Tuesday, 12 April 2011

From a director of South Park

Ryan Quincy kicked off the talks at Berlin-based character culture festival Pictoplasmaon recently, discussing his work with South Park, and his own series Out There. I came across an animation of his today, in the style of his series Out There. The style of animation he's using here, in contrast to that of South Park is a lot more evokative and melancholic, which I really like.


Quincy has some really charming designs that you may fancy checking out on his website http://www.ryanquincy.com/

Monday, 11 April 2011

Starting in the middle

So where better place to start animating than right in the middle. On starting my final project I began with the scene just after my character had turned back to the screen after looking behind her, finding that the woman in the TV had gone. My inital animation went something like this:


After producing this I had an acting class with Joe wild where we learnt about the planes that box in a character and theories on where the body work in terms of core parts being above or below a table. During these sessions I refilmed this section of my animation and then keyed out this scene (which has not yet been timed properly).


After working with Joe I realised that the original look down of disappointment was rather forced, I was trying too hard to sell the emotion. With this in mind I think the second will probably work more efficiently, removing the look down but mainting the longing, I can establish a feeling of reflection ands uncertainty. I'm still unsure which I will go with yet, suggestions and advice welcome!

Final Project Animatic

Since working out my animation and storyboarding using thumbnails a couple of times I began acting out the sequence and filming it. The start to my animation was going to have more of a fish like character moving in a circular direction around the screen - replicating the feelings evoked by the fish bowl, but after talking with my tutor Steve I realised that it would be more beneficial to revert back to the original idea of the dance.

So, a dance. Well anyone who's seen me dance knows that it would not be a good idea for me to choreograph this solo, as it would most likely end up looking like your drunk uncle at christmas. I enlisted the help of my fabulous friend Kate Tittley, who graduated from the University of Surrey last summer with a degree in dance. Kate and myself, but mainly Kate, then went on to choreograph the dance and on Monday morning I arranged with my old boss to use the dance floor of his bar, as a place to film.  By Monday evening we were done and I began to key the dance for my animatic.

Here now is the animatic for my animation, which is mainly the key poses that I shall be animating between:



Animatic Proposal from Hannah Lau-Walker on Vimeo.

Inspiration For Character Designs

When I began creating my animatic I drew my character straight ahead on paper, then went into flash and perfected her a little more.



I realised that the woman I was drawing had been influenced a lot by Yukari Terakado, a Japanese Illustrator who had been recently featured in Computer Arts Projects magazine. Terakado's uses a style that I really enjoy, there is something wonderfully delicate yet bold about her illustrations.

"I represent a fragile world through lines, and if you touch it, it could break" says Terakado in an interview with CAPs (January 2011).

http://yukariterakado.jimdo.com/

Storyboarding Take 3






Storyboarding Take 2









Initial Storyboard

So once my proposal was approved I began storyboarding it very roughly:










Monday, 4 April 2011

Mc Bess

Talented. Yeah just a little. He's only a director at the Mill, an Illustrator, guitarist in a band, you know the usual all rounder. I personally adore black and white illustrations andesign, partly because colour intimidates me and partly because I think theres something more skillful about creating artwork with such a limited colour palette - I definitely think that Mc Bess proves the latter.







As you can see Mc Bess's illustrations have a mixture of 80s cartoon style characters  contrasted against a lot of detailed shading ancontemporary typefaces.
Now if you didn't know, I am a massive lover of hand render typefaces and anyone who absorbs such typefaces into their illustrative work is a win in my book, so I think you can understand why Mc Bess is right up my street. What I only discovered recently however is the work Mc Bess has done with animation, heres an animation he's produced for the band he's in 'The dead pirates':



WOOD from mc bess on Vimeo.

http://www.mcbess.com/

dwayne Bell

A recent illustration commissioned by Cycle Sports Magazine caught my eye.

The piece was produced by Dwayne Bell, an illustrator who's work has a wonderful sketchbook ascetic. I really admire this kind of style, the mish mash of techniques and colours, I like the feeling of working your way through his images and witnessing the deviation from the standard path, seeing him slide off into different tangents is refreshing and absorbing.










Friday, 1 April 2011

Final Project Proposal

For our final projects at St.Martin's we were given a brief entitled "Transcriptions", which is in association with the National Gallery. We have had to choose a National Gallery owned painting and use it as the inspiration for our final film.
The painting I have chosen is 'A Girl at a Window' by Louis-Leopold Boilly (1799)

 

My proposed animation wants to reflect the idea of vision and illusion that is played upon within this painting.

My animation wants to begin with the undefined form of a women dancing around the screen, mirroring the way a fish swims around its bowl. Every time the figure recognises the audiences gaze a limb transforms into a more structured human limb, weighing the otherwise weightless figure down. The figure slowly transforms fully into human and walks towards the screen staring out at the audience, it raises a hand to touch the screen and we witness another hand that appears to be on our side, come up to the screen mirroring the woman inside. The camera then pulls out and round revealing the woman that the figure has transformed into is real, and has been watching the transformation on the screen of a television, through a window. The two mirrored women gaze at each other in wonder, until their gaze is broken by the 'real' woman being accidentally nudged by a passer by. On looking back the women in the screen has disappeared. The real women stands up and walks off, glancing back at the screen. The camera then pulls out further and further, until it pulls out into a living room and we realise that the 'real' woman too was on a TV screen.

I was trying here to play with the idea of how looking outwards can affect you inwardly; as well as toy with the freedom you receive within the screen, which you cannot recreate in reality.
After sending off my propsal to the National Gallery it was approved, now I have just had to get started on an Animatic to present to my class and tutors, working out the timing of my animation.