The LIAF project is quite intense but very useful and interesting to see how I would approach creating an animated film.
Storyboarding Process
My very initial and raw idea began with a Venn diagram – as it played into my interest of colour theory. So, that was my starting point. I then started to picture what the overall theme could be. Using Robert Bradbrook’s storytelling sessions, I began to piece together a structure for this story.
Initially, I was really dreading the lip sync activity and when I heard that I had to do two lip syncs – my heart sunk. However, I thoroughly enjoyed lip syncing because it added something extra to the animation. Something more relatable which allows audiences to connect with the character.
First Attempt at Lip SyncSecond Attempt at Lip Sync
I chose the – what I call – ‘Blow’ sound clip because I immediately envisioned this young woman with a sharp chin and a business bob holding a cigarette. The initial sketch I had is depicted below:
Initial Sketch/ Plan for the phrase
Design for Character
Key Frames without Mouths
There is a lot of information about mouth shapes and phonetics, especially on the internet. I was quite overwhelmed with what direction to go in or how do I go about starting a lip sync. I really didn’t know how to plan it, so I just dove right in.
Lip Studies
Lip Sync – Chosen Sound Clip
I decided to choose a sound clip that had been doing rounds on the internet and is coincidentally a saying that my sister repeated for days.
There are pros and cons about this clip, I’m very happy with what I produced but I should have had given the character a body and arms. The movement of the eyes and eyebrows aren’t necessarily fluid enough to read as natural movement. From these exercises I’ve learnt and understood the process of lip sync and created my own way to do it.
I honestly struggled with this exercise more than the others. I think it’s because I need some sort of context or storyline, it was quite difficult for me to just come up with something on the spot. I feel I lost interest in this animation and it was becoming more of chore.
I’m semi pleased with the outcome of this animation, I do like the ‘creepy’ aspect of the floating head and hand reaching out of nowhere. However, I feel I could have done a lot better. Honestly, it was quite draining – so I’m unsure on whether to redo this.
So, I asked my Dad to do various poses with certain expressions. I wanted to see if I could emulate these expressions and have the images to look like they came from the same person. I think that is what I find difficult, a character changing expressions or anticipation. My linear drawings are quite bold and are straight to the point, but my paintings are very suggestive. I like the suggestive-ness of these images and wonder if the paintings itself could lean into animation.
My Dad, Flatbrush and Technical Pencil on Procreate (2021)
Texture vs Line
The original line drawing is simplistic but allows for suggestion, I wouldn’t say it’s flat – but, I find it difficult to understand a change of expression or the head at different angles. The painting allows for the imagery to have some depth and possible movement. I feel this would work as I really like this style and it might be refreshing to animate.
Observational Drawing of my Dad, using Technical Pencil on Procreate
I feel like I am cheating when I use rotoscoping. However, this style is very realistic and may be something I want to work towards as a visual aesthetic for my final project. Although, I need to work on the character’s intent – what’s their motive or reasonings behind their movements? I enjoyed rotoscoping as it gives me the detail I want but I need to match that with the essence of a character.
Below is a video about rotoscoping and the origins of it. I found it quite interesting to see how reference videos were used.
Youtube.com. 2019. The trick that made animation realistic. [online] Available at: <https://www.youtube.com/watch?v=IS1hCSsmH1E> My first attempt at Rotoscoping, TVPaint 24 FPSAll the frames together
Rotoscoping heads, missing one (23)Coloured in Procreate with watercolour texture, 12FPS
I found it quite difficult to create a model sheet, as most of my drawings are very expressive and emotive. When animating, I think I will find difficulty at the ‘clean up’ stage. Maybe, I should try to draw a character with expressive features and keep my drawings as loose as possible. I think I am probably overthinking the linear element of my character designs and will need to think more about shape and volume.
First attempt at drawing different expressions
Attempted Character Design
I thought this part of the unit would be the easiest, but I soon found out that creating a character and giving it depth is
The Pocket Man – Character Development
Character Idea Development – PocketManTurnaround of Pocket Man
Sulekha.com, TV Advertisement, directed by Suresh Eriyat
Sulekha.com, TV Advertisement, directed by Suresh Eriyat
This is a screenshot from a TV advertisement which won the ‘Holland Animation Film Festival Award in 2009’, directed by Suresh Eriyat. Not only did I enjoy the style of this advert, it showcased typical gestures from South Asian cultures. This advert is a taster of the output from modern South Asian animators who are consistently delving into their culture to bring new perspectives.
Chand, D., 1764. Ashraf ‘Ali Khan. [Watercolour on Paper].
Chand, D., 1764. Mutuby, mistress of Ashraf ‘Ali Khan. [Watercolour on Paper].
Watercolour paintings in Bihar, 1764
For instance, this animation displays similar attributes to Indian folk art and more specifically, Bihari paintings. My thoughts are that, Suresh Eriyat wanted to reference the origins of Indian art and culture through this animation. For me, the Sulekha advert embraced various features of Chand’s watercolour paintings, which are displayed above. Chand’s muted colour palette and use of continuous horizon is translated effortlessly in Eriyat’s animated advert.
Looking at Ranade’s work, gestures come into play. The use of leather puppetry pays homage to the traditional forms of Indian animation. Like most modern Indian animators, they bring an element of culture and strategic movement. From researching this, I would like to study how body language and gestures can be synonymous with culture.
‘It is a very powerful medium. It is a very unrestricted medium, it doesn’t have any particular format you need to follow. You can tell any story, you can tell it any which way. You can do abstract things, you can do realistic things you can do all kinds of take offs. For me, that power was very interesting.’
