Animation by Andrew Selby

By Andrew Selby

From scriptwriting via to creation, this advent to animation for college students surveys key technical strategies and examines a number of stylistic methods. The booklet contains visible examples from key animators and illustrated gains on tips on how to create interesting animation for quite a few audiences.
This booklet is a crucial source for a person who intends to make animation part of their profession

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Concepts have often been thought about, mulled over, and debated long before an idea for an animated project goes into production, or before a series or an ad has been commissioned. Concepts are abstract ideas that need time, research, and structural development to become concrete ideas having form and foundation. In preproduction, the animation team experiment and test countless initial concepts, discarding them or redeveloping them from their original inception to working ideas. However these ideas are ultimately arrived at, they are absolutely vital.

Animators such as Joanna Quinn, Caroline Leaf, and Elizabeth Hobbs all prolifically document discoveries through drawing and this ability to explain and define movement through drawn statements extends as a central identifying theme in their work. A bewildering array of mark-making materials, processes, and techniques, at different scales and on numerous surfaces, can be employed to capture thoughts and observations, depending on the type of activity the animator wishes to record. For example, the fine point of a pencil might be better to explain details in a sketchbook, while the broad sweep of a chalk pastel perhaps better enables the animator to capture a sense of movement on loose sheets of paper.

It should include answers to the following ideological and practical considerations: • • • • • • What is the starting point for the project? What media format is the work likely to take? What style or animated treatment is required for the project? What is the role of the audience in the production? What is “possible” or “impossible” in the story? What restrictions are there in terms of subject matter, handling, association, and/or implication? • Are there any moral, ethical, or ideological restrictions to the subject or the intended depiction of the subject?

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