This is the project I wanted to do as my final project for Animation I but never completed.
The original requirements were to animate something that used all of the principles and techniques we had learned that semester: squash and stretch, walk cyles, metamorphosis, lip sync, etc.
This animation will have a character (representing myself, though not necessarily a self portrait), in a walk cycle toward the camera as the camera dollies back. The character will lip sync to a single chorus from “Try to Believe” by Oingo Boingo (Dark at the End of the Tunnel, 1989). The character’s costume will be constantly changing, never the same way twice, representing the different roles the he is (I am) expected to fill, by himself (myself) or by others. Total run time will be about 23 seconds, exclusive of title slide, etc.
March 27 - April 4: Character and Costume Design
April 5 - 11: Layout & Background Design, X-Sheet completed
The story goes that Jim Henson went to his production team one day and said, “Let’s make a show that brings about world peace.” Knowing Jim as they did, no one raised an eyebrow; they just said, “Okay.” The result of that conversation was Fraggle Rock.
That was thirty years ago.
For this project, I propose that we create a story pitch for a new series with the same objective.
This is not: a knock-off, fan-fiction, or “Fraggle Rock: The Next Generation.” We are not copying the content or format.
We are: making an original story with the same ideals, taking inspiration from people like Pancho Ramos Stierle.
We will be creating a story pitch for a proposed animated TV series (traditional or computer animation is TBD). The pitch will include a brief description of the story, model sheets for five or six principal characters, and two or three “beat boards” (color drawings that illustrate key story moments and communicate the overall tone of the show).
This project will require five team members.
Required skills for all team members are:
The ability to experiment with a variety of shapes in creating characters.
The ability to use critical input from team members to make their character(s) fit in with the rest of the ensemble.
The ability to render “locked” character designs with good line quality.
At least some, if not all, team members must be able to:
Compose finalized characters into action scenes for the beat boards.
Color the beat boards using what you learned about color during your foundation year.
And of course, understanding of story and character development is a big plus!
Tuesday, Feb. 28: Face to face story meeting. Character assignments are made to individual team members.
Thursday, March 1: Virtual critique. First pass of character designs are due. Team members critique each other’s work.
Tuesday, March 6: Junior reviews. No class. (Good luck, juniors!)
Thursday, March 8: Virtual critique. Final character revisions due. Beat board assignments are made. Some may be asked to do the line art while others are asked to do colors.
Tuesday, March 13: Lab time. We’ll work together to finalize the beat boards and prepare our story pitch.
Thursday, March 15: We present the story pitch in class!
"[W]hat area(s) of Media Arts are you going to test-drive (have you ever produced an animation/cinematic/photography masterpiece? What are your goals for this course? What will be your accomplishment?)?"
I need to make small, bite-sized projects that don’t run out of control and get so big I couldn’t finish them in seven lifetimes.
I need to make small drawings, quick paintings, short animatics, little things that have meaning and get done; to accumulate some small successes to break this long trend of confidence-killing failures.