2D Animation Reviewer Character Design Handout

================== Handout \#1 ==================== ▪︎ **Character Design** --- crucial aspect of creating an engaging animation vid/film. ☆ Well crafted characters make a lasting impression & memorable for audience. *[Example]*: Anxiety on inside out message is that we control our own emotion...

================== Handout \#1 ==================== ▪︎ **Character Design** --- crucial aspect of creating an engaging animation vid/film. ☆ Well crafted characters make a lasting impression & memorable for audience. *[Example]*: Anxiety on inside out message is that we control our own emotions (symbolized by having her own comfortable chair means we shouldnt let our anxiety take over us that can lead to negative conseq.) *[Example]*: Woody & Buzz from Toy Story has a long lasting impression to us.  ================================================= **▪︎3 Purposes of Character Design: SEC** **1️⃣. Showcasing Unique Personality** --- character should demostrate unique personalities & be visually appealing. ▪︎Example: [Pete Docter] (director of Inside out) explains his inspo: Joy = star 🌟 Sadness = teardrop 💧 Anger = fire brick 🧱 Fear = raw nerve 〰️ Disgust = broccoli 🥦 **2️⃣. Expressing Emotions** --- it\'s crucial for characters to convey range of emotions such as happiness, disgust, fear, surprise, and anger. --- **[Character concept sheets]** : should present character in various emotional situations & viewpoint **3️⃣. Cohesive Personality** --- it is not only about actual appearance but also how they showcase a cohesive personality. It is required to have a deep understanding to the character\'s personality inside & out. ▪︎Example: Woody as a cowboy is a confident leader but also shows jealousy when he met Buzz. ================================================= **4 Basic Steps in Crafting Characters** **proposed by *[ToonBoom]*** **1. Research --- crucial cuz you [seek character inspiration] including pictures & [references] to help in designing character.** **2. Sketching --- after researching, craft rough sketches of ur own** **design. You may [begin with shapes] just like what [Bill Plympton] suggested to come up with [new and unique design]. Highly recommended to sketch as many dif proportions & shape to have a good character.** **3.. Construction --- it is the very [basis] of a character since it\'s the process of ensuring that the character [proportions & shape] are strong.** **4. Tracing --- the [refining process] to establish the final look, line** **of style, and features.** ================================================= **3 Concepts for Proportion -- CCU** **1. Character Nature & Visible Characteristics** --- consider the nature of the character & think about how their characteristics will be made visible through their shape. ▪︎Example: Sadness nature is sorrow so she is slumped and drooping posture/slouched means heaviness. And her color is blue means gloom. **2. Character Size & Proportion** --- character\'s size is usually [measured in units of \"heads\"]. ▪︎Proportion Guildelines: a.) **Standard character** = 6 heads high b.) **Short/Cartoony character** = 3 heads high **3. Understanding Proportion** --- it is important to understand the basics of proportion correctly before executing ur own style. ================================================= **Character Sheets** ▪︎ **Character Sheets** --- serves a [reference guide/material.] It is for consistency when diff animators make the same character. Clear guidelines are provided to accurately draw it from any angle, pose, emotional state. Having this avoids guesswork & cintinuity errors while understanding & portraying the character in diff scenes. **▪︎3 of what should be included in Character Sheets:** 1\. The character should be demonstrated in multiple [different angles] such as front, side, back, ¾ view, and others. This is crucial to illustrate their full form. 2\. A [variety of posed shots] depicting the character in different stances and movements. 3\. [Expression sheets] should be included as well. It is the character's face displaying a range of emotions. This will help with defining the character's personality. ================================================= **2 Character Design Preparation** **▪︎2 MAIN REFERENCE SOURCES:** 1.) **Script** --- the [primary reference for understanding] [the characters you need to model]. **---** It provides essential details about the characters, their personalities, the props they use, the environment they are in, and the overall story world. 2.) **Storyboard** --- [visually lays out] the character's actions, movements, and which props or environment need to be designed. **--- r**eviewing the storyboard will help you [identify what the characters will be doing ] [in different scenes], informing how the model should be built to accommodate those actions. **▪︎**Using these two references in tandem will give you access to fully grasp both the [narrative context (from the script)] and the [visual or physical requirement (from the storyboard)] when constructing accurate 2D or 3D character models. ▪︎[The script defines who the characters are and the world they inhabit, while the storyboards illustrate how they] [will be depicted acting and moving through that world.] Studying both sources will provide a comprehensive understanding to model characters that integrate seamlessly into the story being told. ================================================= **Expressions** **▪︎Evan Waterman** --- famous comic artist in Vancouver, Canada --- He said that when crafting characters it is important to have various factors such as race, body type, hairstyle, facial features, and posture. Since these elements shape how the we perceive the character. ---For fictional characters, understanding anatomy is crucial. **\~\~\~\~\~\~\~\~\~\~\~\~\~\~\~\~\~\~\~\~\~\~\~\~\~\~\~\~\~\~\~\~\~\~** **▪︎Eggleston** --- he said that when crafting your character, it is [important to explore different expressions & not just focus on finalizing the character's look so soon] [but explore expressions first]. It will help you understand the character\'s capabilities, like how wide they can open their mouth and how exaggerated their eye movements can be. It can also help refine and optimize the character's design. **▪︎2 important animation principles** 1\. Squash & Stretch 2\. Exaggeration **▪︎Elasticity** --- it is how much the character\'s shapes can change while still looking believable. **\~\~\~\~\~\~\~\~\~\~\~\~\~\~\~\~\~\~\~\~\~\~\~\~\~\~\~\~\~\~\~\~\~\~** **▪︎Bancroft** --- a visual artist with 30 yrs of exp in the animation industry --- he stated that in order to create a character expression, it is [broken down into a number of elements]. Suppose character design has basic concepts, so as character expressions. We will focus on different elements of the face and their importance in conveying emotions **☆ 5 importance of facial elements** 1\. Eyes -- It is the [most crucial] element, as it is often referred to as "[the window to the soul.]" We naturally look into each other's eyes for communication and emotion. It has many shapes to show diff perosnalities & ethnicities such as circular, almond, and teardrop. Common problems in eyes **▪︎Zombie eyes** = blank stares **▪︎Walled eyes** = pupils looking in diff directions **▪︎Crossed eyes** = pupils turned inward 2\. Eyebrows -- It is almost as important as the eyes as it [adds clarity] to what the eyes express -- acting like "[curtains]" to the "windows" of the eyes. It has a strong connection to the eyes. ▪︎A \"mask\" around the eyes can help position the eyebrows correctly. 3\. Mouth -- It adds [definition and refinements] to the expression, functioning as the punctuation in a "sentence" made by the face. ▪︎It acts as the **[PUNCTUATION]** 4\. Neck -- Although it is not part of the face, the [tilt and movement of the neck] can significantly enhance expressions. 5\. Nose -- The [least used] for emoting, but it can add some refinement to a certain expression. ================================================= **Pose** **\* when creating poses [AVOID TWINNING]** **▪︎Twinning ---** it occurs when a character\'s limbs/feature are mirrored identically both sides (symmetrical) which is an uninteresting pose. **▪︎2 THINGS TO AVOID TWINNING:** 1\. **[Offset Poses]** --- sligthly alter the position of the limbs/features to break symmetry. ▪︎*Example*: head tilt and raise one arm higher 2\. **[Refined Adjustments]** --- small changes can add interest. ▪︎*Example*: in common pose like shrug adds tilt head and adjust arm to \"idk pose\" 🤷🏻‍♀️ Also, add perspective to give depth & dynamism to the pose. **▪︎4 BENEFITS OF USING PERSPECTIVE:** **1.) Avoid Twinning** -- perspective automatically [breaks symmetry] by creating size differences in shape, making the poses less symmetrical. **2.) Dynamic Poses** -- It adds [drama and energy] to a scene. ☕ **3.) Clear Silhouettes** -- It helps create clear, [recognizable] silhouettes. **4.) Strengthened Expressions and Emotions** -- perspective enhances the clarity of [expressions & body language.] \~\~\~\~\~\~\~\~\~\~\~\~\~\~\~\~\~\~\~\~\~\~\~\~\~\~\~\~\~\~\~\~\~\~\~\~\~\~\~\~ **▪︎ 7 STEPS PROCESS FOR CREATING A POSE** **proposed by *[Bancroft]*** **1. Quick Sketch** -- create a quick sketch using a [red, erasable pencil]. This sketch captures the [basic line of action and simple shapes to show the anatomy.] The goal is to convey the overall feeling and movement. **2. Add details** -- [refine the sketch by adding more details] like ovals for the eyes and nose, shapes for the mouth, and indications of hair and clothing movement. **3. Refine the Expression and Clothing** -- Add details to [refine] the facial expression and clothing, considering the sense of movement and drag. **4. Flip and Correct** -- flip the drawing over & create a new sketch on the back of the paper. This helps [identify and fix] any problems, such as foot placement, chest tilt, hand positions, and head tilt. **5. Transfer Corrections** -- flip the drawing back to the original side and [redraw] it, transferring the corrections made on the back. These minor tweaks help improve the overall drawing. **6. Final Line Drawing** -- Using a [kneaded eraser, lighten the red underdrawing]. Then, create a final, slightly loose, [black line drawing] with a graphite pencil, adding details like hair strands and eye highlights. In short, lineart na malinis haha **7. Scan and Color** -- [Scan the drawing into the computer.] Select the [Red channel] to remove the red underdrawing, leaving only the tight black line. Adjust levels and contrast as needed. The drawing is now ready for coloring. ========================================== **▪︎Clarity** --- key to creating a successful pose is clarity. It dictates that the pose clearly communicates the character's intent and emotions.  By considering the message behind the pose, you can narrow down your options and focus on what is important. *Example: is the character happy or scared? Are* *they trying to punch the other character? Are* *they trying to carry a heavy object?* Every pose should have a purpose. If it does not, it will lack emotion and direction. A strong silhouette is crucial for clarity. You can check the silhouette value by flipping your drawing over and shading it in with a dark pencil. The white spaces between the lines (the negative space) will reveal whether the pose is clear or not. Kahit silhouette nlng is nadisistinguish paren natin ung object or pose. The key to a good character pose is **[CLARITY]**, and there are 4 ways how you can achieve it: 1️⃣ Think before you draw 2️⃣ Have a purpose 3️⃣ Use strong silhouettes, and 4️⃣ Avoid overlapping. **▪︎Storyboard** --- [record of creative process]. --- a material that is referred to throughout the [whole] [production] and even after the project is completed. --- it is a [crucial step in the pre-production] phase of any visual storytelling project. --- plotting the scenes in advance can; **1.** make the prod process more efficient **2.** reduce costly revisions ================================================= **HISTORY OF STORYBOARD** **What is a Storyboard?** **▪︎Leighfield (content writer in Boords \"famous online** **storyboarding platform\")** ---He stated a storyboard showcases [HOW A STORY] [UNFOLD THROUGH STEP BY STEP PROCESS.] --- It consists of a [sequence of images] arranged in order with notes explaining the scene. --- It is like a [roadmap for storytelling], guiding the animators with the story from start to finish. **▪︎ Based on the book \"Professional Storyboarding by Jew (2013)** **Lumiere Brothers** --- created the 1st projected picture in 1895 --- showing simple scenes like workers leaving a factory. --- however, they didnt see a future in it & moved on to develop color photography instead. **Early 1900s** --- [stage plays] were captured in wide shots using a [stationary camera] when new techniques such as camera movement, cross-cutting, and pov shots emerges, crafting a basic film language. **Sergei Eisenstein (Film Theorist)** --- developed theories on montage, showing how linking several shots could make specific emotions. As filmmakers began focusing more on the value of storytelling, they found it helpful to pre-plan scenes with artists' sketches, known as **[early storyboards. ]** **Walt Disney** --- famous for crafting effective storytelling --- used one of the 1st true storyboards for his short animated film, **["Plane Crazy,"]** featuring Mickey Mouse. This method allowed Disney to visualize the film properly, make necessary revisions, and see how seq. worked together. *Plane Crazy Film by Walt Disney* \*with this, [storyboarding became essential for both] [animated and live-action films], helping filmmakers visualize the entire project, make changes on paper, and save production costs. This practice ensures the story works effectively and is still widely used t0day. ================================================= **DRAWING SHORTCUTS** ▪︎In creating storyboard --- not just creating an illustration of the scene but communicating the scene. **6 Ways to properly understand the story u aim to convey** 1\. **Simplify** --- can be broken down into easy to draw primitive forms. Take away some of the picky details. This will speed up the drawing time & make it instantly understandable 2\. **Characters & Star People** --- using a simple method such as star ppl can depict various body positions & expressions. It is not all about details in storyboarding but how well the storytelling visually. 3\. **Poses** --- shortcut via breaking the body into 4 components: head, torso, hips, and limbs. Start from head and work down. Drawing torso & hips separately allows u to offset the shapes, adding flexibility and creating the illusion of weigth. 4\. **Hands** --- draw box & 5 sausages on it. 5\. **Heads** --- start with circle and add vertical & horizontal axis lines to indicate head\'s angle. Carrot shape as guide for nose. ▪︎**[Muscular Face]**: sphere & make lower part wide and angular ▪︎**[Feminine Face]**: lines curved & smooth w/ no sharp angles 5\. **Eyes** --- eyebrows helps in indicating expressions. Key points in drawin eyes: 1\. Pupils seen from the front are [CIRCLES] 2\. Pupils seen from the side are [OVAL-SHAPED] ================================================= **7 TYPES OF STORYBOARD** **1. Beat Boards** --- convey a single panel illustration that captures the [major pts / the most climatic moments] of the story. --- only provide a rough visual representation of major story points --- focus on single pivotal moment rather than a seq. of shots thus, it\'s more detail than regular storyboard **2. Live Action Boards** --- used primarily for [planning compositions & scheduling] set piece & equipment. To plan every camer angle and action of fil.s. --- [more conceptual & detailed] resembling finished illustrations --- usually include arrows for the camera & stage direction instead of multiple poses for each beat. **3. Feature Animation Boards** --- for shaping & designing the story with [department\'s] [decision] impacting the entire prod. The focus is on effective story communicaion than perfect drawings. --- Thousands of images are created & refined to build animatic reel. **4. Advertising Storyboard / Pitch Boards** --- [highly rendered] to pitch ideas to clients. --- often resembling [finished illustrations w/ full colors] [and detailed shading]. --- created from a [rough script/ outline] **5. TV Animation Boards** --- required [precise \"on model\" drawing] of characters & environment. Has detailed blueprint for more accuracy. --- panels must have [camera work & layout elements.] **6. Video Game Storyboards** --- cover both in-game action & cinematic cutscenes --- dedicated storyboard artist position are rare, mostly in- house illustrators or designers. **7. Previs / Previsualization** --- a [rough 3D animation] is used to block out script scenes created by 3D artist w/ story training --- favored for complex action seq in large-scale prod. --- often produced by small to midsized pre-prod studios ================================================= **THE STORYBOARD PROCESS** **▪︎ 3 steps to prepare a storyboard proj ▪︎** **1. Gather Technical Details:** a.) [Aspect Ratio] -- Determine the aspect ratio of the project. Example is the 16:9 aspect ratio. b.) [Reference Materials] -- Collect character & background designs and any other relevant materials. These should be provided by the producer or head of the project. c.) [Research] -- If there are no reference materials provided, you may find your own through the internet or in your library. **2. Final Image Delivery Format** -- Find out the final image delivery format, whether it is [scanned images on paper or digital files like JPEGs.] **3. Script or Outline** -- Most projects have an [outline & script] as the basis for creating images. If a script is not provided, the direction will likely be given [verbally by the director] or producer. Ask relevant questions to clarify any uncertainties or unclear instructions. **▪︎ 4 steps to understand the script▪︎** **1. Read the script thoroughly** -- It is crucial to understand the sequence of events, character emotions, and overall themes of the story. Therefore, reading the entire script should be the [first priority] when crafting the storyboard. **2. Break Down the Script** -- Once you are done reading the script, you may divide it into sections, [identifying key moments and actions]. Get your reference materials for everything you have to draw, such as all the characters, locations, and props. **3. Script Notes and Thumbnails** -- Expound the script with [additional notes] to be more effective. You may also draw thumbnail sketches if you like. [Plan your shots] -- decide on close-ups, wide shots, angles, and reaction shots. A plan or overhead view of the scene can help visualize character positions & movements. **4. Interpret the Script** -- Make sure to [highlight key actions and dialogue]. For example, the script mentioned a scene a night scene at the top of the mountains planned to show street lights or a dark sky. Consider necessary establishing shots and reaction shots for characters. **▪︎ 6 ways in crafting storyboard▪︎** 1\. **Identify the Story Point** -- it is crucial to understand and emphasize the main story point of each scene. Ensure every image you draw [supports this story point]. 2\. **Consider Subtext** -- look for [deeper meanings behind the dialogue] to add emotional depth to your scenes. ▪︎*Example*: if a character's words suggest hidden feelings, it should be reflected in their body language and staging. 3\. **Creating Thumbnails** -- rough sketch your ideas. [Draw small, rough sketches] for your scene to plan compositions, camera angles, and staging. These should be [quick and simple], focusing on storytelling rather than detailed drawing. 4\. **Explore Ideas** -- use thumbnails to explore different ways to convey emotions and actions. This phase is about [finding the best way to tell the story], not about detailed artwork. 5\. **Review and Refine** -- once your thumbnails are complete, review them to [ensure clarity and coherence]. Make sure that it showcases the message of the story effectively. [Check for any composition issues], if any. 6\. **Draw Finished Panels** -- create [clean and detailed] storyboard panels based on your thumbnails. Focus on having clear and understandable drawings that convey the story point and emotional beats. Remember to use solid poses, simple tones, and minimal color. **Difference between thumbnails & storyboards:** According to StoryboardArt ▪︎**Thumbnails** = [quick, rough sketches] typically done during the planning process & usually [1-2 inch basic] [drawings]. Focusing on shot composition and camera angles. It allows artist to rapidly explore multiple ideas w/o getting swamped down in details. ▪︎**Storyboards** = it come after thumbnail. They are [larger, ] [more detailed drawings] that is chosen ideas from the thumbnail stage. It include more visual information and represent the final shot choices guiding the production. While thumbnails are numerous and easily redone, storyboards are fewer in number and more polished, serving as a [blueprint for the final ] [product.]