Within this scene i wanted look into the transaction from 'joy' to 'fear' and how i can make it look fluid and exciting to watch.
I wanted to explore the colours and textures to best fit the scene and the movement of the figure. When researching artisits to influence me in this scene I found that i wanted to concentrate a lot more on the artistic influence from life drawing.
When looking into artistic designs based off of life drawing i wanted to look at the stylings from Erica Russel and Ryan Woodward into more depth. The way that they get the figures to move around the screen and the use of colouring.
Scene 6.1
The beginning of the scene starts off with the ending of the trail from the previous scene (5)
The intensions for this was that i wanted it to look like it hit an invisble object and as it hit the surface it leaked over the object to reveal the female figure. This took a couple of goes to find the right way to have the figure brought back into the scene aswell as choosing an art style to best fit the beginning of the new scene. This brought me to the previous art styles i have worked with for this section. I wanted to make sure that the art styles linked well together and actually flowed easily, but at the same time make sure that the art styles were varied and showed more aspects of it being experimental and not having to relay too heavily on the same artistic stylings.
Although this art style is used more often than not in this project but i beleive it works well. I looked into different way of using the block technique but showing the figure through diffferent shapes and sizes. Lukily this flows easily with the rest of the scene without it looking too awkward and un-linked.
Scene 6.2
With the ending of 6.1 i made sure that it ended up in her disapearing again so that i could have her appear in another dramatic entrance. My intensions for this version was to have a bright light spark up and for her to appear out of this bright light. This idea was influenced by Ryan Woodwards 'Thought of you' short were it has the female figure re-appear in a flash of dazzling light.
I looked at the frames individually to see how technique of how Ryan Woodward created the scene. But when it came to actually animating the flash of light in my piece it didnt look right, It was a rough concept for it and not exactly executed to perfection but it was enough for my to see that it didnt look right with the rest of the section. It may have been an interesting addition to the scene but it didnt look like it had a strong artistic flare. I did try and adapt the colours to see if anythin made it seem a bit better but most colours seemed either too strong or too weak. I even tried experimenting with a varity of different brush strokes but it personally didnt work for me. I did find a few loop holes to make it appear as a more stylstic form or flash of light but it didnt seem to work for me. I asked a few fellow students on their view on the flash of light and i found a few mixed views. Some people said they liked it, and that i just needed to work on it a bit more whilst other said if i didnt think it worked move on and find another form and if i change my mind go back to it.
In the end i decided to bin the flash of light idea. Im sure i could have managed to perfect it but Due to time and a large lack in 2D animators on this project i couldnt afford the time which i would need for other scenes. However in the future i might work on it and fit it in.
Scene 6.3
In taking out the flash i was left with the green outline which was the under lay for the flash in the previous version. Although i have used this style before i decided to keep the outline of the entire figure. To make it more artistic i played around with different pen width and different pressures. When i found a. 'ink nib' I came to using that brush and drawing out the outlines of the entire figure and with a rubber tool, erasing sections or slimming down the line work to give it a bit more character. The clip that i have to show is the work in progress of me drawing the line work and erasing/ slimming it down. This version doesnt show much excitment but i had a few idead for the next version to really bring the artistic buzz to life.
Although this version isnt much to talk about i did find this usefull for me to experiment more with the brush tools on ToonBoom. and how i can play around with line work for future reference.
Scene 6.4
With the 6.4 version I finalised the outlines of the figure that smooth easily in and out of the scene and slim down some sections to give it the inkky paint/pen brush effect. The next step was to introduce the next art style. This art style was influenced but life drawing classes. When i was in life drawing i used to find this technique really interesting and fasinating. This technique was created by drawing curvs around the figure to make it stand out on the page as if it was a rounded figure. It is similar to the wire mesh usually found in 3D softwares. the wires form the structure of the object and be molded over. I wanted this technique to show through as if the female figure had been stripped down to her coating and her freedom and ' joy ' still showed through regardless of loosing her colourful exterior.
This technique emergerges in the female figure swings her arms back dramatically. I wanted the wire mesh to be exposed here as if she is wiping away her surrounding form. This section in the scene orgionally would be the flash of light as explained in version 6.2. I love the dramatic swoop behind her and i thought it would be a good idea to embrace that movement.
The colouring used in this version is based off a sandy brown which still holds the warmth of the emotion.
Scene 6.5
In 6.5 I wanted to explore i bit more within geometric desings. Because i left the 6.4 version with line works i wanted to embrace those lines and see if i could experiment with them. This brought me onto forming a outlined body using the same colouring but instead of it forming the figures shape i used the line work to form as a sort of picaso outline, these outline the body through shapes and extended lines.
With the lines from the previous section i wanted them to join this 'Picaso' like line work as a form of shading. This shading then blends in with the outer lines and once they are all dispersed i drew the outer lines coming in and slowly forming into each other. As if she has sort of caved in on herself....but with a sence of artistic elegance.
This art design was more fun to draw in the sence of experimenting with the outlines and seeing how i could show the body form without actually drawing the body itself. Since this scene didnt move very much it did get a bit tedious having to draw the same frame over and over and not being able to see how far i could go with this new artistic style. Saying that i think it would be interesting to see if i could incorporate this into another scene. Not as prominant as this scene but it would be interesting to see what i could do with it within a more excintg scene.
Scene 6.6
This scene was fun to create. It did take a lot longer than any other scene or any other section as there were so many dots to be drawn. It did make me question why i decided to add dots to this layer but i knew the outcome would be worth it.
It generally was a fun scene to do as i had to work out were the trails would be going, see if they would form anything as they moved along. When to have the trail start and stop. Although im pretty sure i know have arthritis from drawing so many dots, i think its the most effective emotional artistic style as of yet.
During the dotting process i was asked a fair amount why i didnt do it in after effects. The reason why is because i wanted the traditional form of animating to start off this project. I wanted everything to be created and drawn by hand, without having to cut corners. I wanted that raw and natural feel to it.
The reason why i chose to display dots as the figure aswell as trails was because it was a nice contrast from lines. The everlasting supply of dots freely and fluidly moving around the screen gave a sence of freedom, that nothing was holding them down and keeping them compact inbetween lines. The reason why i thought this was because throughout 'joy' she was free but you got the sence of being held back, aswell as the little scares of fear creeping up. Scene 6 is th last scene in the joy section and i wanted her to feel that becasue fear is coming closer and its about to engolf her she turns to freeing herself to float in the air and not hold anything back. as a sort of last ditch attempt to re capture her joyful self.
I had the dots forms and from that form she would appear for a second. I wanted her form to show through as if she may have had second thoughts and were grounded but then for her to pick herself back up again and transform into the aray of swirling dots.
However 'Fear' has taken its turn and grounds her, blowing away the comfort of her free form only to leave her on the ground.
However you can just see the dusty outline of her. This links us into 6.7
Scene 6.7
For this section i wanted the figure to be displayed in a blue/green tone.
The reason behind this is to show that she is feeling fearful and that she has been stripped from her joyfull colours.
I wanted the figure to appear sad and washed out whilst the 'dust' or the 'joy' gets blown off her and flows out of her. The structure of her figure is similar to the gemoetric/picaso line work as seen from the 6.5 version. However the brush lines are more rushed and leaked, a bit smudge like as if shes given into the fear and her strong dominance is starting to bleed out. She looks more stick like which shows a change from her more fuller and healthier look.
The new design, even if its not by much, was interesting to introduce, I found it exciting to see what colours i could play around with and how i could make her look the same but at the same time look as though she is slowly deteriating.
Scene 6.8
Within this version, i wanted the audience to get a much deeper sense of her fear, the fear creeping up and teasing her.
To get this extra emotion across i decided to use an ink pen with no texture to form a sort of cage over her. I wanted her to get the sence of feeling trapped.
In getting this across i had her previous form disapear and taking her place the the 'cage' which was were i drew geometric lines in the shape of her forms as it she is completly surrounded by this fear, that her fear is formed on her alone. The Cage then expands as if fear is teasing her, Like cat and mouse.
Scene 6.9
This follows on closly to the 6.8 version, What i wanted to add in this scene was for her to be released from this cage, the cat and mouse effect. As if the fear has just released her so that she can run away only to be recaptured (scene 7 by fear itself) When she is released from her cage she is completly stripped down, She only resebles a hollow frame only depicted though rough and harsh line work. The game being played by fear needs to start in this scene and leave its mark on teh female figure before the start of the fear section itself.
I want the audience to get a sence of how shes feeling and how fear acts before we even get to see its form.
This end was interesting to animate as i found it really interesting to get this sence across. The sence that she is trapped by this emotion and how it plays with her.
The animtion og the cage was fun to play with and being able to strip the female character down to her basic line work was a sence of releif for me as i didnt need to worrk too much about detailed artistic designs.
But it was still intriguing trying to find an artistic style that best suited.
Scenes 6.10 & 6.11
Ive combined these two versions as they are both exactly the same but with different back grounds. I wanted to experiment with how the background can make the emtions stand out more. I beleive the black is visually more interesting and more enticing but i dont think i can get away with having a black scene in a section that is meant to be based purelly of joy. Yet with the textured/paper background it seems too busy.
Im going to have to experiment with backgrounds a bit more to see which is best suited for both the emotion and visually enticing.
Scene 6 was probably the most exciting scene i have worked on so far. Scene 6 being the longest scene from all of the 2D scenes was a bit of a struggle to complete it on such a tight deadline but it was the best scene to experiment with. The ability to introduce the emotion fear was incredibly interesting and challenging at times but i found it to be rather exhilirating. Although im pretty sure im never going to animate with thousands of dots to soon it was great to see how far i could actually go with it.
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