today dreams

today i realized the power of dreams.
it is important to dream about a project before you start refineing it.
dream and imagine and have fun before you get into the nitty gritties.
i learned that from a concept video on mermaids.

i am going to build a mermaid suite out of eskimo coolers from coles.
fun fun!
they will help me to dream when i am awake.
i should remember a toilet function!

i will also work on my drawings for our project.
we will meet one of two more times before we go to print.
i need to do some environments which i love, so should be fun.

off to write my essay on the history of erotic animation.

p.s. biggest spider i ever seen in my room last night. woa. sooooo big!

otherblog/anasbaby

our other blog for this class is: http://grimmsfearednothing.blogspot.com/
I'm going to try and touch on everything by next class, everything for the grimms fairy tale that we're doing.
oh right. dear diary doesn't know what i'm talking about.
um.
we're doing the kings son who fearned nothing for my pre-production class.
you know the one...
and i am going to shoot the stop-motion thing for genre if i could ever book that darn room for frigs'sake!
it's gonna be sweet.
things i like:
"ring of fire" by andreas hykade
and simone eisler
and Mona Ryder
i am going to do some storyboarding now.
and then draw some fairy tale stuff - wish i had a cynteg or what-ever it's called!
i will just draw in my sketchbook and scan in as finished pieces i guess.
rock on.

artists i dig

wildwickedwomenartists:

cathy de monchaux

(haven't found a homepage but heres one that shows some of her work)http://www.artnet.com/artist/11978/cathy-de-monchaux.html

louise bourgeois
(same as above)
http://www.artnet.com/artist/2868/louise-bourgeois.html

high fives?

there's a lot of blogging to catch up with.
i've got notes so at least the class bit i can do.
i have a huge pile of books on my desk.
aubrey beardsley
hans belmer
doll making and collecting
the female nude: art and obscenity
hardcore crafts
the feminine, gender and spirituality
and more

all has to do with the dolls.
i've bought some for cheap at an opshop. we're going to stop-motion animate them for my genre and the moving image class. they're going to give birth to more dolls through their chests. going to have lots of fiber and be dark but also beautiful. the idea is childrens shorts.

cutting into the dolls is going to be creepy!

i will catch up on all the blogging tonight.

artliens

two artists to check out:
tracy moffat
quintan blake

walk

peace

Layout

Proper Planning Is Essential!
-"Re-Use" shots much like you would if you were filming and taking all the shots while the scene is still set-up.
-With all story boards put them up on the wall
_Everyone involved in production should have a copy of the storyboard
-Go through and number the sequences (scenes)
-pin them on the wall
-go through and number your backgrounds and re-uses
-field guide: 4x3 TV, 16x9 widescreen
In layout we don't only design for animation, we also design for composition

-Always be aware of your characters geographical location
-Start with the most complicated/work heavy layouts and save the easy ones for the end of the day when you're tierd.
-When choosing a field keep in mind the detail needed as well as the animation
7-8-9 close ups
10 field: mid-shots
11-16 field: crowd shots
more detail = bigger field grid size
-Every layout needs a cover sheet, one sheet with all the elements (all backgrounds, objects, characters). Cover sheets have all poisitions including camera moves
-When there's a camera move you have to indicate the coordinates.
-Key Backgrounds makes everything easier.
-Draw out one field size bigger in case you need a wider shot

Clean-up: connect and close all lines for digital painting (so it doesn't fill in wrong areas)
When re-drawing a line have your eye ahead of your pencil
-Keep in mind the emotional state of the character at all times!

scccchhhhedual

budgeting my time:
1. read the script (check)
2. Mark up the Script (tonight)
3. Prepare a Script Breakdown (later)
4. Prepare Production Board (start storyboarding Friday)

wow, this time budget sucks. i just want to start drawing now... i just might and call it brainstorming and then get to the protocol soon...

p.s. todays class rocked. i wish i could have pre-production all the time

story-boarding

ah yeah. here's where it get's fun (if it hasn't been already).
story-boarding.
mark used simpsons tutorials which made for many humorous comments.
some points to take home included:
angels in shots are our friends!
show at least three planes to keep the shots interesting.
a "hook-up" establishes where the second shot is going to by having some of it in the first shot (make sense??) use it when two scenes are connected by an action.
editing is violent, cuts are jarring.
180 degree rule: keep characters facing the same direction as your establishing shot.
picture flow: draw a circle around the flow of elements (usualy in the form of a spiral) to clarify the flow of the shot.

i will return to the tutorial and add some more exciting story-boarding information for all those interested. (basicaly for my own good).

Preparation for Design

Script Breakdown

The process starts by talking through the script with the directors and sketching out designs or scenarios. Then a more detailed version in the form of storyboards of paintings can be developed.

Then BUDGET/SCHEDULE the time, money, people and resources needed.

Pre-production planning:
The basic process is to:
1. read the script: so you have an appreciation for the storyling and a good feel for the action. In animation the will involve the director of the production pitching the script to department heads.
2. mark up your script: colour code each function (ie. characters, sound effects, wardrobe etc.)
3. prepare a script breakdown: are done in preparation of Scheduling and Design. Basically information from each scene is recorded on a separate page. Such information as camera shots (shot breakdown), location, description of main action and what is to be designed or storyboarded.
4. prepare your production board
5. schedule your shooting
6. get approvals from all involved
7 budget your time and money

www.imsdb.com

concept design

this makes me excited. very.
first day of class we learnt of concept design, character development, and the research involved in the process.
this is what i came to australia for, the technical education. ohhhh i can't wait.


this post is adapted from Marks lecture, more than anything it will provide for refreshers on those allnighters...
here she goes:

CONCEPT DESIGN:

"A concept artist’s job is to create conceptual artwork that explores the visual possibilities
in a literary property. This exploration of possibilities invests a rare and unprecedented
amount of freedom to the artist, as images are often drawn without the compromise or
restrictions normally associated with film production procedures (that being money or
actors safety) "


A concept artist will conceptualise:
The appearance of the characters and their relationships
• The action’s locale
• A sequence’s mood and colour
• Costume and set designs
• Suggestions for staging of scenes
• Gags
• A production’s overall style

Through these drawings they attempt to “find” the film. To “find’ the film refers to the
artist creating a level of integrity of design throughout a given production.

Integrity or cohesion is achieved through providing the audience with certain
“mechanical” functions of the story on screen.

These “mechanical” functions are as follows:

• A context
• A sense of place
• A sense of time
• A setting

...and the emotional elements of:

• Mood
• Atmosphere

Mechanical Functions

Context:

Character is context. The contexts in which we see a character perform within his
surrounding helps us to identify, or define that character.


A sense of place:

All stories take place somewhere, and the concept artist’s job is to supply information
about that place. Defining locations is the most basic function of concept art. A good
design will often carry subtle extra layers of information called-symbolism.

Concept art will often use symbolic description so as to satisfy the viewer’s expectation
of the narrative. A location often needs only a few visual clues for an audience to
understand what sort of a place is being depicted.

Location designs have two different jobs to do:

• Reflect a character’s emotional state as well as other feelings the film maker
want an audience to have about a location
• Reflect what a viewer expects to see in any object, rather than an exact
description of a particular, unique object. It used general descriptive visual
language to do this.


A sense of time:

A concept design will always convey a sense of the time and although, at times it is the
simplest of “mechanics” to convey, it is none less vitally important in, whether it is:

• The time of day
• Or in which period or time in history a narrative takes place

A sense of time within a design came carry with it symbolic inferences which can be a
powerful tool in depicting a characters emotional state or in fulfilling audience
expectations.

A setting provides a sense of suspension of disbelief.

Any characters need to look as though they belong in the setting that is created for them.

This sense of setting supplies the audience with ideas about the dramatic content of the
film as well. Successful setting will heighten the audience response to any action about to
take place within the narrative.

Emotional Qualities

Mood:

Often, concept designs are coloured with only ‘one emotional’ brushstroke that simply
mirrors the characters emotional state This is called a global approach to the
emotional design of the shot.

However, it is easy to imagine situations where character’s inner state might be in
contrast with the surroundings ). This is called a ‘local mood’, or ‘personal
atmosphere’, which projects the character’s inner state on to part of the design, and can
be used to offer the audience insights into the character’s intimate felling within a shot.

Atmosphere:

Atmosphere is an extra layer of information about a location, which suggests in the
designs about how you might feel about events to taking place there. The quality of
atmosphere can be finely controlled through changes in composition, tonality, colour and
lighting.

Summery: a good design, will at all times, support or enhances the narrative that is
being depicted on screen. Design will not run at odds with it! Remember- keep your
“mechanical” functions in mind at all time....REMEMBER!!!!!!!!!!!!!!


Character Development:

Coming up with an idea is separate to character development. The ideas for characters
should already exist in a locked off script or pitch. The concept designer’s job is to
develop the characters visual presence that is to be shown on screen.

The first step in character development is in creating a plausible history for the character
using the narrative as a springboard. Although when dealing with character concept
design you are narratively placed in the “now” – there are other historical periods in the
life of a character which can inform your design. Namely, the:

• Past
• Present
• Future

There are also a number of other considerations in fleshing out any character design:

• The character’s everyday environment
• The character’s personality
• The character’s personality traits
• The character’s look
• The character’s general physical characteristics
• The Character’s body type(or morpho-type)-
• The character’s proportions
• The character’s makeup
• The characters gender
• The character’s surface
• The character’s colour
• The character’s facial
• The character’s movement


NOTE: Just remember, your narrative informs you character design decisions! AND
ABOVE ALL THIS, ALWAYS STEP OUTSIDE YOUR SAFETY ZONES AND BE
ORIGINAL!!!!!!!!!!!!

Research and its application to concept design:


Research:

In visual storytelling of any form, the parameters of what needs to be researched are
guided by the details and subjects inherent in the narrative. In Animation, as in live-
action film, that narrative usually takes the form of a finalised or shooting script. Scripts
are departmentalised into themes or subject matter to be designed-items that are prevalent
in the narrative. Not everything you want to include in your research is in the script .To
give a real vitality to the sets, props, locations, and characters include design elements
that will help establish a sense brain storming for ideas.

Sources for motion picture research can be diverse. Real life, photos, memories.

Analysing your reference:

Understand the key functional elements, structure and symbols


Research is vital to what you are attempting to depict. You must understand the subjects:

• Structure
• It’s variety
• It’s physical mechanics
• It’s history


Once you’ve amassed a sufficient amount of research, the next step is to soak yourself in
this reference. Familiarise yourself with your subject. Sketch from the images. Study the
photos. Try and figure out the essence of the subject. A subject’s essence can be
categorised by:

• The key functional elements and structure of a subject
• The symbols associated with that subject

Key functional elements and structure

First you study key functional elements-and simultaneously try to understand the
structure of the subject- the arrangement of the key parts to the whole, in relation to each
other. By ‘functional elements’ it is meant the different basic parts of a structure (in the
case of a man made object) that allow people to use it or interact with it. These elements
vary depending on the complexity of the objects. First gain an understanding of the
key functional parts, and how they are arranged in relation to each other.

The reason for this is a certain number of parts must be present together for any
“machine” to function. A door must have hinges to swing, and a handle or door knob to
grasp; if any one of these elements is missing, it can not function properly as a door.

As mentioned earlier, the study of functional elements occurs simultaneously with
understanding of the structure of an object. Structure is the order in which functional
elements (or parts) work together to become an object.

Symbols

Symbols are visual identifiers that have a degree of resonance with the audience-that
people today associate with a given item. This makes a design instantly recognisable
without the need for either spoken or written explanation that will invariably slow down
the ebb and flow of the story. This
recognition or ‘readability’ by an audience is an essential component to a good design.

turn down the heeeeat!

i can't think straight in this heattaeh siht ni thgiarts kniht t'nac i