Friday, 4 May 2012

Term 2 Life drawing


 An attempt to draw a clothed life drawing model and convert them to an opposite sex naked counterpart. These were done with a charcoal stick.




Facial portraits of two different life drawing models. These were done in blue watercolour paint.




Life drawings of own hands. These were done in white chalk on Black pastel paper.

An attempt at a trying to capture perspective. A quick life drawing of the scene outside a window at home.

The final animation

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In the final animation, all scenes where compiled and put together to fit in the 20 second time frame. There was slight adjustment needed to fit the constaints but luckily only by a few fractions of a second and so only very slight difference was made. A different song was used in the final production in adverse to the origional "minnie the moocher" by Cab Calloway as in concensus, we felt that it gave a stronger appeal to the portrayed "raunchiness" of the Minnie and a more funner and lighter feel to the animation, corresponding more with the vibrancy of character that the animation was centred around. The song used was called "The Angel Put The Devil In Me" by Murray Gold. It added lyrics to the movie where as only an instrumental was used in the origional animatic. An attempt on timing and relevence of lyrics to the animation was also made to form the impression of narration through song aswell. After effects where also added to some of the scenes such as "fade out to white" to stregnthen the desired impression of the animation. An example of this is in the "kaboom" scene.

Inking the final animation

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The scenes where distributed between the group where they where inked according to the character turnarounds. A  thick black outline was then added ontop of the frames in accordance to the origional style portrayed in the storyboard. As prior mentioned, the minerva was the only character to be animated in shaded colour as this displayed her dominance, significance and influence in the sting. The full effect of her colour to display her overpowering vibrancy is seen in the end scene which is the only one were Murphy is coloured aswell. Her reflection is seen in Murphy's eye and the tear acts as both a display of her effect on Murphy and the given impression that her "sexiness" is too much too contain.

Draft Clean up animation

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These were the final scenes that where decided to be used. Again, due to time restraints, some of the origional storyboards where needed to be cut and so only the animation that was still able to portray a cohesive story was kept.

Experiments and axed scenes

These are just a few animation experiments that were and attempt to gain the desired portrayal of the characters and how the overall thing moved and worked. The curtain scene, kiss floating scene and Murphy smoking scene where all axed due to time restraints.
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Sting Production- Minnie Minerva

This is just a concept sheet for the Sting at the very begining of the project exploring ideas for the numerous genres we where given the choice to choose from.


The origional concept included many of the characters from the concept sheet in one sketch. This was an attempt to encompass all the genres given to us and interlink the different stereotypes and how each one would react in context to the genre they where from. They would be reacting to the burlesque-like "Minnie" Minerva in a style based on Tex Avery. However, it was far too long for the 20 second time limit inwhich we were to keep to, and so as the 1950's "film noir" based detective fitted in more closly with the image of the Minerva, he was kept, while Charlie Chaplin and Bill the Blob were cut.





This is the origional storyboard for the now "film noir" based Tex Avery style sting. video

It was then made into an animatic in an attempt to establish the timing and how effective it was when physical direction and sound effects where added. "Minnie the Moocher" by Cab Calloway was the origional song inwhich the Minerva character was based around, so the aim was to include the shady style of film noir and combine it with the exaggerated and somewhat parody like style of tex avery. The song also acted somewhat like a narrative of the sting, linking directly to the minerva character via use of the name. This was an attempt to cause cohesion between the song and the content of the sting.



This is the character turnaround for "Minnie Minerva." She was the only character to be animated in full colour in the sting as this was meant to portray her vibrancy and inpact when she entered the black and white "film noir" scene of Murphy the detectives world. She was to be the "Jessica Rabbit" style character. This is evident in her appearance although an attempt to inject the style of Greek art was also made as it is where the mythical character was origionally derived. A condition of the sting was to include the image of the Minerva as it is the mascot of the university. She is a personification in an attempt to meet these requirements.


This is the character turnaround for "Murphy" the private eye detective. He, along with the backgrounds of the sting where to be animated in grayscale. This was both to fit the stereotypical style of the Film Noir genre and to give contrast to the Minerva, making her have more of a visual impact when she entered the scene and also to give the sting a definite and sort of graphic stylization which somewhat implies the significance or objects  and character, much like the mechanism used in Sin City.





These screenshots display the animtion technique used to animate the sting. It was very much based on the traditional "onion skin" flipbook style and was an attempt to emulate the way inwhich Tex Avery cartoons where origionally animated.
The storyboard, which had been split into scenes, was put into the first program where the keyframes, breakdowns and inbetweens where then established. Each picture was put on a different frame and by lowering the opacity option of the layers, the images could be plotted in relation to each other and thus the sequence of movement was formed. These files where then took over to Photshop, where frame animation was possible. A frame was taken of each or the different images to form a type of film reel. The timing was then experimented with and if more frames where needed, the scene would go back to the first program for futher editing.