Animation Test on the model/actress

This was the first of many tests that will include my lead actress, Camilla. The test was a development from the previous animation I did showing the transformation of the face. We worked with her lying on the paper leaves i have made. This experiment took me around three hours in total. I'm fairly pleased with the progress of the face paint experiments. There are a few shots that I am not happy with, however, i may edit the animation that the audience views different parts of the body transforming in a sort of medley of animations.

Pan shot of forest and character walk animation tests

Continuing with tests, I went and made animation tests in the forest setting. First trying out the character walk. The actress playing the antagonist, Juno, is illustrated walking across hand cut paper leaves. The shot will be near the beginning of the short film as a suggestion a person creeping up on the protagonist, Callisto. I was able to capture and make several videos. However, in some the lighting wasn't quite right and the sun moved whilst photographing the sequence. I particularly like the addition of shadows in the animation as it gives creepy feel to the shot, ideally to make the audience feel uncomfortable. i will need to re-shoot the walk animation as there are not enough frames per second and it looks a little rushed...

 Close-up shot of the walk. You can also spot the shadow trailing behind. However, I think this walk is too goofy for the character of Juno. This is first that you see of this character. I want her to be taken seriously as a villain. Taking up stereotypes that Vlamdir Propp demonstrates in his character role theory. 

This is a wider view of the walk. I think this walk is more appropriate. Although the end of the animation makes it look like the character breaks into a run which defeats the point of the character 'creeping up' on Callisto.

I think this walk is the most appropriate for the character but it needs to be longer. I think around the 4 second time span would allow the audience to take in the shot and process it.

The second experiment I undertook was making the animation for the opening credits of my film. The shot pans the forest surroundings to introduce the setting of the narrative. Later, I will overlay a type animation that I will make with paper. This will automatically combine the two elements of my work process 3D paper illustration and film footage like animation. Similar to the walking tests I undertook, the animation seems rushed. I even found that when I looked over the animation it made me feel ill, not exactly the introduction I wanted to give my audience. I need to re-made these, taking more photographs in the sequence to give the impression of someone taking a look round the surroundings.

Sorting out the costume ready for post-transformation

It was imperative for me to finish the costume ready for filming with my model/actress tomorrow. I identified that the previous technique of weaving tissue paper through material was taking way too long in ratio to its purpose in the costume. The most important element was that it added colour and texture to the costume to make the character look noticeably different across the body post-transformation. Body paint is obviously a main element to the transformation. The new technique included making simple forms out of black card and then layering coloured tissue paper and cutting into it to form 'abstract fur'. I'm curious to see how these elements work during filming in the next couple of days. I have concerns that it may look a little too simple on screen. If so, i'll have to re-make this elements.

RESEARCH: GREAT BEAR STAKEOUT, BBCiPLAYER

http://www.bbc.co.uk/iplayer/episode/p0176ql9/Great_Bear_Stakeout_Episode_1/

Luckily for me, the BBC broadcasted a great documentary on a Bear's life in the months between hibernation. What really struck me and I found relevant to my project was the constant reference to the bear's body language and reactions to the environment and filming crew. One of the Bear guides, Chris Morgan, actually stated "You know what they say, bears are just like humans, Well, no, humans are just like bears." This really made me think about the relationship between my protagonist's two appearances. Especially as she still has the mind of a human when her exterior is bear-like. How would the change effect the way she carries herself and how she reacts to the environment around her? 

More animation experiments with paper.

This experiment was testing how I could make it look like 'abstract fur' was growing out the back of my protagonist. I want to use paper to keep consistency in my model making. I decided to make the 'fur' prism shaped, starting off with with 2D squares and transforming into a prism.

The test wasn't as successful as planned. The lighting isn't right and feedback from my peers highlighted how the spinning of the prism was confusing and distracted from the transformation itself. In the next animation, I will use the growing scale of the model as a technique of transformation. This will focus the attention and prevent confusion in the narrative.

Developing the mask

Since my tutorial on thursday, I have re-thought my mask making technique. It was pointed out that the 3D elements to the mask seemed to lack finish and would make unnecessary noise. I really liked the effect the paper gave to my work and the speed in which i could make them compared to making the papier mache masks. So i started to experiment with cutting into the template of the mask and building onto it by moulding the 3D elements through the back of the template. This technique made the 3D element look less messy and the mask overall started to look more simple and started to develop into the larval mask style i desired:

 Experimenting with different size shapes to fit template...

Seeing how the mask has the ability to create shadows...(probably not the best photo).

This is my first attempt at this technique. Trying it out in black card. Compared to the last mask I made, the overall shape of the mask has been more considered. I have made the face more squareish, a quality I realised when looking over my research into bears. I have also added a beard to the mask. This is something i added in the face painting experiment but I also adds to the character's change from a beautiful woman into a monstrous creature.

This mask I have added colour, with reference to my recent experiment with face paints. I think its important to always apply the colour scheme to my masks now to keep a consistency in my work. I tried adding colour card and paper to the first attempt but i found it looked scrappy and unfinished. Therefore in the second attempt I added the colour before adding the 3D aspects of the mask. This overall makes it look smoother. However, there is a big issue with the visibility of the eyes. Considering the character will not speak, her emotions will be told through her eyes and body language. I need to find a way in which to highlight the eyes. I think the positioning of the mask and use of white face paint and fake eyelashes may help draw the audiences attention to the eyes. Tomorrow I am also taking this mask into the woodland to see how it looks against the setting. This should determine the success of the mask.

STOP MOTION ANIMATION INSPIRATION...OREN LAVIE!

Just a little bit of research. This looking at stop motion on a larger scale. This the  "Her Morning Elegance" by Oren Lavie music video. I really admire the smoothness of each transition. Even though, i'm not doing my animations on this scale but it's interesting to see how another person has gone about using live models in their animations.

Experimenting with stop motion continues...

The following animation is an experiment with face paint and paper on the face to illustrate the start of the transform on the face. I have used a restricted colour palette to give the abstract and tribal style i wanted to achieve. This test has highlighted a few problems in my process. Its evident that some of the process was rushed as the transitions between some frames (particularly close the end) aren't very smooth. I like the fact its not as smooth as digital animation but i think its best for consistency that I brush up a little on my stop motion technique.

The actual face painting was quite successful, at times I feel its a little amateur looking as can be obvious at times that I have been painting on the face rather than the 'growing' effect I wanted to achieve. Overall I think it was a good first attempt at the face. The next test i will do, will be of the actress rather than myself. I think this should make it smoother.

And so the animating begins....

After a tutorial with Sharon and David, It became clear that I needed to get going with animating, to clearly envisage a final outcome. I have since re-thought my storyboard and have decided to focus a lot more on the body painting i experimented with earlier in the project. Today, I developed the painted transformation by experimenting with the character's nails turning into claws and the leaves revealing the hand as a transition from another animation i plan to do in film:

Similarly to my first attempt at body paint, I worked backwards. This then was reversed in After Effects  to look like the hand was transforming into a claw. This was particularly beneficial to making the nails look like they were growing. The nails are made out of paper, allowing me to cut away at them to change the scale. The leaves were also made out of paper and tissue paper. I think using paper more in the environment of my film will link my work into a 'real' environment. 

I have made this animation in a format of 9 frames/second. This was as 10fps looked too fast and didn't give the audience enough time to process what they are seeing. I need to now keep to this format. 

The following animation is also a test I did yesterday. The lips are a visual representation of the character's vanity. I think its effective, however, i'd like to use an actual lipstick to apply the colour to lips to look like the character is applying it. I experimented with the character having a white face to emphasise the lips however i think it looks a little clownish. 

Mask Making Experimentations.

As I move closer to my deadline, I was keen to start this week by collaborating more of my research into native american pattern and my paper mask making. Also, I was keen to make the paper masks more 3-Dimensional and imposing in the composition of my film....

Paper mask experiment 2:

Developing from my previous paper mask, I decided to move the nose so that it would protrude from between the eyes. I also decided to experiment with 3D forms on the mask. In particular I wanted to emphasise certain characteristics of a bear's face such as the nose, cheeks and brow.

During my experimentation, I noted that the nose was far long, despite the fact i really liked the shape. The cheeks were also successful, but seemed to block the eyes a little. Keeping Ellie's guidance in mind, i decided to emphasise the eyes in the next mask with application of colour.

 

Before making the next mask, i started experimenting, remaking elements of the first mask adding colour and pattern. I think some of these samples such as the cheeks are a little too extravagant and might confuse the audience to what they are. Instead I intend to next experiment with these patterns and materials inside the ears. The strip samples however are much better (these go above the brow). They may look quite effective.

  

I am only half through making the next mask. I have made a few changes to the structure, such as making the nose shorter and fatter and changing the shape of the eyes. Also I have started adding colour to see what works well to highlight elements of the face.

 

 

As you can see from the first two images, I experimented with different templates for the face. I decided on making the mask more stereotypical to laval masks, but making the template more rounded. The bottom two images, you can how the mask is developing with colour. I opted for more simplistic pattern on this mask. I think so far this mask is going well. I don't really like the nose on this one, so i may later replace it.

Experimenting with textiles

Over the weekend, I have made swatches for possible tactile elements of the costume. This goes in hand with the previous animations I did during the week. My idea is to create fur-like gloves that can be   photographed being cut and then in editing i can reverse the action to make it look like its growing. Also the large scale of the glove may look effective in film.

However, It is taking a very long time to make. I am keeping this in mind. The swatch was made by threading and knotting material/coloured tissue paper through material. I found that the tissue paper was more effective as it stayed upright and generally was lighter weight. However, as i decided to make the swatch in a colourful native american pattern, it has been extremely time consuming and tedious....Here are some photos of it current look.

 As you can see I have decided on a much darker colour scheme. Once which will still stand out but perhaps would look aesthetically pleasing to the audience. The pattern was inspired by my research into native american pattern. Frustratingly, I have so far only completed one triangle out of this pattern, taking me several hours.

Testing out the masks in the woods.

Its important that I create the right balance between the real footage and the mask and costume that I make. I decided to take my masks and photograph them in the environment in which they will finally be filmed in. I also took some footage to experiment with in after effects. I discovered that even though the paper masks look more effective and relevant to my learning agreement, i need to rethink the colours I choose. So far they have been pastel colours which seem to clash with the dark colours found in the wood. I want my masks to stand out as an abstract object but I need it to have some similarities to the woodland I film in.

my friend that modelled the masks in this shoot, also complained that she couldn't see in the paper mask, as the eyes were cut in the wrong place. This is a careless mistake, but when I make more masks tomorrow, I will measure and be more considerate of the actresses comfort whilst wearing the mask.

Stop Motion Animation Tests

After doing the Stop Motion Animation workshop today, i decided to apply these new skills to my project. In the film, I want to incorporate some stop motion animation to depict the change of the woman into a bear. In my experiment today, I explored using paint to show the stages of the change. The first was made whilst painting the pattern and colour onto the arm, whilst the second was made when removing the paint. These are only tests, however I really like the effect on the second test. I may use it further, adding leaves (either real or illustrated) to suggest the arm being on the forest floor.

Interview with Ellie Nixon, Mask maker and BA (hons) Acting Lecturer at AUB.

The meeting with Ellie today has really made me consider the different elements of my mask, as well as the importance of body language to essentially "bring the mask to life". She underlined the different categories a mask can fall into:

- Larval masks- These masks are more focused on form and don't usually have much detail or detailed characteristics. They tend also to be more animalistic rather than human.

- Character masks- These often are clearly attached to human features and transform the actor completely into another character/person.

- Primitive masks- These bring together both character and larval masks. In consequence, they usually convey abstract or distorted views of a human ect.

Another aspect to take into consideration is whether the mask is to be a full mask or a half mask. This is because if the mask covers only half of the face, leaving the mouth uncovered, it gives the character the element of speech. I have so far been making half masks, this contradicts my narrative as the protagonist loses her ability to speak, only growl.

I also need to think about the eyes. Its a very important aspect to a mask and adds character as well as the acting showing emotion. When thinking about the film, I need to consider these elements and how the eyes can be captured in shots. The last thing I want is for the audience to not be able to see the eyes as the mask hinders the view.

"The mask is the body".
To be able to bring a mask to life, the actor must use the rest of his/her body to interpret the mood and emotions of the character. They need to be aware of their body's movements from head to toe. Three areas of the body can particularly effective in performance.

- The pelvis: This area of the body can be effective when demonstrating the characters use of space. If they were very confident, they would move with their hips pushed forwards, comparing to someone not so comfortable with the space would keep the pelvis back.

- The chest: Emotions can be conveyed by the movement of the chest. Similar to the pelvis, if the chest is puffed out and the actor stands tall, it would interpret a very proud and perhaps overtly confident persona. For my character, i think its important if the actor kept their chest sucked in, and cowering over. These emphasise the vulnerability of the character. Also the breathing of the character can be added in the film. Quick breathing and slight movement of the shoulders could demonstrate the panicked state my protagonist, Callisto, is in.

- The head: This body part signifies the intellect of the character. Head down shows deep thinking and an avoidance from talking or catching the attention of other people/characters. Head up shows a very awestruck and day dreamy approach to acting.

Also Ellie introduced me to mask maker, Oskar Schlemmer that made abstract masks for performance. I'm inspired by his use of large shapes and the way in which he distorts scale.

 

Mask making experimentation Day 2 and 3

Experiment 1: Papier Mache continued...

The second day on the same mask, focused on the details of the face. I spent a lot of the day sculpting the nose, eyebrows and fur definition. I did so by building structure with twisted newspaper and flat newspaper on top. The overall effect meant light hit the mask differently. Something i really need consider in my film.

                                            

 Close up, showing detailing on the nose.

                        

Today, I started to paint the mask to make it more colourful and more 'bear- like'. However, I'm very aware of how time consuming this process has been and that I'm starting to not like the style to which i've made this mask. Considering the time I had left, i've started considering different and quicker methods of mask making that can leave for experimentation with the 'abstract' and time to experiment more with video editing.

Bear mask with base colour- at the moment lacking colour and cannot yet be easily identified as a bear.

In light of my awareness of time and the not so successful papier mache mask, I decided to research more into colour and abstract shapes as a basis of my mask making. In my initial research, I had come across Native American culture and their use of masks in rituals. They believed that they were spirtually connected to the animals and environment around them and during rituals, those that wore animal masks were connected and in some ways became the animal. I saw similarities between these rituals and the stories in 'Metamorphoses of Ovid'. Their masks are also very colourful and usually aren't realistic interpretations of the animal. I gathered some research by looking at patterns from books and made a mask inspired by this exploration.

   (Scans from my sketchbook)

First experiment with Paper masks.

I'm really happy with this end result, taking on board pattern and shape. Taking this experiment on board. I want to look at how this technique could undertake different stages of the metamorphosis, with the help of face paint as well. I also intend on mixing the paper with other materials such as coloured tissue paper and perhaps even old magazine or patterned paper. Taking into account the film element i need to test lighting on the mask and how it will look in the environment i will be filming in (i.e. woodland area).

Face paint inspiration: Andrew Keir and more...

I'm considering how I could incorporate face paint into my masks/ costumes for my film. Whilst researching for face painting inspiration, I stumbled across Andrew Keir's work: He uses his hand as a means for performance, using paint to transform his hand into animals and plants. I really admire the realistic look he has created. I hope to experiment with face paint when looking at different facial expressions i could add to the bear character.

 (Andrew Keir- http://www.andrewkeir.com/animal-illustrations-painted-on-hands/)

I've also found more abstract face painting which is another consideration for my mask making and face painting ideas. These include more colour. I am aware that i may end up using stereotypical brown and black hues, something i wanted to avoid in this project. I want to look at abstract shapes and patterns as inspiration for mask making in the near future.

(Found on tumblr.com)

Mask making experimentation- Day 1

Experiment One: Papier-mâché Masks

Today and yesterday, I started the 3D element of my project,  working from previous drawings i'd done in the past couple of weeks, photos of bears and mask inspiration. 

The first basic mask i made is a half mask, made for the antagonist of my narrative, Juno, wife of Jupiter. I used a bought mask, to mould around. I plan to cast a model's face to make the final masks, however this alternative will do for now. The paper mache was made using newspaper and a paste made of raw flour and cold water. I found that this was a better choice then pva glue. I found from previous experience of papier- mache, that pva made it hard paint onto the mask later on. 

The mask covers half the face emphasising the sneakiness of the character and their awareness of the consequences that would affect her high social standing. I have attempted to make the mask look angry, by layering up the brow of the mask. I am yet to paint the mask. I plan on using darker hues to paint the mask, to make it easy for the audience to identify character roles. I may also experiment with make up for the bottom half of the face.

 

Today, I moved on to making the animal mask for the protagonist. I used the same base for my mould and the same papier-mache mix. This time, i was challenged by creating the nose and mouth of the animal (the bear). After consideration, I experimented with parts of an egg box to form the base and papier-mached around the shape. This technique has proved quite successful, however it was very time consuming, an element i need to take into consideration. Tomorrow, I plan on adding more papier macho to eye areas and add ears. Hopefully I may get round to painting the mask as well.

(above:) End of day one.

Changes to my Synopsis of Study

"In this unit, I propose to make an installation film based on ‘The Metamorphoses of Ovid’, a symbolic and mythical interpretation of the concept. The text will be useful when creating my own narrative for the film outcome, as its very descriptive, visualizing each stage of the metamorphosis to the reader. I intend on the film being shown in a darkened space to focus the audience’s attention to the themes and emotions portrayed in the narrative. The film should be thought provoking and encourage people to support the performing arts. The final outcome will also explore how film doesn’t necessarily need to be drawing based to be labeled illustrative, but can add elements of illustration through 3D artwork and video editing."

Visit to Russell Cotes Museum, Bournemouth 10th April

The travelling exhibition, showcasing Cleo Mussi's mosaic work. I was particularly intrigued by her Mutants and Modifications pieces (seen in the bottom two images). It was interesting to see how she had created new form with pieces of other objects. The new forms look like abstract animals, which is good inspiration for my own work.

Mask and Composition Inspiration

Came across this really inspiring photography. I like the use of realism, despite the added masks to the composition. However the masks are an addition to the uneasy atmosphere of each photo.

Metamorphosis in Disney animation.

Beauty and the Beast (1991)

Although, I do not intend to use drawn animation, I was interested to see how a metamorphosis had been depicted in animation. The transformations is backwards from mine, as the beast transforms back into his human form.

Bear Studies

 

Initial concept drawings: Trying to get used to drawing animals, in particular bears (based on the myth about Jupiter's lover, Callisto). Also I've been using more colour in my observational work.This hopefully should help when reaching developmental work. I'm exploring what linear strokes suit drawing fur. So far, I have experimented with Ink and pen (left) and colouring pencil. At the moment these drawings have been drawn to look more realistic, I'd like to see if I can start drawing a looser, abstract way to start developing ideas for masks and costume for my film.