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This week I explored the characters from each room, creating character sheets to gain and understanding of how they may react to certain situations. I will also be preparing my final animatic.

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I began by creating a script to help visualise my shots and composition. It also helped me to explore the character's responses to the situation.

Storyline: Figure one is in a realm between realms connected to figure two's room. While figure one is exploring the room and putting their hands through the walls, they don't realise that figure two is on the other side seeing this and freaking out.

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A film by Tiny Inventions (Ru Kuwahata and Max Porter)

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Very subtle, but effective- when wrong socks correct themselves.

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This week, I explored my two rooms and artists/art styles that have influenced some ideas.

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I was trying to play with some different looks and feels here. Notes:
The door of this room could be tall in comparison to the other side that could be an ordinary sized room door?

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I like this idea of the room being distorted. I can play with abnormal angles and maybe make the room look like it's on a slope.

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I enjoy the dark backgrounds of space and then the natural background of earth overlapping it. I also enjoy the contrast in colour on some of these images. This reminds of paper collage work because of the crisp edges and overlapping of the images.

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Photo by Aad Hogendoorn

Humus

Secret Gardens, Tent Rotterdam 2012. In de Luwte van de Tussentijd, 35th Kunsten Festival Watou, Kunst vzw, Belgium 2015.
A site-specific installation with trees' roots.
Ceiling construction, trees' roots, halogen lamps.

The spectacular installation by Sicilian artist Giuseppe Licari presents a fanciful network of tree roots, which seem to transform TENT's central space into a mysterious underworld: the roots project downwards from the ceiling as if the trees are growing above it. The title of the work is 'Humus', referring to the soil layer that is essential for the growth of trees and plants, but which is indeed absent here. The relationship between humankind and nature, growth and decay are central themes in Licari's work, which resonates with an echo of Arte Povera.

Text by Willie Stehouwer.

This project was made possible with the support of CBK - Tent Rotterdam, Mondriaan Fonds Amsterdam and Stichting Stokroos Utrecht.

Photo by Job Janssen & Jan Adriaans

Photo by Job Janssen & Jan Adriaans

Photo by Aad Hogendoorn

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Photo by Aad Hogendoorn Humus Secret Gardens, Tent Rotterdam 2012. In de Luwte van de Tussentijd, 35th Kunsten Festival Watou, Kunst vzw, Belgium 2015. A site-specific installation with trees' roots. Ceiling construction, trees' roots, halogen lamps.

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Abyssal
Atlas Sztuki Gallery of Contemporary Art
Lodz, Poland

Regina Silveira's Depth and 1001 days are two captivating works of installation which fit perfectly into the architecture of the Atlas Sztuki gallery and its surroundings. The windows and arches of the building play a major role in the work as they form a membrane between the interior and exterior of the building. The architectural elements relate space, shadow, and passing time to Silveira's concept of "thresholds" and spacial boundaries.

In 1001 days, a digital sequence of days and nights appears on loop on the surface of several windows in the room gallery. Paradoxically, the passing time of the outside world enters the space through the closed windows. Normal perception is disrupted by the open, boundless space created by the imagery as well as the accompanying sounds of wind, the voices of children, and noises of the night.

In Depth, the second installation of Abyssal, the image created on a flat floor surface functions as a virtual depth, capable of provoking disturbances in spatial perception and viewer discomfort. This large-format, digitally generated image also has a time dimension, a window of memory that recalls the former market which once existed in the building.

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AbyssalAtlas Sztuki Gallery of Contemporary ArtLodz, PolandRegina Silveira's Depth and 1001 days are two captivating works of installation which fit perfectly into the architecture of the Atlas Sztuki gallery and its surroundings. The windows and arches of the building play a major role in the work as they form a membrane between the interior and exterior of the building.

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I enjoy watching Mickey's reactions change and how the animators portrayed his emotions here.

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I want this room to resemble the personality of the character in the room. At the moment I want the character to be a teen. I feel like teen rooms have a lot of personality because teenagers natural want to express themselves. Cluttered, messy rooms were my first thought when thinking about a teenage bedroom.

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Piccolo on instagram: illustrator creates a different perspective on these teen DC super hero characters which make them seem so real because we can see them doing ordinary things together just like normal teenagers. He does it well with their expressions and body language, as well as 'selfie' perspectives.

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Howls hair spikes up as he's emotional about his hair being accidentally dyed a different colour. It adds a dramatic effect to the scene.

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Howl's Moving Castle | Multi-Audio Clip: Howl's Bad Hair Day | Netflix

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Whisper of the heart- Grandfather clock scene

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In "Whisper of the Heart", another Studio Ghibli film, the main character Shizuku's hair does a similar thing to Howls': it spikes up when she realises she's late to drop off her father's lunch at the library. It's a small effect but adds so much to the scene and encourages me to experiment with how I can use other parts of my characters to express emotion that isn't facial expression alone.

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Breakfast scene: Mr Fox comments on his son. His son then non-verbally tells him to 'leave me alone, there's nothing wrong with me, screw you'.

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-Son frowns (expresses his annoyed by the dad's comment)-
-Ear flick- like an eye twitch. In cartoons, the characters eye twitches when they are stressed, angry or annoyed.
-spits on the ground- can be done to show anger towards another

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Through these expressions, we can automatically see what type of son he is (rebellious, rude) and that he doesn't care about the opinions of others and is confident in who he is.

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This part of the film portrays Kronk so well. His reaction here is so unique to his character.

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During these weeks, I will be focusing on further character development and animation tests such as key framing, concept test shots, and experimenting with Duick Bassel on After Effects

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First attempt: I explored the idea of the two rooms being connected and having them eventually open the doors to each other. However, by doing this I felt that the room two storyline and character didn't have enough substance compared  to room one and so it led to a lot of overly complexed ideas.

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During this task, I focused on observing how we hold cups and how we drink them.

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This week I worked on my room two animatic

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Kuzco's iconic "no touchy".

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Exploring the character:

I decided that I wanted Bendy Man to have no face so that I can explore body language without using facial expressions.
Nuances from observing people and characters from animated films: Bendy Man stretches his neck out to observe situations first before bringing his body closer, rubs hands together while walking when nervous.

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Bendy Man is quite curious but also nervous at the same time.
Animation style: digital paper cut out

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Inspired by 'cup of coffee' project character : I made sure my second character, Joe, had a face so I can play with facial expression in my second room.
Style: colour pencil (hand drawn animation)

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After observing people and taking notes, I started noticing some things that some people do, such as rubbing your thumb on your hand while you think or read, and began to apply these to my characters, just like with Bendy Man.

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I took pictures of things in my flat and edited them, deselecting areas to make it look as though they are floating. Carpet was also photographed for the ground.

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I had people watch my animatic without knowing the context. What I noticed was that there was a confusion about the hands coming through the other side of the room. Many didn't realise it was the own characters hands that were coming through. I thought this was because the characters hands and the portals were the same colour. Once I changed this, it was more clear, however I could improve this further.

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The task was to observe each classmate drinking in different moods, however my group wasn't able to do that.

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Instead, I took the scenarios and drew over my pencil drawings digitally and imagined how they'd react, whilst also noting down things during my observations whilst being out and about.

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After this, I drew two different made up characters over these drawings. One experiencing good coffee, the other bad coffee.

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focusing on hands: different positions and viewpoints, (holding cups also)

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Joe is my character I created for my cup of coffee storyline, inspired by my bad coffee drawing.

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I started drawing out some key ideas and shots I had in mind whilst brainstorming. This was accidental, but I really enjoyed the pencil lines in the background and on the coffee cup itself.

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What I really enjoyed about this was the table shot throughout. I planned to have music in the background as all of this going on so that when Joe eventually does freak out, there's contrast to the environment he was trying to create and how he feels.
This was also accidental, but as I was drawing and redrawing, I noticed that Joe head was floating above his body but chose to stick with this because I really liked the design.

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I wanted to emphasise his mood in another way by making the tip of his nose change: up when he’s in a good mood, down when he’s in a bad mood.

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I've been working on my key frames for Average Joe.

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Experimenting with concepts I have in mind!

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Preparing my character for rigging in After effects

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After effects editing