Introduction

 

For the second assignment in my Animation Strategies Class I have to carry out research in the form of  blog of references I can use for animation and create three short animations that will all be uploaded on Blackboard for the 7th January 2022.  I will also need to write entries on the creation of these three animations which are: A Walk Cycle, A Run Cycle and a Full Body Motion Action.  These can either be created in 2D or 3D, however due to my skill and competency in 3D environments and manipulation combined with the shortness of the time due to working on Assignment 1 I have opted to use 3D animation.  This also mean I have access to the university’s pre-made Jack Model and Rig.  The main goal of the animations is not just to demonstrate I can create several successful actions but also to demonstrate how well I can create movement not just the large basic movements but also the finer nuances involved in those actions.  This is to show I can use all the tools at my disposal to create believable characters.

Both the Walk and Run cycles will have their own blog entry with the exception of Research and Overall Conclusion sections as they will be covered here.

The Links to these pages can be found below:

 

This is also the Links to the assignment page: (https://learning.ulster.ac.uk/webapps/blackboard/content/listContent.jsp?course_id=_323028_1&content_id=_5963554_1)

 

Research

An Overview of Research and why Comics?

Over the last few years I have confidently studied the twelve principles of animation, most notably those utilised by the Disney Enterprise and whilst I will be using all twelve points I wanted to cover a different medium that I can use to influence and create my animations i.e:, the world of comics.  This gives me two intriguing insights, firstly into how original hand drawn pictures are used to influence the way action is portrayed and create the sense of motion in a medium that has none.  Secondly, how scenes from these books and images can be adapted and referenced in both animation and live action.

The books I have coved are listed below as Images. (spoiler warning is advised)

I also reminded myself of the basis animation theory and lessons using ‘The Illusion of Life (Disney Animation)’ by Frank Thomas and Ollie Johnston and ‘Cartoon Animation’ by Preston Blair.

 

Power In Movement

The largest difference between animation and the still images in comics is that animations move which the images constantly changing to reflect the actions they are portraying.  With that note how do images reflect those actions and what can they offer as to how we aminate characters or objects.  While in the world of comics they use exaggeration, emotions and posing to show how a character is moving, what is their mood, what voice do they have and what other effect is happening in the scene ?  To give an example: the Cosmic Ghostrider comics shows scenes with large amount of angry flames for the fire scenes to indicate they are lashing out at an object.  Additionally, when the Ghostrider takes a leap to attack with his chain his front leg is fully outstretched showing the distance he is moving with the chain across the full expanse of the page to reflect the range, power and speed of his attack.    If we look at another comic i.e: Black Bolt, Medusa’s living hair is depicted as flowing and capable of independent movement to reflect the magic inherent within it but also the gentleness of her use of it.  Using these references it is easy to tell what action is happening and how it is being carried out so we can use these factors in out animations, not just to animate similar scenes but general to reflect feeling and speed in other environments.

Expressions in Design

An important note for animation is the design of characters, effects, environments and items.  Unless you are attempting to subvert expectations designs help reflect how a subject should move and behave.  Animation should also play to the strengths of a design as well.  As they are still images comics require to do this all the time.  To give an example: the Joker from the Batman franchise is always drawn with a very exaggerated appearance with his mouth usually determining how he is portrayed.  It is the expression as shown in the drawing of his mouth that reflects his mood to the reader.  Just his design alone not only tells you what the characters whole ordeal is, but his rubbery face gives an indication of how exaggerated his animations should be.

Art Style

Animation can draw from many art styles, however there is a long history of how comic book art influenced the art style of animation.  For historical reasons as animators require their art style to be simple to animate and manipulate in a set period of time, they found comic makers had the same criteria i.e: characters like Dennis the Menace and Desperate Dan had to be drawn in a different strip every week.  Both mediums therefore are heavily time sensitive in relation to deadlines but the also use their styles to attract attention constantly seeking new reader/viewer and hooking them into the franchise.  Rocket Racoon, as shown below, represents this perfectly, being a very simple style that captures the readers eye, is easy to draw and is capable of being incredibly expressive.  We can also use the changes in art style in animation to reflect a sudden change in a scene or to heighten a point of action like the comics as demonstrated in the Mister Miracle below. In this example the scene changes from colour to black and white to emphases the violence in the story.

 

Storyboard and the rhythm of animation

This section I hope will be self explanatory.  Animations are created in the planning phase by using storyboards and animatics and what is a comic if not  series of storyboards with text.  As we can see below, these pages from the comics depict entire scenes of movement in the same way as animation keyframes which we can look at to see how a frame by frame action can work.  In addition it can also show us how even subtle changes can effect or change the mood of a scene.

Adapting the designs not initially made for movement

This small segment from Bloodquest, a Games Workshop production is an interesting thought I felt might be fun to include when researching for this blog.  Initially, some designs were never created with the intention for proper movement.  This is because the proportions and physical features were awkward, anatomically incorrect and clunky.  Either they thought they were never meant for animation and therefore depicted in certain ways.  For example when it first started out, no one at Games Workshop ever thought the miniatures they produced would ever be animated and thus were never designed with this in mind.  The nature of their initial designs made them virtually impossible to animate.  Their recent designs are however more fluid, but the comic makers at the time have created drawings of the miniatures showing their movement. Animators through these adaptions and drawings are beginning to see how they could move and be possible for animation.

The Reverse: Adapting animation into comics

While this blog relates to how comics can turned into animations or help influence animations I want to also to discuss how we can adapt an animation into a comic.  Nearly all franchises now exist with tie in media, eg:  the Transformers created by Hasbro were primarily a toy line, but in order to sell the toys they created interest by developing a television show, comics, movies, video games etc.  Animations from the first Mickey Mouse cartoons of the 1920s to cult favourites such as the recently produced Gravity Falls have also received a huge tie in media including comics.  If we look at the Green Lantern series as shown below, the comic had to translate the CG animated series into a 2D image and still make it look exciting.  It is always worth looking at the reverse process sometimes as reverse engineering gives us new insights into our process.

 

A Warning to the flaws of comic/animation inspiration

While I have spoken at length and have heavily encouraged the use of comics in influencing the field of animation, there are some pitfalls that you need to be aware of.  There is a saying that not everything that works in one medium can be readily translated into the other.  Some scenes may only work by virtue of them being still images or due to the context in its creation.  Also in comic books you can create characters and scenes that suit your design but that are impossible to animate.  The comic character that you may create is your sole intention within that medium: intentional purity of design.  You have no desire for its animation as that might deflect from your original concept.  A good example is Alan Moore, the legendary writer an creator of Watchman and V for Vendetta.   Moore writes entirely for comics was dismissive and unhappy that his works re adapted for other mediums such as movies.  This is because he sees his creation being adapted for that medium carried out incorrectly to his conception, detracting from the original strength in his material, because he wanted them maintained in the comic format.  The last major pitfall and the biggest reason why I dislike some animations taken from comics is linked to the area of anime.  In this area the animations do not utilise the full scope of the medium and are just straight moving versions of the comic strip. They sacrifice the beauty of consistent animation, reducing it to cheap movement and effects.

Example: Breaking the Bat

 

Example : Lex Luthor’s Epiphany

 

Example : The Dark Knight Return’s Joker’s last laugh 

Theory for the Full Body Mechanics 

For my full body mechanics I wanted to replicate something closers to the comics or something synonymous to super heroes in order to relate back to my research.  In order to do this I decided to carry out a project that would looking at a superhero preparing to take to flight.  This will be a good and understandable way that can be related to my research and would allow me to use every part of the characters body in motion.  Unlike my walk or run cycle I did not have  pre-planned drawing for this as I needed to get a feeling of what poses the Jack Rig could achieve.  It would also allow me the freedom to experiment with positions and go with the flow of the program.  One thing I wish to emphasize is the thematic of taking off where the character for dramatic reasons would put more tension into the action than would normally be effective or efficient in real life.   An example would be the character squatting for some time before take-off building that dramatic tension effect.

 

Full Body Mechanics Animation

Similar to the other projects I created a new Maya File saving it into its own project folder titled them both as ‘Full Body Animation’, then importing the Jack Rig into the Maya Program.   I then went on to key frame my rig in its timeline to get the base movements of the total project.  This allowed me not only to get a clearer picture of how I wanted to animate my character but also to understand the limitations within the Jack Rig.   As it had too to carry out more actions than the walk or run cycle consecutively  ie: walk forward, run and jump.

A large part at the end of te animation was to make character actually resemble someone flying n the air and just carry out  simple jump.  To achieve this, I made sure the keyframes were close to each other to show through speed that this was no ordinary jump.  As taking off requires greater speed then I would repose him so he would assume a more natural superhuman flight position, and then halfway through the transition the character looked liked he was being propelled through his upper body rather than his feet.

After completing the basic key frame movement I went over the whole animation and started to add smaller and finer details.  These included e3lements that would help the character look more alive and natural as he transitions through the process of taking flight, including the actions leading up to taking off.  This included making the toe and heel line up with the general movement of the feet so they were not landing flat on the ground.  Along with this alteration I would animate the fingers and wrists, so they were not remaining still and motionless, but emphasizing the fact the character was redirecting his focus and energy to his intention.  Additionally I would make sure that his feet would stay leveled by keeping their Y axis on the ground at zero.  I would then send a Playback version to Alec for feedback .

 

Alec’s Feedback and Changes

There were no major new additions to this feedback from the other projects submitted but Alec told me to readjust the timing of several frames so that the flying was faster but the initial crouch before take-off was  lot slower.  He sent me a video which  followed along showing where  should roughly place my key frames in the timeline as well as showing some key frames I could delete to achieve a smoother transition.  As with the other two projects Alec’s feedback was the only feedback I received due to the situation with your classmates and the external factors.  Once I adjusted for the feedback and cleaned up some minor elements I exported the video as a Playblast and uploaded the final result to SyncSketch, My Blog, YouTube and Blackboard.

 

Final Thoughts on the Full Body Animation

I am satisfied and pleased with how the animation came together and with how the actions flowed into one another as well as it undeniably links back to my research on how I can use the art of comic books to create actions in 3D.   That being said, I do think this animation is a little rougher compared to my previous two projects.  This might be through having less time to complete the actions.  Given more time I know I had the skills to create a better animation.

 

Final Animation:

Sync Sketch Link:

https://syncsketch.com/sketch/0098d6ba79d6/

 

 Overall Assignment Conclusion.

In relation to my overall conclusions based on the three animations completed for the project.   I am quite satisfied at how things turned out with the exception of overall feedback numbers.  While not covering specific animations I believe my perspective on looking at the medium through the influence of comics has taught me much in the form of designs, personalities and story telling in a wide range of movements.   My three animations came out reasonably well and aside from my upload quality sticking to SD, as  did not know how to make HD, I think the personalities and energies still show through.  Whilst Alec’s feedback was great and his assistance added immensely to the finished products it was a pity I could not get feedback from the other class members which was unfortunate as the could also have offered me valuable comments.  This feedback from a variety of different perspectives would have helped the final project look better.  One area where I feel particular pride is that for most of my comic book evidence I could access my large personal collection of books and drawings which is quite extensive.  This added a personal feeling of the project to me. When gong forward with my future animations I will reference this blog for advice and assistance.

Finally, despite the difficulties of the current times I am satisfied with Assignment 2 and I would like to thank Alec for all his help especially as he was on Christmas vacation.

 

YouTube Videos for Walk, Run and Full Body Animations:

 

SyncStetch Link:

https://syncsketch.com/invite/NWFhYzM1OW

 

Portfolio Link:

Portfolio (Walk/Run/Body Mechanics)

 

Electronic SPLD Sticker:

Electronic SPLD Sticker

 

Refences:

All images at taken by me from my collection, but all rights go to the following publishers:

  • Marvel
    • Cosmic Ghost Rider- Donny Cates, Dylan Burnett and Antonio Fabela (2018)
    • Rocket Racoon- Skottie Young and Jean-Francois Beaulieu (2015)
    • Black Bolt- Saladin Ahmed, Christian Ward, Frazer Irving and Stephanie Hans (2017)
    • Deadpool: Soul Hunter- Brian Posehn, Gerry Duggan, Scott Koblish and Mike Hawthorne (2013)

 

  • DC
    • Batman Knightfall (vol 1)- Chuck Dixon, Jo Duffy, Alan Grant, Dennis O’Neil, Doug Moench, Jim Aparo, Jim Balent, Eduardo Barreto, Bret Blevins, Norm Breyfogle, Vincent Giarrano, Tom Grummett, Klaus Janson, Barry Kitson, Mike Manley, Graham Nolan, Sal Velluto, Mike Vosburg, Ron Wagner, Jeff Albrecht, Jim Aparo, Terry Austin, Eduardo Barreto, John Beatty, Bret Blevins, Norm Breyfogle, Rick Burchett, Steve George, Vince Giarrano, Dick Giordano, Scott Hanna, Klaus Janson, Ray Kryssing, Tom Mandrake, Tom Mandrake, Mike Manley, Ron McCain, Frank McLaughlin, Josef Rubinstein, Bob Smith, Bob Wiacek (1993)
    • Green Lantern: The Animated Series- Art Baltazar, Franco and Dario Brizuela (2014)
    • Batman: The Dark Knight Returns- Frank Miller, Klaus Janson and Lynn Varley (1986)
    • All Star Superman- Grant Morrison, Frank Quietly and Jamie Grant (2005)
    • Mister Miracle- Tom King and Mitch Gerads (2017)

 

  • Image 
    • Spawn (In the form of the Origins Collection book 4)- Todd McFarland and Greg Capullo (1996)

 

  • Games Workshop
    • Blood Quest-Gordon Rennie and Colin MacNeil (1999)

 

I have also borrow video from YouTube of the animated (and some live-action) comic book Movies, TV shows and Games. The channel’s names and the videos names and links.

 

I also when over two of my animations Books for the basic:

  • ‘The Illusion of Life (Disney Animation)’ by Frank Thomas and Ollie Johnston-1981
  • ‘Cartoon Animation’ by Preston Blair-1994

Leave a Reply

Your email address will not be published. Required fields are marked *