The interesting way to make this funny animation was inspired by Eadweard Muybridge who is a photograph and has 'a tons of study in motion' by using 12 cameras shooting at nearly the same time when the animals or human walk through them. So the idea of this short animation is putting all 12 frames of photograph set orderly then the really deeply fantastic part is when that black-and-white animals come alive again!! like I bring it life from the still. And here's my 10 second animation called WADDLES The Pig Show. References: Muybridge, E. (no date) Sow Looping Walkcycle. Available at: http://sillydragon.com/muybridge/Plate_0673.html(Accessed: 24 October 2017). Teatro De Sombras. Available at
The character doesn’t need to be human which has eyes, mouth, legs or any parts of body look like a human, it can be just an object, a shape or form of something but it still can has its feeling, direction, emotion, and know what is itself doing. We have to give the distinctive character through it like it has its sense of history and know who this object is even it has no face. Everything can has character by different kind of body language.
Walking around TATE Britain, finding some environments which can attract you then collect it by drawing some part of whatever you're interested it, from pattern on the wall to the skylight on the ceiling, from a small part of artwork to the whole piece. “Choose & Change" is kind of rule for this time as after selecting something to draw, you should change some details such as color, gender, size, or whatever you can imagine. “Be as inventive as you want and just do it”- MaryClare Foa. From The main staircase at TATE Britain Works by Gilbert, S. (1948) Unititled and Hepworth, B. (1946) Pelagos. Works by Sandle, M. (1985,cast,1987) Der Tommler and Brockhurst, G. (1931) Portrait of Margaret,Duc
"You need to bring a life into it whether it's a character or not." Organic or Geometric Form / shape/ and line can be alive as same as the character; however, "you should have a meaning behind each transition." -Shaun Clark
'The more you know who you are, the clearer character you will get'. Before creating character, you should get more information about each character as much as you can. Trying to understand from inside and create her story within her world- what does she want?/what is her goal?/what is her usual habit?/what does she love or hate? and so on. However, the appearance is the first perception which the audience can immediately realize something about her and can be remembered, so picking up the outstanding point of your face or your body and playing with scale and proportion are the simple easy ways to build your memorable character. So let’s get to know more about me !! First, I could say that
Learning animation techniques from Lizzy Hobbs by watching several shorts animations with different process of making movement inspired our class to try to experience new thing and to create a new fusion technique by ourselves. “Aug(de)Mented Reality”, a short animation by Hombre McSteez which was made by the concept of traditional animation cels combining with the real background (not be drawn). This technique is really intrigued me and my friend, Lina Kalcheva which we have never try before so we’ve decided to use this to experiment our first little story of ‘Herbert, The Hedgehog’. So, please see below!! “Best Animation always brings you to somewhere unexpected” - Lizzy Hobbs.
Looking around and picking up some elements of each artworks in TATE in order to observation and gathering visual information as mush as I can. The P.O.V. that you draw something should be the same point like you put the viewer in. Trying to realize the relation between you and each artwork that interested you, find why you're fascinated with it. Trying to engage with something you draw by taking note as well. -What it came from (if it's just one part of artwork.) -Who made it/title?-When it was done? -What it make you fee like? -How it reminds you of something? After gathering almost 15 drawings from different rooms in TATE, the next step is visualising by compositing all of my drawings
Animatic, for me it's the process between storyboarding and animated step, it seem like not need to do but it's very important to think of as it can provide the sense of the film; time and space or I could say it's like the map of the whole story. Animatic can be portrayed as the compass making the audiences know where they are, what is happen at that time. Webb suggests that every scenes should have 'reason' why you cut to another following scene. However, before planning the whole storyboarding, the first thing that should do is drawing something from your head , in other word, trying to visualise the images from you sense and your memory of something that relate to your story. So at thi
Seeing the only one specific area from 5-6 different points of view make me realised that everything changes in just only one step can describe the atmosphere in diff ways , all senses you can perceive in one place and one point of view can tell you why things are working, from sharpness to softness, from patterning to blank space. Putting people in your drawing also help describe the attitude of that place, the scale and the direction of movement. So, why not try to moving around your object or place that you've chosen and draw it in diff point of view, extremely viewpoint can impact the mood of the character and scene as well. After finishing observational drawings in waterloo station,
