Sep29
2014

By: Elyse                Categories: AnimationBooks

And when all is said and done, making money through self-publishing (especially with a printed title) can be difficult. To see why, let’s follow the money as it goes from the comic book storeowner’s wallet to yours.

1. Purchaser buys the book for $4.00

2. Retailer keeps approximately 40–50% of the cover price = ($2.00)

3. The distributor, who has sold the book to the retailer on a nonreturnable basis, might have bought it from you at 60–70% off of the cover price. a. So, if the cover price is $4.00, and the distributor purchased it from you at 70% off the cover price, you will get $1.20 per book.

4. Keep in mind however, that out of that $1.20 per book (if you’re lucky) you have to pay printing costs, as well as any other production costs (which can be quite considerable). In fact, these costs can actually exceed the revenue from the sales of your book. In other words, you might be losing money!

As you can see, for a smaller “floppy comic” (single issue, 22-page soft cover comic), the profit margins are often too small to make economic sense. Many artists only self-publish longer books and selling them for $15–$25 per book.

Have I scared you off yet? No? Great—let’s learn about printers!

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Sep24
2014

By: Elyse                Categories: AnimationBooks

I will refer to some shapes as “foundation” shapes since they form the basis for complex designs in the art of many cultures. The four foundation shapes are circles and ovals (which are easiest to draw and distort), squares, triangles, and cylinders. (These shapes translate into ‘primitives’ in CGI programs.) The graphic animated symbol and the more rounded, dimensional character will both be created from the interplay of these foundation shapes. A graphically styled film may use the shapes with little modification, as shown in Figure 6-13. A dimensional character’s design will seem more complex but will still use graphic foundation shapes for its basic construction.

Figure 6.13

[Fig. 6-13] A simple character may consist only of foundation shapes. EM! ® from We All Die Alone by Mark Newgarden. Reproduced by permission of Mark Newgarden.

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Sep22
2014

By: Elyse                Categories: AnimationBooksGeneral

TO MODEL ANY CHARACTER, you’ll use the same general process in 3ds Max. As with sculpting, you’ll start with a simple object like a box or cylinder, and mold and shape the character using a variety of tools.

This is a basic overview of the process; the tools themselves are described in more detail in subsequent topics.

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Sep17
2014

By: Elyse                Categories: 3D AnimationAnimation

When you clone a layer, any changes you make to the clone will also alter the original, and vice versa. One example where the technique may be useful is for creating a character shadow on a wall. The character can be cloned and the clone used as a Shadow matte. Any changes you make to the character will also be made to the shadow.

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Sep15
2014

By: Elyse                Categories: AnimationBooks

Whether you are animating smoke, fire, water, dust, snow, branches, leaves, a dangling rope, a fluttering cape, a curtain swinging closed, a dog wagging his tail, or a billowing dress, all of these effects have within them the basic whip/wave principle. It is a simple flowing, overlapping action that occurs wherever energy interacts with matter which is not entirely rigid. Just take a piece of rope maybe a few feet long, or a garden hose, lift it up quickly and then snap it back down even quicker, and you will see a wave travel through the rope or hose, just like a wave travels through the water. We can move our arms much in the same way,

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Sep10
2014

By: Elyse                Categories: AnimationBooks

Soon after you know what it is that needs to be made you have to answer the question of how it is going to be made. Producers and accountants may drive this part of the process but as director of the project you no doubt will be involved in the next steps of the process: budgets, schedules and hiring the creative team. This is where the creative and the business come together. If done properly (and with your help) the project will successfully find life outside your head.

Determining the budget can be a very difficult part of the process. It is dependent on as many known elements as it is unknown elements. One rule of thumb is that the budget will change as fast as a car depreciates when you drive it off the lot, but it is necessary to be in the ball park and be as prepared as possible for the surprises that arise in the process. Since time is money, the schedule is one of the first things to help determine the budget. How long do you have to create your project? If not dependent on a release date or client expectation then how long should it take to produce? Determining your schedule will also help in answering the next question of how many artists, technicians, and production people will I need? “Head count” as it’s called is based on your schedule and funds. If your project has a tight schedule then you will most likely need a higher budget to afford more artists and tighter overlap in your departments. A longer schedule should mean fewer personnel and therefore, more consistency in the animation. A longer schedule on an animated project is usually always preferred for a higher quality of work but rarely seems to happen in Hollywood. The famous visual effects director John Dykstra sums it up nicely when he said, “There are three ways to do any shot. There’s fast, there’s good and there’s cheap. But you can only work in combinations of two. You can have it cheap and you can have it fast, but can’t have it good; you can have it fast and you can have it good, but you can’t have it cheap; you can have it good and you can have it cheap, but you can’t have it fast.” (more…)

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Sep08
2014

By: admin                Categories: AnimationBooksGames

Unfortunately, certain serious mistakes tend to be made during the development process. Some of these errors are caused by inexperience. Others may be fueled by the team’s admirable intention of making something remarkable, yet being unable to rein in their ideas and set reasonable limits. And quite often, problems arise because the creative team is eager to plunge into preproduction and is too impatient to invest sufficient time in planning. Based on my own experience and on interviews with experts, here are five of the most common and serious errors that occur during the creative process.

Photo by Amanda Hirsch

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Sep03
2014

By: admin                Categories: AnimationBooks

“Blick” is defined as a look or glance. In film, illustration, comics and graphic novels it can be a frame that enhances action, speed and atmosphere—a fast glimpse into the story.

A blick is:

-        Incomplete in itself.

-        A part of a series or a single fragment.

-        A clue to the content and meaning of the series.

-        A scrap of information that contributes to milieu.

-        It is secondary to the story line not primary.

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Sep01
2014

By: Elyse                Categories: 3D AnimationAnimation

The base rig acts as the first layer of our multi-layered rigging approach. This is by far the most important layer, and it consists of three main components:

1. Joints and bones

2. Skinning

3. Exported version

Nothing flashy, exciting, or particularly complicated lives in the base rig. However, get something wrong at this stage, and all subsequent layers will inherit the problems, sort of a domino effect.

At its core of the rig is the skeletal system that is used to drive the creature’s fleshsurface deformations. Correct placement of joints and bones is what matters here. Using our research and development, as well as anatomical studies, should allow for optimum placements to allow the best articulation to be achieved. Changes to the skeletal structure at a later point cause a lot of repercussions, not only to the other layers, but to the components that make up this layer also.

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Aug28
2014

By: Elyse                Categories: AnimationBooks

What is the mood you want to create for your piece? Is it night or day? Are we in a happy place or a scary place? What is the atmosphere, the weight of the air, the temperature of the space? As soon as the film fades up from black and begins, an impression, emotion, feeling, or dramatic effect is created by the texture, color, lighting, and design elements of the location.

Texture

Everything in a location has a texture—the hard surface of a desk; the smoothness of a flower petal; the coarseness of a brick street. Texture is the fabric, material, fiber, grain, pattern, flexibility, or stiffness that gives a tactile surface quality to the objects in the world. The amount of texture defines the level of detail and reality in a scene. The more texture and detail present, the closer to reality the scene becomes for the viewer.

In The Animator and the Seat, there is a relatively low level of texture. This supports the boredom of the cubicle and desire of the animator to leave the space. The lack of texture also means there is a lower level of reality present which supports the believability of the unusual occurrences that take place in the space.

On the other hand, Respire, Mon Ami, is filled with semi-realistic, heavily textured locations. The reality of these spaces magnifies the weak grasp the boy has on his own sense of what is real.

High texture and detail give a sense of realism. Respire, Mon Ami, Chris Nabholz, Ringling College of Art and Design

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