Visual cues and animation

Humans rely on visual cues (form, scale, color, value, etc.) when interpreting sensory visual data from the environment. Our environment is regular and predictable enough for us (through 'survival-of-fittest' we adapted specifically to this environment and not some other one) that over time we have become accustomed to successfully attributing certain meanings/outcomes to certain cues. When viewing a distant object moving in space, for example, (person, ball, airplane, lion charging, etc.) we use visual cues, such as change in size (scale), change in silhouette/negative space (shape or form), change in reflected light (value), to interpret what we are seeing. Through these cues we gain an accurate sense of depth perception and 3D space.

We are so well adapted and consistent in our response to certain universal cues, that we can 'fall prey' to illusion, if the same response (perceptual event) to the visual information can be triggered in the absence of the genuine real-world stimulus. As animator-artists, we can exploit this tendency when attempting to create the "illusion of life". Animation involves the careful study of life in action (reference), then the interpretation/processing of  that careful study into a series of 2D drawings (drawings that convey shape transformation over time as each new drawing in the series is changed slightly from the previous). As animators attempt to replicate what is experienced in reality, when drawing an animation, they exaggerate these observations. Through exaggerating the observations, the action will be more clearly conveyed  to an audience.

Walk Cycle Animation

I really enjoyed animating this little walker.

Diane Jones' Story Art Portfolio 2012

Updated step-on-box animation

Visual Storytelling Class #4, 2/16/2012

Waiting for the bus

The exercise: draw someone "waiting for the bus" from a variety of camera angles (above is one of my 5 panels). What information do you need in the shot to convey this idea efficiently? What are the essential pieces (bus stop sign, road, person waiting...) and how much detail do you need? Don't make the audience decipher. Choice of camera angle affects the level of intensity/interest experienced by the viewer. Angled shots such as this one, looking down from above, create more intense visuals than those shots which are horizontal (how we typically experience a road, i.e...not from above and at an angle, as from a birds-eye, or when seen from an airplane).

To build intensity over a sequence of shots, the filmmaker can set up a rhythm of several horizontal shots, for example, then switch to a diagonal shot to increase the level of intensity at that moment. Think about the progression of eye movement over the course of a sequence -- if the eye has to jump suddenly and look to the opposite side of the screen, this causes contrast and visual interest. Through making a "planned progression of shots", the storyteller can establish patterns & expectations for the audience...when these expectations are dashed, there is a visual disturbance for the viewer resulting in a change in the intensity level (either up or down). It's all very psychological. ;-)

Visual Storytelling Class #3, 2/9/2012

Story Scenes: Levitating Woman

In the homework exercise for this class, we were given an initial shot of a woman levitating above a deserted country road, and then asked to compose the next four shots. One way to proceed is to write down what each shot is going to be about (what one piece of information do you want to convey), and decide where you are leading the audience. According to our professor, Mark Andrews, there must be progress from shot to shot, either the intensity increases or decreases, but it should not 'flatline'. As the story artist, you  must decided, 'what am I trying to say (information)?', and 'what is the best way to convey that information visually?'. Since the best way may not be readily apparent the first time you draw the shot, and there are many ways to convey the same thing, it is important to make thumbnail sketches that experiement with camera angles, variety of presentation, and composition. One issue I came across is that of  'geography' -- it is important to understand where all of the pieces (characters, scenery, props, etc.) reside physically within the scene. By drawing a plan (aka top-down view) of your set or scene, you can ensure continuity of space from shot to shot, and avoid breaking the dreaded '180 rule' , for example.  A major criticism of my work (above) was that I hadn't put the audience in the space (the viewer should see what the ambulance driver sees when looking up at the enchanted tree, let the viewer 'have that experience'), and I had repeated information from shot to shot. Anyway, below are some key elements to consider when composing the shot. Must strive for 'clarity of information' and 'polished thinking'.

• Screen Direction
• Composition
• Staging
• Variety of Presentation
• Progression of Intensity
• Emphasis
• Geography
• Creating dynamic shots & ideas

Weight-Shift Animation Project

Needs a lot of clean-up...I tried. From my class taught by Hans Brekke, Lead Animator at Tippet Studios.

Visual Storytelling Class #2, 2/2/12

Story Scene

I'm taking a class at CCA called "Visual Storytelling", taught by Mark Andrews of Pixar fame. We are learning how to compose visual imagery/shots that support the story (film), and clearly convey visually what is happening. The idea is that when the intensity of the storyline increases, the visuals must support and complement that increase in intensity --- everything needs to work together to reinforce the story. This reminds me of drumming and playing in a band  -- many of my teachers have related the importance of playing in support of the song/music...it's not about you, your flashy chops, individual voice etc., it's about the music and the cumulative end result. Anyway, here is one image I made for this class...one of the mistakes I made here is having a composition of 2 equal pieces (on opposite sides of the page), instead of primary, secondary and tertiary info, where there is a clear hierarchy (need this so the audience knows where to look and what the ONE key idea is, emphasizing 'one' because there should be a single storytelling idea per shot). It also would be improved by using the composition rule,  'rule of thirds'. Other things to consider when drawing the shot: What is the POI (point of interest) ?, Where are we (this can be tertiary info)? Strive for clarity in posing (the pose of a character can convey volumes, think 'iconic poses', like Rodin's"The Thinker"). Don't make the audience decipher what is happening.

Life Drawings

Life Drawing

Happy February 1st! I just realized it is one minute past midnight and we are into a new day here on the West Coast. Here are some figure drawing sketches from my "Drawing for Animation" class. I tried to exaggerate the pose and emphasize the gesture. I love drawing from the model!

Haida Story: Story Scenes

Story Scene Thumbnails

Here are the storyboard ideas from my final project for "Drawing for Animation" class at CCA. The story takes place on Queen Charlotte Island, British Columbia (the island now called 'Haida Gwaii'), and features a Haida family -- a father (Elan) and two daughters (Enola and Dena). The youngest daughter, Dena,  is a shaman; she is endowed with special powers to heal others and commune with animals. She is seen here receiving a baby puffin. A kayaker is lost at sea in a storm, and the Haida family help rescue him from certain death. Hopefully I will develop the story more, and possibly create an animated short or animatic of the story.  The story was inspired by my 2008 trip to Alaska. Stay tuned for updates, please!

Gesture Drawings

These are 2-5 minute sketches from my "Drawing for Animation" class at CCA, Fall 2011. Featuring student models in rented costumes.

Villa Celle

Last year I had the opportunity to spend several days visiting the contemporary sculpture collection on the grounds of Villa Celle (Fattoria di Celle) near Pistoia. Each of the thirty sculptors was invited to choose a place in this Tuscan hillscape, as a point of departure for his or her work, work to be conceived on site. The sculptures themselves were on the scale of elements in the landscape--some discreetly nestled in a grove of trees, others monumental, bright and sprawling, on hillsides or along riverbeds.  Many seemed part of  nature, reflecting the shadows, light ,color and weight of their natural counterparts. An awesome twenty-meter concrete shard, now moss-covered, sprung from a group of oaks at the side of the path. One is not sure of its meaning, yet it evokes thoughts, and calls attention to the surrounding natural features and adds to their significance.  These sculptures were not only pieces to be admired or pondered, but in many cases were functional architectures with implications for use. The themes were “architecture as instrument, water architectures, hills and amphitheatres, Zen gardens, the architecture of ruins.” From a marriage of site and construct, from a symbiosis of muse and artist, grew the seed for a composite architectural work, that would become nature’s own.

Degas as an animation influence

Edgar Degas' artistic methods, expression, and subject matter align his work and process closely with that of contemporary 2D animators. Primarily interested in painting figurative scenes that capture contemporary Parisian life, Degas kept notebooks containing studies of hands, architectural features, mise-en-scene, ballet dancers, horses etc. that he would use as references for his paintings. According to art historian Linda Bolton, Degas "believed in committing a subject to memory through repeated drawing", a technique that enabled him to complete works through informed imagination rather than direct observation; he was also one of the first artists to use a camera, which he used to obtain reference imagery. In studying his use of pastel and pastel over gouache, animators can learn mixed media techniques that convey expression of line and movement. Beyond technique, Degas' innovative work dissolved boundaries for what is considered "appropriate" subject matter in art, and works like "After the Bath" and "At the Terrace of the Cafe" show that even the quotidian can be fascinating and emotive.

Thoughts on the work of Tyrus Wong, Disney artist

Chinese-American painter, visual development artist, and illustrator, Tyrus Wong created a novel visual style for Disney's stunning animated feature film, Bambi. The contribution of his unique artistic vision led directly to the success of the film, and helped expand the perception of animation as an art form. His watercolors and pastels combine an impressionistic vision of nature with traditional Chinese landscape painting and compositional techniques. I believe Wong's artwork style is effective when applied to feature film background painting because it elicits the sensation of being in a specific environment (in this case the forest setting of Bambi) without forcing a detailed realism. This approach works well because it reflects, to some degree, an accurate representation of our own visual experience - as we scan our environment some areas are always out-of-focus due to depth-of-field and peripheral vision constraints. If detail is minimized, and the volumes reduced to an abstraction of light and shadow, the artist can achieve a look of ambiguity and mystery that is so attractive to the human mind.

The influence of filmmaker/animator Miyazaki

Japanese director and animator Hayao Miyazaki's films are inspiring illustrators and animators around the world. The importance of Miyazaki's animation lies in his unparalleled ability to capture all the ephemeral qualities of life--whether illustrating the subtle atmospheric shift of fog rolling into a bay, or a heroine's transformation in a moment of discovery and delight.  In a Studio Ghibli film, the action pauses to allow for delicate moments of wonder and grace. These scenes are conveyed with beauty-- brilliant colors, unique perspectives, perfectly framed compositions and special dynamic effects, all contributing to a sense of drama. The broad themes of his films reflect a concern for the environment (films often include illustrations of man-made pollution and its effects), the tension between man and nature, discovery and transformation of the human spirit. Masterfully creating imaginary worlds, Miyazaki invites the viewer to share in the excitement of life's myriad possibilities. Perhaps Miyazaki's most important contribution to society is one that concerns the environment. Beyond the superb technical and artistic execution of the animation production, a Miyazaki film helps viewers, many of whom are children, appreciate our planet's gifts and foster a sense of responsibility for preserving its fragile natural resources.