Tuesday, March 29, 2016

The "real" in animation

In Part One of Detheaux - Communication and the Anti-Disney Aeshestic, written by Jean Detheaux from Animation World Magazine  discusses the interpretation of "realism" within non-disney animation studios used to animate their projects.

Disney animators look for inspiration from real world anatomy, props, and locations before adding rubber hose effects and stylization to their animations. Other animation studios follow similar steps, but not in the same formula as Disney to make themselves distinguishable from the big corporation.
“There seem to be two major options here: either one believes "the real" is a known, quantifiable and finite entity and it then is common to render it according to societal models ("photo-realism"), or, as is more often the case with "artists," to "improve upon its assumed-to-be-known appearance by manufacturing a style." ("What can I do with/to that?" which inevitably leads to "manufactured styles.")”
With these two options to start a base one, artists and animators outside of Disney try to set their own style of animation, just like the creators of Heavy MetalThe studio of this movie opted in to make the film's characters more closely resembling actual humans, and all the mythical creatures being more detailed than most of the creatures seen in Disney films.


I believe that the way that studios decide to take inspiration from the real world, whether is be photo-realism or simplifying beings and environments, it's a defining choice that would make audiences remember the film or show, and will more likely remember the studio that created it wasn't Disney.

Tuesday, March 22, 2016

The Stories Within Animation

A good story is what makes an animation really come to life. Where would disney films be if their stories weren't on par with their beautiful? I've seen some beautifully animated short film projects before, but a lot of them lacked in story depth to really have them stand out. In the animation business, when a studio comes up with a plot that they think is good enough for their movie, they move on to sequences. In the book The Illusion of life: Disney Animation by Ollie Johnston and Frank Thomas (1981), they address how a sequence serves in animated films:
Our feature films always seemed to end up with about 14 sequences. No matter how each started out, whether with high adventure or complicated stories, by the time we developed and balanced and streamlined and edited we ended with little more than a dozen. At least two sequences would have been cut out after we started production, and something else would have grown to sequence length and been inserted even later….The fact becomes quite important when a picture requiring many incidents in different locales is being considered. (pp. 368)
 When it comes to writing a story for an animation, studios have to be certain that they don't bombard the audience with action that lacked any narrative. Without narrative, an animation would not be anywhere near as interesting if not done correctly. There are some movies, like Disney/Pixar's WALL-E that spends a good portion of the movie using character movement to show emotion rather than using any words. Character development is a major player in producing a good animation.


To avoid making animations too exciting or too dull, guidelines were created:

1.     Avoid scenes or activities that are only continuity. If there is a mood to be established or scenic atmosphere is needed, then the continuity can be secondary to the pictorial effect.
2.     Avoid expository scenes. If the scene’s purpose is to get a character to talk or explain the plot, avoid it. Instead use a narrator or title to do it.
3.     Make sure the story incident or situation is really interesting. This could be easily achieved by the actors simply letting their personality and decisions form the backbone of narrative, but make sure the situation is strong enough to invite audience investment.
4.     Be sure the characters have an opportunity to come to life, find the entertainment in the situation and character.
5.     Look for places to show the characters thinking. Show them changing attitude, and look for ways to show more facets of their personalities; they should grow through the film.
6.     Ask yourself, “Can the story be done in caricature?” In which can the story be believable, but not realistic?
7.     Tell your story through the broad cartoon characters rather than the “straight” ones, i.e., the side characters.

By following these guidelines, Disney produces multiple movies that contain very well done stories, the most latest being the movie Zootopia.



Monday, March 21, 2016

A bog post about dysfunctional families

We're all familiar with the comical representation of dysfunctional families in media. We've got sitcoms like Arrested Development and Modern family, as well as animated comedies like The Simpsons and American Dad. It's not too often that television sheds a realistic light on these types of families, but that's where autobiographical graphic novels come in to fill in the gaps. Stitches: A Memoir by David Small, and Fun Home: A Family Tragicomic  by Alison Bechdel are two graphic novels about each author's youth within their respected dysfunctional families. Although both novels are very different from one another, they do occasionally have parallel themes that relate to growing up with distant parents.

Warning: The next section of this blog contains spoilers for both books, if you want to give them a read, stop here. Again, you've been warned. 

Abigail's story revolves around the death of her father, and discovering the family secret that he was actually a homosexual. Unbeknownst to her parents for awhile, Abigail became interested in the same sex in college, but I'm getting ahead of myself. Abigail spends most the novel explaining her relationship with her father beginning from her childhood up until early adulthood. She and her brothers spent a lot of their time helping their parents fix up their Victorian house to its former glory, helping at the family owned funeral home (they called it the Fun Home), and occasionally going on family vacations with their parents who seemed to care more about their books and theater auditions. The thing that I loved the most about  Bechdel's novel was probably the way she revealed her father's interest in young men early and abruptly in the novel. One moment the plot seemed to be linear and flowing well, not quite predictable, but you could catch the early vibes about the novel being about a dysfunctional family. Then BAM, out of nowhere, she not-so-subtlety drops the bombshell that was the father's sexuality. It was so sudden, I had to read the section three times just to make sure that I was reading it right before moving on. Here is the panel in question:

 It's much different than the way David Small handled his family's "secret" towards readers, which I will get to here in a second. Bechdel's narration in the book was much more articulated than most graphic novels that I was used to reading. She made several references to books, plays, and movies that I never even heard of. Honestly, it made me feel less intelligent, HOWEVER, anytime I did catch a reference, my confidence got a little boost. The writing style and reveal are quite different than Small's Stitches.

David's story is mainly centered on the relationship between him and his mother. There are occasional encounters with his father and grandma, but it was his mother that was the center of what made his family dysfunctional. David's mother seemed to have a mental disorder that may had been genetically passed from her mother, or brought upon her by the abuse she received from her unstable mother. Unlike Bechdel's book, the writing style was a bit more simple and  the secret was slowly revealed subtly rather than surprisingly thrown at the reader. It was fun to slowly put the pieces together as the story went on, and I absolutely loved the dream sequence at the end of the book. In the end, David's grandma burns a house and the mother dies (this is a super rough summary, a lot more goes on) then David has a dream. In the dream he is in a house by himself, and out a window he sees another building nearby with his grandmother inside and his mother sweeping the path from his house to the building.  His dream is essentially a metaphor of his mother paving the way to a mental disorder, but Daivid refuses to follow their footsteps.

In the end, both novels shared stories of their dysfunctional families with major differences, but a few similarities. They both share riveting tales about their childhoods, as well as their troubles with both parents, but with more focus on just one of them. They overcame the issues that their parents had set inadvertently, and both went on to live their regular lives. Art wise, Bechdel's style resonated better with me, but that's because I like sharp drawings rather than watercolor, but Small's simple writing style and parallels to Alice in Wonderland were a bit more intriguing to me. Overall, bother novels are absolutely fantastic reads that I would definitely recommend to friends, family, and colleagues! 

Monday, March 14, 2016

What's the Appeal?

“We seem to know when to ‘tap the heart.’ Others have hit the intellect. We can hit them in an emotional way. Those who appeal to the intellect only appeal to a very limited group. The real thing behind this is: we are in the motion picture business, only we are drawing them instead of photographing them.” - Walt Disney


Appeal compliments the Mood of animation, which was previously discussed in Chapter 5. Body movement has a huge part in having a character be relatable to the audience, as well as keeping the suspension of disbelief strong in movies and television. You can't have one without the other, or audiences will become disinterested in what they are watching because they may not think the characters are all that interesting. Take the movie "Inside Out" for example. The main characters are all emotions! Each one is relatable in their own way to what human emotion they represent. EVERY human has emotions! So when the character Anger gets, well angry, we can relate, because we've all been angry! We've all been happy, sad, disgusted, scared, and angry, and the appeal of these characters come from the body language and facial expressions they express when they portray their corresponding emotion.
Characters from Inside Out
The Dreamworks Logo before every of their movies
I don't believe that Disney is the only one that brings this sort of "magic" to the table. Dreamworks films are very appealing due to their relatable characters in movies like "How to Train Your Dragon" and "Kung Fu Panda" Even though they take place in fantasy lands, the main characters are have very  human like qualities (I mean, Hiccup is human, but most other Dreamworks movies are usually animals or magical creatures) who every audience member can relate to in their own way. People come to watch Dreamworks movies because of how cute and magical the movies can be, despite not being made by Disney, the art style and movements of characters keep audiences coming for more as Dreamworks makes a new film every couple of years. Disney hasn't cornered the market yet, but with their acquisitions of Marvel and Star Wars, they're getting super close.  It's almost a little scary.

Principles of Animation Part 2: Fred's 14 Points and Additional Info

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Here is the rest of the principles of animation as a continuation of the first blog posted a few weeks ago!

Today, I'll list off and explain Fred's 14 Points of Animation as found in

The Illusion of Life: Disney Animation using examples from the movie The Incredibles


Fred's 14 Points of Animation:

1. Appeal in Drawing: Focusing on the audience and how they feel toward a specific character.
- Giving a character a unique attribute, like the Incredible family and their red suits with their signature "i" in the middle of their suits.

2. Staging: Focusing on main parts of the scene for the viewers. 
- The current motion of a character, or facial expressions as well


3. Most interesting way? What can you do to make each and every character interesting to all types of audiences?
- A character that is playful, yet sometimes serious is easy to relate 

4. Is it the most entertaining way? Making sure that the character is intriguing.
- Make them funny, or super sarcastic! In the Incredibles, everybody had super powers! Pretty intriguing.

5. Are you in character? When creating that character, get into character yourself. Try to relate to the character.
- Mr. Incredible is probably the most relatable character to middle aged dads, which are probably the ones who created him.

6. Are you advancing the character? Make sure the characters are advancing in time just like people do in real life. 
- Mr. Incredible does advance throughout the story, from frustrated cubicle worker to back to a super hero with his family

7. Is this the simplest statement of the main idea of the scene? Do not overdo your work.  Simple can be more in some cases.
- Each scene is important in The Incredibles, from introducing characters, to advancing the plot without giving too much detail.

8. Is the story point clear? Keep the story simple so it is easy for the audience to follow.
- Super heroes need to defeat bad guys, pretty simple.

9. Are the secondary actions working with the main action? Making the characters as realistic as possible.
- In some scenes, the family acts like a normal family, making them more relatable despite being super heroes. 

10. Is the presentation best for the medium? Always remember to make sure that the animation will successfully present in any medium. 
- The aesthetics of the movie fits very well with the medium.
11. Does it have 2-Dimensional clarity? When viewing on a flat surface, make sure the characters are visually simplistic.
- All the Incredibles can be seen pretty clearly

12. Does it have 3-Dimensional solidity? To be sure that it can also be in 3D form as well as 2D.
- Yup, its done pretty well

13. Does it have 4-Dimensional Drawing? Making sure that when these things come together that they still look acceptable. 
- The movie does this perfectly

14. Are you trying to do something that should not be attempted? Do not do things to the characters that may take away from what they have to offer.
- No character in the movie goes away from what is expected form their character

Additional 12 Points of Animation:

1Inner feelings and emotion: Give each character a personality!
2. Acting with clear and definite action: Get to the point and keep it clear.
3. Character and personality: This draws the audience to the characters.
4. Thought process through expression changes: This makes good animation along with creating reality.
5. Ability to analyze: Be sure to proof your animation.
6. Clear staging: Keep in mind how it will look on screen and go from there.
7. Good composition: How does the scene look as a whole?
8. Timing: Deals a lot with the frames per second
9. Solidity in drawing: Good drawing+good animation=solid work
10. Power in drawing: This adds drama to the story.
11. Strength in movement: Gives characters powerful traits
12. Imagination: Imagination is what creates animation!

9 Ways Animation Builds Emotion in the Imagination of the Audience 

1. Rear View
2. Shadows
3. Shadows over the characters
4. Overlays
5. Dramatic Layout
6. Pictorial Shot
7. Effects Animation
8. Held Drawing with Camera Moves
9. Offstage Sounds

Tuesday, March 1, 2016

Mood in Animation: Quick Yet Effective



In Chapter 5 of Illusion of Life, Walt Disney says “In most instances, the driving force behind the action is the mood, the personality, the attitude of the character--or else all three. Therefore the mind is the pilot. We think of things before the body does them.”

What Disney is saying from this quote is that before a character even moves, the mood, attitude, and personality of the character dictate the expressions before, during, and after the movements. A Perfect example of this principle can be seen in the 1934 Mickey Mouse Cartoon "Playful Pluto" as shown in the textbook.



As shown in the picture above, Pluto gets a piece of fly paper caught to his behind, and Pluto's expression changes from surprised, to angry, to frustrated as the paper gets stuck on his ear as he struggles with it using his paws.

It is absolutely astounding to see so much detail in such a short time, and how it easily conveys expression messages to viewers with ease. I notice this "mood" detail a lot in the videos of aspiring animators on Youtube as well. There would be extremely short shots of an emotion, but it helps transition the characters current mood state, making scenes with the character flow well and feel "real."

All these emotions can be clearly recognized by the movements of his ears, tail, and eyes. Walt Disney and his crew did a marvelous job at understanding the world around them and translating it into drawings and animations.