In scene 5 I wanted to explore different variations of movements for the figure. I looked at a variety of videos ranging from Norman McLaren (Pas De Deux 1968) This video displays two dancers displayed within a black surrounding and lite by carefully displayed lighting. This shows the outlines of the figures which are beautifully balanced. The main aspect which drew me to this video and influenced me was the overlaping images. As I have previously mentioned in scene 4.
I also looked into the artistic styles on Quayola and Memo Atkin (Forms) This video was based off of the movements of olympic athelets and the movement and sturcture of their movements depicted through geometric forms aswell as the movements of paricles formed and realised from the form of the athelets.
Aswell as looking into the fluidity of the 'Fire Bird' from the animatied wonders of Fantasia 2000. The way that she is able to form into a huge wave that sweeps over the landscape and disolve into a delicate ash formation when she is over powered.
With all of these artistic influences i still beared in mind the art forms of Erica Russel and Ryan Woodward who are my main artistic influences throughout this project.
Scene 5.1
With this scene I decided to start of with the basic line formation of the female figure. I wanted the life drawing aspect to show through the artistic styling. This was shown through a brown/orange shading and a thine line brush in the similar style to the brush used in scene 4. I wanted it to look like it was still a sketch but it had been given life and could move freely on the page. The outlines and sometimes detialed interior show the figure moving in a joyful dance and not letting the lines that form her stop her fluid movements.
The reason for the simple design was so that i would have to look into another art form to make it stand out amoungst the others and still hold a sence of beauty depicted through a life drawing style.
Scene 5.2
Scene 5.2 is mostly based of my influence towards Norman McLaren in his video Pas De Deux from 1968. The use over over laying amazed me in his video by the fact that an image was formed in the overlaying images of the moving figure(s). I wanted to try this style so much that I couldnt resist trying to include it in this scene.
As a test to see if it looked effective and if it actually worked as a piece. Instead of taking a segment from the 5.1 version I decided to create multiple layers throughout the entire compostion to see were it looked most effective.
In all there were 6-7 layers of the figure which played one after another to form a ghost trail after the orgional image.
When i had completed the layer and played it through i found myself excited to see some really interesting forms coming from the dancers multiple ghost layers. From these forms i looked into which section is best to fit. this will be discussed more in version 5.6.
Scene 5.3
Going back to the artistic design from version 5.1.
Before i procceded with the 5.2 version I decided to experiment a bit more with the beginning of the 5.1 version. As i mentioned in this section, i wanted a basic under lay so that i could feel more propeled into looking at different artistic forms that would boost up the line work shown through out 5.1.
This was a tricky start. I looked into other styles which involved disapearing and reapearing, making the line work static and even looking at colours but they seemed a bit bland. They werent exciting to view and made the beginning of the scene look a bit washed out.
Because of this i decided to not look at 5.1 as an underlayer but more as a structure that i could work as a template. This drew me to a video i viewed and saved in my influencial folder in this blog. The video was created by Quayola and Memo Atkin in their film called 'Forms' As i mentioned in the introduction to this scene, they based their formations off of olympic atheletes. This was displayed through a variety of geometric objects and structures which best suited the movement and speed of the athelete.
I decided to incoporate this idea into the beginning of scene 5 by using the 5.1 version as the base structure, a lot like they used live footage from the olympic athelets and over the top place the geometric designs.
In doing this technique i drew rough outlines of the skeletal structure on the base female animation.
I didnt take into account the timing of the geometric structures whilst animating as i wanted them to look rough and quite edgy. This in my mind was a symbolism of the fear slowly but surelly creeping closer and closer in the structure of the female figure.
I animated the geometric structure for about 20 or so frames as i didnt want it to over take the scene. It was only meant as an insight into what to expect in the middle section of this animation.
Scene 5.4
Carrying on from 5.3 I thought about not necessarily deleting the entire start section of 5.1 in scene 5 but rather cut bits out of it. I wanted the fear to really show its presence even for a slight second or two. In doing this i cut out bits from versions 5.1 and 5.3 and combined the two together to give it a more edgy look. The process in combining and detaching the two versions influenced me in other scenes which i will discuss in more detail later. The edgy look worked well with both the art style and the scene and since it wasnt very long it worked conciderably well in my mind. The geometric designs overlaying the outlined figure gave the effect of being caged and trapped yet still have the ability to look free within a formation.
Scene 5.5
In this section i did form a slight mistake whilst in editing. As you can see i have placed the 5.4 version into the 5.5 section again. In this section it is meant to display the green outline similar to the green outline design shown in scene 4.
Scene 5.5
In this section i did form a slight mistake whilst in editing. As you can see i have placed the 5.4 version into the 5.5 section again. In this section it is meant to display the green outline similar to the green outline design shown in scene 4.
The green outline is visible in the 5.6 version.
The reason behind the green outline was to link scene 5 with scene 4. I wanted the connection to flow easily whic meant including some previous artwork from the scene before hand. I also thought that the green outline of the figure would fit in nicely with the artistic stylings from the previous versons of scene 5. Instead of having it appear and disapear like the previous scene i decided for it to appear when the geometric designs were showing and have it dissolve into the figure once the geometric desings were complete. this helps lead the artistic form into another new and fresh design. However they would still be linked.
Scene 5.6
In this version i wanted to re-introduce the 5.2 version, with the overlaping ghost trails. I chose to blend this section into the previous 5.5 version as i think they link well together without any awkward static connection. The ghost trails in this section made it more interesting out of the other frames as it formed a more interesting stucture and a sort of fran or stature formation.
Scene 5.7
Within this version i wanted to have the figure form into a sort of liquified form and fly over in a arc casuing it to blend nicely into scene 6. My main concern was looking at how to animate the figure transform from a female into a sort of liquid spirit like form. To help me with this i researched into looking at the movement of the trail left behind the mother nature figure in 'the fire bird' in Fantasia 2000. the beautiful fluidity made me want to try animating it. However it was tricky as ive never had a chance to animate something like it.
Whislt watching animation generally i noticed that the way that animators animate characters hair, specifically long hair was in a way fairly similar. This drew me to look at Glen Keans design work of the little mermaid. there is a particular image that i found from Glen Kean which was still images of Ariel twizzling her hair around and playing with it. This made me think of forming the female into a plait like formation and have it twisting through the screen to the top left corner.......However this was a tiny bit harder than i first thought. I either put too much detail into the formation and it looked a bit sore on the eyes with the amount of time i had left for that scene, or it moved too quickly it looked like just a jumble moving across the screen. A lot of trail and error was put into the ending of this scene. As you can see from the footage it just doesnt look right and looks incredibly awkward. Something was deffinantly missing from this movement.
Scene 5.8
I decided to investigate the ending of this scene a bit more and seeing what the problem was being caused by. I was very determined to have this scene end in an inky trail, trailing off into the top screen. I tested with size and speed but it always looked wrong.
After talking about it to fellow students and one of my lecturers we realised that the problem didnt fall on the trail so much. the problem lay in the antisipation. the moment before the trail. the link from the figure turning from a ghostly trail into a flying inky trail...instead of her moving into, and 'forming' into the inky trail she just whent straight into it without the antispation of it happening.
Going back to the end of the scene i found that she formed a strong arc around and it suddenly stopped. At this i decided to look back onto the live footage and see what could of happend. What i found was that the footage that i was following stopped meaning that the fluid arc movement was cut and thats what looked so odd. Using the live footage i followed through the arm movement then animated her arms leading back up infront of her which is when the form of the trail starts.
In this version you can see were the anticipation starts and end, just before the trail is formed. I also added a round trail coming off her arms to help me see the movement of the arc.
Scene 5.9
With the problem solved i looked into a different way inwhich i could have the female transform in to an inky trail. I decided to get rid of the plait idea and form a new inky design. I looked at many flamboyant designs and structures but because this lead into the last joy scene and the fear is starting to creep up on her, i decided to go for a more sketchy and fluid line. to start off the transformation i had her become stretched and less detailed. I wanted her to look as if she had just become spooked and wanted to leave that scene as quickly as possible. This lead into a thine line of ink which i was at the beginning hoping would look a bit like a brush stroke but i felt that the slight panic would look too elegant. I wanted her to act like a spooked bird or animal. This lead to rough and slightly jarred lines leading away from the scene. This ofcourse formes from her stretched body.
Generally this scene was tricky in some sections. Finding the right art style to fit the scene aswell as the emtion was tough but after experimenting a few times a found that the scene works well and blend nicely from scene 4 and blends nicely into scene 6 which starts off with the trail heading down from the top right corner of the screen. As if she has just formed an arc over the page and rests peacefully on a new side. Although the trail did take longer than i anticipated and not as glorious as the trails in the Fire bird, but i beleive it works nicely as a piece and shows a lot of character in itself. Although my favourite bit is deffiantly the ghostly trails part.
The reason behind the green outline was to link scene 5 with scene 4. I wanted the connection to flow easily whic meant including some previous artwork from the scene before hand. I also thought that the green outline of the figure would fit in nicely with the artistic stylings from the previous versons of scene 5. Instead of having it appear and disapear like the previous scene i decided for it to appear when the geometric designs were showing and have it dissolve into the figure once the geometric desings were complete. this helps lead the artistic form into another new and fresh design. However they would still be linked.
Scene 5.6
In this version i wanted to re-introduce the 5.2 version, with the overlaping ghost trails. I chose to blend this section into the previous 5.5 version as i think they link well together without any awkward static connection. The ghost trails in this section made it more interesting out of the other frames as it formed a more interesting stucture and a sort of fran or stature formation.
Scene 5.7
Within this version i wanted to have the figure form into a sort of liquified form and fly over in a arc casuing it to blend nicely into scene 6. My main concern was looking at how to animate the figure transform from a female into a sort of liquid spirit like form. To help me with this i researched into looking at the movement of the trail left behind the mother nature figure in 'the fire bird' in Fantasia 2000. the beautiful fluidity made me want to try animating it. However it was tricky as ive never had a chance to animate something like it.
Whislt watching animation generally i noticed that the way that animators animate characters hair, specifically long hair was in a way fairly similar. This drew me to look at Glen Keans design work of the little mermaid. there is a particular image that i found from Glen Kean which was still images of Ariel twizzling her hair around and playing with it. This made me think of forming the female into a plait like formation and have it twisting through the screen to the top left corner.......However this was a tiny bit harder than i first thought. I either put too much detail into the formation and it looked a bit sore on the eyes with the amount of time i had left for that scene, or it moved too quickly it looked like just a jumble moving across the screen. A lot of trail and error was put into the ending of this scene. As you can see from the footage it just doesnt look right and looks incredibly awkward. Something was deffinantly missing from this movement.
Scene 5.8
I decided to investigate the ending of this scene a bit more and seeing what the problem was being caused by. I was very determined to have this scene end in an inky trail, trailing off into the top screen. I tested with size and speed but it always looked wrong.
After talking about it to fellow students and one of my lecturers we realised that the problem didnt fall on the trail so much. the problem lay in the antisipation. the moment before the trail. the link from the figure turning from a ghostly trail into a flying inky trail...instead of her moving into, and 'forming' into the inky trail she just whent straight into it without the antispation of it happening.
Going back to the end of the scene i found that she formed a strong arc around and it suddenly stopped. At this i decided to look back onto the live footage and see what could of happend. What i found was that the footage that i was following stopped meaning that the fluid arc movement was cut and thats what looked so odd. Using the live footage i followed through the arm movement then animated her arms leading back up infront of her which is when the form of the trail starts.
In this version you can see were the anticipation starts and end, just before the trail is formed. I also added a round trail coming off her arms to help me see the movement of the arc.
Scene 5.9
With the problem solved i looked into a different way inwhich i could have the female transform in to an inky trail. I decided to get rid of the plait idea and form a new inky design. I looked at many flamboyant designs and structures but because this lead into the last joy scene and the fear is starting to creep up on her, i decided to go for a more sketchy and fluid line. to start off the transformation i had her become stretched and less detailed. I wanted her to look as if she had just become spooked and wanted to leave that scene as quickly as possible. This lead into a thine line of ink which i was at the beginning hoping would look a bit like a brush stroke but i felt that the slight panic would look too elegant. I wanted her to act like a spooked bird or animal. This lead to rough and slightly jarred lines leading away from the scene. This ofcourse formes from her stretched body.
Generally this scene was tricky in some sections. Finding the right art style to fit the scene aswell as the emtion was tough but after experimenting a few times a found that the scene works well and blend nicely from scene 4 and blends nicely into scene 6 which starts off with the trail heading down from the top right corner of the screen. As if she has just formed an arc over the page and rests peacefully on a new side. Although the trail did take longer than i anticipated and not as glorious as the trails in the Fire bird, but i beleive it works nicely as a piece and shows a lot of character in itself. Although my favourite bit is deffiantly the ghostly trails part.
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