Thursday, 22 November 2012

Storyboard


Here is the final animation I have created for Ba7, it contains my storyboard and narration. 

I created this animation by first, creating a very rough storyboard, that I felt explained the narrative, I then designed the main characters and re-designed the storyboards, making them easier to understand and clearer for others to follow, yet still not worrying too much about the neatness of my work, just ensuring that everything was made clear, which I believe I did.  

Once this was finished, I re-worded my narrative to ensure it was the best quality, and recorded myself narrating the story using Garageband. I thought about the idea of asking someone else to narrate the piece, but I found it difficult to explain to people how to read it, with out saying it myself, and so I cut out the middle man. I re-worked to recording many times, looking back at Emma Watsons narration of The Three Brothers animation for inspiration of how to end certain sentences and how to use different tones. This recording is no where near perfect, but it conveys the tone and flow I want my final motion comic to have.

Once the recording was complete, I put everything together in Adobe After Effects and created the animations in short 10 second sections, finally putting together all the clips in the final video you see here. 

Studio Work and Designs

These are sketches  I created for the character in my mothion graphic, I will develop their designs further as I progress with the creation of the animation.




These are two iterations I created for my narration of the motion graphic, the first contained too much text and speech of different characters, and so I shortened this version and created the latter.

Once upon a time in a small Norfolk village lived a wealthy man and his wife. They had two beautiful children named Bill and Bob (need to change names) and for a while, everything was good.
The children’s mother became very ill, and died not long after the daughters 3rd birthday leaving the father to bring up his children alone.
Barely a year later, Clouded by sadness and grief, the fathers’ health dwindled and sickness ran through him.
As he lay on his death bed, the children scared to lose their father, and the father scared for the fate of his children after his passing, he called for their uncle, who rushed to his brothers’ side.
“I need you to take care of my children, nurture them and keep them safe”
“Of course dear brother, I will raise them as if they were my own”
And with his final breath, he whispered thankyou and slipped into an endless sleep. And so, the two children were whisked away to live with their new family.
The uncles’ family welcomed the new children and life seemed to be getting better for them. But barely a year had passed when the uncle decided the children were a burden to him and his money and so told his family he would send them to London where they would be cared for better.
However, the wicked uncle had different plans; instead he hired two ruffians to kill the children, in order to gain their inheritance.
And so the ruffians came and took the children off into the Wailing woods and they walked until they were deep enough to not be found…
The kinder of the two men took pity on the children and stopped the other from completing their task. Angry that he would not get his pay, the ruffians began to fight and the kinder managed to kill the other.
The man, looking at the poor frightened children, reassured them and promised to gather some food and return as quickly as possible.
Left scared and alone, the children waited and waited for the man’s return, but he never came.
It is believed that the children, unable to find food or water, found shelter in a great oak and died in each other’s arms before robins came and covered their innocent bodies in oak leaves.
However, that’s just one theory….


Version Two
Once upon a time, in a rural English village, there lived a Man and his wife, and their two beloved children. And for a while, everyone was happy.
But happiness doesn’t always last, and the two parents were soon overcome with sickness, but did not survive, leaving the children orphaned and in the care of their wicked Uncle.
Within a year, the Uncle had grown tired of the children, and discovered he would gain their inheritance if they died before coming of age, and so he set out to find two criminals and offered them money in exchange for killing the two siblings.

The next night, the criminals collected the two children and carried them off deep into the nearby Wailing Wood. In a lucky twist of fate, one of the men took pity on the children and refused to let them meet their death. The two men soon fought and the kinder man killed his accomplice thus saving the children. Knowing he could not return them home, the man left the children to find food and water for them.
Left scared and alone, they waited and waited, yet no one returned and so they sought shelter in a grand oak tree and it is believed this was the end of their story, until now….




Friday, 16 November 2012

Storyboards

In order to create my motion graphic, I first need to research and create a storyboard. Storyboards are used to create rough illustrations that communicate the ideas for a final animated product. Here I have looked at four different storyboards, three from a different form of film and one from game 

The first storyboard I looked at was for the 2D animation film, Kiki's delivery service. I like the pencil drawn style of this, and the Studio Ghibli style really shines through even though it is so rough. Some things I noticed were that some scenes had no background which showed movement different from the previous panel, yet still took place in the same setting, when Kiki is looking out the window, we can see the house and trees around her, yet in the next panel her head has moved and she is looking in a different direction and the backdrop is clear white. I conclude that this is to save time, why draw out the same thing again when it can be made clear this way.

This is a video comparing the storyboard and final product, of the film, Monsters Inc. In this you can see how the storyboard artists have captured the most important frames that explain exactly what is happening in each scene. 

This is a storyboard for the game, Silent Hill, again the video shows both storyboard and final product so they can be compared. Similar to the Monsters Inc video, the storyboards show the key frames that clearly explain each scene. 

Star Wars Storyboard for the Podrace sequence, even without the comparison of the final film, the story is still clear.


The art of Glen Keane

Glen Keane is and American animator author and illustrator who has worked at the Walt Disney Studios since 1974, he has also helped out with storyboards and storytelling in films such as Tarzan and Pocahontas.

Even though this storyboard is very sketchy, again the story and important features are clear and easy to follow. In comparison to Keanes, Tarzan storyboard, his Pocahontas storyboard is much more visually appealing and the use of charcoal helps set the mood as well. I personally prefer the style of the storyboard to the final polished look, which has inspired me to ensure my motion graphic has a strong visual style that focus more on the artwork and illustrations over the animation. 


Ridley Scott discussing the art of storyboarding, and his pieces of work for his films.

Elizabethan Weapons


Although my characters are likely to have weapons they have created themselves to hunt with (such as spears made from tree branches) I have also researched weapons of the era in the idea that these will influence the weapons they create and possibly steal from passers through the woods or nearby villages. Muskets were introduced in this era; however, it is unlikely that my characters will use these or even know how too, probably opting for more close quarter combat weapons such as daggers and axes. The constant threat of the Catholic Spanish invading England meant that many medieval weapons were still in use, weapons available in this era included:

 The Mace 
This was an armour fighting weapon, therefore not a likely weapon choice for hunting and survival. It was a more advanced design of a club, used to bludgeon the enemy.
Flanged Mace
http://www.medievalwarfare.info/weapons.htm#spears

Swords and Daggers 
Basilard
The Basilard was a two-edged long bladed dagger.
http://www.castlerockmuseum.com/exhibits/daggers/DA02.1/index.php

Rondel
http://www.medievalwarfare.info/weapons.htm#spears
A rondel dagger or roundel dagger was a type of stiff-bladed dagger in Europe in the late Middle Ages (from the 14th century onwards), used by a variety of people from merchants to knights. It was worn at the waist and might be used as a utility tool, or worn into battle or a jousting tournament as a side-arm.
This weapon could be used and incorporated into my character designs

Spears
The Lance
A long spear like weapon used on horseback, again, unlikely choice for my characters.
The Halberd
The halberd consists of an axe blade topped with a spike mounted on a long shaft, it also has a hook on the back side of the axe for grappling mounted combatants.

Bill and Billhooks
This which was originally used as a farming tool, was a cross between a broad curved knife with a hook at the end, and an axe

http://www.machetespecialists.com/hiofma.html

Ranged Weapons

Longbow
One of the simpler longbow designs is known as the self bow. By definition, a self bow is made from a single piece of wood. Truly traditional English longbows are self bows, made from yew wood
The longbow is another weapon I could use for my characters choice of weapon.

Crossbow
http://www.elizabethanenglandlife.com/different-kinds-of-elizabethan-era-weapons.html
A crossbow is a range weapon that shoots projectiles (called bolts or quarrels) consisting of a bow mounted on a stock. A crossbow is a bow mounted on a stock (or tiller) with a mechanism that holds the drawn bow string. Early designs featured a slot in the stock, into which the cocked string was placed. To fire this design, a vertical rod is thrust up through a hole in the bottom of the notch, forcing the string out. This rod is usually attached perpendicular to a rear-facing firing lever called a trigger or 'tickler'.

Quarterstaff
A shaft of hardwood between 5 and seven feet in length, sometimes with metal tips, ferules or spikes
http://www.larpinn.co.uk/hand-weapons-spearstaff-c-89_189_92.html
Due to this weapons simplicity to manufacture, it is likely that this would be a common weapon and easy for my characters to discover.

Wednesday, 14 November 2012

Music

I will incorporate Music into a section of my narration and definitely into my show reel.
Music I have looked at:

Laura Marling - Devils Spoke.
This was the first song that actually inspired my idea, I imagine this song starting at the end of the origin story where the babes have "died". The video would pan down from the bright moon to the same oak tree the children first found shelter in so many years ago, and just as the camera reached the point of the hollow, the guitar would begin playing as a pair of eyes suddenly open within the hollow. I then imagine a quick succession of shots that imply a human hunting a dear, jumping over logs and in the trees.  However, some might say this song is too commercial for my design, but I like the folk sounding music because this is what my idea represents to me.

30 seconds to Mars - Night of the Hunter


This song is very different to my original idea, but I want to explore all possibilities, its much more commercial and epic sounding. I think this song would suit my story had more of a heroic fantasy style.


These are some pieces of music I would not have thought of myself and so I asked some friends of what sort of music they thought of when when I discussed my story ideas.

Decapitated - Silence



Flesh God Apocalypse - Agony






Wardruna -Hagal



Wardruna - Algir - Togntale


Wardruna - Kauna
This is my favourite of them all, the low pitched voice and growls gives the song a dark edge yet its still uplifting and powerful. 


Wardruna is a musical project based on Nordic spiritualism and the runes of the Elder Futhark. It was started by Einar "Kvitrafn" Selvik in 2003, along with Gaahl and Lindy Fay Hella. The project began in 2003 and has since released one album based on 8 of the runes. There are plans to release at least two more discs, each based on eight more of the runes. This is perfect music for my concepts and motion graphic, it sounds very tribal and natural, yet powerful and intimidating which is what my characters will be like and what they feel. 


Monday, 12 November 2012

Return to Wayland Wood


I returned to Wayland Wood with an SLR camera to take better photos and gather textures I can use and incorporate into my motion graphic and concept art. 


















More photos taken at Wayland Wood 29th October

Friday, 9 November 2012

Fashion


These are some photos taken from London Fashion Week 2010, of Topshop's autumn collection. I will use their woodland theme as inspiration for my character concepts.

Topshop Unique Autumn/Winter 2010, London Fashion Week    Topshop Unique Autumn/Winter 2010, London Fashion Week
Topshop Unique Autumn/Winter 2010, London Fashion Week    Topshop Unique Autumn/Winter 2010, London Fashion Week
Topshop Unique Autumn/Winter 2010, London Fashion Week    Topshop Unique Autumn/Winter 2010, London Fashion Week
Topshop Unique Autumn/Winter 2010, London Fashion Week    Topshop Unique Autumn/Winter 2010, London Fashion Week
flowers etc as jewellery
I also looked at Alexander McQueens spring/summer collection from 2003 because his inspiration was by the Elizabethan time period. I will combine this inspiration with the research on real Elizabethan clothing.



http://www.vogue.co.uk/fashion/spring-summer-2003/ready-to-wear/alexander-mcqueen#alexander-mcqueen/full-length-photos/gallery/1

I looked at Paul Costelloe's Autumn/Winter 2010-11 collection which is more of a 19th century America inspired style, however, these two images gave inspiration for more clothing ideas for my two characters.

    

Wednesday, 7 November 2012

Illustrative Style Ideas


While researching fairy tale illustrations, such as Grimm’s Fairy Tales and
English Fairy Tales And Legends by Rosalind Kerven, I discovered that many were done by the same man, Arthur Rackham.

Arthur Rackham

Rackham was an artist, born in 1867 and died in 1939, who studied at the City of London School and Lambeth School of Art. He was famous for his illustrations of children's story books, such as Rip Van Winkle (1905), Peter Pan in Kensington Gardens (1906), and Alice in Wonderland (1907)
A midsummer nights dream

Little Red Riding Hood


Grimms Fairy Tales
This image shows a border which I could use to make sure resolution sizes do not affect the motion graphic.

Kay Nielsen

I also cam upon this artist, Kay Nielsen, Danish illustrator who was popular in the early 20th century, the "golden age of illustration" which lasted from when Daniel Vierge and other pioneers developed printing technology to the point that drawings and paintings could be reproduced with reasonable facility. He joined the ranks of Arthur Rackham and Edmund Dulac in enjoying the success of the gift books of the early 20th century. Nielsen is also known for his collaborations with Disney for whom he contributed many story sketches and illustrations.





Alphonse Mucha

I have also been looking into Art Nouveau for the style of my motion comic. This style has always reminded  me of fantasy stories and fairy tales, and so I believe it will suit my Folklore legend, it will also lull the viewer into believing this to be a typical fairy tale and contrast well to the darker story later on. I have chosen to look at Alphonse Mucha in particular because a lot of his work incorporates nature in an ethereal/fantasy kind of way, which I believe could work well with my story.



This was Mucha's first set of decorative panels and it became one of his most popular series. It was so popular that Mucha was asked by Champenois to produce at least two more sets based on the same theme in 1897 and 1900. Designs for a further two sets also exist.
The idea of personifying the seasons was nothing new - examples could be found in the works of the Old Masters' as well as in Champenois's other publications. However, Mucha's nymph-like women set against the seasonal views of the countryside breathed new life into the classic theme. In the four panels shown here, Mucha captures the moods of the seasons - innocent Spring, sultry Summer, fruitful Autumn and frosty Winter, and together they represent the harmonious cycle of Nature.
 
In this series of decorative panels, Mucha again chose to personify the stars as female figures. This time, however, he sought to surpass the panels' decorative function by exploring the deeper meaning of his subjects. The women are no longer confined to ornate crescents and alcoves, but instead float in space and are illuminated by a light radiating from within the composition. Their poses are meditative and dramatic rather than sensual. In all four panels, Mucha demonstrates great skill in rendering the texture and sheen of rich textiles.
From left to right, The Evening Star, The Moon, The Morning Star and the Pole Star.

Bibliography