Saturday, May 18, 2013

I am busy! For now go to where I posted our freshest short film! nom nom nom!

Wednesday, December 12, 2012

An autoportrait for a class photo - I must say I again experimented quite a bit.

Tuesday, December 11, 2012

Flying Bird Rough

Sorry for not posing too much of what we are doing at The Animation Workshop.
Somehow I got really ambitious here, and I want to improve every piece I have delivered on the deadlines.
Deadlines are deadlines, but a showreel is a completely different thing, and for the purposes of that one I really want to push! Hmm but maybe I will post some work in progress? hmm...
Anyways, I will give you a sneak peak on the flying bird exercise.
Took a a few hours ( I think over all more less 6h) Soft: TV Paint. Used the first time! Like a virgin! Yay!

Friday, November 23, 2012

Inbetweening Class

We got keyframes, time charts, and were supposed to inbetween the scene. This simple exercise helped me to understand better the process of inbetweening and even spacing.

Thursday, November 8, 2012

I was in a need for experiments, and learning something new.
Tribute to my friendship with Juliette. :-)

Monday, November 5, 2012

Drawing for Animation Part 2

I wanna share some Mickey work with you! Aaand I have to tell you: I am learning so much!
It is very fascinating that once you get your hands on 2D animation with commitment and attention, when you start figuring out the principles and aknowledge differences they make, you will immediately observe a great change in the quality of work you do, and in the progress you made in a short period of time.
I began to really notice that the idea is to work smarter, not harder.

Probably the most important thing in animation, besides all the principles (that's what we all know, but aren't able to use properly anyway ;-)) is a question: does your message communicate? Does it communicate in just 3 to 5 key drawings? Mine, with my first key drawings didn't communicate at all, even though I was so proud of them, thinkig, 'this is the best Mickey I drew in my life, looks beautiful!'
But if it doesn't communicate the story I want to tell, then it is only worth throwing it to the paper(!)garbage ( reduce, reuse, recycle ;-)).

Animation is a tool of communication (very powerful, especially if you recall some propaganda animation - Nazi Donald Duck, that's some crazy shit, btw)
So clear communication is much more important than a beautiful drawing - for that there is a clean up pass!

We focused on creating key frames that would communicate.
The story was Mickey Mouse being very focused trying to do magic, then it would fail in some way, and Mickey was to be disappointed. We had a frame limit of 150 fr.
The rest was up to us. In my story, I chose Mickey to be very distracted by his hat, which was supposed to be too big for his had, and falling over his eyes. I imagined Mickey to try to lift his hat and change his position so that he could both: do the magic, and keep the hat on his had. Some of my classmates chose Mickey to do magic in a more subtle way, therefore having less movement and more gentle gestures.I complicated my story, because I had a really great ambition ror this task to learn as much as possible, break my fears, and gain more confidence. I didn't care that I would fail all the way, I was super motivated just to do it, because after all we learn a great deal of things from our mistakes, and we remember them! :)

My first keys weren't readable if you didn't know the story behind it. Some people asked, if he was surprised, or scratching his head or giving himself a facepalm (would be awesome to animate that well, btw)

Later I learned not to get so attached to my drawings and I was just experimenting, exaggerating, and being expressive.

Later I still modified my key drawings, and I am more happy with the readability.

The animation is still missing some breakdowns, and of course in-betweens, but that's next week. I could probably still play with timing a little bit, before I start inbetweening. Maybe my story still doesn't completely communicate right now, without all the breakdowns and inbetweens, but if I showed you just my keys, I am sure you would get it. Hmmm.. yeah, maybe that's what I am gonna do! But later. Today I have to inbetween Eisling from The Secret of Kells ;-))

So, the moral of this story is:

Nah, ok, the real moral of THIS story is:
Have clear key frames that communicate the story. If you start moving on with your animation without having clear keyframes - you are screwing it up from the very beginning.