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How to Animate Camera Movement | In-Depth Flash Tutorial

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Anime Fight Scene Tutorial | Poses With Perspective

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How To Animate 3D Camera Movement in 2D (perspective animation)

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How to Animate an Action Scene | Location Design

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Padlet purpose:
This padlet provides links to some aspects of visual dynamics that can help to make my animations more powerful.

Contents

Lines of Communication: global artist styles

Perspective and viewpoint: approaches in animation

'Eye Trace' and 'grammar of the shot': use of view point and perspective in video and film

To open the padlet:
Click on the square with arrow on the top right below.

To open the 'paddles':
Click on the paddle title or image, whichever shows a ‘hand’.
If no hand shows, click on three dots top right and expand.

To close, check whether or not the ‘paddle’ has opened in a separate window on your browser. Closing that will bring you back to the overview padlet.

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Animation Approaches, Styles and Software

Visual Storytelling

Animation Principles and Process

Visual Dynamics

Global animation inspiration

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Flip Through - Directing the Story by Francis Glebas

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TRANSCRIPT: Looking at it as analytically as possible, something that is very hard to analyse, I came up with six criteria. And what... if you could say what is a perfect cut, which is dangerous territory, it would look at each of the criteria and say: yes, it did that, and yes it did that, and it did that, and it did that. And those six criteria were at the top the most difficult to quantify, which is that, that transition from one shot to the next made you feel a certain way, it had an emotion with it, there was an emotional value to it, and that emotion was the correct one for that place in the film.

The next one, one step down in the ladder was: story. Did that cut help you to understand the story, why... what was being done and why was it being done? So this in a way gets back to our... the three levels of the brain, because the third one is rhythm: did it happen at the right place rhythmically. And basically, the music of the cut. If you think of editing as visual music, did that new shot come in at the right moment in the same way that the clarinet comes in at the right, exactly the right moment in that clarinet concerto, not a millisecond before or after, but right there. And, so these three levels of emotion and story, which is to say logic, and rhythm, which is a kind of instinctual thing, echo these three different layers of the brain.

The fourth level was: where is the eye of the audience likely to be looking? And if you divide the frame up into as simple as possible, quadrants, upper left, upper right, lower left, lower right, and then maybe the centre. So five things. Are they looking there or there or there or there? Because as a general rule, at the moment you cut, it's good to take into account, what is there in the new shot because that's where their eye will land. I'm looking there which is the point of the gun. At the moment of the cut, what do I see there? Sometimes you want something definitely to be there, other times you want it just to be blank so that the eye then looks for what the other focus of interest was. It all depends, but you have to take into consideration what, where the focus of the eye is because people are not looking at the whole frame, they are choosing to look in various areas, particularly in cinema as opposed to television. Historically, television people were further from the screen and the screen was smaller. In cinema, the screen was bigger and you're kind of looking around; it's more of a mural. Anyway, take into consideration where's the audience looking and how is their focus of attention carried across the moment of the cut.

The fifth thing was questions of the transposition of three dimensions into two. This is the so-called 180 degree rule, which is: are people, are we convinced that person A is looking at person B, and vice versa if they're having a conversation? And if you're cutting from one angle to another, the eye line of these two people having a conversation that is edited needs to intersect in a way that convinces us that they are in fact looking at each other even though they may have been two shots shot three months apart, and that the other actor wasn't actually there at the time of shooting, but it works, it's part of the chemistry of film montage that it works. So, does the cut take this into consideration the two-dimensional reality of the screen?

And then, the last one is the three-dimensional reality of the physical space that's being talked about. So, if the person gets out of the car to go into the house do they open the door to the car and walk up the path, open the door, and go into the house? If you did that, then the continuity of that space is maintained, and back in the early days of film, 1910, 1920, 1930, this was, people tried to follow this rule, because they were afraid that if they didn't follow the rule the audience would become upset, or confused: wait a minute, how did he get there, we didn't see him do that.

So, these are six things that you try to make an effort, and in shooting the film, the crew shooting the film, also it has to have these things in mind when they're doing it. Exactly how it's going to work out, nobody is 100% sure, but you are thinking about these things at the time of shooting.

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Web of Stories - Life Stories of Remarkable People

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Walter Murch - The six criteria of film editing (293/320)

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ABBOTT, H. P. 2008. The Cambridge Introduction to Narrative, Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, Sao Paulo, Delhi, Cambridge University Press.

BACHER, H. 2013. Dream Worlds: Production Design for Animation, Burlington MA and Abington Oxon, Focal Press.

BARTHES, R. 1977. Image Music Text, London, Fontana Press.

BLAZER, L. 2016. Animated Storytelling: Simple Steps for Creating Animation and Motion Graphics, Peachpit Press.

COBLEY, P. 2001. Narrative, London and New York, Routledge.

GLEBAS, F. 2018. Directing the Story: professional storytelling and storyboarding techniques for live action and animation, London and New York, Routledge.

LINDA SEGER 1992. The Art of Adaptation: Turning Fact and Fiction into Film, New York, Henry Holt and Company.

MADDEN, M. 2006. 99 Ways to Tell a Story: Exercises in Style, London, Jonathan Cape.

NANCY LAMB 2008. The Art and Craft of Storytelling: A Comprehensive Guide to Classic Writing Techniques, Cincinnati, Ohio, Writers Digest Books.

OPEN COLLEGE OF THE ARTS 2015. Commenting on Artists, Barnsley, UK, Open College of the Arts.

QUENEAU, R. 1958. Exercises in Style, London, Alma Classics Ltd.

SANDLER, M. 2018. Visual Storytelling: how to speak to your audience without saying a word, Studio City, CA, Michael Wiese Productions.

SWANSON, M. & BEHR, R. 2013. Ten Thousand Stories: An ever-changing tale of tragic happenings, San Francisco, Chronicle Books.

WALTER MURCH 2001. In the Blink of an Eye: A perspective on film editing, Los Angeles, Silman-James Press.

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How to Increase Intensity and Power in Animation

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All animation is an exercise in applying the principle of ‘eye trace’. This is a principle of film- making in general but one that is essential for the illusion of animated movement to work.

‘In The Blink of an Eye’ by Walter Murch, (1995) sets out the principle that the viewer’s eyes will focus on a particular position on the screen and editors exploit this to allow less jarring edit when one shot follows another by ensuring that the action or image is located in the same part of the screen.

This is also known as ‘registration’ in animation. A keen awareness of eye-trace allows the animator to play with the audience’s expectations and surprise them. The registration protocol was developed for hand-drawn animation to ensure that each subsequent drawing uses the same co-ordinates so that the illusion of movement between frames is not interrupted. In other animation the registration is looser and is intended as such to draw attention to the variation that ‘eye trace’ allows.

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Jean-Michel Basquiat (1960-1988) was an African-American artist whose spray-painted gestural expressive marks and scribbled words, referenced everything from his Haitian and Puerto Rican heritage, to political issues, pop-culture icons, and Biblical verse. “If you wanna talk about influence, man, then you’ve got to realize that influence is not influence, it’s simply someone’s idea going through my new mind.” At only 27, his troubles with fame and drug addiction led to his tragic death from a heroin overdose on August 12, 1988 in New York, NY.

See: http://www.artnet.com/artists/jean-michel-basquiat/

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Jean Michel Basquiat Words Are All We Have at NAHMAD CONTEMPORARY

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Tracey Emin’s drawings, back-traced monoprints and animations about sexuality and violence have a very vulnerable line that reflects their subject matter.

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Yoshitomo Nara is a Japanese artist best known for his paintings of children and animals that appear simultaneously sweet and sinister, as seen in his work Do Not Disturb! (1996). He explores themes of isolation, rebellion, and spirituality through printmaking, painting, sculpture, ceramics, and installations.

For more images see:

Yoshimoto Nara Google Images

http://www.artnet.com/artists/yoshitomo-nara/

https://images.app.goo.gl/XPAyenNtaQUz4Hbq6

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An Iranian-born French graphic novelist, cartoonist, illustrator, film director, and children’s book author. She is best known for her graphic novel 'Persepolis' that was subsequently converted into an animation.

Biography: https://www.britannica.com/biography/Marjane-Satrapi

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Sara Fanelli is an Italian British artist and illustrator, best known for her children’s picture books.

She combines drawing and painting with cutouts and collage to create humorous expressive images. Although she uses text in different expressive handwritten styles, her visual approach could be adapted for animation without text.

For more detail see her website:
http://www.sarafanelli.com

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Quentin Blake is a British illustrator who is particularly well-known for his illustrations of children’s books. His quirky line drawings over whimsical watercolour wash have a childlike nostalgia and can make even dark themes seem lighter and humorous.

He has authored textless books like ‘Clown’ and some of his work has been animated.

For more details see his website:

https://www.quentinblake.com

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Stik is a British graffiti artist based in London known for painting large stick figures as street art, often with a very political message about social inequality, homelessness and gentrification of low-income areas..

What interests me is the way in which he manages to get a wide range of expressions and stories in his murals simply through varying the size and position of a few dots in a circle, together with rectagle body and length and angle of the stick legs.

For more details see:

http://stik.org

https://www.theguardian.com/cities/video/2016/oct/06/stik-shoreditch-new-mural-artist-london-video

Book: Stik. Century, 2015. ISBN 978-1780893334. https://www.foyles.co.uk/witem/art-fashion-photography/stik,stik-9781780893334

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Graffiti artist Stik's life painting on the streets - BBC News

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Lines of communication: global artist styles

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Lines of communication: global artist styles

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Much of the power of animation comes from the drawing style and how far the type of line supports the emotional and narrative content.

Clean outlines lines for manipulation of rigged characters have become the norm. They are easier to read, clearly separating characters from backgrounds and are easier and faster to replicate as part of animation studio production lines.

Hand-drawn lines in natural media, or digital lines that attempt to replicate natural media, convey emotion and feeling.

to recall the reality within the drawing rather than thinking the drawings themselves are real
Isao Takahata

There are many different line styles that can be used expressively: thick lines, thin lines, variable width lines. Choices to be made about the colour of lines and how far they affect colours of shapes. Different types of line can be used for different characters. Or can change with a character’s emotions.

It is also possible to omit lines all together to give greater freedom with palettes. But this requires attention to tonal contrast and negative space so that figures continue to be readable against backgrounds.

For more videos from these artists see:
Link to 'Lines of Communication' blog post

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Where to Draw the Line | Lining in Animation