animation theory collect by utshab
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Prepared by: Golam Moshiur Rahman Choudhury Animation methodology-01
Initiative of motion and storytelling in
Primitive world
Prepared by: Golam Moshiur Rahman Choudhury Animation methodology-01
Animation can be traced back much further, to the earliest known cave art more than 30,000 years ago. The
exhibit, at the prehistory center of the Pech-Merle Cave in the Lot Valley, is titled “Préhistoire de la Bande
Dessinée et du Dessin Animé” ("Prehistory of the animation Strip and the Motion Picture animation"). It was
mounted by prehistorian and filmmaker Marc Azéma of the University of Toulouse in France
Prepared by: Golam Moshiur Rahman Choudhury Animation methodology-01
Initiative to capture motion in cave painting
(Image from the Chauvet cave)
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Initiative to capture motion in ancient Egypt
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Painted bowl from Shahr-i-Sokhta depicting a sequential scene of a goat jumping
to eat from a palm tree
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Japanese scroll story telling painting
http://www.kokingumi.com/ChojuGiga/37.html
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Shadow play and talpatar shapai ancient way of storytelling through motion in India and Bangladesh
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Patta chitra one of the ancient audio visual performance system
in India and Bangladesh
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Emile Reynaud’s Theatre Optique 1892
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According to the Oxford dictionary ”Animation is the technique of filming
Successive drawing or position of puppet or models to create an illusion of
Movement When the film is shown as a sequence”
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Animation is not the art of drawing that moves but the art of movement that are
drawn; what happens between each frame is much more important than what
exist on each frame; Animation is therefore the art of manipulating the invisible
interstices that lie between the frames
(Norman McLaren )
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"Toy Story Zoetrope," (above) is a knock-out, really enlightens one on the essence of animation and
how it all works. It comprises a 3D turntable populated by the Toy Story figures in carefully
sequenced postures that spring to life when it all spins under the strobe lights.
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Why do we see the images as moving?
The reason our eyes are tricked into seeing movement by biologically and
psychologically
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Persistence :
the fact of continuing in an opinion or
course of action in spite of difficulty or
opposition:
Vision:
the faculty or state of being able to see
'Persistence of Vision ’
Biological reason
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Our brain holds onto an image for fraction of a second after the image has passed. If the eye sees a
series of still images very quickly(more then 16 per second) one picture after another, then the images
will appear to move because our eyes cannot cope with fast-moving images - our eyes have been
tricked into thinking they have seen movement
Prepared by: Golam Moshiur Rahman Choudhury Animation methodology-01
phi phenomenon
The phi phenomenon is the optical illusion of perceiving continuous motion between separate objects
viewed rapidly in succession. The phenomenon was defined by Max Wertheimer in the Gestalt
psychology in 1912 and along with persistence of vision formed a part of the base of the theory of
cinema, applied by Hugo Münsterberg in 1916
Beta movement:
Beta movement is a perceptual illusion whereby two or more still images are combined by the brain into
surmised motion. Beta movement is one of two illusions referred to as "phi phenomena."
Psychological reason
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Concept/story
Concept art
Rough board
Production design
Voice/ dialog
Storyboard animatic
Layout / background
Animation
Sound and music
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an account of imaginary or real people and events told for entertainment or story
Is a situation or event what has a beginning, middle and end all stories start with a
Problem.
Story
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Object : characters
Event: what happens to the character
Place: where it happens
Period : when it happens
Timespane: how long it happens
Objective : why it happens
Elements of story
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Linear story structure
Beginning Meddle End
Beginning Meddle End Beginning Meddle End Beginning Meddle End
•Character
•Action
•plot
•Character
•Action
•plot
•Character
•Action
•plot
•Character
•Action
•plot
•Character
•Action
•plot
•Character
•Action
•plot
•Character
•Action
•plot
•Character
•Action
•plot
•Character
•Action
•plot
Main storyline
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Character
Action
Story
Plot
The story CAP
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CHARACTER
What kind of
Archetype
profile
What is his/her Goal
Why it is Original
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Archetypes
According to C.G. Jung the great psychologist , archetypes are the primordial models
Upon which we , as humans, are fashioned. He applied this idea not only to our behavior
But also to our tradition of myths, legends and storytelling. The blurring of the boundaries
Between myths and reality, through the concept of archetypes. Makes storytelling a
powerful medium for teaching us about life . By recognizing the various facets of the
Archetypes characters within our own psyche we can identify with the character in a good
story, And hopefully learn something about ourselves from their tale.
Different archetypes1.Hero
2.Mentor
3.Threshold Guardian
4.Herald
5.Shapeshifter
6.Shadow
7.trickster
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HeroCharacteristics: a real person Full of contradiction-strong and determined
Yet week and uncertain, the hero is the one that take the journey of discovery.
Role: to find meaning in life and bring
That meaning to the lives of the people in their world.
MentorCharacteristics : wise and learned. Selfless and generous, Often portrayed as an
old person.
Role : to teach and advice the Hero on his her journey Will give a gift that helps the
Hero in their quest
Threshold guardian: Characteristics: aggressive obedient menial of the villain.
Role: to obstruct the hero’s progress and test their resolve On the path.
HeraldCharacteristics: friendly, loyal, and sometimes outspoken. Can be the Hero’s lover or
partner.
Role: the hero’s messenger for the both bringing messages and Making
announcements on the Hero’s behalf. Helps motivate the hero.
Prepared by: Golam Moshiur Rahman Choudhury Animation methodology-01
Shape-shifterCharacteristics: changeable personalities. Untrustworthy. Often represented As
femme fatale.
Role: to test the Hero. Can fulfill several roles and create confusion.
Shadow Characteristics: the dark side . The unknown , repressed feeling.
As femme fatale.
Role: to stop the Hero from reaching his goal. To destroy hope.
Trickster Characteristics: Mischievous troublemaker
Role: comic relief. To point out absurdities and hypocrisy. To create chaos.
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ACTION
All action is reaction
Obstacles
Mental or Physical
Objective Media and
tools
Originality
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PLOT
Event and story
bit
Setting
Objective Time span
originality
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Three act story structure, the development flow….
Act-01
1/1
2/1
3/1
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10
09
08
07
06
05
04
03
02
01
00
Beginning/Act-01 Middle/Act-02 End/Act-03
Le
ve
l o
f e
mo
tio
n
Number of scenes
Eff
ec
tive
op
en
ing
Clim
ax
01………………………………………………………15…………………………..…………………………….30
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Concept art is a form of illustration where the main goal is to convey a
visual representation of a design, idea, and/or mood for use in films,
video games, animation, or comic books before it is put into the final
product. Concept art is also referred to as visual development and/or
concept design
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Concept Art bridges the gap between 'idea' and 'reality'. It allows
raw ideas to be developed and visually communicated so that they
can be realized through a production process.
Purposes of concept art
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Types of concept art
• Location/ setting
• Character appearance
• Creature design
• Props and gadget
• Vehicle
• Weapon
• Special effects
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Principles of concept arts
• Idea
• Mood
• Believable
• Comprehensive
• Artistic
• Unique
• Narrative
• Style
• Achievable
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Rough board is a form of visual storytelling it is a process of random and rough
visualizing Of story in very initial level of animation preproduction
Prepared by: Golam Moshiur Rahman Choudhury Animation methodology-01
Archetypes
According to C.G. Jung the great psychologist , archetypes are the primordial models
Upon which we , as humans, are fashioned. He applied this idea not only to our behavior
But also to our tradition of myths, legends and storytelling. The blurring of the boundaries
Between myths and reality, through the concept of archetypes. Makes storytelling a
powerful medium for teaching us about life . By recognizing the various facets of the
Archetypes characters within our own psyche we can identify with the character in a good
story, And hopefully learn something about ourselves from their tale.
Different archetypes1.Hero
2.Mentor
3.Threshold Guardian
4.Herald
5.Shapeshifter
6.Shadow
7.trickster
Prepared by: Golam Moshiur Rahman Choudhury Animation methodology-01
Hero
Characteristics: a real person Full of contradiction-strong and determined
Yet week and uncertain, the hero is the one that take the journey of discovery.
Role: to find meaning in life and bring
That meaning to the lives of the people in their world.
Mentor
Characteristics : wise and learned. Selfless and generous, Often portrayed as an old person.
Role : to teach and advice the Hero on his her journey Will give a gift that helps the Hero in their
quest
Threshold guardian:
Characteristics: aggressive obedient menial of the villain.
Role: to obstruct the hero’s progress and test their resolve On the path.
Herald
Characteristics: friendly, loyal, and sometimes outspoken. Can be the Hero’s lover or partner.
Role: the hero’s messenger for the both bringing messages and Making announcements on the
Hero’s behalf. Helps motivate the hero.
Prepared by: Golam Moshiur Rahman Choudhury Animation methodology-01
Shape-shifter
Characteristics: changeable personalities. Untrustworthy. Often represented As femme fatale.
Role: to test the Hero. Can fulfill several roles and create confusion.
Shadow
Characteristics: the dark side . The unknown , repressed feeling.
As femme fatale.
Role: to stop the Hero from reaching his goal. To destroy hope.
Trickster
Characteristics: Mischievous troublemaker
Role: comic relief. To point out absurdities and hypocrisy. To create chaos.
Prepared by: Golam Moshiur Rahman Choudhury Animation methodology-01
Techniques of Interpreting archetypes through design elements
Understanding analogy and juxta position in character design
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The foundation shapes and their meaning
•Meaning from Experience through Evolutionary ,
•Socio cultural and ideological meaning ,
•Conceptual meaning
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Defining reality level
Realistic Semi Realistic Semi abstract Abstract
Think about the purpose of design
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Abstraction of character ‘s form
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Using complimentary form
Understanding the contrast and harmony of shapes
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Stylization
Balancing concave and convex space
Application of exaggerated perspective
Application of rules of third
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Application of rules of third in character design
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Balancing concave and convex space
convex
Concave
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