Foundation Flash Cartoon Animation
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The Uses of Animation 1
The Uses of Animation 1 1 The Uses of Animation ANIMATION Animation is the process of making the illusion of motion and change by means of the rapid display of a sequence of static images that minimally differ from each other. The illusion—as in motion pictures in general—is thought to rely on the phi phenomenon. Animators are artists who specialize in the creation of animation. Animation can be recorded with either analogue media, a flip book, motion picture film, video tape,digital media, including formats with animated GIF, Flash animation and digital video. To display animation, a digital camera, computer, or projector are used along with new technologies that are produced. Animation creation methods include the traditional animation creation method and those involving stop motion animation of two and three-dimensional objects, paper cutouts, puppets and clay figures. Images are displayed in a rapid succession, usually 24, 25, 30, or 60 frames per second. THE MOST COMMON USES OF ANIMATION Cartoons The most common use of animation, and perhaps the origin of it, is cartoons. Cartoons appear all the time on television and the cinema and can be used for entertainment, advertising, 2 Aspects of Animation: Steps to Learn Animated Cartoons presentations and many more applications that are only limited by the imagination of the designer. The most important factor about making cartoons on a computer is reusability and flexibility. The system that will actually do the animation needs to be such that all the actions that are going to be performed can be repeated easily, without much fuss from the side of the animator. -
Jobs and Education
Vol. 3 Issue 3 JuneJune1998 1998 J OBS AND E DUCATION ¥ Animation on the Internet ¥ Glenn VilppuÕs Life Drawing ¥ CanadaÕs Golden Age? ¥ Below the Radar WHO IS JARED? Plus: Jerry BeckÕs Essential Library, ASIFA and Festivals TABLE OF CONTENTS JUNE 1998 VOL.3 NO.3 4 Editor’s Notebook It’s the drawing stupid! 6 Letters: [email protected] 7 Dig This! 1001 Nights: An Animation Symphony EDUCATION & TRAINING 8 The Essential Animation Reference Library Animation historian Jerry Beck describes the ideal library of “essential” books on animation. 10 Whose Golden Age?: Canadian Animation In The 1990s Art vs. industry and the future of the independent filmmaker: Chris Robinson investigates this tricky bal- ance in the current Canadian animation climate. 15 Here’s A How de do Diary: March The first installment of Barry Purves’ production diary as he chronicles producing a series of animated shorts for Channel 4. An Animation World Magazine exclusive. 20 Survey: It Takes Three to Tango Through a series of pointed questions we take a look at the relationship between educators, industry representatives and students. School profiles are included. 1998 33 What’s In Your LunchBox? Kellie-Bea Rainey tests out Animation Toolworks’ Video LunchBox, an innovative frame-grabbing tool for animators, students, seven year-olds and potato farmers alike! INTERNETINTERNET ANIMATIONANIMATION 38 Who The Heck is Jared? Well, do you know? Wendy Jackson introduces us to this very funny little yellow fellow. 39 Below The Digital Radar Kit Laybourne muses about the evolution of independent animation and looks “below the radar” for the growth of new emerging domains of digital animation. -
LEVY-MASTERSREPORT-2017.Pdf (7.541Mb)
Copyright by Dylan Olim Levy 2017 The Report Committee for Dylan Olim Levy Certifies that this is the approved version of the following report: Animating History and Memory: the Productions and Aesthetics of Waltz with Bashir and Tower APPROVED BY SUPERVISING COMMITTEE: Supervisor: Lalitha Gopalan Charles Ramìrez Berg Animating History and Memory: the Productions and Aesthetics of Waltz with Bashir and Tower by Dylan Olim Levy, B.A. Report Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin May 2017 Abstract Animating History and Memory: the Productions and Aesthetics of Waltz with Bashir and Tower Dylan Olim Levy, M.A. The University of Texas at Austin, 2017 Supervisor: Lalitha Gopalan Films like Waltz with Bashir (2008) and Tower (2016) are unique in that they not only fit within accepted frameworks of documentary filmmaking, but they also use animation as their primary method of storytelling. Anabelle Honess Roe thoroughly explores animated documentaries in her book Animated Documentary, arguing that animation is used in these kinds of films to either “substitute” for traditional means to represent the real world (24), such as live action footage, or to “evoke” the psychology, emotional states, and other subjective experiences of an individual (25). Ultimately, Roe argues that animation is a suitable “representational strategy for documentary” filmmaking because of its “visual dialectic of absence and excess” (39). This report applies Roe’s arguments to the analysis of the aesthetics and roles of animation in Waltz with Bashir and Tower. -
Exploring the Magical Girl Transformation Sequence with Flash Animation
Georgia State University ScholarWorks @ Georgia State University Art and Design Theses Ernest G. Welch School of Art and Design 5-10-2014 Releasing The Power Within: Exploring The Magical Girl Transformation Sequence With Flash Animation Danielle Z. Yarbrough Follow this and additional works at: https://scholarworks.gsu.edu/art_design_theses Recommended Citation Yarbrough, Danielle Z., "Releasing The Power Within: Exploring The Magical Girl Transformation Sequence With Flash Animation." Thesis, Georgia State University, 2014. https://scholarworks.gsu.edu/art_design_theses/158 This Thesis is brought to you for free and open access by the Ernest G. Welch School of Art and Design at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Art and Design Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. RELEASING THE POWER WITHIN: EXPLORING THE MAGICAL GIRL TRANSFORMATION SEQUENCE WITH FLASH ANIMATION by DANIELLE Z. YARBROUGH Under the Direction of Dr. Melanie Davenport ABSTRACT This studio-based thesis explores the universal theme of transformation within the Magical Girl genre of Animation. My research incorporates the viewing and analysis of Japanese animations and discusses the symbolism behind transformation sequences. In addition, this study discusses how this theme can be created using Flash software for animation and discusses its value as a teaching resource in the art classroom. INDEX WORDS: Adobe Flash, Tradigital Animation, Thematic Instruction, Magical Girl Genre, Transformation Sequence RELEASING THE POWER WITHIN: EXPLORING THE MAGICAL GIRL TRANSFORMATION SEQUENCE WITH FLASH ANIMATION by DANIELLE Z. YARBROUGH A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Art Education In the College of Arts and Sciences Georgia State University 2014 Copyright by Danielle Z. -
How to Create Animations
Adobe Flash Professional Guide How to create animations Overview of tweening A tween is an animation you create by specifying a value for an object property in one frame and another value for that same property in another frame. Adobe Flash Professional calculates the values for that property between those two frames. The term “tween” comes from the phrase “in between.” You can tween movie clip, graphic, and button symbols and text fields. A tween span is a group of frames in the timeline in which an object on the Stage can have one or more properties changed over time. A tween span appears in the timeline as a group of frames in a single layer with a blue or green background. You can select a tween span as a single object and drag it from one location in the timeline to another, including to another layer. Only one object on the Stage can be animated in each tween span. This object is called the target object of the tween span. A property keyframe is a frame within a tween span where you explicitly define one or more property values for the tween target object. Each property you define has its own property keyframes. If you set more than one property in a single frame, the property keyframes for each of those properties reside in that frame. You can view each property of a tween span and its property keyframes in the Motion Editor. You can also choose which types of property keyframes to display in the timeline from the tween span context menu. -
Cartoon Animation Free
FREE CARTOON ANIMATION PDF Preston Blair | 224 pages | 25 Oct 1996 | Walter Foster Publishing | 9781560100843 | English | Laguna Hills, CA, United States ToonyPhotos - Turn Photos into Cartoons Animation is a method in which figures are manipulated to appear as moving images. In traditional animation Cartoon Animation, images are drawn or painted by hand on transparent celluloid sheets to Cartoon Animation photographed and exhibited on film. Today, most animations are made with computer-generated imagery CGI. Computer animation can be very detailed 3D animationwhile 2D computer animation can be used for stylistic reasons, low bandwidth or faster real-time renderings. Other common animation methods apply a stop motion technique to two and three-dimensional objects like paper cutoutspuppets or clay figures. Commonly the effect of animation is achieved by a rapid succession of sequential images that minimally Cartoon Animation from each other. The illusion—as in motion pictures in general—is thought to rely on the phi phenomenon and beta movementbut the exact causes are still uncertain. Television and video are popular electronic animation media that originally were analog and now operate digitally. For display on the computer, techniques like animated GIF and Flash animation were developed. Animation is more pervasive than many people realize. Apart from short filmsfeature Cartoon Animationtelevision series, animated GIFs and other media dedicated to the display of moving images, animation is also prevalent in video gamesmotion graphicsuser interfaces and visual effects. The physical movement of image parts through simple mechanics—in for instance moving images in magic lantern shows—can also be considered animation. The mechanical manipulation of three-dimensional puppets and objects to emulate living beings has a very long history in automata. -
Flash Animation a Beginner’S Course
Flash Animation A Beginner’s Course Table of Contents About the Workshop .................................................................................................... i Prerequisites................................................................................................................ i Workshop Objectives ................................................................................................... i Getting Started ........................................................................................................... 1 Creating a Flash Document ................................................................................................. 1 Familiarizing Flash Interface ............................................................................................... 2 Managing Workspace ......................................................................................................... 3 Setting Movie Preferences .................................................................................................. 3 Objects and Drawings ................................................................................................. 4 Vector vs. Bitmap ................................................................................................................ 4 Setting Tool Options and Creating a Shape ........................................................................ 5 Reshaping an Object ........................................................................................................... 5 -
Introduction: Frictive Pictures 1 Cartoon Internationale
Notes Introduction: Frictive Pictures 1. There may be even earlier social groups united by an interest in pre-cinematic visual technologies or animation-like performances such as shadow-plays. But before animation came into being as a cinematic genre between 1898 and 1906 (Crafton 1993, 6–9, 21), these groups could not be properly termed “anima- tion fan communities,” and should be called something else, such as “zoetrope hobbyists” or “utsushi-e [Japanese magic lantern] audiences.” For that reason, I have chosen to begin with film animation in the early twentieth century, starting specifically in 1906–7 with the earliest verifiable hand-drawn ani- mated films in the West and somewhat less-verifiable experiments in Japan. Readers interested in the international influences of earlier visual media such as painting and printmaking on animation should consult Susan J. Napier’s fascinating history of fine arts influences between Japan and Europe, From Impressionism to Anime (2007). 1 Cartoon Internationale 1. For more on the technical specs of the Matsumoto Fragment, see Frederick S. Litten’s “Japanese color animation from ca. 1907 to 1945” available at http:// litten.de/fulltext/color.pdf. 2. Since the mid-2000s, there has been a small but heartening swell of inter- est in recovering and preserving early anime among film conservators and distributors. Some major DVD collections of pre-1945 animation include: Japanese Anime Classic Collection. Tokyo: Digital Meme, 2009 (4 discs, English, Korean, and Chinese subtitles); The Roots of Japanese Anime Until the End of WWII [United States]: Zakka Films, 2008 (English subtitles); Ōfuji Noburō Collected Works. -
Animation Fandom in North America and East Asia from 1906–2010 By
Animating Transcultural Communities: Animation Fandom in North America and East Asia from 1906–2010 By Sandra Annett A thesis submitted to the Faculty of Graduate Studies of The University of Manitoba in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Department of English, Film, and Theatre University of Manitoba Winnipeg © 2011 Sandra Annett Abstract This dissertation examines the role that animation plays in the formation of transcultural fan communities. A ―transcultural fan community‖ is defined as a group in which members from many national, cultural, and ethnic backgrounds find a sense of connection across difference, engaging with each other through a mutual interest in animation while negotiating the frictions that result from their differing social and historical contexts. The transcultural model acts as an intervention into polarized academic discourses on media globalization which frame animation as either structural neo-imperial domination or as a wellspring of active, resistant readings. Rather than focusing on top-down oppression or bottom-up resistance, this dissertation demonstrates that it is in the intersections and conflicts between different uses of texts that transcultural fan communities are born. The methodologies of this dissertations are drawn from film/media studies, cultural studies, and ethnography. The first two parts employ textual close reading and historical research to show how film animation in the early twentieth century (mainly works by the Fleischer Brothers, Ōfuji Noburō, Walt Disney, and Seo Mitsuyo) and television animation in the late twentieth century (such as The Jetsons, Astro Boy and Cowboy Bebop) depicted and generated nationally and ethnically diverse audiences. -
The Potential of 2D Animation As a Digitally Produced Art Form
2D Animation as a Digitally Produced Art Form | 1 The Potential of 2D Animation as a Digitally Produced Art Form Tyler J. Kupferer www.base14.com December 1, 2008 2D Animation as a Digitally Produced Art Form | 2 The computer graphics imagery revolution of the past decade has brought 3D animation to the forefront in Hollywood cinema, leading to the popular opinion that 2D animation is obsolete. However, digital animation techniques are giving rise to a new incarnation of 2D animation as a digital art form. The quality, accessibility, efficiency and vitality of digital production allows for new styles of 2D animation not possible before the advent of computer graphics. Computers allow for entirely new ways of producing, managing and enjoying animated films. Much of the public sees 3D animation as the product of this digital revolution, and anything else as obsolete. But 3D animation is only half of a larger digital revolution for all forms of animation. The success of 3D has led to a major oversight of the potential for 2D animation in a digital medium. This potential will begin to be realized in the coming years as digital 2D animation processes mature and rising artists push the boundaries of innovation that digital production systems allow. Background While many pioneers of animation were dabbling in film and drawings during the late 1800s, the first true example of American animation is by James Stuart Blackton, who was introduced to filmmaking by Thomas Edison. Blackton produced several pieces combining live action with some stop‐motion animation, and eventually made Humorous Phases of Funny Faces (Fig. -
Limited Animation Budget Cutting and Time Saving Technique by Prof
D’source 1 Digital Learning Environment for Design - www.dsource.in Design Course Limited Animation Budget Cutting and Time Saving Technique by Prof. Phani Tetali and Phidi Pulu IDC, IIT Bombay Source: http://www.dsource.in/course/limited-animation 1. Introduction 2. History 3. Development 4. Techniques 5. Processes 6. References 7. Video 8. Contact Details D’source 2 Digital Learning Environment for Design - www.dsource.in Design Course Introduction Limited Animation Budget Cutting and Time Saving Technique Limited animation is a technique or process in animation where reusing of animated frames, mirroring of images by (characters) and drawing new frames only when necessary are done to limit down the work, save time and ulti- Prof. Phani Tetali and Phidi Pulu mately reduce the budget. IDC, IIT Bombay Source: http://www.dsource.in/course/limited-animation/ introduction 1. Introduction 2. History 3. Development Limited Animation runs on 4-12 or 8-12 frames per second. It started as an artistic experiment, later its cost cut- 4. Techniques ting capability made it more popular. 5. Processes 6. References 7. Video 8. Contact Details D’source 3 Digital Learning Environment for Design - www.dsource.in Design Course History Limited Animation Budget Cutting and Time Saving Technique Limited Animation could be traced back to films like “The Newlyweds” by French animator Emile Cohl (1857-1938). by He adopted this film from a popular comic strip by McManus in an American newspaper. It included recurring Prof. Phani Tetali and Phidi Pulu players, but featured little to no actual animation of them; most of the human figures were static. -
The Design and Implementation of the Flash Animation Film: CG Gallery
Advances in Engineering Research, volume 166 3rd International Conference on Automation, Mechanical Control and Computational Engineering (AMCCE 2018) The Design and Implementation of the Flash Animation Film: CG Gallery Li Xinyang, Mao Mengsi Jiangxi Tellhow Animation Vocational College, Nanchang, Jiangxi, 330200 Keywords: Flash, animation, CG Gallery, design scheme Abstract: Flash animation is a form of digital media with simple images, which is popular with exhibition activities, such as commercial advertising, online game planning and teaching simulation. Since the advent of animation for more than one hundred years, the animation making has long been a difficult business activity for the average people. Until the invention of the Flash software for animation design, people begin to change their ideas. The developing Internet has made the animation be composed by just one person, which marks a breakthrough in the animation design history. The software boasts prominent advantages, meanwhile, it has some weaknesses. How to make full use of the software in a scientific and rational way is one of the most important issues in the animation design in China. [1] The paper, taking CG Gallery, an animation film as the research object, analyzes the status quo as well as tendency in the future of animation film both at home and abroad in detail and overviews the history of animation film. As a substantive paper on the production of Flash animation as well as its technology, the paper hopes to provide a help for the workers in Chinese animation sector. As one of the important economic sectors in China, the animation has a long history with teenagers and children as its major audience.