DGA130-2D Background

This is inspired by the script for the 2D background project of "A path ran past the tree and along the water's edge and disappeared into the background. Noelle looked at the bicycle and thought about Geoffrey and how as a boy he had gone to look for his father long ago. She started to cry as she thought about it. She could only hope that he had found a heavenly father and was all right and at peace."

Draw and paint trees and foliage in your artist’s style, exploring atmospheric perspective. Do 5 drawings or paintings.

DGA130-2D Background

DGA130-2D Background- Artist Research Representation (Nancy Davidson)

DGA130-2D Background Part 1 of the brief (task 3)

Source and research (imitate) an artist/illustrator who paints in a ‘naturalistic’ or ‘representational’ way to adapt for the environment of your final background shot.

The two larger pictures are my transcriptions and artist studies of Nancy Davidson's style pieces I wanted to gain a feel of her use of colour and style in terms of mood and shape and texture amongst her nature orientated landscapes before I created responses to her style using my own collected Photographs.

These are some woodland/countryside original paintings I created in response to Nancy Davidson's landscape style using acrylic on canvas board

DGA130-2D Background Part 1 of the brief (task 1)-5 Background Animation Drawings/Black and White Tonal Explorations

DGA130-2D Background Part 1 of the brief (task 1)




Make abstract ‘tonal explorations’ of at least 5 animation backgrounds from the animation backgrounds blog: http://animationbackgrounds.blogspot.co.uk
Here is a scanned collage of the tonal drawing explorations I drew from the wild west narrative and the backgrounds from The Jungle Book. I used a range of H and B pencils to create these sketches, overall I am happy with the tone and texture but I feel some of the proportions could be adjusted in terms of the intricate detail such as the leaves/the donkey.


Tutor feedback: The foreground could be lightened to create an accurate representation of the distance between the horizon and Subject matter amongst the horizon.

Title Sequence Showreel Contribution & My groups Sci-fi Finished title sequence

These two videos consist is my title sequence showreel and groups finished title sequence

DGA130 Title Sequence Evaluation (in Text Form-without scanned image work prep)

At the beginning of this project I met up with my group consisting of : Kuan, Noah and Jess. We discussed concepts in the library of how we would interweave our contributions/animated styles within the project.

After a few discussions of concept ideas such as apocalyptic themes of sci-fi research of pre 1940s sci-fi films such as the old films and magazines including of "Astounding" and "Metropolis". We then agreed we wanted the tilte sequence to represent a book the way we would transition from one scene to another, there would be a pair of hands move the book onto the camera's birds eye view perspective.

We then agreed the book would be at centre stage, the hands would open the book and the page would fade to the next image of concept or animation and the next page would come to life.

Our group felt this would be a good way of expressing imagination of a traditional interpretation of traditional sci-fi.

We also agreed we wanted all our contributions to the project to be in black and white so there would be a constant theme of style. After this group meeting we agreed to do our own personal research and show our storyboards at the next meeting.

I started off with gathering a number of book/movie images to put into a mood-board to inspire my association of themes in terms of typography and shapes within the graphics.

I then selected which posters I wanted to illustrate. I felt drawing some of the concepts would allow me to gain an idea of what style my title sequence concept would appear like in terms of line work and how I would respond to them in terms of colour.

The concepts I took inspiration from was the "green helmet/alien type poster from one of the metropolis covers combined with an image of Saturn from astounding and a clock like women again from a metropolis cover. The next illustration was an illustration of a red alien women with claw like hands from the cover of "The astounding she monster" cover. Finally I then then illustrated my own interpretation of "The Billionaire fantasia" cover.

The way I created all these illustrations was by drawing a rough outimes and then painting in the colour with watercolour paint. Once the paint dried I drew on the outlines. The next stage was another group meeting. Kuan had created in animatic which included a number of scifi concepts we had discussed. For example, a rocket taking off, an alien apocalypse and Frankenstein. Each of us watched the animatic and agreed which parts of the animatic. After the filming of the live action book opening we set on our individual projects. We decided our animations would be 7 seconds each. I agreed to do the Frankenstein animation.

To prepare for my animation I created research page of films where Doctor Frankenstein reanimates Frankenstein the monster. I also found some quirky cartoon versions of a mad scientist and the monster Frankenstein.  After watching scenes from youtube of Frankenstein the monster coming to life I created a photography storyboard using myself as reference for the two characters. I created 5 keyframe scenes and used them for rough sketches for compositions of limbs and hands. But for the animation I replaced the faces with the cartoon of Frankenstein within the sketches. I also adjusted the mouth and eyes on Doctor Frankenstein.

 The rough sketches were for a rough idea of how the movement would appear. After I finished the sketches I then imported them into Photoshop I drew the outlines of the first scene reference and separated them into a separate folder. Afterward I then added colouring. For each scene there was a scene folder 1,2,3,4,5 organized. Mid way through scene 3 I added a texture background of a warehouse to see the general aestehetic would appear.


The bottom layer was a folder called construction lines and I’d trace over them with scene 1,2,3,4 etc. After creating each scene outline I would then add the colour and finally editing them to the same percentage of saturation (grayscale). I decided to colour them in as I found it to interpret the tone better. After the of frames I handed my contribution to Kuan who was to edit everyone’s parts together.

Successes/Improvements of this project. I found overall my contribution aesthetically pleasing in terms of a more graphical textured, line and shape puppet animation rather than fluent movement. Some of the proportions went a bit out of shape when the arms started to wave in “being brought to life”. However, I was fond of the quirky aesthetic.


 To improve the movement I would add in more keyframes for a solid/more fluent movement. Furthermore, I feel I could have contributed with painting digital stary backgrounds/typography/creating s digital storyboards/stopmotion typography if given more time as I had some ideas. However, overall I felt the group dynamic was good, the group was open minded to each others ideas and fond of the genre of title and concepts, everyone focussed on their own concept and tried to interweave the ideas for one style so it was clear it was a group collaboration. 

DGA130-2D background (Aaron Blaise Artist study Digital drawing Study-Experiments with colour,textures backgrounds)

  

DGA130-Qing Han Artist Research Moodboard for 2D Background Project

I really love this artist's style, therefore I am going to try to use their use of brush stroke/texture to inspire my tester digital samples and use of colour to create my scenes

DGA130-Wild West 3D Project Sketchbook Prep work

DGA140-Title Sequence Evaluation and Sketchbook preparation

At the beginning of this project I met up with my group consisting of : Kuan, Noah and Jess. We discussed concepts in the library of how we would interweave our contributions/animated styles within the project.

After a few discussions of concept ideas such as apocalyptic themes of sci-fi research of pre 1940s sci-fi films such as the old films and magazines including of "Astounding" and "Metropolis". We then agreed we wanted the tilte sequence to represent a book the way we would transition from one scene to another, there would be a pair of hands move the book onto the camera's birds eye view perspective.

We then agreed the book would be at centre stage, the hands would open the book and the page would fade to the next image of concept or animation and the next page would come to life.

Our group felt this would be a good way of expressing imagination of a traditional interpretation of traditional sci-fi.

We also agreed we wanted all our contributions to the project to be in black and white so there would be a constant theme of style. After this group meeting we agreed to do our own personal research and show our storyboards at the next meeting. I started off with gathering a number of book/movie images to put into a mood-board to inspire my association of themes in terms of typography and shapes within the graphics. I then selected which posters I wanted to illustrate. I felt drawing some of the concepts would allow me to gain an idea of what style my title sequence concept would appear like in terms of line work and how I would respond to them in terms of colour.

The concepts I took inspiration from was the "green helmet/alien type poster from one of the metropolis covers combined with an image of Saturn from astounding and a clock like women again from a metropolis cover. The next illustration was an illustration of a red alien women with claw like hands from the cover of "The astounding she monster" cover. Finally I then then illustrated my own interpretation of "The Billionaire fantasia" cover. The way I created all these illustrations was by drawing a rough outimes and then painting in the colour with watercolour paint. Once the paint dried I drew on the outlines.

I replaced the faces with the cartoon of Frankenstein within the sketches. I also adjusted the mouth and eyes on Doctor Frankenstein. The rough sketches were for a rough idea of how the movement would appear. After I finished the sketches I then imported them into Photoshop I drew the outlines of the first scene reference and separated them into a separate folder. Afterward I then added colouring. For each scene there was a scene folder 1,2,3,4,5 organized. Mid way through scene 3 I added a texture background of a warehouse to see the general aestehetic would appear.  

The bottom layer was a folder called construction lines and I’d trace over them with scene 1,2,3,4 etc. After creating each scene outline I would then add the colour and finally editing them to the same percentage of saturation (grayscale). I decided to colour them in as I found it to interpret the tone better. After the of frames I handed my contribution to Kuan who was to edit everyone’s parts together.

The next stage was another group meeting. Kuan had created in animatic which included a number of scifi concepts we had discussed. For example, a rocket taking off, an alien apocalypse and Frankenstein. Each of us watched the animatic and agreed which parts of the animatic. After the filming of the live action book opening we set on our individual projects. We decided our animations would be 7 seconds each. I agreed to do the Frankenstein animation. To prepare for my animation I created research page of films where Doctor Frankenstein reanimates Frankenstein the monster. I also found some quirky cartoon versions of a mad scientist and the monster Frankenstein.

After I finished the sketches I then imported them into Photoshop I drew the outlines of the first scene reference and separated them into a separate folder. Afterward I then added colouring. For each scene there was a scene folder 1,2,3,4,5 organized. Mid way through scene 3 I added a texture background of a warehouse to see the general aestehetic would appear.  The bottom layer was a folder called construction lines and I’d trace over them with scene 1,2,3,4 etc. After creating each scene outline I would then add the colour and finally editing them to the same percentage of saturation (grayscale). I decided to colour them in as I found it to interpret the tone better. After the of frames I handed my contribution to Kuan who was to edit everyone’s parts together.

Successes/Improvements of this project. I found overall my contribution aesthetically pleasing in terms of a more graphical textured, line and shape puppet animation rather than fluent movement. Some of the proportions went a bit out of shape when the arms started to wave in “being brought to life”. However, I was fond of the quirky aesthetic. To improve the movement I would add in more keyframes for a solid/more fluent movement. Furthermore, I feel I could have contributed with painting digital stary backgrounds/typography/creating s digital storyboards/stopmotion typography if given more time as I had some ideas. However, overall I felt the group dynamic was good, the group was open minded to each others ideas and fond of the genre of title and concepts, everyone focussed on their own concept and tried to interweave the ideas for one style so it was clear it was a group collaboration. 

DGA140-Title Sequence Frankenstein

DGA130-Experimental Film Evaluation

The first part to planning my experimental film was gathering a number of sources to what an experimental film was in terms of themes that are usually found within an experimental film and its purpose.

After gathering these sources I found a list of artists's definitions of what an experimental film was. I found one source particularly helpful, as it stated usually an experimental film's purpose is to provoke change within society through the expressive method. Furthermore, Isabella Rossellini was said to explain the film is not there to promote profit but for pure enjoyment.

After watching further abstract clips which included a range of abstract shapes/silhouettes/psychological dysmorphic images I further developed my research by researching the history of experimental film.

The previous source further stated experimental films components consist of expression through colour/shapes/sizes and movement through image. Wikipedia goes on to say due to the psychological themes experimental film has provoked influence over the advertising industry.

The next part was gathering a list of of traditional experimental film makers.

Another interesting fact about experimental film is that some film makers use them as a source of reference for greater solid/refined films.

The next part of my research was planning vague ideas/notes. For example splitting parts of what I wanted to express within myself included to intertwine the key parts required on the experimental film brief.

I decided I wanted to express each key feature of form of expression with colour and typography using a sketch/doodle label. I also wrote a script of what I like and what parts of things I like to include so I didn’t over complicate the film (as the film was required to be 1 minute and 30 minutes long and not a profound life story)

The next stage of research was a further developed script where I split up parts into 1)introduction and where I live 2) my hoopes and aspirations for the future 3) my hobbies and likes

4) My dislikes 5) How I see myself

All components included role models that inspire me such as Tim Burton or music artists. My likes and dislikes included food/artist platforms or lifestyle choices. How I saw myself, I wanted to include an element of philosophy and outlook on life. I printed this script off with boxes as I originally planned to include thumbnails.

But later on I decided I didn’t need to draw a sketch for each component as time was limited. I then set out rough vague concepts/notes of ideas to express the concepts in the scripts. I then recorded the scrip read out and realized it was too long and proceeded to make a simplified script of what components were most important to me . After planning this simplified script I did some more artist film/filmmakers research.

The artist I had in mind were more modern contemporary film makers who had created what I thought to believe refreshingly personal films about themselves and their hometowns/ out look on life. I compared Savanna’s Brown Ohio and loving like an existentialist to the mad men scene of nostalgia entitled Carousel. After this artist research I decided I wanted to include a part of my friends in the film to bring that sense of home. Furthermore, created a brief philosophy of how I wanted to view myself. The next part was having a look at an artist named Rebecca Brown’s Clone Photography. I wanted to reincorporate her use of colour and movement in the film amongst this mood clash of identity.

After this artist research and annotation I decided I wanted to include the soundtrack of Melanie Martinze’s “Dollhouse”. This was to express my expression of expectation of happiness or perfection due to the stigma of past mental health issues. Furthermore, a sense of guilt of a past believer and now an agnostic. The soundtrack was an expression of lack of freedom to a type of mistaught guilt I had found within religion. If I were to improve my film I would edit the photography to the right ratio so there wasn’t a sense of amateur perspective created by the blackbars. However, I feel they bring a sense of homeliness. Furthermore I feel I would incorporate more aspects of myself within my original script however, I am happy with the simplicity of the film as I feel the 2D doodley Savannah Brow inspired doodles create a charming, guilty aspect to the film to take away the sinister dark colour/music sound themes.

How I created my photographs was the sure of Photoshop the woodland photography was done on one afternoon using my phone and mini-tripod. The editing of the photos with illustrations took about 3 days and the editing of the film in terms of timing/editing and sound.

DGA140 Title Sequence Project-Pre-1930s Sci-fi

Doctor Frankenstein reanimating a corpse moodboard/referance photos for 2D animation

Draft sketch- experimenting with angles, colour, tone. Improvements to be made-adjust line work with shoulder, make sure Doctor Frankenstein is behind the table could add more texture. Angle of the table doesn't look quite right.

DGA130 Digital Nature/Tree Artist for 2D Background/Layout project

Here are three artists I have researched for my 2D Background Layout project, I have chosen Aaron Blaise (The well re-known Disney animator), Andree Wallen and Nick Diggigaris. I have decided to create a mood board for each of their work to get an overview of their styles. I have chosen these three artists as I love atmosphere they depict in their work. Aaron Blaise has a wonderful free-like mood to his work in the bright colours. Andree Wallen more of a concept/game-like fantasy atmosphere (When I say game-like fantasy mood, I mean I can imagine it being used in a an mysterious apocalypse sort of narrative). Nick Digigaris's work reminds me of JR Tolkein's work in terms of the woodlike houses, wizards, knight and old scholar characters amongst his work. My aim is to use each of their style to combine to find my own but while capturing their enchanting textures, shading and colour amongst my own experimental creations.

(The photos at the top are the digital mood board and the pictures below are the images I have in my sketchbook layout)