Traditional Animation Project

Transcription

1 Traditional Animation Project STEP ONE: READ the 6 key Movement on the back of this handout and ANSWER the questions on the Traditional Animation Questions handou Name: STEP TWO: LOOK at student sample animations on the school website: smhs.bgcdsb.org/school Directory/Mr.Arnett/ASM 3M Media Arts Grade /Traditional Animation-Student. STEP THREE: MODEL SHEET - CHARACTER DESIGN: In your Media Arts Journal begin DRAWING Model Sheets for at least different characters. You will be responsible for drawing them from 3 different angles and have 3 different facial expressions. (No copies of pre-existing characters!) STEP FOUR: STORYBOARD: Using the storyboard paper begin plotting out your story. Your storyboard must follow the PLOT FORMAT and include at least 4 of the Movement techniques: ) Introduction of characters ) Rising Action 3) Climax 4) Denouement/Resolution NOTE: No offensive subject matter- this is a Catholic school. Character Design - Bimbo Model Sheet 93 STEP FIVE: DRAW your own animation on paper. (Minimum 4+ drawings (flipping) which differ slightly frame to frame. STEP SIX: SCAN your drawing into the computer using the scanners. REMEMBER: scan each picture at 7 DPI Size: and NAME: each scan numerically.jpg,.jpg, 3.jpg, into a folder on your U: drive. Max Fleischer s Bluto Animatio Model Sheet 933 STEP SEVEN: Using the Macromedia program Flash - Import each individual jpeg image to the Library. STEP EIGHT: Once you have imported all the individual images begin assembling them on the stage area one at a time by dragging and dropping them - into individual key frames. REMEMBER: Save your working file often and even create a backup file. STEP NINE: REFLECT on your animation once its finished by answering the questions in your Media Arts Journal:. What aspect of your animation do you find most successful and why?. What aspect of your animation do you find least successful and why? 3. If you could do this project again, what changes would you make to improve it? Simpson Storyboard

2 Movement. Anticipation: Early animators observed nature (including themselves and noticed that, in many instances, a movement in one direction was preceded by a smaller movement in the opposite direction. Muscles work more effectively if used through their full range of motion. Thus, winding up your muscles and skeleton produces a more powerful stroke of the bat, the golf club, the axe, or the boo. Cycle: A group of images that comprises a complete action by the subjec During a cycle the subject starts and ends in the same position. For this reason, the same action cane be repeated over and over again without redrawing. Cycles can be constructed for walking, running, and jumping motions. 3. Ease In Ease Out: Though the frame rate of animation is constant, natural motion usually appears at different speeds. As the animator draws in-betweens, they are constantly making judgments about how far to move the action along from one frame to the next frame. When a motion begins, the amount of change from one frame drawing to the next is kept small, but gradually increases. This is called Easing in since the object appears to be accelerating. When the motion ends onscreen, it is often stopped gradually, by reducing the amount of change from frame to frame, so the moving object appears to be de-accelerating. This is called Easing Out. With practive finding the right amount becomes second nature. 4. Squash & Stretch: Stretching serves to emphasis the speed and direction of motion. Squashing highlights the effect of an abrupt change of direction or a sudden stop. Like many other characteristics of animated drawing, the judgements made in the application of Squash and Stretch define the animator s style. 5. Panning: This technique is the motion of a film image across the field of view as the camera turns. The familiar sweep of the background, caused by camera motion in film, in animation, most often simulated by moving the drawn elements under a stationary canvas. Frequently a background drawing larger than the field of the camera is moved step by step across the animation table as the camera exposes frame by frame of film. Objects in the foreground appear to be moving along relative the scenery behind them 6. Exaggeration: To represent as greater than is actually the case; or overstate:; Can take place to add emphasize to an action, movement, gesture in an animation. Usually tied closely with Squash and Stretch, if a character opens its mouth wider then humanly possible or jumps higher then humanly possible, these can be considered forms of exaggeration.

3 KU: Traditional Animation Questions handout /8 Name:. What are the 6 Movement Techniques and define each concep () How can Anticipation be created in animation? () 3. Why is a Cycle important to animation? () 4. How can Paning affect an animation? () 5. How can Squash and Stretch be used in animation? () 6. How can emotion/feeling be created through animation movement? ()

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5 Traditional Animation: Model Sheets: Character Designs Evaluation Name: ACHIEVEMENT CRITERIA THINKING/INQUIRY Concept & Meaning: Model Sheets: Character Design LEVEL LEVEL LEVEL LEVEL 3 LEVEL 4 Concept is unclear and/or weak. Meaning or ideas conveyed are not on par with student s grade.5 Concept is slightly unclear and/or weak. Meaning or below s.5.5 valid. Meaning or on par with student s grade strong. Meaning or above s / Character Design Knowledge/ Understanding Model Sheets: Character Designs (3 different angles and have 3 different facial expressions) Process: Develop and apply a variety of approaches to communicate ideas and solve problems Elements & Design Concept is unclear and/or weak. Meaning or ideas conveyed are not on par with student s grade works. Concept is slightly unclear and/or weak. Meaning or below s works. valid. Meaning or on par with student s grade works. strong. Meaning or above s principles of design while composing works. / / / APPLICATION/ CREATION Demonstration of Design and Creation Processes and procedures: Model Sheets: Character Designs (3 different angles and have 3 different facial expressions) does the limited the moderate the considerable the procedures to a high degree of 5 /5 COMMUNICATION Model Sheets: Character Designs (3 different angles and have 3 different facial expressions) does clarity in concep.5 clarity in concep of clarity in concep a in concep / /

6 Traditional Animation: Storyboard Evaluation Name: ACHIEVEMENT CRITERIA THINKING/INQUIRY Concept & Meaning: Storyboard (Plot Format & Movement) Knowledge/ Understanding Storyboard Design Process: Develop and apply a variety of approaches to communicate ideas and solve problems (Plot Format & Movement) Elements & Design LEVEL LEVEL LEVEL LEVEL 3 LEVEL 4 Concept is unclear and/or weak. Meaning or ideas conveyed are not on par with student s grade storyboard. Concept is slightly unclear and/or weak. Meaning or below s storyboard. valid. Meaning or on par with student s grade storyboard. strong. Meaning or above s principles of design while composing storyboard. / / / APPLICATION/ CREATION Demonstration of Design and Creation Processes and procedures: Storyboard Design Movement & Plot Format: Introduction of characters Rising Action Climax Denouement/ Resolution COMMUNICATION Movement does.5-.5 the limited 5 clarity in principles of movemen () the moderate clarity in principles of movemen () the considerable of clarity in principles of movemen (3).-.75 the procedures to a high degree of 8- a in principles of movemen (4) / / Plot Format: Introduction of characters Rising Action Climax Denouement/ Resolution clarity in concept in plot forma.5-.5 clarity in concept in plot forma.5- of clarity in concept in plot forma.-.75 a in concept in plot forma / /9

7 Traditional Animation: Final & Reflective Questions Evaluation Name: ACHIEVEMENT CRITERIA Knowledge/ Understanding Design Process: Develop and apply a variety of approaches to communicate ideas and solve problems (Plot Format & Movement) Elements & Design LEVEL LEVEL LEVEL LEVEL 3 LEVEL 4 does fails to meet s..5 work..5-. work work. principles of design while composing work. / / Media Arts Journal: Project Questions: Reflective APPLICATION/ CREATION Demonstration of the Design and Creation Processes and procedures: Final Animation: Scan, Resize and organize pictures on timeline fails to meet s. does.5 Poor, yes/no answers/limited incomplete..5 the limited what coherent and somewhat complete..5-. the moderate.-.75 Clear and substantial answers the considerable and insightful answers. the procedures to a high degree of 8- / / COMMUNICATION Movement clarity in principles of movemen () clarity in principles of movemen () of clarity in principles of movemen (3).-.75 a in principles of movemen (4) / Plot Format: Introduction of characters Rising Action Climax Denouement/ Resolution clarity in concept in plot forma.5-.5 clarity in concept in plot forma.5- of clarity in concept in plot forma.-.75 a in concept in plot forma / / A. The Creative Process: apply the creative process to create media art works, individually and/or collaboratively; A. develop plans, individually and/or collaboratively, that address a variety of creative challenges (e.g., reflect on and filter their ideas to select a feasible one as the basis for their plan; use storyboards, thumbnail sketches, production notes, scripts, choreographic notes, and/or blocking notes to help develop their plans), and assess and revise their plans on the basis of feedback and reflection A.3 produce and refine media art works, using research, exploration, input, and reflection A.5 use an appropriate tracking tool (e.g., a sketchbook, a journal, storyboards, a checklist, production notes, a making-of video) to produce a detailed record of their application of the creative process, and use this record to determine, through reflection, how effectively they applied this process A. The Media Arts: design and produce media art works, applying the principles of media arts and using various elements from contributing arts (dance, drama, music, visual arts); A. analyse how media artists use the principle of hybridization, and apply that principle in the design and production of media art works that explore elements from contributing arts A.3 analyse how media artists use the principle of duration, and apply that principle in the design and production of media art works that explore elements from contributing arts A.4 analyse how media artists use the principle of point of view, and apply that principle in the design and production of media art works that explore elements from contributing arts A3. Using Technologies, Tools, and Techniques: apply traditional and emerging technologies, tools, and techniques to produce and present media art works for a variety of audiences and purposes. A3. explore a wide range of traditional and emerging technologies, tools, and techniques, and use them to produce effective media art works A3. create and present media art works that are appropriate for specific audiences and venues, using various technologies, tools, and techniques (e.g., projection, broadcast, the Internet, computer monitors) A3.3 communicate their purpose and artistic intention when creating and presenting media art works, using a variety of approaches, tools, technologies, and techniques B. The Critical Analysis Process: demonstrate an understanding of the critical analysis process by using it to monitor the creative process, and by examining, interpreting, assessing, and reflecting on media art works; C. Terminology: demonstrate an understanding of, and use correct terminology when referring to, elements, principles, and other concepts relating to media arts;

8 C. describe the stages of the creative and critical analysis process with reference to media art works, and explain and use correctly and appropriately a broad range of terms related to the conventions, concepts, principles, and elements of media arts when creating or analysing media art works C3. Responsible Practices: demonstrate an understanding of responsible practices associated with producing, presenting, and experiencing media art works. C3.4 identify a range of positive character traits associated with media arts production, and exhibit these traits in both their independent work and their interactions with others (e.g., show respect for their own work and the work of others and for their tools and work spaces; demonstrate sensitivity towards their subjects; show responsibility by completing tasks and meeting deadlines; display encouragement and support for team members)