|
Two-Dimensional Work::
This is one of the most time consuming parts of the project.
First of all the frames have to printed out onto paper. This is a mundane task, not only because it time consuming, but also that every frame must have a reference point. That is, a point on the frame which does not move. This is used to line up the peg holes later on. The easiest way to achieve this is to output the frames with, for example, the resolution gate switched on. When printed out the lines allow easy alignment of multiple frames.
After the frames have been printed, peg holes must be attached. These are 3 holes that go on the bottom of the paper to allow the use of a peg bar, which ensures every frame is lined up on the paper.
Once all of the frames are ready, the drawing commences. Here are some early trials where the final style was being decided.
Pic 1::
Roughly drawn outline, crosshatching for the shading, background drawn in.
This is the first test frame. The 3D frame was drawn over with line quality in mind. The outline is a little rough, but sticks to the original enough to maintain continuity over the animation. Cross hatching is being used to show the shadowing of the puppy. This has also been kept fairly neat to try and keep continuity between frames. The background has been drawn in, but mostly for completeness sake. For the actual frames the back ground will be a seperate element to be composited in.
The look of this frame is nice. It has a good 2D quality to it without being too sketchy or rough. The lines have been kept sharp and clear, which would translate well when animated.
Pic 2::
Sketchier drawing, looser hand. Rougher animation style
This frame is the logical step forward from the previous test. A much looser drawing style, with much sketchier lines and cross hatching. This seems to be a little less defined, with features such as the back legs getting slightly lost in the shading. This style is a little too rough to be carried all the way through but may have its uses, occasionally cropping up to break up the sharpness of the previous style.
Pic 3::
Loose shading, not cross hatched
This is an attempt to break up some of the harsh cross shading. By using the pencil on its side, these lines are achieved, which are soft enough to be used to shade some of the darkest areas of the puppy and hoop.
Pic 4::
Strong shading
Going on from the previous test, trying a much harder shading approach. This doesn't work as well as the soft shading as the frame looks like a poster print, and not the style of 2D cartoons.
Out of the four test, numbers 1 and 3 have the most potential. Test one has the correct line quality needed and test three has the softness required to break up the lines and bring volume and shape to the puppy.
The style which suits the piece best is test number 1, although it lacked something. The crosshatching is a little too harsh, so the smooth shading of test 3 is a perfect complementary style. The style trying to be achieved is a loose drawing with crosshatching in the dark areas, along with a little shading. From looking at the A-ha video, line consistency was not of great importance. In fact, the small changes in the lines created a good unfinished look, which added to the overall look.
After all the frames were drawn, a scanner was fitted with peg bars (to keep all the frames in the same place) and all the frames were scanned in.
Playback of the scanned frames shows a really nice effect of the accurate 3D animation with the fluidity of the 2D-hand finish. Click here for a video clip.
From previewing the hand drawn frames, a problem arose. Due to the inconsistencies in line quality an accurate eye pass was going to be difficult. Unless the drawing were perfect, the pupils of the eyes would jump around and flicker in size, detracting from the look. To fix this, the eye pass can be rendered and composited together to look as if it was hand drawn. A great advantage of using digital media!
Innovations Project:: Daniel Canfora
MMI
|
