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 ha
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 ma
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
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 movin