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.

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.

Risu Model Sheet

Here is a model sheet of my character 'Risu', the Japanese squirrel. Japanese squirrels are very cute...they have tufted ears in the winter time. This is the character I created for my animated short, 'nut case'.

Apple Orchard background updated

I didn't like the look of the acrylic paint so for this iteration, I have added water-based oils.

apple tree background -- in progress

I'm working on this landscape painting of our apple orchard. Lately I have been studying background paintings from animated feature films, and I'm trying to capture some of the styles and techniques I see from artists of that genre. Specific influences are from Disney and Studio Ghibli. I may tone down/tweak the colors with a glaze of some sort. Not sure yet. Still need a lot of work on this one...