Tuesday, February 28, 2012

Creative Influences



My creative influence
My favorite artist is Genndy Tartakovsky, most notably for his endeavors in the animation business. He is a Soviet born Jewish-American who earlier got into the career by scripting an animation, which laid basis for Dexter’s Laboratory. His most successful works are Samurai Jack, Dexter’s Laboratory, and Star Wars: The Clone Wars, all which are noticeably stylized 2D and relatively flat animations; however, this gives leeway to Tartakovsky’s amazing perspectives, movements, and superior linework. Most of his works are simplistic in terms of detail, which allows Mr. Tartakovsky to animate more fluidly. My artwork strikes a similar style, which is why I have much interest in Genndy. In some of his works, he gives the illusion of animating with doing less work, thanks to his blend of technical techniques and traditional animation techniques. He also keeps a great consistency in all of his art in episodic animations, which is impressive, since most cartoons tend to re-use loops and shorten episodes during the end of an episode or the end of a series. Genndy puts an equal amount of time and effort into his masterpieces.
One of his first notable pieces was an animated series called, “Two Stupid Dogs” which began in the early 90’s when he was still in college. This early example of his work demonstrated his storytelling abilities, which also served as an anchor for his more in-depth work.
            His best work, personally, is Samurai Jack. Samurai Jack is a lone samurai warrior who longs to return to his homeworld, banished by Aku while Aku torments his timeline. This serves as the basis of all of Samurai Jack; he gets close to a portal, and he fails. However, integrated with an amazing storyline, climatic battles, mid-violent realizations, eloquent vectorized artwork and backgrounds, and attaching characters, you begin to share the realities the main character, Jack, is going through. Overall, if you are into cartoons, Samurai Jack is possibly the greatest piece of artwork that Genndy has ever embarked on.
            Dexter’s Laboratory was an animation that spawned in the early 1990s. Genndy’s art style was more organic in this work, as he uses sharper outlining and more pointed bone structure. What I find compelling about this work is the comical relationship between two characters: Dexter, a boy genius, and Dee-Dee, his older-but-not-so-smart sister, who seems to destroy as much as Dexter creates. It is truly an original cartoon that  (I’m pretty sure) influenced other cartoons like Jimmy Neutron.
            Overall, Genndy Tartakovsky is my favorite artist mainly because of his resemblance in style to mine. His simple but effective storyline is what I want to achieve in my animations.
            

SOA animator: Surabh Anand

This graduate is doing a 3D animation that runs for around 7 minutes, and it revolves around a man in India who loses everything, and seeks redemption. I was not only interested in his technical process, but also his storyline. I based the interview questions from the Studio visits, and collected some very nice data:


Saurabh Anand

anandsh@mail.uc.edu
513 293 6251

4415 DAAP

How long did you have a studio for?
1. 1.5 years

Why did you get a studio?
2. I need some personal space where I can explore my ideas 

Where do you work currently?
3. I work part-time at UCIT 

What aspects hinder you from creating your artwork?
4. visualization of my concept,  Technical Problems, and third working alone in my mixture Programs 

Do you network at all?
5. I have contacts with people from Siggraph, Contacts on Facebook and Lankedan, spread my business card to people


What is the worst possible scenario for you right now?
6. Completing my work on time

How do you feel when your work is completed?
7. I feel good after completion, distinct planet with everything moving around me, attachment to nature

Here is his website to his works:

www.pyxisstudioz.com

Technical Process

I thought I'd post a process of how everything sort of works when I animate, so I have posted a picture below: (Click to enlarge)


I am currently working in Flash CS4, an animation program. In the top left corner, I am working with something called a "timeline", where the individual frames (the grey marked with a black dot) reside. It tells us how many frames altogether we are making. The blue frames marked are frames marked with using "tweening". As opposed to frame-by-frame animation, tweening is the process where the computer creates an algorithm to move the piece. It is also shown which piece I am applying it to by the green line shown beneath the rock the mouse is holding. It sounds like a great function, however, it can water down an animation if used poorly. I try my best to use it along with my frame-by-frame animation for loops and possibly any scene that has the same effect as if I was drawing frame-by-frame (background linear movements, etc.)

Researched Books

I have been researching several books that helped me strive as an animator and as an artist. I recommend these books to anyone who want to use digital programs to make art or animation:
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The After Effects Illusionist (by Chad Perkins)

   - This book is great for the program After Effects CS4 (it covers up to) and it sort of covers a bit of everything the program has to offer. This is a great starter book; in fact, I am using this book to help me with ideas for my current animation process. I have already used effects such as tritone from Ch.12 (pg 367) for my previous animation, "The Agency".

Bridgman's Complete Guide to Drawing from Life (George B. Bridgman)
 
    - Bridgman provides a plethora of sketches from every body position, and from all angles. This book, to me, is constructed as a huge diary for readers to get a glimpse of how to accurately portray, position, and proportion every aspect of the human figure. It helps me, and I see improvements when I work in my Life Drawing courses. I greatly recommend this book as it was recommended to me by Deon Nuckols ( who is a director of such projects for Mattel and Disney, and very recently Lionsgates).

The Animator's Survival Kit (by Richard Williams)

    - This book was recommended to be by 2 graduate students who also work on animation. The Animator's survival kit works less on anatomical structure compared to Bridgman's guide, and more on animation techniques that help enforce certain movements (or simply to make those movements stronger). This is practically the bible for animators from what I have heard. Personally, I also think this is a strong source for any animator, for it provides anatomical structures, pictures, references to other animators, and much more.

An Essential Introduction to Maya Character Rigging (by Cheryl Cabrera) and How to Cheat in Maya 2010: Tools and Techniques for the Maya Animator (by Eric Lutha)
 
    - Although I have not went through these books thoroughly, the 3D animators I know proved this book to be resourceful. I recently picked up this book because I was recently hired onto the UCIT department for the Graphic Designer position, in which we must serve clients with 3D models, architectures, animation, etc. My lack of 3D animation (I work on mostly 2D, although I was hired because of my 2D work) might serve as a hindrance to others (despite that we have orientation for about 2 weeks). So, in order to expedite my prowess, these books are currently serving as a reference for my job.

Progress and Snapshots

My current project that I am working on will be 1 minute long, running at 20 FPS (Frames Per Second). I will do all of the linework by March 8th, and continue working on color, sound, and visual effects next quarter. Here are several snapshots of my work so far....
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And here is a test picture of a mouse (incompleted) in color. The back side of the cave 
was done in photoshop. The outer cave needs more shading, however.

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Artist's Statement


Wednesday, February 8, 2012

This is a quick sketch concept of a phone that I will include into my 2D Flash Animation. The one I will use as a model will be the slimmer one on the right of the purple phone. This particular cellphone may be built in Maya, a 3D program, animated (simple tossing of a phone, just utilizing a rotation tool) and then exported as multiple 2D files for my 2D Flash program. The main reason for choosing a 3D program over developing it as a 2D model is to stress the significance of the phone, and how it will later play in the animation short story.