April 15, 2010

this is what my life looks like at the moment

so yeah, since handing in the dissertation, i’ve just been painting, photographing, photoshopping, compositing, editing, animation, confuzzling, scheduling, stuff like that, the thing is it’s the same everyday, so there’s not a lot to tell, I’ve done the train scene, half of the sheep scene, half of the whale scene, and have been right on schedule for ages now, so should be on course for being sorted by the end of the month so long my brain isn’t too frazzled, but yeah, it’s great! i’m doing boiled or animated backgrounds with white rectangles painted on, animating things and layering them in and building up all the elements, trying to make it amalgamate nicely. When i’ve got the basics i’m going to get some extra compositing advice and opinions on how it looks with fresh eyes. good stuff. just getting on with it really.

i stare at this a lot



March 24, 2010

Crit went okay, just keep going as I am really, except James had a few problems with the fact that the greater dimension isn’t going to be made with maya or stop motion, which I didn’t agree with really because although I kind of see his point, I don’t think that that sort of literalism is relevant when you understand my concept. Reality is too limiting. Leonie agrees with me using paint, which I think is best, and I think perhaps the reason why she agrees with me may be because she has searched for God in the past and is on the same wavelength as I am.

I may change the sound of the fly slightly to blip out rather than cut out. I also may pan with the fly before it reaches the page so as to establish the greater dimension a bit more. If I have time I will paint in the piece of paper on to the painted backgrounds and put the animation on top, (this will be easy for still shots but tricky for when the camera is moving) compositing could become problematic so I need to get there quick so that I have time to make it work well.

James also thinks I should try to stick more to the 180′ rule, but I think I’ll get more opinions because until he suggested this I didn’t think it was a problem.

Just finishing off my dissertation now and trying not to make great assumptions- which I seem to do a lot…


March 19, 2010

So I was going to put in stills of the painted world for first draft hand in tomorrow but decided in the end that by doing that I’m giving myself extra work for the sake of first draft as I would not use these images in my final thing. I did learn however by doing it that I hadn’t realised that it would be best to do it all on different layers, I was going to paint it all big and redo the background each time, but now I’m going to paint the background, either boiled or animated according to the shot, and paint the characters on to copy paper and cut them out, much better. For first cut I inserted a basic image where the 3D world would be. I also redesigned the shepherd character, here’s the better more suitable version of him:

And heres the first draft of my film- all the hand drawn animation mostly done, just painting to do…


March 18, 2010

I think I’ve done most of the hand drawn animation that I’m going to need to do, there is a lot as you can see, I did all this in about 2 months not solid… somewhere near 3000 drawings.

I’m just rounding off where I am at at the moment for first draft hand in tomorrow, so I’ll have that uploaded soon, other than that I now have a month or so do do all my painting and then I think I’ll also have time to go back in to lots of different parts to improve and tweak etc, which would be great, quite simple really…

First proper test

March 11, 2010

My sound man Kier sent me some sound so I thought I’d amalgamate what I had so far to see how it’s going, obviously if you haven’t seen the animatic then it’s not going to make much sense, as all the dimensioned world stuff is not done yet, nor the ending, but yeah, it’s going alright aye. Have a gander…


February 27, 2010

I think I’ve mostly completed my dissertation, for now at least, it’s not as good as I want it to be so I’ll do a little more before hand in but I need a break from it so I’m leaving it for now.

I’ve got an idea for the album that me and Priya are going to begin working on after hand in, which is cool, I’ve also been making a few motivating films with friends and animations for friends, which we do in a day or two- the fast process reminds me of the freedom of creating, it’s important to keep my perspective on things because I’d hate to think I’m living to work… Anyway, I love doing solid hours of animation, and it starts again monday starting to animate the characters being blown as the train goes past.

I’m aiming to have all character performance sorted and move the camera around the 2D world with the sounds by first draft deadline, then I’ll have a month to do all the painted animation and photoshopping (this has to look glorious in contrast to the 2D world- because it represents how much more there is- to me anyway) which sounds good in theory… let’s see how it goes!


February 11, 2010

its not going well, I spent the summer doing as much work on dissertationness as possible so that I wouldn’t have to do it now, but that’s the way it goes I suppose. So I saw James today and my dissertation should be growing, refining, developing now hopefully, because I feel like its a big jumbled load of rubbish, which is annoying. Anyway, now my direction is a bit clearer it should go better, and I’m going to take a week out from working on my film to do some dissertation, hopefully then it will be better! Then the plan after that week is to have no life for 3 weeks to try and storm out my film. hurrah.

Ok so I’ve done about 14 full days of animation- by full I mean more than 11 hours in a day, so before I get too ahead of myself I thought I’d get some feedback from Matt Gravelle- here is what I showed him and underneath are the changes I need to make.

Insert good boils, perhaps 5 frames long, improve jumps in particular, work on making key frames more like illustrations that can speak on their own, clean it up a lot, keep the first drawing in the animation beneath all frames on the light box to try to minimize weight change. Also, go faster because as of yesterday, our deadline got a month shorter because we have to make a final cut, which should be interesting… because I feel a bit screwed right now…


February 5, 2010

Hooray I’ve found a helper for my sound- which is great because I’m not great at sound and also I’m running out of time because for some reason I decided to draw all of my frames… I have a music man called Kier Doherty who is off recording a whole bunch of stuff for me and is really enthusiastic so it’s brilliant.


February 1, 2010

Yay I feel like a clever person because I got an A15… it feels easier to enjoy being good at stuff now…


January 31, 2010

I’ve recently starting going to church, and it turns out that I may be given the opportunity to do a bit of animation for them once I’ve made my film, which could be good experience if not a bit of pocket money…

Still animating

January 28, 2010

Just so you know. I’m still going.

el futuro

January 26, 2010

Went to creative futures today, which was alright but not great because I’ve had a bad couple of weeks, so to try and do something to move forward I started thinking about the future, and spoke with Priya Mistry about our plans on collaborating and what we can do towards it. We came to the conclusion that the best thing to do first is show what we can do together, so as we aren’t in the same part of Britain for now, we’re going to make an animated album over the internet, just making to with what we’ve got. I’m coming up with a concept and a bit of content, Priyas contributing some content and working on making it look good and letting me know what I have to draw and design and animate by had for her to then use in after effects and mixed media to create the final outcomes. Hopefully before Annecy we will have a website as well- perhaps through indexhibit which is a very useful website I came across the other day.


January 22, 2010

So we went to look at an exhibition space today called centrespace in Bristol, which was really cool, I think I want to present my work either very cleanly simply and professionally with one wall covered in stills of the characters, in a similar design to the book recently published- Simon’s cat by Simon Tofield, and minimal amount of text, making it quite a personal art project, or I’m also thinking of creating an installation which reflects the concept of my film- making the viewer a part of my film, which one I chose depends on time really. I’ve set up a second blog to use to help collaborating with the class to create a good set of promotional work for the exhibition and grad show, at, I’ve suggested we work with a first class graphic designer Tom Morris to make our work the best it can be, and as I live with him I thought that a good way to keep everyone in a loop while we’re very busy making films would be to blog everything and get comments and get the directors and main producers to be able to log in to post things. That’s the plan anyway!

Fresh beginnings

January 18, 2010

Ok, so the plan is to make all my character performance first, then I can put it in to after effects and create its movement within 3D space, then I can do the painterly animation, photoshop the frames and add them in to the project with sounds. I don’t know what to do about sound yet because it’s not a strong area for me, but we’ll see what happens. So I’m off to draw a load of stuff yay, I don’t really know what to be writing in this blog now, it will probably be quite boring to read like, today I drew a load of more frames… like I will tomorrow… but who knows it could just be great instead.

Hand in

January 14, 2010

Hooray, we’re finally handing in our first semester work, I’ve had a production bible book made and a professionally made promotion pack as well, so that’s all gone really well, I’m going to have a week off now before starting production because I’ve tried to work a bit and my head’s not in the game, but it will be soon. Over and out.

Final Animatic

January 8, 2010


December 13, 2009

I’ve got a lot of good feedback from Matt and Leonie this week, and now I’m trying to make the animatic as good as possible so that I have a bit more of the Christmas holiday off rather than working through as usual. Basically I’m just making changes to simplify and communicate what’s happening clearer, but I’ve also decided that I like that it isn’t all given away at the beginning and maybe you do have to watch it more than once. I’ve got another animatic but its only been tweaked so it’s not worth uploading, but now the train blows the paper in to the air, the sea slightly moves the paper so its not all stiff and the sound fades out a bit better. I still want to do more drastic changes in the character performances for example the man isn’t even going to notice the presence of the sheep. I’ve done some more concept art:


December 8, 2009

Well that last one didn’t last long, heres a betterish one

New animatic so far

December 7, 2009

It’s a monday, so I thought that I’d put this up to get some feedback, it’s not done yet, obviously there’s no sound yet and I need to see how well it goes down. Also at the end there are supposed to be so many frames that flatland goes black, but as it’s an animatic there aren’t that many frames, so I need to show that better also- but it is shown separately underneath.


November 26, 2009

At the moment I’m working on my dissertation, as the next thing I want to work on is a new animatic. I’ve been trying to get as much feedback as I can from tutors- mostly Matt Gravelle and Leonie Sharrock and graduate animation friends, Priya Mistry has been especially helpful to me and I’d love to work with her in the future

Because I spent two weeks just animating a really long test, I didn’t manage to get feedback as I was going along, I should have done shorter tests, but now I’m either emailing in the hope it’ll be a bit quicker or trying to fit in to tutorial slots.

Finished test

November 22, 2009

As usual, there is loads I want to change about this, but that can only be a good thing because it means I’ve learned a lot from it. It is not a test of what would happen in my film- so can’t be inserted in to animatic in that sense, but it sort of shows a little glimpse of the two of them interacting. I don’t think it is very successful in portraying their characters, it’s not terrible, but their personalities just don’t stand out-it’s a bit wishy-washy, but that’s more because my idea of the two of them is still too vague- it isn’t coming naturally to me- but I do think that perhaps the idea of acting their parts with a friend will help me a lot to understand them and really delve in to them so that I can express that more successfully- so i’ll do that next. I want nicer cleaner boils and to work much faster- I tried to be very chilled- thinking it would make me more patient but that had the opposite effect. I want the man to be more flamboyant in his gestures. I’m stopping working on it because not only am I sick of it already, but the improvements I would make can be kept in mind, and even if I made those improvements, the cycle would just continue, I would keep wanting to change it and change it- I just don’t have the time. So I’ll keep in mind what I’ve learned and apply it to what i do next. I’m also going to have to work in much smaller chunks to get my film done… At least I’m getting a clearer idea of what I need to sort out before production starts, and I’m well on my way, a lot of trying to be at a certain point is based on you’re figuring out how to make your way there. So that’s fine… onwards and upwards. Hooray. Another thing, it might seem like only a small thing but it feels like a big thing because it’s the title- I’ve decided on one- ‘More Than There is”.



November 20, 2009

I’m still going with character performance, but I stumbled across these visuals of my man when testing in after effects, it’s just lots of frames of my man multiplied on top of each other, but it could be used in many ways which I have been thinking about, perhaps in the ending. I have the idea that when the film is nearing it’s end, instead of the pieces of paper being replaced they are instead stacked up on one another, so that the profile is no longer paper thin, but thick enough in volume that a character ( ie the dog who is searching for more than there is) has the option to exist in another dimension should they wish- they can exist on 24 different flatlands per second….? It also holds the option of them being lost in the growing black graphite left on each page. I like it a lot right now, another animatic is definitely in order once I’ve completed this really long test. Nearly done though yay!


November 16, 2009

I’ve been doing character performance all week, and the test I’m doing is quite long so it will probably be another week until I get a even just a rough thing done, so today, as a break, I did a test for the 3d environment, I’m not sure what I think about it yet:

I’ve looped it 3 times as it is very short, also it looks like quite low quality on youtube…

So I’m locked away animating at the moment, which, knowing animation, is going to take a long while, but I wanted to remind myself of the life animation has by re-watching Hill Farm by Mark Baker, purely at the moment for the way the characters move- I’ve been watching so much live -action footage to see how things move and act that I’m forgetting that they can move and act however I want them to! (Few that was a close one, silly me hey!) I just love it, here it is:


November 2, 2009

Ok so, it’s chaos in my head right now… anyway, seeing everyone’s animatics today made me really want to crack down on how serious the film is coming across as. I’ve been trying to avoid it, but not really worried to much, but now that I can move on to character tests, hope fully it will get more enjoyable and actually start becoming what I want it to be. Matt Gravelle found the sound confusing at first and thinks that if I begin the film inside their world then it would become more clear. I have a few friends who I really value the opinion of, and I don’t think the animatic went down to badly with them, two in particular made me feel much better! A few mention that my timing and pacing needs to be much better, which I agree with but find it much more difficult to do that without drawing all the in-betweens as I time while I animate properly usually which seems strange… They also said that when I create it fully as in my visuals, then the distinction between the two worlds will be much clearer. I’m just really confused and at the moment it’s just not good enough so I’m really annoyed. So I’m doing work experience this week at Arthur Cox and if I get the chance I’m going to see if I can get their input. I also am talking to a few graduate friends who should be able to help me out. But after all that, I think I just really need to do simple funny animations of my two characters and not be dragged down by all the technical stuff which keeps taking over and I never wanted as my focus. Grrr.

What can i make in 8hours?

November 2, 2009

I did this character performance in about 7/8 hours today because I wanted to have something remotely character based to present with my animatic tomorrow, I’ll have to say how quickly I did it to excuse it really, because I’m happy enough to show it but it is rushed in every way, in terms of what I chose to happen between the characters and how much boiling there is all so that I could get it finished in a few hours really. I wish I could show better quality animation with many more drawings and movement in general, but that would need a couple of weeks really, and this simple little thing is better than nothing for tomorrow.


October 31, 2009

I’ve been moving forward with visuals and this is one of my more favourite tests so far, much more so than the ones shown previously. I can still see it all improving so much more, i just can’t wait to see it happen…


First draft animatic

October 30, 2009

So I’ve been spending my time doing this animatic and a few visuals. I feel like it is quite far off where I am going to be, but it’s good enough to present and get feedback for. I’m going to present this animatic along with a few stills because I didn’t have enough time to make it look how I want it to which I feel is really necessary to show the epic-ness of some of the shots. I also wanted to do a bit of character performance because at the moment I’m having to sort out all the technical stuff, I’m just conscious about not portraying character enough for them to lead the film… But I didn’t have time before the presentation so I’ll do that next, which will be easier to focus on now that I’ve done a lot of the technical stuff which will get feedback on monday. The sounds are just examples, I haven’t recorded my own yet which I intend to, but yeah, it’s alright. I’ve kept it shorter than our three minute restriction because I want to leave a bit of space to experiment and test character performance and see how that can really move the film to a new level, but all the essentials and structure is shown ok.


October 19, 2009

I don’t know whether to keep the 3D world as pencil line drawings, ink and water colour- Quentin Blake style, or painterly a bit more abstract. Heres a few tests I’ve been doing to explore:


Some more clever stuff

October 19, 2009


October 18, 2009

This week I haven’t posted anything because so much was up in the air I could have rambled till the cows came home, so I spent it making lots of little and larger decisions which were triggered by my tutorial with Matt Gravelle which was really useful because I felt like I’d moved forward at the end of it. I now have a storyboard that I’m happy to start working with. It also shows a lot of things that decided on this week that had been floating around for ages. I like that the end leaves the characters left in their situation because it reflects how we are left- they are us. Also the 3D 2D ness is a lot clearer as I decided to show their 2D world in a 3D space from a camera further away. I’ve also thought about the characters a bit more but untill I do some animated tests I’m not sure how well I could communicate them, so I’ll see if I can’t do one character test alongside my animatic in the next 2 weeks, tight. I scanned in my thumbnails and made a little slideshow to make it a bit easier to see, but they were small pictures so it’s quite messy which is annoying because it took ages and it looks quite nice as a storyboard. Anyway, here it is, however clear or unclear, I can always explain people through it.

New characters

October 11, 2009


So I’ve been working on developing my characters, and especially since realizing my focus, I have a better initial idea of their internal and external. I feel that it will be easier to work on a proper full storyboard first draft which I hope will be simple, quirky, humourous, and slowly revealing what is happening.

The focus

October 10, 2009

Ok, so it turns out I’ve been getting so bogged down in all the mess that I need to think about and consider, that I almost let myself follow a road which would not take me to the end product that I hope to achieve. Without two perfectly appealing, funny, well developed, attention grabbing characters which I hope viewers will relate to, empathise with and such like, my film would be so very dull. The intent would be blah, the look would be blah, the whole thing would be BLAH. They are the essence of the film and need to be constantly improved until the end. The are 99% of my film. That may be exaggerated but you know what I mean.

Character design

October 8, 2009

Gus and Peck from Partly Cloudy are what I’m aspiring to in my re-designing at the moment. Two completely unique and appealing characters are portrayed in minutes if not seconds. For me, they are instantly attention grabbing because of their integrity and how well they compliment each other. Character informs script, script informs character.

partly cloudy

I have been people watching for months now and I’ve finally found my second person who appeals to me enough to start developing a character on. Patrick Moore’s appearance, mannerisms, energy, unquestionable confidence in his opinion, sharp mind and his reactions to things are intriguing to watch, and I can see these things being animated and posed really successfully. By exaggerating these aspects of his being and basing a character on him, I could create a very endearing character, which is very compatible with the worldview necessary to fulfill my script, and will complement my dog character, which is based on Pete, really well. Patrick and Pete, perfect.

4924_1091149755083_1116682332_30272914_7772581_nsir-patrick-moore-hs You’re probably thinking, ‘what a mental pairing’.. but I say, ‘mental or amazing?!’ If I could, I would probably give them cool Northern or Irish accents, but so far as I know there’s no dialogue in my film.. still, you never know.

initial designs

October 7, 2009


An example of initial concept art. I don’t know the story, so the bulb is just an example of something passing through flatland. I don’t want the characters to look 2D but they will only move in 2 dimensions, somehow. I wanted to start experimenting with how it could look so this is just the beginning, but I also may still just go with black and white. When I come across something that’s good to start developing I can move on to animated tests, which will hopefully be soon because the still frames don’t fully illustrate the idea. I’ve been thinking about my characters but not yet come up with something better, so I’m going to a scout around in coffee shops and such likes to draw people around and see what I come up with.



October 5, 2009

I realised today how underplayed I want this film to be, I think things speak greater volumes when they’re whispering and hinting and not doing any work for the audience so that they then immerse themselves fully in to it more effortlessly. Caroline Parsons also mentioned that she thinks I should perhaps keep working on the design of my characters, because they really need to get the audience to empathise- so they need to be perfect, which is interesting because I’d like next door’s dog and Quentin Blake’s illustration to have more of an effect here anyway, I just wasn’t thinking about that too much. It’s great to get lots of thoughts from tutors, because then I can keep lots of things in mind and nothing gets lost at the back because I’m reminded of it by them, like in this case. She was also under the impression that it was going to be much more structured and humorous than I thought I was saying, I still want it dynamic and flowing rather than something happens then something else happens, and I want little bits of subtle unforced humour here and there- not serious at all- I’m not trying to force anyone into having a suspension of disbelief for my film, I want it to just happen.

Click to make bigger:

first attept at storyboard

So I came up with a new thought- I didn’t focus too much on the characters in this storyboard so their actions and things are just hypothetical. I drew them on a grid because I came up with the idea of being able to see them from other angles, so that we can see how the fly experiences passing through their world, and seeing things from the fly’s point of view or ‘on board with the fly’. Also to make it much more obvious that the characters can’t see what is there (the fly) because it’s not in their paradigm. I think this is a good example of what I have in mind- just very much an example to start developing what actually happens. Good. Complicated- needs simplifying and composing properly, but good.

Some stuff for your eyes

October 5, 2009

I’ve quickly drawn a few images, which are by no means a great portrayal of what I want, but they show a simple version of the kind of thing that is bouncing around in my head at the moment- I realised by doing this that the parts where the characters experience 3Dness are going to be so very hard to animate. Moreover that, for example the whale, doesn’t come across well in a single frame, only by seeing it in motion so that it’s movements and shape are revealed over time can you actually see what the thing is. This is also good because it reflects how we need to be confined by time, as humans, to make sense of the world and how things correlate in terms of cause and effect. I also drew in a see-saw. I don’t know whether I’m going to keep this but it came to me because a see-saw moves in it’s one plane, and so traps the characters on the see saw. Perhaps they have the option of getting off, perhaps it becomes more morphing and dynamic to throw the characters around the environment in the way the prisoner is in Sur Le fil by Benjamin Dupouy. Perhaps it’s too restricting. Perhaps that’s good because of how difficult it’s all going to be to get done in time.

Anyway, here are a few of the sketches.

some drawings

Next door’s dog

October 3, 2009

100_97871Character designs?!?!….

I’m still wondering about my characters, what form they would best take and what they’re fully about and how they can be related to to complement the aim of my film, and the gentle nature of next door’s dog is very inspiring, especially because he looked like quite a big scary bear of a dog before he came to see us over the fence- again there’s more than there is…

Everything will be okay

October 2, 2009

I grabbed this to watch and consider because two worlds are sort of mixed together and made to correlate in a a way I would have never thought of because it seems like it would just look really silly, but it seems to work quite well here. Also the idea of images of reality, perhaps I could flick frames of photographs behind my drawings randomly, to suggest our dimension, still as with most things I’m thinking about at the moment it’s mere speculation of possibilities, I need to let it form.

I still love ‘poor god’ by Matt Abiss, which when I start on about all the things I need my film to be, how I want it to come across, how to keep it simple but profound, I watch and it just shuts me up.


October 2, 2009

So I got to speak to Leonie Sharrock this morning, which was quite encouraging, because she’s quite happy to let me figure things out for now, which James was getting me to do more, so that’s great. We talked about two main things though, the first was how it could look, because Leonie loved my life drawing in the first year which is very different to the cartoons I’ve been leanig toawrds recently having liked work by Russell Brooke, Simon Tofield etc, so that’s  something to keep in mind. Perhaps Quentin Blake’s style which I touched on earlier could be somewhere between these two places, the question is what do I want my identity to be? The second more important thing was how I was going to communicate it well, because I’ve been saying that I know the concept  need’s to be communicated better than in Grace Of Dimensions, but haven’y properly tried it out. So on to concept art and storyboarding yay fun.

This little film related to the book, “Imagining the Tenth Dimension” by Rob Bryanton, there is also a website,

When I watched this it made such simple sense of something I’d not really approached because I thought it would be a bit complicated. I’d thought about it before even but not realised what I was thinking. Anyway, the idea of folding may be worth pondering over, and of adding time or possibilities or cause and effect. Obviously I don’t want to add these things for no reason, it may help in fulfilling my aims though just to think about it. How much can I say without saying it? What can be said? Could this help in creating a resolution? How do I keep it simple and poetic, do I want this stuff to be part of my film? You know the usual questions, so it’s just interesting to chew over at the moment.


October 1, 2009

Picture 1It turns out that the whole of flatland is on google books- hooray- cheap student.

It’s interesting to consider how my two characters would see each other, Abbott suggests that surely from across the page they would see each other as lines… So what about seeing flatland from the characters points of view sometimes? And the way they experience a being that can move through depth as well, or time? What about light and shadows?

Moving forward

October 1, 2009

Yay, so I talked to James Manning about my idea, because I thought I might be getting ahead of myself, and he seemed to kind of like it I think- well it’s sort of interesting- but then that’s the audience I’m aiming it at anyway- those who are as interested as I am, so how can I reach as many as possible?

How do I make people give a crap? How much do I want to give away to the audience- as the more the audience is involved in filling in the gaps, the more it will speak to them.

James brought up a few things like firstly reading flatland the book, as I knew it was Abbott’s theory, but not that there was a book I could get hold of, and by reading through that I may find more things to incorporate or figure out, however big or small, knowing more gives me more power here, and may shift my direction in tiny or massive ways.

We then went through things, and I had a suggested answer for each, such as how to make people care (through engaging them with characters) and how will I lead the audience through my statement to get them to react at the point of resolution, (how to slowly reveal what is going on). What was good about having suggested answers to these was that I had a proper direction and was on the right track, but could also be reminded by James to make sure I research and ponder about other ways of making this statement, more ways of making people react. So that I don’t close my mind or possible routes to suddenly or rashly- because the could change my direction or better inform the track I’m on… blahblahblah

It was also good because when I explained my vague storyboard- which slowly reveals the concept up to some resolution, he reacted with the same sentence as Caroline Parsons, which was, ‘that sound great,’ which gives me confidence because it’s hard to come by honest positive statements by people who have a professional opinion.

I had made myself a sort of bubble that I liked which had what I was trying to say and a way to say it which really appeals to me, but there may be better ways of fulfilling what I want to say. For example, 2D hand drawn I chose because I’m better at that than anything else and it reflects Gods creation for me- if he made the world he wouldn’t use a computer or objects which already exist, he would get a pencil and create life from nothing. However considering other ways of working such as an installation, will keep my mind open to all possibilities, even if it just solidifies my previous directions or decisions. I also have endless possible resolutions so during story-boarding, what will give me the authority to decide where this goes? Perhaps reading around philosophers will help me create the best outcome for my film.

So basically I have to do a bit of reading, perhaps an initial synopsis and aims, storyboarding and concept art, and see my tutors as much as possible and drive them mental!

I actually believe for the first time in my degree that I have something good going on, because it’s not forced and all main aspects are based on things that I’ve been passionate about for a long time. It feels very right- which is a big deal for me, I just can’t wait to see how it develops, and I’m only at the beginning… strange.

yes please

September 30, 2009

I’ve always admired Blake’s drawing style, obviously I’ve mention the simple black and white line and the expressionist colour-ful paint technique, but these drawings add a little more, I don’t yet know what my film would need but in terms of detail and invention and the wobbly human nerve in the line which is important to my idea of God, considering his style could prove very useful…

Picture 3


September 30, 2009

I’ve been wondering how I want the film to look, and one thing I’ve thought will help communicate the distinction between the 2D and 3D is colour. I was watching about 5hours of Beatles documentaries recently and the majority of the footage was in black and white, so when they played a bit of the animated video for Lucy in the Sky with Diamonds, the colours, were just amazing, they were already bright and vibrant but in contrast with the black and white film it just looked so good. A lot like seeing colour for the first time, which also a good example of God. So I was thinking that the 2D world would be in black and white, and whatever is 3D (cross-sections- 3D passing through a 2D flatland) would be really vibrant dynamic alive colours, to show how much more would be revealed out of their paradigm. The same would be done with the sound, the characters like in the Grace Of Dimensions test, the flatland characters would lip-sync with speech bubbles and not create sound, but what passes through their world but have full foley sound, which also gives so much information about what it is that’s passing through, like the sound of water- depending on what I figure out for them to experience.

Lucy in the Sky with Diamonds, The Beatles.


Grace of Dimensions, my earlier test.


It could also be really good in terms of involving computers in this in a good way, not in a modern CG way, but keeping the essence of human error and nerve in the animation by painting all the frames but making it even more epic using a computer to add atmosphere, perhaps, somehow, I imagine them being used for lighting, because God is like light, and it’s not easy to draw light in the same way as generating light to create more of an experience…

Rough Script

September 30, 2009

So a rough script came to me, really naturally and subtly when I was daydreaming, and for some reason that is why I trust it, as well as really quite liking it. I’m liking the idea of beginning with a fly. God used one recently to speak to me, and it turns out it really complements my film. I want the concept to be slowly revealed- so that at the beginning you’re like, ‘what’s those random circles’ and nearer the end you’re like, ‘oh they’re fingers…’ So I see Pete my dog character snapping lazily  at a fly, then it disappears. It reappears somewhere else on the page, also referencing the behaviour of sub atomic particles. It disappears because it can move in 3 dimensions through flatland, so it’s sometimes in flatland and sometimes so close you can hear it buzzing and feel its wings but it’s just not there. I MUST KEEP THINGS SIMPLE THOUGH. If it’s all poetic and subtle it will reflect the nature of God. The next thing that came to me helps pace and inspiration build up as you go along, like a crescendo as understanding hopefully becomes easier as the idea is revealed by clearer communication and more information. I would like to use a whale and an ocean at the greatest point. For me, these two symbolise raw energy and captivating beauty. They’ve been timelessly inspirational for me which is what I’ve been wanting to keep liking my film. I hope it to be dynamic and flowing and the characters be chased and swept around in a very abstract environment, providing on time and resources. There’s just so much to think about.


September 30, 2009

I thing I’ve gradually come to accept the idea I’ve been talking about here, for months I can remember thinking, keep your options open, this might not be the film you’re meant to make, or as a Christian- what God wants me to make. But I’ve just been following whatever has come to me and influenced me, and because it was so unforced, which I know is good, it’s still a bit worrying because I haven’t really wanted to do much else, or I’ve always been brought back to this point, and I know that if I bring this to my tutors and they don’t think it’s right for me, then that would affect me very seriously.

So before I got too far along I tried to ask for feedback. I managed to get to talk to Caroline Parsons the other day, and she said that she is happy with what I’m doing, but to consider really trying to incorporate something which is more desirable than just a 2D drawn film. Its obviously become a very small field of animation now with the take over of computers, which is half the reason why I wanted to be a pencil animator, because it’s really made a lot of work quite lazy, but I totally agree and the thought has been in the back of my mind for a while, so that needs more consideration. The balloons film used compositing and 2D hand drawn which worked quite well, and I’d be happy to do something like that, but it was also necessary for the film, not just used for the sake of using a computer.

I haven’t spoken to Leonie Sharrock that much but she did also mention to me that there are so many good 2D hand drawn films that are awesome because of how computers have helped. What comes to mind for me is the work done by Gobelins shown at Annecy 09, but to be honest I’m not sure I could really do it as well as this in the time I have, and it might be a downfall for me because I’m not sure of my skill in it, any way, have a look what I mean:


September 30, 2009

squares and colours // or a message ?JWTSC Book Cover