mark upon this world. In his long career as an animator he has had the privilege to work as the head of the animation department at the Disney Institute in Orlando, FL. The experience and skills that he had brought to Disney came from his many years as a renowned instructor and educator developing new curriculum's and courses at the European School of Animation in Dublin, Ireland. This program that he had help develop became one of the top three animation programs in the world!
Larry has been honored more than a few times over his life span as Who's Who Among American Teacher's. His website, Larry's Toon Institute is applauded by all around the world as an invaluable source for animation technique and instruction.
The cause of his passing is yet unknown, but the news of his passing has reached out and touched many of Lauria's previous and current students, colleagues and friends.
He leaves behind a legacy of awards (over 50), a well known animator, layout and character designer as well as a beloved instructor. He was currently instructing at Full Sail University in Florida.
From one animator to another, I will, along with the rest of the world celebrate this talented professional animator for all of his accomplishments and contribution to this field. I would personally grant him a life time achievement award for all those years of dedicated professionalism to his art and students.
Friday, October 31, 2014
"The Dam Keeper"
Animation Connections - 2D Magic
Spark CG Society has made there selection for the inaugural award for Best Animated Short at the film festival and job fair in Vancouver, B.C. on October 26th at the Vancity Theater. It is a short that was produced by Tonko House Studio. It is a mixture of 2D animation combined with 3D application in order to push those boundaries and enhance the viewers experience. It is called "The Dam Keeper" (USA), It blends the hand drawn animation with digital painting techniques in the painting style of Kondo and Tsutsumi.
‘The Dam Keeper’ by Dice Tsutsumi and Robert Kondo.The Jury that nominated this film for the award was led by David Fine, who himself won an Oscar for Best Short Film in 1995 for Bob's Birthday.
Go to their main website to find out more about this creative short story. "The Dam Keeper"
Thursday, October 30, 2014
2D Animation Dying or Dead!
2D Animation Dying or Dead!
As Peter Griffin says from Family Guy, "you know what grinds my gears?", well I can tell you it is this headline! Traditional 2D animation is not dead or dying, it doesn't need saving because it has not gone anywhere. It just lost the lime light due to the fad of 3D animation and the way it has influenced and integrated its self into the entertainment industry.
Don't get me wrong, I love 3D animation, I have a Masters Degree in 3D animation & Game Design. But I feel that many of those in the industry have taken it to an unhealthy level. I just watched the new production from Glen Keane, a veteran animator from Walt Disney for over 38 years, called Duet. This film was an epic example of 2D animation, but if you have watched behind the scenes for this production ( Go Here for both 2D Magic ) you would have found out that the production team did use 3D software to push the boundaries and limits of Glen Keane's own talents, skills and magic. But the way the utilized the integration of 2D into 3D was not to dominate or change the very nature or feel of his vision, it was used to push his abilities beyond his current techniques in order to still grow as an animator!
I love when the production studio had stated, that Glen Keane's renders where so flawless, they could not build an algorithm that would translate his "magic" into 3D! How true that is, I have seen some pretty fantastic 3D animation that inspires me, but it is a rare event when I see a project or a piece that truly possess that "magic". So, as a professional expert, 2D is not dead, people thought that it was because of the number of Disney employees who where laid off because they shut down the 2D animation department. Have you watched Family Guy, The Simpsons, any cartoon from Cartoon Network (the list goes on), then you can see that 2D is thriving and starting to gain exposure.
This is one of the reasons I started this blog that is tied to the website @ 2D Magic, to create an excitement and passion to further push this industry as well as bring about new innovations.
Warner Bros. - Looney Tunes
20th Century Fox - Family Guy
As Peter Griffin says from Family Guy, "you know what grinds my gears?", well I can tell you it is this headline! Traditional 2D animation is not dead or dying, it doesn't need saving because it has not gone anywhere. It just lost the lime light due to the fad of 3D animation and the way it has influenced and integrated its self into the entertainment industry.
Don't get me wrong, I love 3D animation, I have a Masters Degree in 3D animation & Game Design. But I feel that many of those in the industry have taken it to an unhealthy level. I just watched the new production from Glen Keane, a veteran animator from Walt Disney for over 38 years, called Duet. This film was an epic example of 2D animation, but if you have watched behind the scenes for this production ( Go Here for both 2D Magic ) you would have found out that the production team did use 3D software to push the boundaries and limits of Glen Keane's own talents, skills and magic. But the way the utilized the integration of 2D into 3D was not to dominate or change the very nature or feel of his vision, it was used to push his abilities beyond his current techniques in order to still grow as an animator!
I love when the production studio had stated, that Glen Keane's renders where so flawless, they could not build an algorithm that would translate his "magic" into 3D! How true that is, I have seen some pretty fantastic 3D animation that inspires me, but it is a rare event when I see a project or a piece that truly possess that "magic". So, as a professional expert, 2D is not dead, people thought that it was because of the number of Disney employees who where laid off because they shut down the 2D animation department. Have you watched Family Guy, The Simpsons, any cartoon from Cartoon Network (the list goes on), then you can see that 2D is thriving and starting to gain exposure.
This is one of the reasons I started this blog that is tied to the website @ 2D Magic, to create an excitement and passion to further push this industry as well as bring about new innovations.
Monday, October 27, 2014
Timing and spacing for animation
Timing and spacing for animation
One of the important fundamentals of animation, whether it
is 2D or 3D animation, is timing and spacing for all your elements and assets
for your short or feature film. Understanding this fundamental element is
relatively easier then some of the other fundamental applications of this
field. The underlying principle of this element is where lies the problem for
most animators. It is very difficult to get the timing and spacing correct in
each project. Knowing how this fundamental element works, as such was presented and
reviewed in the original 12 principles of animation, doesn’t always apply to every project or situation within your scenes.
Timing refers to the length of time it takes for the action
to take place, and spacing refers to place in which the object occupies within
the given frames of animation. At current publication, film still is running at
24 frames per second for animated projects. This is the frame rate that you can
use to base your timing off of. If you have a bullet that is fired from a gun,
the bullet travels from one side of the screen to the other side in 24 frames,
the bullet will have taken one second to traverse the distance from point “A”
to point “B”. Now depending on the position within the other 22 frames, you can
slow down or speed up the illusion of the bullet traveling between those two
points. If you are shooting for a constant speed, no tweaking on frames is
necessary.
Now if you take the bullet that we used in the above
scenario, the bullet takes one second to travel from point “A” to Point “B”. If
we adjust the amount of spacing between the frames, such as in last seven
frames to have more frames of the bullet with positions spaced out, the bullet
will look like it is slowing down. If we took those same seven frames, had less
frames of the bullets position key framed, it will create the illusion of the
bullet speeding up. Within the 22 frames of animation, you can change the
amount of spacing of your object drastically, creating timing effects on that
object in relation to the other elements within the shot. With this example,
you can see how the spacing of an object is in direct relation to the number of
frames you use will affect the timing of the action that takes place for each
of your elements.
This same concept is true for ALL your elements weather
static or dynamic.
Many animators look to other projects and short films that
have been done by seasoned animators in order to glimpse at what professional
timing should look like. The best practice for a budding animator is to look at
real world reference to understand the elements of timing and spacing. This is
how seasoned animators learned as well. The principles of animation that were
created all those years ago and modified down to this very day where built on
real world principles. Some of those principles where exaggerated in order to
create a more entertaining shots and characters. I use to have drawing sessions
with a friend of mine, he would come over and we would practice drawing rough
shapes and compositions. He showed me a really good technique to enhance my
view of timing, composition utilizing movies and T.V shows. He explained to me
that these shows are already composed to a professional standard, and the
action is live. Even though the show was scripted, the actors still acted like
you or I would in a normal situation. Granted some actors are better than
others, but they still move and provide that much needed example of real world
principles. We would start watching a show or movie, and we would take turns
just randomly pausing the show and drawing what we saw in that frame. We would
limit ourselves to only two to five minute sketches in order to remain loose
and not get bogged down in details. A really great artistic exercise I highly
recommend! Being able to reference the real world on the fly will provide you
with an excellent grasp how timing is a critical point in any project.
Every movement that you make can be divided into timing and
spacing examples. If you reach for a remote for your T.V to change the channel,
what kind of timing does it take to accomplish that? Did you pick it up slowly,
or quickly? Where you distracted at some point during the action that it caused
you to act differently? How do you press the button? What happens when you find
out that the battery does not work after many minutes of getting frustrated
because your channel will not change? All these affect your timing and can be
simple or as complicated as you want to make them. Most animators only show
enough action or timing to get the idea, though, or emotion across to their
viewer.
When I watch an animated film or a short done by some other
professional or amateur animator, I look at the action that is taking place in
that scene and begin to analyze it. I look at it and ask if the action could
have been different, was it effective in conveying the message or idea could
the timing or placement being off. There are literally thousands of ways
something can be done; there is no single way for it to be right. For instance,
you walk into an art gallery. Someone next to you looking at the same painting
you are at the exact time and moment. What are the odds that they are
interpreting that painting the same way you are? I can guarantee you that your
thoughts or outlook on that painting at that moment will NOT be the same. So
some ones viewpoint on timing and spacial awareness will never be the same as
another persons. Does this make it bad? No, It is just their personal opinion,
how you make your project work and the way you visualize it is what is
important.
As you practice visualizing people, objects and other
elements in the real world; you will find yourself do so every time you go out
onto the street or out to socialize. I like to call it people watching, sounds
a little creepy, but it is only for artistic endeavors only. The more you
practice these principles; you will find that it will become second nature. You
will find that you cannot shut it off, that you will be observing even when you
are not trying to. This will be both a curse and a blessing; it is just another
part of mastering your techniques and skills as an animator.
Not only can timing give action and speed to your elements
within the shot, but also can give thought and motivation behind your character
object. Remember I talked about the remote, the action you would follow to
change the channel and all the endless possibilities that could occur within
the time it took? Now take and think about the thought or motivation behind why
you needed to change the channel. This is one reason that timing and spacing is
so difficult, there are so many alternative actions, thoughts or motivational
points behind every scene, it becomes almost a mathematical necessity to
approximate the correct line of action for the thought or idea behind the
motivation. And this is why there is no definitive correct answer for each
scene. You can get a close approximation to what works, in order to get your
idea or motivation across to your viewers.
Friday, October 24, 2014
The Tale of The Princess Kaguya
Isao Takahata has directed five animated features while his time at studio Ghibli. He has partnered up with Hayao Miyazaki to continue in producing feature films that contains that special magic Miyazaki has given to all of his other productions, projects such as Nausicaä of the Valley of the Wind or Spirited Away.
Kaguya is unlike any other production that has been produced, in such a way that there is no traditionally over sized eyes, no fighting mecha or glossy textures. It is traditional art at is core, showcasing water colored backgrounds, beautiful Japanese style art and characters. Its character design is quite simple, like that of a children's storybook, chalky outlines help create a distinct look for each of its diverse cast.
Isao Takahata has directed five animated features while his time at studio Ghibli. He has partnered up with Hayao Miyazaki to continue in producing feature films that contains that special magic Miyazaki has given to all of his other productions, projects such as Nausicaä of the Valley of the Wind or Spirited Away.
Kaguya is unlike any other production that has been produced, in such a way that there is no traditionally over sized eyes, no fighting mecha or glossy textures. It is traditional art at is core, showcasing water colored backgrounds, beautiful Japanese style art and characters. Its character design is quite simple, like that of a children's storybook, chalky outlines help create a distinct look for each of its diverse cast.
Kaguya is a rendition from a fable called “The Tale
of the Bamboo Cutter,” the story revolves around the tale of the titular princess that was found by a woodcutter inside a bamboo tree. In the begining the princess is small like a doll, but grows quickly into a normal sized infant. From there the princess grows just as rapidly from a toddler to a child until she becomes a beautiful teenager. When the woodcutter finds a treasure trove within the second stock of bamboo, containing gold, he uses it to increase his own wealth. The woodcutter used his new found wealth to move into the city, by no modest means in trying to become elite members of the upper-class. He even tries to teach his adopted daughter the ways of the upper-class socialites. Before long, Kaguya's past catches up to her.
The other fascinating aspects of this film is the attention to detail. This involved mimicking the smallest details such as the way people dressed, customs regarding social aspects, and the environmental connection to what the world was like around ten centuries ago.
The woodcutters explicit attitude toward others was to prove to the upper class that they were no hillbillies, again trying to distance himself from his past. You can see this in the way he had garnered himself with attire that he was not used to, desperately trying to fit into a way of life that he was not meant for.
Even though this film is based in fable, Isao Takahata weaves that fantasy like magic, sweeping you off your feet and transporting you into a world of wonderment.
A definite must see for all Studio Ghibli fans, including myself.
Check out 2D Magic and show your support today! :) 2D MAGIC
Thursday, October 23, 2014
What is 2D Magic?
I know that since I was five, I have always been fascinated by cartoons. But being an artist at heart, and by nature, cartoons where not just cartoons. I know that sounds crazy to some, but there are many, many people out there know what I mean. To us that have cartoons or animated films in our blood, it has become a passion, a driving force behind what drives us to know more. This is why I have set up this site. I have been in the animation industry professionally for almost 20 years, and the passion never fades. I want to share this passion with everyone who has that same interest as well. You don't even need to be an animator to be passionate about animation. My fiance finds animation awe inspiring due to the fact that she has come to understand the process and respects what animators have to go through to provide entertainment to everyone. This process is what I want to share, and hope to inspire.
Why 2D Magic? I have no reservations or negative feelings about 3D digital animation, but I am at the core a 2D animator. I have been educated and groomed in both traditional 2D animation techniques as well as 3D digital animation techniques. I feel that 2D is a true art form that needs to be preserved, encouraged to grow and evolve. I can tell you that the learning process and skills needed to create 2D animation, sequential art, are the very foundation to successful 2D digital and 3D animation. Everyone needs to learn the foundations in order to produce a beautiful piece of art. But most animators know this well, I just want to share. So feel free to use this blog for inspiration, understanding and working through the process of creating something funny, entertaining or simply beautiful! Interaction and communication is encouraged! Artist supporting artist!
"Wall-e" Pixar Studios
Check out 2D Magic and show your support today! :) 2D MAGIC
I know that since I was five, I have always been fascinated by cartoons. But being an artist at heart, and by nature, cartoons where not just cartoons. I know that sounds crazy to some, but there are many, many people out there know what I mean. To us that have cartoons or animated films in our blood, it has become a passion, a driving force behind what drives us to know more. This is why I have set up this site. I have been in the animation industry professionally for almost 20 years, and the passion never fades. I want to share this passion with everyone who has that same interest as well. You don't even need to be an animator to be passionate about animation. My fiance finds animation awe inspiring due to the fact that she has come to understand the process and respects what animators have to go through to provide entertainment to everyone. This process is what I want to share, and hope to inspire.
Why 2D Magic? I have no reservations or negative feelings about 3D digital animation, but I am at the core a 2D animator. I have been educated and groomed in both traditional 2D animation techniques as well as 3D digital animation techniques. I feel that 2D is a true art form that needs to be preserved, encouraged to grow and evolve. I can tell you that the learning process and skills needed to create 2D animation, sequential art, are the very foundation to successful 2D digital and 3D animation. Everyone needs to learn the foundations in order to produce a beautiful piece of art. But most animators know this well, I just want to share. So feel free to use this blog for inspiration, understanding and working through the process of creating something funny, entertaining or simply beautiful! Interaction and communication is encouraged! Artist supporting artist!
Check out 2D Magic and show your support today! :) 2D MAGIC
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