Showing posts with label character design. Show all posts
Showing posts with label character design. Show all posts
Thursday, September 17, 2015
The Evolution of an Artist
In this eight minute video you will meet your childhood personified. Chuck Jones, the animator for over two hundred "Looney Tunes" shorts discusses the creative development of some of the most famous cartoon scenes and characters. Hyperbolic characters such as Daffy Duck, Bugs Bunny, and Sylvester all start off with an initial desire, which comes into play throughout each episode. Jones does an amazing job of breaking down aspects of animation from movement to character themes.
I think the most important piece of advice I took away from this was discipline. Always limit your character in every way except character growth. Whether it be their color palette, emotional gestures, desires, or interaction, the simpler the character the more you can do with you design.
Wednesday, October 30, 2013
The Tale of the Three Brothers
http://vimeo.com/42287792
This week I decided to post the Tale of the Three Brothers, the animation from Harry Potter and the Deathly Hallows part 2. I had forgotten how much I enjoyed this animation when I first saw it in theaters and now that I have some experience with animation I really just appreciate it more. It's a beautiful piece that is extremely well planned out and incredibly executed. The character design is really what gets me every time though, and that's what I want to talk about the most. The fabric on these characters is just stunning I think. The transparent quality of all of the three brother's limbs along with the smoky quality of death's cloak all adds up to some really nicely created characters. The look of this animation is also very purposeful which I think is important. The over all look of this animation helps to reinforce the idea that this is a children's story being read aloud. The colors, the design of the locations, characters, and even the movement. You can see this being illustrations in a children's book, a creepy one but still. that kind of blending of genres can be very easily messed up and because every part of this animation is done very purposefully it isn't.
This week I decided to post the Tale of the Three Brothers, the animation from Harry Potter and the Deathly Hallows part 2. I had forgotten how much I enjoyed this animation when I first saw it in theaters and now that I have some experience with animation I really just appreciate it more. It's a beautiful piece that is extremely well planned out and incredibly executed. The character design is really what gets me every time though, and that's what I want to talk about the most. The fabric on these characters is just stunning I think. The transparent quality of all of the three brother's limbs along with the smoky quality of death's cloak all adds up to some really nicely created characters. The look of this animation is also very purposeful which I think is important. The over all look of this animation helps to reinforce the idea that this is a children's story being read aloud. The colors, the design of the locations, characters, and even the movement. You can see this being illustrations in a children's book, a creepy one but still. that kind of blending of genres can be very easily messed up and because every part of this animation is done very purposefully it isn't.
Sunday, October 13, 2013
It's about Character (pun intended)
I fell in love with puppet theatre when I was a kid, and the fascination about it has never stopped entrancing me. There is something magical about the transference that occurs from puppeteer to puppet and vice versa, as the puppet character takes not only a life of it's own but starts controlling the life of the puppeteer!
As Ricky Syers, creator of Stix says in this video "I'm not really sure where Stix is going...but I am willing to go along for the ride". This experience holds true for all of us who work in this or other forms of storytelling. We see our characters take a life of their own and have to be very careful not to intervene but simply clear the way to let them express themselves.
Like Gustave Baumann, a maker of marionettes and creator of The Puppet Wranglers said in his comment about the work of master Bill Dwiggins; "These animated pieces of wood, properly jointed, take on a life of their own, move about in ways you never dreamed of, and rewrite your script without bothering to ask permission."
William Addison Dwiggins (1880-1956) by the way, was a type designer (characters, get it?), calligrapher, typographer, illustrator and writer, one of the foremost contributors to the printing arts, but my admiration for him comes from the world he created through his Experimental Theatre, where some truly extraordinary characters came to life, in a meticulous carved environment where every element of design, wether visible to the audience or not, was made with the exacting precision of his great font designs, widely used in the book publishing industry, and carried today in digital form by Linotype.
Dwiggins is also credited with coining the term 'graphic designer' in 1922*
*Livingston, Alan and Isabella., 'Dictionary of graphic design and designers'. London: Thames and Hudson, 1992
As Ricky Syers, creator of Stix says in this video "I'm not really sure where Stix is going...but I am willing to go along for the ride". This experience holds true for all of us who work in this or other forms of storytelling. We see our characters take a life of their own and have to be very careful not to intervene but simply clear the way to let them express themselves.
Like Gustave Baumann, a maker of marionettes and creator of The Puppet Wranglers said in his comment about the work of master Bill Dwiggins; "These animated pieces of wood, properly jointed, take on a life of their own, move about in ways you never dreamed of, and rewrite your script without bothering to ask permission."
William Addison Dwiggins (1880-1956) by the way, was a type designer (characters, get it?), calligrapher, typographer, illustrator and writer, one of the foremost contributors to the printing arts, but my admiration for him comes from the world he created through his Experimental Theatre, where some truly extraordinary characters came to life, in a meticulous carved environment where every element of design, wether visible to the audience or not, was made with the exacting precision of his great font designs, widely used in the book publishing industry, and carried today in digital form by Linotype.
Dwiggins is also credited with coining the term 'graphic designer' in 1922*
*Livingston, Alan and Isabella., 'Dictionary of graphic design and designers'. London: Thames and Hudson, 1992
Sunday, November 27, 2011
Disney Animations
So I was researching the techniques of the old Christmas animation classics like Rudolf the Red nosed Reindeer, Frosty the Snowman, and the Year Without a Santa Claus when I discovered a behind-the-scenes look at Disney's old animated classics.
The video above starts around the 2:00 minute mark but what really impressed me is that it took the animators and designers 4 years to draw, animate, and paint the scenes for Beauty and the Beast. The artists put pictures up on the wall of lions, gorillas, buffalo, and bears in order to inspire different parts of the Beast's image. They then created 3-D clay models in order to truly visualize the Beast in every dimension before drawing him in the 2-D frames. In the next video Don Hahn, the Producer of Beauty and The Beast, goes into detail of the hand-drawn animation process.
In order to make the filming of the hand drawn frames more dimensional, Walt Disney's MultiPlane camera was often used for the classics. But if we think of all the work that went into animating and then filming these Disney movies, the idea of creating a new animation with the computer graphics and animation techniques available is astounding. I often complain about how long it takes for an animation to render or how quickly time seems to go by when animating. But when I take a step back and look at the process of creating my favorite Disney Animated Movie, I realize that I would have started the project my Freshman year in college only to finish it during graduation.
Disney's Beauty and the Beast may have been taken from a long line of French folktales, but the animation process and finished product are something that I can't help but admire.
The video above starts around the 2:00 minute mark but what really impressed me is that it took the animators and designers 4 years to draw, animate, and paint the scenes for Beauty and the Beast. The artists put pictures up on the wall of lions, gorillas, buffalo, and bears in order to inspire different parts of the Beast's image. They then created 3-D clay models in order to truly visualize the Beast in every dimension before drawing him in the 2-D frames. In the next video Don Hahn, the Producer of Beauty and The Beast, goes into detail of the hand-drawn animation process.
In order to make the filming of the hand drawn frames more dimensional, Walt Disney's MultiPlane camera was often used for the classics. But if we think of all the work that went into animating and then filming these Disney movies, the idea of creating a new animation with the computer graphics and animation techniques available is astounding. I often complain about how long it takes for an animation to render or how quickly time seems to go by when animating. But when I take a step back and look at the process of creating my favorite Disney Animated Movie, I realize that I would have started the project my Freshman year in college only to finish it during graduation.
Disney's Beauty and the Beast may have been taken from a long line of French folktales, but the animation process and finished product are something that I can't help but admire.
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