Major Work Progress

My animation has truthfully taken a difficult start. My first and foremost difficulty was comprehending perspective in cel animation. Upon consulting some academic articles, I found a particular camera technique in animation known as a pan, “Suppose that we wish to make a movie of a scene, taken by a camera rotating from left to right with its gaze always horizontal (a pan)” (Wood et al, 1997) Although it seemed easy in essence, when trying to deliver this action it did not seem to work as I had intended. I drew my animation with a background to rotate left to right and the main subject remaining the same point to give the illusion of the camera perspective to move or pan around the main object. In my cel animation I illustrated the background and moved my background a fraction from left to right in each frame whilst the person in my animation remained in the same position to give the effect of the world moving around the main object of animation. However it did not deliver as I had intended it to and instead appeared very jerky and gave the illusion of the world moving WITHOUT the main object as opposed to AROUND it.

Jaggered movement scene

I was honestly frustrated by this and decided to move on without fixing it yet. I’ll come back to it later or maybe I’ll leave it to show how I have developed my cel animation techniques and drawings. Moving on, my animation is going to be simply sketched and the surroundings and protagonist will also be drawn basically. As the video continues the scenarios and protagonist will become more and more detailed as I am trying to deliver an accepting symbolism throughout the journey of my animation. This was brought on by the visual inspiration of Sorority Noises album ‘Joy Departed’s cover as seen below. It is a sketched vibe, very obvious as to what the drawing is, however lacking lots of detail.

I want this vision of easily identified drawings which become solidified as the video progresses to represent a symbolic understanding of the protagonist accepting their fate. Symbolism is drastically important to delivering an animation, reflecting a set of values that the video is trying to convey, “This means the visual symbols reflected and designed must contain some values. Good communication of cultural values and smooth information decoding should be achieved and a proper information context should be created” (Jia, 2014) thus I am attempting to reflect accepting death as it comes through my animation with visual cues and animation techniques including zooms, perspectives and more. The key to delivering this symbolism is to communicate the idea in a coherent yet ambiguous nature, mimicking that of death itself, “Applying the visual symbols to film and television animations aims directly at having effective information communication.” (Jia, 2014).

Very simply drawn character design

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