By Andrew Selby
From scriptwriting via to construction, this advent to animation for college students surveys key technical methods and examines a number of stylistic techniques. The e-book contains visible examples from key animators and illustrated positive factors on tips on how to create intriguing animation for numerous audiences.
This e-book is a crucial source for somebody who intends to make animation part of their profession
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Additional resources for Animation
It must be able to be secured, but equally should be easily accessible to those who need continual access. Ideally, the studio will provide a solid base for extended working practices, as the process of animation is time-consuming and meticulous. A flexible studio space should be conveniently located for both the animator and visitors to the studio. It needs to be well-resourced, spacious, temperature controlled, and capable of being adapted to provide different lighting conditions. The studio must be insured and should also conform to health, safety, and fire requirements, especially where it is part of a bigger building, and occupants are responsible for ensuring that published local guidelines are followed.
55 Drawing and visualizing tools A typical treasure trove of drawing materials for animation preproduction might include: • • • • • • • • • • • • • • • • • • various grades of graphite pencil sharpeners and files (nail files are good for getting very fine points) selection of erasers (including putty, which can be shaped) graphite sticks charcoal (various grades, including compressed) fi xative compass scissors and cutting blades/handles colored pencils felt-tip pens and markers watercolor and/or gouache paints colored waterproof inks pastels (oil, wax, and/or chalk) brushes (a broad selection might include flat and round heads, hog- and sable-haired, long- and short-handled, and possibly specialist variants, including Japanese calligraphic brushes, to suit specialist work as required) dip pen with selection of different nibs selection of fine liners ruling pens measuring aids (set squares, rulers, protractors, French curves, and so on) With the increased use of digital technology, it has become commonplace to mix recording tools to capture specific observations.
Foley editor—named after the famous Hollywood practitioner Jack Foley, who was an early exponent of the art, the foley editor’s job is to decide what sound effects need adding in postproduction to artificially enhance an action, and to work with foley artists to achieve these effects. Foley artist—a skillful job that requires a good ear for sounds and the ability to imitate them imaginatively through sometimes unconventional and unexpected devices. Foley recordist—works with the foley artist to capture sounds that can be used to enhance effects not possible using conventional recordings.
Animation by Andrew Selby