Toon Boom Studio 6 Art Curriculum Student Guide

Total Page:16

File Type:pdf, Size:1020Kb

Toon Boom Studio 6 Art Curriculum Student Guide Toon Boom Studio Art Curriculum - Student Guide Legal Notices Corporate Headquarters 5530 St. Patrick, Suite 2210 Montreal, Quebec Canada H4E 1A8 Tel: (514) 278-8666 Fax: (514) 278-2666 www.toonboom.com Disclaimer The content of this manual is covered by a specific limited warranty and exclusions and limit of liability under the applicable License Agreement as supplemented by the special terms and conditions for Adobe®Flash® File Format (SWF). Please refer to the License Agreement and to those special terms and conditions for details. The content of this manual is the property of Toon Boom Animation Inc. and is copyrighted. Any reproduction in whole or in part is strictly prohibited. For additional copies of this manual, please contact Toon Boom Animation Inc. at the Corporate Headquarters address. Copyright © 2012 by Toon Boom Animation Inc. All rights reserved. Trademarks Toon Boom Studio® is a trademark owned by Toon Boom Animation Inc. All other trademarks are the property of their respective owners. Credits Documentation Development: Pamela Grimaud, Peter Cawthorne Content Development: Marie-Eve Chartrand, Anouk Whissell, Shabana Ali, Annie Rodrigue, Sébastien Stasse. Art Development: Marie-Eve Chartrand, Anouk Whissell, Shabana Ali, Tania Gray, Annie Rodrigue. Publication Date May 2012 Contents Your Art Curriculum............................................................................................................................. 11 About Toon Boom Studio ............................................................................................................................... 12 About The Art Curriculum ............................................................................................................................... 13 Lesson Breakdown .......................................................................................................................................... 14 What is in Each Lesson? ............................................................................................................................ 14 What are the Lessons About? ................................................................................................................... 15 What Are the Required Tools? ................................................................................................................. 16 Where Can I Find More Information? ....................................................................................................... 16 Will There Be Homework? ............................................................................................................................... 17 Lesson 1: History of Animation ................................................................................................. 19 Lesson Objectives ........................................................................................................................................... 20 Total Lesson Time: One class ................................................................................................................... 20 Lecture Notes .................................................................................................................................................. 21 History of Animation ................................................................................................................................. 21 In the Beginning ................................................................................................................................. 21 What is an Optical Toy? ..................................................................................................................... 21 What is Persistence of Vision? ............................................................................................................ 21 The Zoetrope ..................................................................................................................................... 22 The Thaumatrope ............................................................................................................................... 22 The Flip Book ..................................................................................................................................... 23 The Praxinoscope ............................................................................................................................... 23 The Movie Camera ............................................................................................................................. 23 Winsor McCay and Gertie the Dinosaur ............................................................................................ 24 The Peg Bar ........................................................................................................................................ 24 The Rotoscope ................................................................................................................................... 24 The Many Innovations of the Walt Disney Studios ............................................................................ 25 Activity: Build Your Own Thaumatrope .......................................................................................................... 26 You will need: ..................................................................................................................................... 26 How to make a Thaumatrope ................................................................................................................... 26 Lesson 2: Animation Techniques............................................................................................. 29 Lesson Objectives ........................................................................................................................................... 30 Total Lesson Time: One class ................................................................................................................... 30 Lecture Notes .................................................................................................................................................. 31 Animation Techniques .............................................................................................................................. 31 Traditional Animation ............................................................................................................................... 31 Full Animation .................................................................................................................................... 32 Limited Animation .............................................................................................................................. 32 Rotoscoping ....................................................................................................................................... 32 Digital Animation ...................................................................................................................................... 33 Digital Cut-out Animation .................................................................................................................. 33 Paperless Animation ........................................................................................................................... 33 3D Animation ..................................................................................................................................... 34 Motion Capture .................................................................................................................................. 34 Stop-Motion Animation ............................................................................................................................ 34 Puppet Animation .............................................................................................................................. 35 Claymation ......................................................................................................................................... 35 Cut-out and Silhouette Animation ..................................................................................................... 36 Object Animation ............................................................................................................................... 36 Sand Animation ........................................................................................................................................ 37 1 Toon Boom Studio Art Curriculum - Student Guide Activity: Research a New Animation Technique ..............................................................................................38 Lesson 3: Animation Workflow ..................................................................................................39 Lesson Objectives ............................................................................................................................................40 Total Lesson Time: One class ....................................................................................................................40 Production Staff and Outsourcing ...................................................................................................................41 Production Staff - Descriptions .................................................................................................................41 Animatic Editor ...................................................................................................................................41
Recommended publications
  • UPA : Redesigning Animation
    This document is downloaded from DR‑NTU (https://dr.ntu.edu.sg) Nanyang Technological University, Singapore. UPA : redesigning animation Bottini, Cinzia 2016 Bottini, C. (2016). UPA : redesigning animation. Doctoral thesis, Nanyang Technological University, Singapore. https://hdl.handle.net/10356/69065 https://doi.org/10.32657/10356/69065 Downloaded on 05 Oct 2021 20:18:45 SGT UPA: REDESIGNING ANIMATION CINZIA BOTTINI SCHOOL OF ART, DESIGN AND MEDIA 2016 UPA: REDESIGNING ANIMATION CINZIA BOTTINI School of Art, Design and Media A thesis submitted to the Nanyang Technological University in partial fulfillment of the requirement for the degree of Doctor of Philosophy 2016 “Art does not reproduce the visible; rather, it makes visible.” Paul Klee, “Creative Credo” Acknowledgments When I started my doctoral studies, I could never have imagined what a formative learning experience it would be, both professionally and personally. I owe many people a debt of gratitude for all their help throughout this long journey. I deeply thank my supervisor, Professor Heitor Capuzzo; my cosupervisor, Giannalberto Bendazzi; and Professor Vibeke Sorensen, chair of the School of Art, Design and Media at Nanyang Technological University, Singapore for showing sincere compassion and offering unwavering moral support during a personally difficult stage of this Ph.D. I am also grateful for all their suggestions, critiques and observations that guided me in this research project, as well as their dedication and patience. My gratitude goes to Tee Bosustow, who graciously
    [Show full text]
  • Animation: Types
    Animation: Animation is a dynamic medium in which images or objects are manipulated to appear as moving images. In traditional animation, images are drawn or painted by hand on transparent celluloid sheets to be photographed and exhibited on film. Today most animations are made with computer generated (CGI). Commonly the effect of animation is achieved by a rapid succession of sequential images that minimally differ from each other. Apart from short films, feature films, animated gifs and other media dedicated to the display moving images, animation is also heavily used for video games, motion graphics and special effects. The history of animation started long before the development of cinematography. Humans have probably attempted to depict motion as far back as the Paleolithic period. Shadow play and the magic lantern offered popular shows with moving images as the result of manipulation by hand and/or some minor mechanics Computer animation has become popular since toy story (1995), the first feature-length animated film completely made using this technique. Types: Traditional animation (also called cel animation or hand-drawn animation) was the process used for most animated films of the 20th century. The individual frames of a traditionally animated film are photographs of drawings, first drawn on paper. To create the illusion of movement, each drawing differs slightly from the one before it. The animators' drawings are traced or photocopied onto transparent acetate sheets called cels which are filled in with paints in assigned colors or tones on the side opposite the line drawings. The completed character cels are photographed one-by-one against a painted background by rostrum camera onto motion picture film.
    [Show full text]
  • Historical Film Notes by Jerry Beck
    UCLA Preserved Animation Website: HISTORICAL FILM NOTES BY JERRY BECK Theatre De Hula Hula (19--) Here is one in a long list of mystery films from the silent era. Clearly designed to be shown either in a vaudeville house or at a special exhibition requiring several musicians to accompany the action, it looks even to have had a specific score to match movements of the dancers. The film is processed in reverse to provide a negative effect that imparts an appropriate darkened-theater ambience to the proceedings. The bottom third of the picture is an animation “cycle” (a series of drawings repeated over and over) which gives a furious feel to the musicians. Most silent animation is based on wordplay and gag situations, but here the comical dance routines represent a wonderful early use of animation created for purely humorous effect. The animation itself is quite funny and charming, but those responsible for this delightful little gem probably will remain unknown. The Enchanted Drawing (1900) Cartoonist J. Stuart Blackton (1875-1941) was born in England and immigrated to the United States at the age of ten. In 1895, after a brief stint in vaudeville, Blackton became a reporter and cartoonist for the New York Evening World. A year later, Blackton was working for Thomas Edison’s film company, where he appeared on screen (as he does here) doing “Lightning Sketches” -- drawing at a rapid speed to the delight of onlookers. Inspired by Edison’s motion pictures, Blackton co-founded the Vitagraph studio to create films and distribute them to early nickelodeons.
    [Show full text]
  • Overview of History of Irish Animation
    Overview of History of Irish Animation i) The history of animation here and the pattern of its development, ii) ii) The contemporary scene, iii) iii) Funding and support, iv) iv) The technological advancement, which can allow filmmakers do more and do it more excitingly, v) v) The educational background. i) History and Development. The history of animation in Ireland is comparable to the history of live action film in Ireland in that in the early years it offered the promise of much to come and stopped really before it got started; indeed in the final analysis animation has even far less to show for itself than its early live action cousin. One outstanding exception is the pioneering work of James Horgan. Horgan became involved in cinema at the end of the 19th century when he acquired a Lumiere camera and established his own moving picture exhibition company for the south show to his audiences - mostly religious events. However soon his eager mind began to turn to the Munster region. As well as projecting regular international shows, Horgan shot local footage to look into cinematography in a scientific way and in fact he made some money by patenting a cog for film traction in the camera, which was widely used. He also experimented with Polaroid film. He then began to dabble in stop frame work - animation - around the year 1909 and considering that the first animation was made in 1906, this is quite significant. His most famous and most popular piece was his dancing Youghal Clock Tower - where the town's best known landmark has to hop into the frame and "manipulate" itself frame by frame into its rightful place in the main street in Youghal.
    [Show full text]
  • Computerising 2D Animation and the Cleanup Power of Snakes
    Computerising 2D Animation and the Cleanup Power of Snakes. Fionnuala Johnson Submitted for the degree of Master of Science University of Glasgow, The Department of Computing Science. January 1998 ProQuest Number: 13818622 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 13818622 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 GLASGOW UNIVERSITY LIBRARY U3 ^coji^ \ Abstract Traditional 2D animation remains largely a hand drawn process. Computer-assisted animation systems do exists. Unfortunately the overheads these systems incur have prevented them from being introduced into the traditional studio. One such prob­ lem area involves the transferral of the animator’s line drawings into the computer system. The systems, which are presently available, require the images to be over- cleaned prior to scanning. The resulting raster images are of unacceptable quality. Therefore the question this thesis examines is; given a sketchy raster image is it possible to extract a cleaned-up vector image? Current solutions fail to extract the true line from the sketch because they possess no knowledge of the problem area.
    [Show full text]
  • Toon Boom Harmony 12.2 Play Guide
    Toon Boom Harmony 12.2.1 Play Guide Legal Notices Toon Boom Animation Inc. 4200 Saint-Laurent, Suite 1020 Montreal, Quebec, Canada H2W 2R2 Tel: +1 514 278 8666 Fax: +1 514 278 2666 toonboom.com Disclaimer The content of this guide is covered by a specific limited warranty and exclusions and limit of liability under the applicable License Agreement as supplemented by the special terms and conditions for Adobe®Flash® File Format (SWF). For details, refer to the License Agreement and to those special terms and conditions. The content of this guide is the property of Toon Boom Animation Inc. and is copyrighted. Any reproduction in whole or in part is strictly prohibited. Trademarks Harmony is a trademark of Toon Boom Animation Inc. Publication Date 7/6/2018 Copyright © 2016 Toon Boom Animation Inc. All rights reserved. 2 Harmony 12.2 Play Guide Contents Toon Boom Harmony 12.2.1 Play Guide 1 Contents 3 Chapter 1: Using Toon Boom Play 4 Starting Toon Boom Play 5 About Toon Boom Play 6 Loading an Image Sequence 8 Toon Boom Play Playback Toolbar 11 Toon Boom Play Commands 13 Glossary 17 3 Chapter 1: Using Toon Boom Play Chapter 1: Using Toon Boom Play The Toon Boom Play module is designed specifically for playing back and viewing animated projects once they have been rendered out into image sequences. This module opens directly from your program menu to load your final render. It's also used when playing back a scene with effects in Harmony. This section is divided as follows: Starting Toon Boom Play 5 About Toon Boom Play 6 Loading an Image Sequence 8 Toon Boom Play Playback Toolbar 11 Toon Boom Play Commands 13 4 Harmony 12.2 Play Guide Starting Toon Boom Play Before using Toon Boom Play, you must start the program.
    [Show full text]
  • The University of Chicago Looking at Cartoons
    THE UNIVERSITY OF CHICAGO LOOKING AT CARTOONS: THE ART, LABOR, AND TECHNOLOGY OF AMERICAN CEL ANIMATION A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF CINEMA AND MEDIA STUDIES BY HANNAH MAITLAND FRANK CHICAGO, ILLINOIS AUGUST 2016 FOR MY FAMILY IN MEMORY OF MY FATHER Apparently he had examined them patiently picture by picture and imagined that they would be screened in the same way, failing at that time to grasp the principle of the cinematograph. —Flann O’Brien CONTENTS LIST OF FIGURES...............................................................................................................................v ABSTRACT.......................................................................................................................................vii ACKNOWLEDGMENTS....................................................................................................................viii INTRODUCTION LOOKING AT LABOR......................................................................................1 CHAPTER 1 ANIMATION AND MONTAGE; or, Photographic Records of Documents...................................................22 CHAPTER 2 A VIEW OF THE WORLD Toward a Photographic Theory of Cel Animation ...................................72 CHAPTER 3 PARS PRO TOTO Character Animation and the Work of the Anonymous Artist................121 CHAPTER 4 THE MULTIPLICATION OF TRACES Xerographic Reproduction and One Hundred and One Dalmatians.......174
    [Show full text]
  • Re-Imagining Animation the Changing Face of The
    RiA cover UK AW.qxd 6/3/08 10:40 AM Page 1 – – – – – – Chapter 05 Chapter 04 Chapter 03 Chapter 02 Chapter 01 The disciplinary shift Approaches and outlooks The bigger picture Paul Wells / Johnny Hardstaff Paul Wells Re-imagining Animation RE-IMAGINING RE-IMAGINING ANIMATION ANIMATION – The Changing Face of the Moving Image The Changing Face Professor Paul Wells is Director of the Re-imagining Animation is a vivid, insightful Re-imagining Animation Other titles of interest in AVA's Animation Academy at Loughborough and challenging interrogation of the animated addresses animation’s role at the heart THE CHANGING THEAcademia CHANG range include: University, UK, and has published widely film as it becomes central to moving image of moving-image practice through an in the field of animation, including practices in the contemporary era. engagement with a range of moving-image Visible Signs: The Fundamentals of Animation and Animation was once works – looking at the context in which FACE OF THE FACEAn introduction OF to semiotics THE Basics Animation: Scriptwriting. constructed frame-by-frame, one image they were produced; the approach to their following another in the process of preparation and construction; the process of Visual Research: Johnny Hardstaff is an internationally constructing imagined phases of motion, their making; the critical agenda related to MOVING IMAGE MOVINGAn introduction to research IM established, award-winning designer, film- but now the creation and manipulation the research; developmental and applied methodologies in graphic design maker and artist. He is the creator of The of the moving image has changed. aspects of the work; the moving-image History of Gaming and The Future of With the digital revolution outcomes; and the status of the work within Visual Communication: Gaming, and innovative popular music videos, invading every creative enterprise and form contemporary art and design practices.
    [Show full text]
  • 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.
    [Show full text]
  • Pose Controlled Physically-Based Motion
    Volume xx (200y), Number z, pp. 1–11 Pose Controlled Physically-Based Motion Raanan Fattal† Dani Lischinski‡ School of Computer Science and Engineering The Hebrew University of Jerusalem Abstract In this paper we describe a new method for generating and controlling physically-realistic motion of complex articulated characters. Our goal is to create motion from scratch, where the animator provides a small amount of input and gets in return a highly detailed and physically plausible motion. Our method relieves the animator from the burden of enforcing physical plausibility, but at the same time provides full control over the internal DOFs of the articulated character via a familiar interface. Control over the global DOFs is also provided by supporting kinematic constraints. Unconstrained portions of the motion are generated in real time, since the character is driven by joint torques generated by simple feedback controllers. Although kinematic constraints are satisfied using an iterative search (shooting), this process is typically inexpensive, since it only adjusts a few DOFs at a few time instances. The low expense of the optimization, combined with the ability to generate unconstrained motions in real time yields an efficient and practical tool, which is particularly attractive for high inertia motions with a relatively small number of kinematic constraints. Categories and Subject Descriptors (according to ACM CCS): I.3.7 [Computer Graphics]: Three-Dimensional Graphics and RealismAnimation 1. Introduction Generating and controlling physically realistic motion of complex articulated characters is a longstanding grand chal- lenge in computer graphics. In today’s animation houses such characters are typically animated by keyframing, which gives animators complete control over each degree of free- dom at any point in time.
    [Show full text]
  • L'animation Stylisée
    Universite Paris 8 Master Creation Numerique parcours : Arts et Technologies de l'Image Virtuelle L’animation stylisée Clea Gonay Memoire de Master 2 2019 - 2020 1 résumé Le cinema d’animation est un medium propice a* l’abstraction du reel, a* la simplification des formes et du mouvement. Gra0ce a* un language visuel et une esthetique qui lui sont propre, l’animation stylisee reussit a* conserver le sens tout en amplifiant les emotions du spectateur. Pourquoi et comment realise t-on un film en animation stylisee ? En se basant sur la litterature disponible, mes experiences et une serie d’interviews realisees aupre*s d’acteurs de l’industrie, ce memoire propose une approche philosophique, anthropologique et technique des principes et codes de l’animation stylisee. Il cherche a* mettre en lumie*re les raisons qui poussent un realisateur a* choisir ce medium et explore les possibilites offertes par les outils disponibles a* travers des exemple d’oeuvres 2D, 3D et hybrides. Enfin, pour illustrer mon propos, j’y presente mes mises en pratiques realisees lors de mon etude du sujet. abstract Animation is a perfect medium to abstract reality and to simplify forms and movements. Thanks to its own visual language and aesthetical values, stylised animation conveys meaning as well as amplifies the spectator’s emotions. Why and how are stylized animated movies made ? Using available literature, my own experiences and a series of interviews made with people involved with the industry, this thesis takes a philosophical, anthropological and technical approach to the principles and codes of stylized animation. It highlights the reasons why a director would choose this route and explores the possibilities of the available tools while presenting related 2D, 3D and hybrid works.
    [Show full text]
  • Fiche Pédagogique
    Comment engager une classe dans un film ? Comment préparer une classe au visionnement du film choisi, mettre les élèves en appétence ? Quels prolongements pédagogiques envisager ? Princes et princesses, de Michel Ocelot, France, 2000 Couleur. Durée : 1h10 Synopsis Dans un cinéma désaffecté, deux enfants, un garçon et une fille, imaginent des aventures. Chaque conte se déroule en un lieu et un temps différents : - « La Princesse des diamants » : le monde du merveilleux avec une princesse ensorcelée et un prince devant trouver tous les diamants d'un collier pour la délivrer. - « Le Garçon des figues » : en Égypte ancienne, au temps des pharaons, un jeune paysan offre à une reine-pharaon des figues qui ont mûri miraculeusement l'hiver sur son figuier. - « Le Château de la Sorcière » : au Moyen Âge, un jeune homme affronte une sorcière qui s'avère moins redoutable que ses assaillants. - « Le Manteau de la vieille dame » : au Japon pendant la période Edo, dans l’univers du peintre Hokusaï, un voleur veut dépouiller une vieille femme de son manteau précieux. - « La Reine cruelle et le montreur de fabulo » : dans un univers de science-fiction, comme une projection en l’an 3000, des prétendants doivent se soumettre à une épreuve fatale pour épouser une reine. - « Prince et Princesse » : au Moyen Âge, un prince et une princesse s'embrassent et se transforment en animaux. Ce court métrage aborde la dualité masculin-féminin. Ombres chinoises, Film d’animation, Contraste, Théâtre d’ombres, Conte, Couleur, Mots clés Espace du cinéma/espace du conte, Niveaux de fiction : cinéma et fiction dans la fiction, Alternance de séquences : mise en abyme, Silhouettes Le titre Emettre des hypothèses sur le titre « Princes et Princesses » (emploi du pluriel).
    [Show full text]