UNDERSTANDING ANIMATION PAUL WELLS PDF

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Klein, Seven Minutes; Wells, Understanding Animation; Wells and Hardstaff ; Leslie . directing Mackinnon & Saunders: A Model Studio (Paul Wells, ). DOWNLOAD NOW: presinescinmett.tk?book= read pDF Understanding Animation Paul Wells full version Paul. "Understanding Animation" is a comprehensive introduction to animated film, from cartoons to computer animation. Paul Wells' insightful account of a critically neglected but increasingly PDF file created from digital scan of print book.


Understanding Animation Paul Wells Pdf

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Understanding Animation. ByPaul Wells. Edition 1st Edition. First Published Preview PDF. Keywords. Animated Film. Live Action Film. Understanding Animation by Paul Wells; 3 editions; First published in ; Subjects: Animated films, History and criticism. Read "Understanding Animation" by Paul Wells available from Rakuten Kobo. Sign up today and get $5 off your first download. First Published in

Winsor McCays work as an illustrator and comic-strip artist clearly fed into his work as an animator, and popular comic strips such as The Katzenjammer Kids and Krazy Kat were some of the first to be the subject of animated cartoons. This has become extremely influential in the contemporary era, with many artists working with comic-strip and graphic narrative as well as animation, often adapting one into another and, crucially, using them as tests for narrative development or the construction of comic sequences.

Quinn draws upon the construction of the comic strip and the conventions of the American animated cartoon, but reconfigures them through her own interpretation. Gaze a resonant term in both Film Study and Art History that may refer to the artists interpretive and creative act of seeing, or the audiences way of seeing scopophilic, invasive, controlling, voyeuristic, etc. Ownership of the gaze and the mode of looking may underpin the creation of politically and ideologically charged representational forms.

Animal representation animal characters combine human and animal traits, which enables deeper characterisation.

By not casting and creating human figures, animated films can also circumvent many social, religious and cultural taboos. Cartoon a contentious term in animation, as it has become singularly associated with the American animated cartoon, thus limiting understanding of the form. The term animation is often preferred because it is more readily associated with a variety of other styles and techniques, as well as production in other nations.

Fundamental to the cartoon form is the drawing that underpins it. It has become very important within drawing as artists have sought to redress misrepresentations or under-representations of certain social and cultural groups in dominant media forms. I saw wonderful films, but saw some bloody awful sexist films too. There were people there who found the films hilarious and I was sitting there thinking I cant believe that in this day and age people are laughing at stuff like this.

I couldnt really believe what I was seeing. And then I thought, gosh, you know, I do have a responsibility to make films to try and redress the balance. More recently I think my idea of the men and women thing has shifted somewhat.

Theyre all as rounded and believable as each other now. I was quite angry when I was making those earlier films, quite political.

Now Im over 40 I realise life is not so black and white, and actually quite complex. With our developing project, featuring Beryl, were having so much fun exploring her husband and other male characters, in a much more rounded way. Before, her husband was a couch potato, but now hes turned into this wonderful person who always wanted to be a vet, but never had the opportunity. Thinking about drawing Annecy Film Festival the first and biggest animation festival in the world, bringing together the arts and commercial sectors in a celebration of animation of all styles, techniques and approaches, and informed by historical and contemporary work www.

Animations distinctive qualities enable artists to create idiosyncratic and highly individual perspectives on the world that are often intrinsically different from mainstream Hollywood film or conventional narratives in short film and broadcast television. These perspectives often take into account the particular address of gender, race, ethnicity, generation and social identity, and challenge some of the stereotypes played out in classical narrative and orthodox storytelling. The versatility of the animated form has helped challenge representational issues.

Joanna Quinn in Girls Night Out effectively reversed all the established conventions of looking at women in conventional Hollywood storytelling, by parodying those ideas in gazing at men through the eyes of the middle-aged Beryl as she enjoys denuding a male stripper. Quinns drawing is important in radicalising the perception of the body and its representational condition. By placing Beryls body in flux, Quinn can effectively draw attention to all the issues by which people judge others through physical appearance, sometimes because of their age and often through the expectations of social and artistic convention.

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Representational drawing deliberately plays with convention and seeks to challenge expectation by revising, representing, and re-interrogating the ways in which identity has been constructed. Representational drawing in this style acknowledges that ideological and political conventions have sometimes become embedded in a particular drawing idiom, and these are either used to reinforce such principles, or to challenge, revise or perhaps undermine them in some way.

Representational drawing is often a norm in animation because most animation is challenging the conventions of realism at one level, and social and cultural orthodoxy at another.

This imitation emerges from an initial reference to real-world figures and contexts, and is often then adapted and developed through processes of reinterpretation and repositioning. Joanna Quinn notes: I use photographic reference.

If Im drawing a particular character then Ill go out looking for that character, or try to work out what sort of hair he would have, what sort of clothes he would wear. So when Im out walking Ill perhaps see someone and think, oh yes, then go back and do a drawing of someone with a certain kind of curly hair or something. So youre piecing it together like a jigsaw. Photographic reference materials animator Joanna Quinn Joanna Quinn uses photographic referencing to help her determine the character of the place in which Beryl lives, using the hill-based terraces as a physical challenge for Beryl to encounter as she walks home, and the factory as a model of the modern, foreign-owned and managed workplace.

The images also suggest aspects of family, class, economy, history and community. Thinking about drawing 36 37 Inevitably, as well as using particular graphic resources to inform drawn work, other visual and observational aspects are employed. Trying to apprehend a character in drawing often necessitates a degree of imitation.

This should not be seen as copying, because the artist is always empowered to use, refine, and rework the initial source; imitation can work in a number of ways, by looking at style, technique, content, structure, etc. Photographic reference might be particularly important, for example, in relation to environments, in the sense that a particular place can evoke a specific mood, create a historical context, a set in which action is going to take place, or become a physical space that can almost play the role of an additional character.

Equally, imitation of a known style, character or place evidenced readily in work by Gerrit van Dijk later in the discussion can be a clear shortcut to an idea, a time, an autobiographical preoccupation, a signifier of pleasure or pain, for example, and offer an aspect of commonality and shared experience to the audience.

Within animation itself, this has often meant the embrace of, or resistance to, the Disney hyperrealist style. Countries all over the world initially borrowed the Disney aesthetic and industrial model as state of the art, but then drew upon more indigenous stylings to challenge and replace the Disney idiom.

In China, for example, the Shanghai Studios used their own calligraphic approaches; in Japan, visual constructions from Hokusai, Floating World painters and erotic art; and even in Britain, where portraiture, satiric caricature and modern art forms characterised the work.

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These approaches, in turn, became these nations own tradition, and were imitated in the works of artists that followed. Quinn imitates but revises this model of caricature to critique Britains imperial exploitation in its period of Empire.

Imitative drawing can clearly reference established figures, places, representational idioms as a short cut in signification and communication. Imitative drawing is sometimes the quickest way to make ideas, thoughts and feelings available to an audience, which may prompt interactive or educational processes. Hokusai, the most well known of the Floating World artists, inflected his work with more of a pastoral idyll. Satiric caricature political cartooning that offers insight about, and mockery of, political and cultural figures and institutions.

Experimentation Drawing is such a flexible model of expression that it enables all kinds of approaches and encourages a rich variety of experimentation and risk-taking in the development of work.

Joanna Quinn reflects: Ive learnt over the years to be confident with my drawing. When I start a drawing I know what I intend to draw but I let the line take me in other directions and create forms that I hadnt thought of, especially with the human figure. I love finding different ways to bend the head back or twist the torso just by using line to feel the form.

Suddenly Ill see something dynamic and decide to strengthen the line a bit. This is why my drawings have so many lines on them, and why I dont like rubbing them out. It shows my exploration of line, my enjoyment of mark-making. I often have the sensation of not being in control of my hand, that some other force is guiding me, which is probably a common sensation for artists who are totally at ease with a particular medium.

My drawings are very loose and yet very considered, and this is why Im so suited to animation, because animation is all about loads of drawings, lots of problem-solving. Knight riding horse in The Wife of Bath animator Joanna Quinn Quinn develops her sense of motion in her depiction of a horse at an unusual angle.

First, and most importantly, it is a vital part of developing embryonic thought processes and assists the evolving terms and conditions of invention. Second, it facilitates a call-and-response in the artist as he or she is intuitively mark-making and yet simultaneously going through a process of immediate evaluation and revision while drawing.

Third, it enables the process of repetition, selection, refinement and practice to take place as ideas, perceptions and memories are being explored. The drawing is being formed and transformed, translating ideas into marks of interpretation and personal expression.

Experimental drawing is all about not being fixed, nor subject to the rigours of success or failure.

Wells P. Understanding Animation

A third absence will result in the lowering of your final grade one full letter. Any student missing 4 classes will be given a grade of F for the semester.

Tardiness Tardiness is defined as not in the classroom when attendance is called or departing before the class has been formally dismissed by the instructor. Tardiness that exceeds thirty minutes will be counted as an absence. TWO late arrivals or early departures, or a combination of both, are counted as one absence. If you arrive late for class, it is your responsibility to make sure that you have been marked tardy rather than absent.

The largest impact of absences will be on your quiz performance. All films shown and discussed in class are fair game for quiz questions, as is any other subject that we discuss, whether in the reading or not. Cell phones Use of cell phones in the class is prohibited. Please turn it off before entering class. Repeated failure to turn off your phone will result in a lowered grade. School policies Class work Screenings: We will be watching many examples of animation, complete when possible, but often just selected parts due to our time constraints.

There is a good chance that some of the things we watch in class you will not be able to find on your own, and everything shown in class is liable to be material for a quiz question, so it would be a wise idea to take notes as we view and discuss work. All students are expected to have read the scheduled texts, and to be prepared to participate in our class discussions of the readings and the work screened. If a reading is particularly important or particularly challenging, I may give you reading comprehension questions which need to be handed in to me at the beginning of the following class.

Class discussions and reading comprehension questions are considered to be part of your participation grade. Reaction paper Every two weeks, a one-page reaction paper will be due. This paper should be approximately words and should discuss an animation we watched in class. Normally you will write on a film of your choice, although I may assign a specific animation for your discussion at certain times.

Research paper The course also requires a five-page research paper on any animation topic covered in class. You must discuss at least two animators who are not listed in the syllabus and whose work relates to your topic. You will need to watch at least one film by each animator you discuss. By Paul Wells. Go to the editions section to read or download ebooks.

Understanding Animation Paul Wells. Understanding Animation Close.

Want to Read. Are you sure you want to remove Understanding Animation from your list? Subjects Animated films , History and criticism. Excerpts To animate, and the related words, animation, animated and animator all derive from the latin verb, animate, which means 'to give life to', and within the context of the animated film, this largely means the artificial creation of the illusion of movement in inanimate lines and forms. Classifications Library of Congress NCThe Fundamentals of Animation.

This might be the background, but is more often shadow. Is the positioning of the feet clear? The animator must essentially perform through the act of drawing, which in itself must reveal the motives and consequences of the character, shape, line or form in motion.

The papers topic needs to be submitted to me by the end of the quarter. Jayne Pilling.

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