Wednesday, April 22, 2009
Sat. Apr 25th- Fri. May 1st
- Assemble necessary cut outs for such segments
-Shoot photography/augment frames for pixelation animation
-Further solidify design elements for piece
-Find a sound designer
Sat May 2nd- Fri. May 8th
-Research movements of falling paper
-Begin to assemble cut out/ scenes
-Tweak pixelation animation
-Test transitions in After Effects
Sat. May 9th- Fri. May 15th
-Rough animate frame-by-frame animations
-Test transitions once again
Sat. May 16th- Tues May 26th
-Clean up previous animations
-Further tweak, test and compile.
Well, looks like I have my work cut out for me, but I'm definitely looking forward to it.
Monday, April 20, 2009
I have, since then, gone back, and glanced through the characters, as a means of studying their construction, and have found one who I find to be pretty fun. I still have to complete one of the assigned tutorials, and will most likely use a shape similar to his for that exercise.
Without further adieu, here's a look at Plasmatic Boy, designed by an artist, who goes by the internet name of exitman.
This artist has other characters that I consider to be creative and appealing. While we're on the subject, take a look at this one too:
les yeux dans les yeux
Sunday, April 19, 2009
Thursday, April 16, 2009
Tuesday, April 14, 2009
This is a single page pencil illustration produced as part of a texturing assignment in John Larison's Materials and Techniques for Sequential Art class. I am posting it to convey the idea that the conception of one's work should not only be derived from personal experience and the stream of one's consciousness and/or conscience. Sometimes, you're given an assignment, and just have to think of something as quickly as possible. The criteria was as such:
Monday, April 13, 2009
Please feel free to chuckle at my sound job. I recorded it on a little Canon Powershot, then proceeded to chop up the clip in Adobe Premiere.
Saturday, April 11, 2009
"Style is the answer to everything. A fresh way to approach a dull or dangerous thing."
Friday, April 10, 2009
To illustrate my fascination with beat, rhyme and movement, I have posted this video of Capoeira fighters. For those of you unfamiliar with the art, it's a form of "fight dancing" from Brazil, generally set to percussive music. The fighters do not try to hit one another, rather it appears that they simply play off of one another's movements as dancers would.
Thursday, April 9, 2009
Muybridge's name is quite frequently mentioned amongst artists and animators, and somewhere in my subconscious, he's definitely on a pedestal. Apparently, in 1874, he shot and killed his wife's lover, and then his lawyer pleaded insanity, claiming that Muybridge's rash behavior was a result of head injuries sustained by the photographer in a stagecoach accident 20 years prior. Muybridge was acquitted.
Sorry, I can't resist factoids.
Anyway, I decided to use this man's footage as an exercise in free hand fun. Black and white photography creates such distinct shadow patterns, and I felt that rotoscoping was a great opportunity to incorporate that into animation.
Wednesday, April 8, 2009
I will post the tutorial exercises when I feel that they are good enough for submission. I like to keep silly things such as blogs organized.
Wednesday, April 1, 2009
Shot #01: ECU-Zoom in/Dissolve
A number 5 is set within a shape-oriented design. Zoom into the center of the 5, and dissolve
Shot #02: MS; low- Pan down/Tracking
Narration: I used to think that new area codes equaled new existences…
A clock radio is positioned on an elevated surface. It’s time face says “516.” A hand appears from outside of the frame, pushes a button on the radio, changing the numbers first to “617,” then to “828.” All three number sequences are representations of United States area codes. Sheets of paper fall downward from the top of the frame. The camera follows this motion.
Shot #03: MCU- Pan down/Tracking
The sheets of paper continue to fall. The radio is no longer in the shot.
Shot #04: CU-Dissolve
Narration: …but everyone still has my contact information. There are no new highways when they all have rest stops.
Focus on a single piece of paper, which has fallen to the ground. A hand holding a rubber stamp reaches in, and contacts the sheet of paper. It leaves the frame, and the paper is left with a mark on it. Three rows of symbols of street signs appear, forming one-by-one in a horizontal direction.
Shot #05: ECU; Animated Transition
Narration: When everyone you know is just a thumbnail representation of…
The three horizontal rows of street signs are replaced with three horizontal stripes, alternating black-white-black. They leave the screen in opposing directions.
Shot #06: CU; x/lo
Narration: …every gesture you’ve ever made; every lie you’ve been told; every secret you’ve kept…
Open with a cracked sidewalk. A woman walks down the street, and we see only her shoes and ankles. Three words appear as she walks: gesture, lie and secret.
*Note: This whole shot is executed utilizing pixelation
Shot #07: CU
Narration: (continued) every secret you’ve kept…
The word “secret” is left alone on the otherwise blank surface. It shrinks, until it is only a line, which then travels across the screen, transforming into the contour of a male figure.
Shot #08: CU; eye level-zoom in
Narration: …every sad, lanky bartender, who wanted to run away with you in an air-conditioned car.
We see only the man’s face. Camera zooms in to his left eye.
Shot #09: ECU
Narration: We’ll laugh at nothing, and use the bathrooms in under-stocked, dirty gas stations.
The man’s eye is the only aspect in view. Lines shoot from out of and around the contours, creating a map. A car rides over the lines, as symbols for United States Interstates appear.
Shot #10: CU
Narration: Admire the crackle of burning cigarettes in the dry Texas air.
A fire appears as the road map fades. A hand holding a cigarette comes into frame. The cigarette is lit, and smoke appears. The hand moves out of frame.
Shot #11: MS-Animated Transition
Narration: No one will find us; no one will care-except for the debt collectors. They always have a friend’s phone number in case you conveniently disappear.
The fire fades, leaving only a smoke trail, which creates the form of a man and woman embracing. A wad of paper drops from off screen, and the woman opens her hand to catch it. She tosses it to the side. As it bounces off the side of the frame, it leaves a solid sheet which covers the screen.
Shot #12: CU-Animated Transition
Narration: (cont.) –except for the debt collectors. They always have a friend’s phone number in case you conveniently disappear.
Upon the solid-colored screen appears the image of Benjamin Franklin on the one hundred dollar bill. He blinks. The bill peels from the corner, covering his image, and leaving a solid-colored screen.
Shot #13: LS-Fade-out
Narration: He still lives in that city. I wonder if he’s still sad. He’d probably be much less attractive if he isn’t.
Lines form on the screen, creating a cityscape. They merge into one another, leaving only a single line, which shrinks to the ground.