51 Digital 3D modeling is the process of creating a virtual representation of an object or character in three dimensions. Artists use 3D modeling software like Autodesk Maya, Blender, Cinema 4D, or ZBrush to sculpt, shape, and texture digital models. These models can range from simple geometric shapes to complex organic forms, architectural structures, or intricate character designs. The process of digital 3D modeling often begins with the creation of a wireframe, which establishes the basic structure and shape of the object. Artists then refine the model by adding details, applying textures, and defining the surface properties such as color, reflectivity, and transparency. This process can involve techniques like polygonal modeling, sculpting, or procedural modeling. Once a 3D model is created, it can be further enhanced through digital materials, which simulate real-world properties like metals, plastics, or fabrics. Lighting and rendering techniques are used to simulate how light interacts with the virtual objects, creating realistic shadows, reflections, and atmospheric effects. The final result can be rendered as a still image or incorporated into animations, virtual reality experiences, or video games. Digital 3D art is widely used in various industries, including film, television, video games, architecture, product design, and virtual reality. In the entertainment industry, digital 3D models are used to create characters, creatures, and visual effects for movies and animations. Architects and designers utilize digital 3D modeling to visualize and present architectural designs or product prototypes. Video game developers use digital 3D assets to construct virtual environments and interactive experiences. The digital nature of 3D art allows for a high degree of flexibility and control. Artists can easily modify and iterate on their models, experiment with different textures and materials, and create complex animations and simulations. Digital 3D assets can also be easily shared, edited, and integrated into various workflows, enabling collaboration among artists and production teams. However, it's worth noting that digital 3D art still requires artistic skill and knowledge of traditional principles of form, composition, and aesthetics. While the tools and techniques are digital, the underlying artistic vision and craftsmanship remain essential in creating compelling and visually stunning 3D artwork. The main differences between traditional 2D and 3D art lie in the dimensions, tools, techniques, and physicality involved in creating the artwork. Here are some key distinctions: Dimensions: Traditional 2D art exists on a flat surface, such as paper or canvas, and is limited to height and width. It creates the illusion of depth through techniques like perspective, shading, and composition. On the other hand, 3D art adds the element of depth, allowing viewers to perceive objects or environments in three dimensions—height, width, and depth. Tools and Materials: Traditional 2D art relies on physical tools such as pencils, pens, brushes, and various mediums like paints, inks, or pastels. Artists work directly on the surface using these tools to create their artwork. In contrast, 3D art, whether traditional or digital, often employs specialized tools, such as sculpting tools, 3D modeling software, or virtual reality devices, to shape and manipulate objects or environments in three dimensions. Physicality: Traditional 2D art involves the physical manipulation of materials and the tactile experience of working with brushes, pens, or other art supplies. Artists can feel the texture of the surface and the resistance of the medium. In contrast, 3D art, especially digital 3D, removes the
52 physical aspect of creation. Artists work in a virtual environment, manipulating digital models or objects on a computer screen using tools like a mouse, stylus, or specialized input devices. Interaction and Viewing: Traditional 2D art is primarily meant to be viewed from a single perspective. It is static and does not change over time. On the other hand, 3D art, especially in digital forms, can be interactive and dynamic. It can be viewed from different angles, animated, or experienced in virtual reality, offering a more immersive and interactive experience for the viewer. Complexity and Possibilities: While traditional 2D art offers a wide range of techniques and expressive possibilities, 3D art expands on these possibilities by introducing depth, volume, and the ability to create complex objects, characters, or environments. With digital 3D art, artists have access to advanced tools and effects that can simulate materials, lighting, physics, and animation, offering greater control and flexibility in the creative process. Collaboration and Distribution: Traditional 2D art often requires physical distribution, such as printing or displaying the artwork in galleries or exhibitions. In contrast, digital 3D art can be easily shared, reproduced, and distributed digitally. It allows for collaboration among artists, as multiple artists can work on the same project simultaneously, making changes and sharing files more efficiently. While both traditional 2D and 3D art have their unique qualities and applications, advancements in digital technology have expanded the possibilities of artistic expression and opened new avenues for creativity in the realm of 3D art. Here are the key differences between digital 2D and 3D: Dimensions: Digital 2D art is created on a flat surface and exists in two dimensions, height and width. It includes digital drawings, paintings, and graphic designs. Digital 3D art, on the other hand, exists in three dimensions, including height, width, and depth. It involves the creation of virtual objects, characters, or environments that can be viewed and interacted with from multiple angles. Representation: Digital 2D art is a representation of the two-dimensional world, often focused on creating visually appealing and expressive images. It relies on techniques like color, composition, and texture to convey depth and realism. Digital 3D art aims to create objects and environments that closely mimic real-world physics and appearance. It involves the creation of virtual 3D models, the application of materials and textures, and the simulation of lighting and shading to achieve a more realistic representation. Tools and Software: Digital 2D art typically utilizes software applications such as Adobe Photoshop, Corel Painter, or Procreate. Artists use tools like digital brushes, layers, and effects to create their artwork. Digital 3D art requires specialized 3D modeling software like Autodesk Maya, Blender, or Cinema 4D. Artists use these tools to create and manipulate 3D objects or characters, sculpt digital models, apply materials, and animate them.
53 Workflow: Digital 2D art often starts with a blank canvas or an initial sketch, and artists build up their artwork layer by layer. They can easily edit, modify, or rearrange elements throughout the creative process. Digital 3D art involves the creation or import of 3D models, which are then sculpted, textured, rigged, and animated. The workflow may include building virtual environments, setting up lighting, and rendering the final output. Interactivity and Animation: Digital 2D art is primarily static and does not offer interactivity or animation by default. It focuses on creating still images or designs. Digital 3D art, however, is often used for interactive applications and animations. It enables users to interact with virtual objects or environments in real-time, or create dynamic animations with moving objects, characters, or effects. Applications: Digital 2D art finds its applications in areas such as illustration, graphic design, web design, and digital publishing. It is used to create assets for advertisements, branding, website graphics, or digital media. Digital 3D art is widely used in industries such as film, animation, video games, architecture, product design, and virtual reality. It is employed to create 3D characters, visual effects, architectural visualizations, game assets, and immersive experiences. Both digital 2D and 3D art offer unique opportunities for artistic expression and creativity, and they have different workflows, tools, and applications depending on the desired outcome. 2D 3D
54 Learning Activity Learning Activity: Exploring Traditional and Digital Art Objective: To understand the differences between traditional 2D and 3D art and digital 2D and 3D art, and to appreciate the unique qualities and applications of each. Materials: Paper Pencils, pens, and markers Paints (watercolors, acrylics, or poster paints) Clay or playdough (for traditional 3D activity) Computer with internet access (for digital activities) Activity 1: Traditional 2D Art 1. Choose one of the traditional 2D art forms mentioned in the lesson (drawing, painting, printmaking, or illustration). 2. Create a simple artwork using their chosen traditional 2D technique. 3. Experiment with different mediums, colors, textures, and techniques to bring their artwork to life. 4. After completing their artwork, have a group discussion where students share their creations and discuss their experiences working with traditional 2D techniques. Activity 2: Digital 2D Art 1. Introduce the concept of digital 2D art and its applications. 2. Explore digital 2D art by using a drawing or painting software/application (such as Paint, online drawing tools, or tablet apps). 3. Create a digital artwork using the software, mimicking a traditional 2D technique (like drawing or painting). 4. Encourage them to experiment with different brushes, colors, and effects available in the digital software. 5. Share your creations with the class and discuss the advantages and possibilities of digital 2D art. Summary of the Lesson The lesson provides an overview of traditional 2D, traditional 3D, digital 2D, and digital 3D art forms. It explains the characteristics, techniques, tools, and applications of each art form, highlighting their similarities and differences. Traditional 2D art involves drawing, painting, printmaking, and illustration on flat surfaces, while traditional 3D art includes sculpture, ceramics, and modeling using physical materials. Digital 2D art is created using software and
55 devices that mimic traditional 2D techniques, while digital 3D art involves virtual modeling, texturing, and rendering using specialized software. The lesson emphasizes that while digital art has its advantages, it does not replace traditional art but rather offers complementary tools and techniques. Artists often combine traditional and digital methods to explore new possibilities in contemporary art and design. Post assessment 1. Traditional 2D art forms include: a) Sculpture and ceramics b) 3D modeling and animation c) Drawing, painting, printmaking, and illustration d) Virtual reality and interactive art 2. Which traditional 2D technique involves transferring an image from a prepared surface onto paper? a) Sculpture b) Ceramics c) Printmaking d) Modeling 3. Traditional 3D art forms include: a) Drawing and painting b) Printmaking and illustration c) Sculpture and ceramics d) Digital art and animation 4. What is the primary material used in traditional sculpture? a) Clay b) Canvas c) Paper d) Digital software 5. Digital 2D art is created using: a) Pencils and brushes b) Sculpting tools and carving knives c) Specialized 3D modeling software d) Digital tools and software applications 6. Which software is commonly used for digital 2D art? a) Adobe Photoshop and Corel Painter b) Autodesk Maya and Blender c) Procreate and GIMP d) Cinema 4D and ZBrush
56 7. Traditional 3D modeling often involves the use of: a) Digital brushes and layers b) Chisels and carving knives c) Printmaking techniques d) Watercolors and acrylics 8. Which industry extensively uses digital 3D art for creating characters and visual effects? a) Architecture b) Video games c) Graphic design d) Illustration 9. Digital 3D modeling allows artists to: a) Create virtual objects and environments b) Sculpt with clay and wood c) Transfer images onto paper d) Use brushes and paints digitally 10. What are some advantages of digital 2D art? a) Physical manipulation of materials b) Tangible and immersive experience c) Non-destructive editing and easy distribution d) Realistic representation of objects 11. What distinguishes digital 3D art from digital 2D art? a) The use of physical tools and materials b) The ability to create static images c) The representation of objects in three dimensions d) The requirement of specialized 3D modeling software 12. Traditional 2D art is limited to which dimensions? a) Height and width b) Height, width, and depth c) Length and width d) Length, width, and depth 13. Digital 3D art finds applications in which industries? a) Illustration and graphic design b) Film, video games, and architecture c) Painting and printmaking d) Drawing and sculpture 14. Which traditional 2D art form involves applying pigment to a surface using a brush?
57 a) Sculpture b) Ceramics c) Drawing d) Painting 15. Digital 2D art allows artists to work with layers, which provides the benefit of: a) Adding physical texture to the artwork b) Creating depth and three-dimensional effects c) Separating elements for easier editing and control d) Mimicking traditional printmaking techniques Self-evaluation / Performance Task Title: Create a Mixed Media Artwork Task Description: Using your knowledge and understanding of traditional and digital art techniques, create a mixed media artwork that incorporates elements from both mediums. Your artwork should reflect the concepts, techniques, and characteristics discussed in the lesson, and demonstrate your creativity and artistic vision. Rubric: 1. Creativity and Originality (30 points) Demonstrates a unique and innovative approach to the artwork. Shows originality in the subject or theme chosen. Exhibits personal style and artistic vision. 2. Technical Skills (30 points) Displays proficiency and mastery of traditional art techniques (e.g., drawing, painting, sculpture). Utilizes digital tools and techniques effectively (e.g., digital painting, 3D modeling, photo manipulation). Demonstrates a good understanding of the capabilities and limitations of both traditional and digital mediums. 3. Visual Impact (20 points) Creates a visually appealing composition with a strong sense of design. Effectively uses color, texture, and other visual elements to enhance the artwork. Engages the viewer and evokes an emotional response. 4. Concept and Execution (15 points) Communicates a clear artistic concept or message. Shows coherence and consistency in the execution of the artwork. Demonstrates attention to detail and craftsmanship.
58 5. Reflective Artist Statement (5 points) Writes a thoughtful artist statement that explains the artistic choices made. Describes how traditional and digital techniques were integrated into the artwork. Reflects on the meaning or message behind the artwork. Answer Key Post Assessment 1. b 2. c 3. b 4. b 5. d Pre Assessment 1. c 2. c 3. c 4. a 5. d 6. a 7. b 8. b 9. a 10. c 11. c 12. a 13. b 14. d 15. c
59 Objectives: 1. Identify and explain the key stages of the animation process. 2. Understand the importance of planning and preparation in animation. 3. Recognize the role of creativity and collaboration in creating animated videos. LESSON 5 THE PROCESS OF ANIMATION COURSE CODE: EANI0323
60 Pre Assesment 1. What is the function of seamless transitions in animation? a) To research and gather information b) To define the project's scope c) To visualize the script and scenes d) To smoothly connect different animation scenes 2. What is the role of a storyboard in animation production? a) To research and gather information b) To define the project's scope c) To create dialogues between characters d) To visualize the script and scenes 3. Why is a holistic outlook important in the animation process? a) It allows for fancy language and phrases b) It helps maintain viewer interest c) It ensures a seamless flow and clear message d) It adds complexity to the animation 4. What is the purpose of research in animation creation? a) To define the project's scope b) To brainstorm ideas c) To understand the project's requirements d) To illustrate the animation scenes 5. Which stage of the animation process involves deciding on music and sound effects? a) Researching b) Storyboarding c) Animation d) Sound design Lesson proper Animation is an extremely versatile tool - entrepreneurs, business owners, and video marketing agencies can use it to steller outcomes. Animated clips can help you communicate your brand's message clearly - no matter how complex your product or service is, an animated video explainer or a whiteboard animation clip can help convey your unique selling proposition to potential clients. 1. Researching Before you begin, you need to research and understand some key pieces of information about the project you're working on: What's the purpose of the animation? Who is the audience? Are there any specific requirements? 2. Defining the Project's Scope
61 What’s the central purpose of your project? What message do you want the animation to convey? What are the timetables and deadlines? How much are you willing to spend? How do ROI prospects look? These are the key questions you need to be able to answer to properly assess the scope of the project. The key to success in any project is starting with a strong foundation to build off of — Without properly defining and elucidating the scope of the project, the stakeholders, the budget, and more, you’ll run into a lot of problems later on. Missing deadlines, unappealing animations, and budget overruns are all symptoms of failures during this phase. 3. Brainstorming and Script Writing Determining your piece's central theme and crafting a compelling script around it should be your focus after you finalize the research phase and define the project’s scope. Writing an animation script is not like writing a regular blog post, there are some key things you need to keep in mind: Brevity is your greatest ally: usually, animations are short. If you're creating an ad, it is often less than 30 seconds. You don't have time for fancy language or cute turns of phrases. Brevity is crucial when scripting animations. Clarity is paramount: Whether you're trying to build your brand, want potential clients to use your service, or trying to entice consumers to buy your product, a clear script helps. A viewer needs to know what your brand, service, or product is about, and what are your USPs. Convoluted messaging is a recipe for disaster. No need to be stiff and formal: You need a consistent tone between your animation and your script. Your animation can't be cute and quirky if your script is serious or formal, and vice versa. The mismatch will put off potential clients. The importance of this phase cannot be emphasized enough. The script will serve as the backbone of the next stages of the animation process, and a weak, poorly thought out, and directionless script will never result in a great animated video. 4. Voiceover Recording Once you’ve come up with an awesome narrative with a powerful message, it is time to pay attention to the voiceover. Most animated films are made with voiceover - whether this is in the form of dialogues between characters or narration, voiceover is a key aspect of delivering your message through animated works. The intonation, the style, and the tone of the voiceover are all important here. They need to match and complement the script. A mismatch between the tone of the voiceover and the tone of the script can dull the animation's effectiveness substantially, especially for marketing purposes. 5. Storyboarding A storyboard is a document that breaks down your animation scene by scene. Storyboards computer software has been far more widely deployed to create storyboards. These sketches help you visualize the script, the scenes, and the flow of the animation.
62 A detailed Storyboard is considered a necessary part of the animation production process for a few reasons: It is the best way to visualize an animation project: animations often include multiple scenes with different characters, angles, and messages. The key to a successful animated video is how you bring together all these elements. A storyboard can help give you that top-level holistic view of the project. It helps you see what works and what doesn't: by visualizing the script and rendering it in picture form, your team will be able to see what works and what doesn't. Maybe a scene doesn't flow well, maybe a transition is clumsy: these are the mistakes you're going to capture thanks to a storyboard, and they're going to make the animation process smoother. It helps you save time and money:: These all help your team save time and money during the animation process. 6. Illustration Illustration is the stage where you put the research, the script, and the storyboard to work creating illustrations and bringing them to life. By making use of motion graphics software, animation tools, and skilled artists, an animation team can create something truly special! During this stage, style frames will be really useful. Style frames are simple, visual representations that aim to capture what a scene or a prop in the final animation will look like. Typically, several style frames are experimented with and presented to all stakeholders. The art direction that best matches the tone of the script, communicates the purpose of the animated video, and appeals to the target audience should be chosen. 7. Animation The whole animation process culminates in this step: it is finally time to animate and bring your project to life. The animation process is highly technical and dependent on the tools, programs, and processes you use. Still, some basic things are crucial to get right if you want animated videos to come out correctly: Natural movements: Movements are a key part of animated video. They give the animation life. Getting character and object movements right will decide whether the animated videos you create are going to be high-quality or not. Janky movements can completely kill an animation's appeal. Seamless transitions: Correctly and seamlessly transitioning from one scene to another is the glue that binds animated videos together. There are many tricks and techniques you can employ here, but what's important is the transitions help make the animation video whole. Lighting: lighting is a cornerstone of the animation process. Lighting will influence the mood of the animation, which objects are in focus, which things are out of focus, and much more. Large animation studios have lighting artists. While they're likely not necessary for commercial animated ads, this just shows how important it is to get them right. 8. Sound Design
63 You need to decide which piece of music to include and which sound effects to use while taking into account the tone, script, and flow of the animation. If you are entirely new to this, there are some great platforms where you can find royalty-free sound effects and music. And while they aren't suitable for high-end productions, they more than suffice for everything else. There are 8 key stages of the animation process steps that you need to pay attention to: 1. Researching. 2. Defining the project's scope. 3. Writing the script. 4. Voice recording. 5. Storyboarding. 6. Illustration 7. Animation. 8. Sound design. What's Important in the Process of Animation Creation? What's most important in the animation process is having a holistic outlook of the entire project. No matter how many animation stages there are, no matter how different the opinions of stakeholders are, and no matter how many people work on the animation, in the end, it needs to be a single whole that flows seamlessly, and clearly presents its message, and grabs the attention of the viewer. Without this, the animation video won't have an identity. Learning Activity 1 Title: Animation Brainstorming Objective: Students will work in groups to brainstorm and create an animation concept while considering key stages of the animation process. Instructions: 1. Students divide into small groups. 2. Each group assign a theme or topic for their animation concept (e.g., environmental conservation, storytelling, promoting a product). 3. The groups go through the following steps together: a. Research: Spend time understanding the purpose and target audience of the animation. b. Brainstorming: Generate ideas for the animation concept and develop a brief script. c. Storyboarding: Create a visual outline of the animation scenes. d. Illustration: Discuss the art style and visual elements to bring the animation to life. e. Animation: Explore techniques and tools to animate the scenes effectively. f. Sound Design: Consider the use of music and sound effects to enhance the animation. 4. Provide time for groups to brainstorm and collaborate on their animation concept. 5. Each group present their concept, explaining how they addressed each stage of the animation process.
64 Summary of the Lesson Animation is a versatile tool that can help entrepreneurs, business owners, and video marketing agencies communicate their brand's message effectively. The animation creation process involves several key stages. It starts with researching the project's purpose and audience, followed by defining the project's scope, brainstorming and script writing, voiceover recording, storyboarding, illustration, animation, and sound design. Each stage plays a crucial role in creating a cohesive and impactful animated video. Important considerations include brevity and clarity in the script, matching the voiceover tone with the script, visualizing the animation through storyboarding, bringing illustrations to life using animation tools, and paying attention to natural movements, seamless transitions, and lighting during the animation process. Sound design, including music and sound effects, should align with the overall tone and flow of the animation. Ultimately, a holistic approach is essential to create an animated video that effectively conveys the intended message and captures the viewer's attention. Post Assesment 1. What is the purpose of researching in the animation creation process? a) To define the project's scope b) To brainstorm ideas c) To understand the project's requirements d) To illustrate the animation scenes 2. Which stage involves determining the central theme and crafting a compelling script? a) Researching b) Storyboarding c) Animation d) Brainstorming and script writing 3. What is the importance of brevity in scripting animations? a) It allows for fancy language and phrases b) It helps maintain viewer interest c) It adds complexity to the animation d) It aligns with a formal tone 4. What should be considered when defining the project's scope? a) Purpose, audience, and requirements b) Budget, deadlines, and ROI prospects c) Script, scenes, and flow of the animation d) Intonation, style, and tone of the voiceover 5. Why is clarity important in animation scripting? a) It adds complexity to the animation b) It helps maintain viewer interest c) It aligns with a formal tone d) It helps convey the brand's message effectively
65 6. What is the purpose of voiceover recording in animation? a) To create dialogues between characters b) To add narration to the animation c) To visualize the animation project d) To define the project's scope 7. What is the function of storyboarding in the animation process? a) To research and gather information b) To define the project's scope c) To visualize the script and scenes d) To create illustrations for the animation 8. What does illustration involve in animation creation? a) Researching and understanding project requirements b) Crafting a compelling script c) Creating illustrations and bringing them to life d) Determining the central theme of the project 9. Which stage of the animation process involves animating and bringing the project to life? a) Researching b) Storyboarding c) Animation d) Sound design 10. What role does lighting play in the animation process? a) It influences the mood of the animation b) It helps maintain viewer interest c) It adds complexity to the animation d) It defines the project's scope 11. What is the purpose of sound design in animation creation? a) To define the project's scope b) To brainstorm ideas c) To create dialogues between characters d) To decide on music and sound effects 12. What is the key to success in any animation project? a) Researching and gathering information b) Defining the project's scope and requirements c) Brainstorming and crafting a compelling script d) Creating illustrations and bringing them to life 13. Why is a clear script crucial in animation creation?
66 a) It allows for fancy language and phrases b) It helps maintain viewer interest c) It adds complexity to the animation d) It conveys the brand's message effectively 14. What is the purpose of style frames in the illustration stage? a) To define the project's scope b) To visualize the script and scenes c) To create dialogues between characters d) To decide on music and sound effects 15. Which stage of the animation process involves natural movements and character animation? a) Researching b) Storyboarding c) Animation d) Voiceover recording Self-evaluation / Performance Task Title: Animation Creation Process Objective: Reinforce understanding of the animation creation process and its key stages. Instructions: 1. Participants devide into small groups. 2. Assign each group one of the key stages: researching, defining scope, script writing, voice recording, storyboarding, illustration, animation, or sound design. 3. Instruct groups to create a visual representation of their assigned stage on paper. 4. Give groups 15-20 minutes to work on their visual representation. 5. Each group presents their representation, explaining key aspects and importance of their stage. 6. Facilitate discussions and questions from other participants. 7. Summarize key stages and emphasize their interconnectedness for a successful animated video. Rubrics 4 (Excellent) 3 (Good) 2 (Fair) 1 (Poor) Understanding of Assigned Stage: Demonstrates shows some little thorough satisfactory The animation demonstrates a satisfactory The animation shows some understanding The animation lacks a thorough
67 understanding of the stage understanding of the stage and utilizes it effectively to create visually engaging scenes. of the stage but could benefit from further exploration and utilization of its potential to enhance the storytelling and composition. understanding of the stage and fails to effectively utilize it to create visually interesting and dynamic scenes. Further attention should be given to incorporating stage elements to enhance the overall presentation. Visual Representation: Highly Clearly Somewhat Insufficiently organized and visually appealing representation The representation is highly organized and visually appealing, with clear and effective use of layout and visual elements. The representation is moderately organized and visually appealing, with some areas that could be improved in terms of layout and visual composition. The representation is insufficiently organized and lacks visual appeal. The layout and visual elements are unclear or poorly executed, requiring significant improvements to enhance overall presentation. Explanation of Key Aspects: Provides limited comprehensive clear and basic or unclear and detailed concise explanation The representation provides a clear and concise explanation. The explanation is somewhat clear and concise, but could benefit from improved clarity or brevity. The explanation lacks clarity and conciseness, requiring further improvement. Importance of Stage: Clearly somewhat insufficiently The representation clearly The representation somewhat The representation lacks clarity
68 articulates the importance and relevance of the assigned stage emphasizes the importance and relevance of the assigned stage. emphasizes the importance and relevance of the assigned stage, but could provide more clarity. in emphasizing the importance and relevance of the assigned stage. Total 40 30 20 10 Answer Key Pre Assessment 1. d) To smoothly connect different animation scenes 2. d) To visualize the script and scenes 3. c) It ensures a seamless flow and clear message 4. c) To understand the project's requirements 5. d) Sound design Post Assessment 1. c) To understand the project's requirements 2. d) Brainstorming and script writing 3. b) It helps maintain viewer interest 4. a) Purpose, audience, and requirements 5. d) It helps convey the brand's message effectively 6. b) To add narration to the animation 7. c) To visualize the script and scenes 8. c) Creating illustrations and bringing them to life 9. c) Animation 10. a) It influences the mood of the animation 11. d) To decide on music and sound effects 12. b) Defining the project's scope and requirements 13. d) It conveys the brand's message effectively 14. b) To visualize the script and scenes 15. c) Animation
69 Objectives: 1. Understand the historical significance of the thaumatrope as an early animation device. 2. Explain the principles of persistence of vision and phi phenomenon in relation to the thaumatrope's animation effect. LESSON 6 THAUMATROPE COURSE CODE: EANI0323
70 3. Engage in hands-on creation and experimentation with thaumatropes to observe the animation effect. Pre Assessment 1. The thaumatrope's animation effect relies on the concept of: a) Persistence of sound b) Persistence of touch c) Persistence of motion d) Persistence of taste 2. What is the primary purpose of the string or stick in a thaumatrope? a) Decoration b) Stability c) Visual appeal d) Spinning motion 3.Which of the following is NOT a common thaumatrope design? a) Bird and cage b) Fish and fishbowl c) Horse and rider d) Tree and flower 4. The phi phenomenon is associated with: a) Optical illusions b) Musical composition c) Digital technology d) Sculpture 5. The popularity of the thaumatrope declined due to: a) Lack of interest from inventors b) Advancements in animation techniques c) Government regulations d) High production costs Lesson Proper History of Thaumatrope The thaumatrope is a simple optical toy that was popular during the 19th century. It is considered one of the earliest forms of animation devices.
71 The history of the thaumatrope dates back to the early 19th century when it was invented independently by both John Ayrton Paris, an English physician, and Peter Mark Roget, an English scientist. The exact year of its invention is uncertain, but it is believed to have been around 1825. The word "thaumatrope" comes from the Greek words "thauma" (meaning "wonder") and "trope" (meaning "turning" or "to turn"). The name reflects the sense of wonder and illusion created by this simple toy. The thaumatrope consists of a small disc or card with different images or drawings on each side. These images are typically related or complementary to each other. A string or stick is attached to the disc, allowing it to be twirled rapidly between the fingers. When the disc is spun, the persistence of vision principle comes into play. This principle states that the human eye retains an image for a fraction of a second after it disappears from view. As the disc rotates quickly, the two different images on its sides blend together, creating the illusion of a single, combined image. Common thaumatrope designs include a bird on one side and a cage on the other, a fish and a fishbowl, or a horse and its rider. When spun, the bird appears to be inside the cage, the fish appears to be swimming in the fishbowl, or the rider appears to be mounted on the horse. The thaumatrope became a popular toy in the 19th century, captivating both children and adults with its simple yet mesmerizing animation effect. It served as a precursor to more complex animation devices and techniques that would emerge in the following decades. Peter Mark Roget John Ayrton Paris
72 The popularity of the thaumatrope eventually waned as more sophisticated optical toys and animation techniques were developed. However, its contribution to the history of animation cannot be overlooked, as it laid the foundation for the evolution of moving pictures and the art of animation that we enjoy today. Theories and principles of thaumatrope The thaumatrope operates based on two main principles: persistence of vision and phi phenomenon. These principles contribute to the illusion of motion created by the thaumatrope. 1. Persistence of Vision: This principle refers to the phenomenon where the human eye retains an image for a short duration of time after it disappears from view. When the thaumatrope is spun rapidly, the persistence of vision allows the brain to blend the images on both sides of the disc, creating the illusion of a single, combined image. 2. Phi Phenomenon: The phi phenomenon is another visual principle involved in the thaumatrope's animation effect. It relates to the perception of motion when two or more static images are presented in quick succession. In the case of the thaumatrope, the rotation of the disc with different images creates a rapid succession of visual stimuli, which tricks the brain into perceiving continuous motion. These principles work together to deceive the human visual system, making the separate images on the thaumatrope's disc appear as if they are moving or combined. The brain processes the successive images quickly and interprets them as a single, coherent image or scene. The thaumatrope's animation effect showcases how the brain processes visual information and creates the illusion of motion. It laid the foundation for the development of more advanced animation techniques and devices that followed, such as the zoetrope and eventually the invention of motion pictures. 2 Types of Thaumatrope A. B.
73 Materials: - Pencil - Scissors - Glue - Skewer stick - Two cutout circles - Cardboard or equivalent A. B.
74 Instructions: 1. Cut out the two circles from the last page of these instructions. Trace the circles onto cardboard then cut and glue each paper circle to a cardboard circle. 2. Once you have decided on your drawing, take one of the circles and draw one element. Then take the second circle and draw the other part. Be sure to place things in the spot you want them to be in. 3. Taking one of the two circles, flip it over and dab some glue to the back.
75 4. Place the skewer stick vertically down the center of the circle. Place the second circle, making sure it is right side up, on top and gently hold everything together as it dries. 5. Once everything has dried, place the Thaumatrope handle/stick in the palm of your hands. Roll the stick between your palms to spin theThaumatrope and watch your drawings come to life. Learning Activity 1 Materials: Pencil Scissors Glue Skewer stick or straw Two cutout circles (provided in the instructions) Cardboard or equivalent (optional)
76 Instructions: 1. Cut the two circles provided If available, they you can trace the circles onto cardboard and then cut and glue each paper circle to a cardboard circle for added durability. 2. Decide on your desired drawings for the thaumatrope. Be creativity and use complementary images or elements. 3. Using a pencil, draw one element on one of the circles, and the other part on the second circle. Emphasize placing the elements in the desired spots. 4. Taking one of the circles, flip it over and apply some glue to the back. 5. Place the skewer stick or straw vertically down the center of the glued circle. Then, you should place the second circle (right side up) on top, aligning the drawings. 6. Be gently hold everything together as it dries, ensuring that the drawings on both circles are properly aligned. 7. Once the glue has dried, you can hold the thaumatrope handle/stick in your palms. Roll roll the stick between their palms to spin the thaumatrope and observe the animation effect as the drawings come to life. 8. Summarize the activity by highlighting the historical significance of the thaumatrope and its contribution to the development of animation techniques. Discuss how the concepts learned can be applied to other forms of animation or optical illusions. Summary of the Lesson The topic discussed is the thaumatrope, a simple optical toy that was popular in the 19th century and considered one of the earliest forms of animation devices. The history of the thaumatrope dates back to the early 19th century when it was independently invented by John Ayrton Paris and Peter Mark Roget. The thaumatrope consists of a small disc with different images on each side, which, when spun, creates an illusion of a single, combined image due to the persistence of vision and phi phenomenon. The activity involves creating thaumatropes using provided materials and exploring the animation effect by spinning the disc with drawings. The purpose of the activity is to learn about the principles and history of the thaumatrope while engaging in a hands-on experience of creating and observing the animation effect. Post Assessment 1. Who invented the thaumatrope? a) John Ayrton Paris b) Peter Mark Roget c) Both a) and b) d) Unknown
77 2. The thaumatrope is considered one of the earliest forms of: a) Photography b) Animation devices c) Virtual reality d) Musical instruments 3. What principle allows the thaumatrope's animation effect to occur? a) Persistence of vision b) Persistence of sound c) Persistence of touch d) Persistence of taste 4. The term "thaumatrope" comes from which language? a) Latin b) French c) Greek d) German 5. What is the purpose of the string or stick attached to the thaumatrope? a) To make it spin rapidly b) To hang it as a decoration c) To protect the images on the disc d) To measure its circumference 6. The phi phenomenon is related to: a) Persistence of sound b) Perception of motion c) Optical illusions d) Musical composition 7. Which of the following is NOT a common thaumatrope design? a) Bird and cage b) Fish and fishbowl c) Horse and rider d) Dog and cat 8. The thaumatrope became popular during which century? a) 17th century b) 18th century c) 19th century
78 d) 20th century 9. As more advanced animation techniques were developed, the popularity of the thaumatrope: a) Increased b) Stayed the same c) Decreased d) Became extinct 10. What is the purpose of the thaumatrope activity? a) To learn about ancient civilizations b) To create a musical instrument c) To explore the animation effect d) To study the human brain 11. The thaumatrope is based on the principle of: a) Persistence of smell b) Persistence of taste c) Persistence of vision d) Persistence of touch 12. How do the two images on a thaumatrope appear to blend together? a) Through the process of painting b) Through the use of magnets c) Due to the rapid rotation of the disc d) Through the application of heat 13.The thaumatrope is considered a precursor to: a) Television b) Virtual reality c) Motion pictures d) Video games 14. The term "thaumatrope" translates to: a) Wonder device b) Animation creator c) Optical illusion d) Magic wand 15. Which two inventors independently invented the thaumatrope? a) John Paris and Peter Roget b) John Smith and Peter Parker
79 c) John Adams and Peter James d) John Newton and Peter Pan Self-evaluation / Performance Task Title: Thaumatrope Creation and Reflection Task Description: Rely on your Activity create a video reflection on the process and the scientific principles behind the thaumatrope's animation effect. Rubrics: Creativity and Design (30 points) The thaumatrope demonstrates unique and visually appealing designs. Complementary images are well chosen and effectively displayed. Creative elements, colors, and details enhance the overall design. Craftsmanship and Presentation (25 points) The thaumatrope is neatly assembled with secure attachments. Images are drawn or printed clearly and centered on the disc. The disc spins smoothly and displays the animation effect effectively. Understanding of Scientific Principles (30 points) Reflection demonstrates a clear understanding of persistence of vision and phi phenomenon. The explanation of how these principles contribute to the thaumatrope's animation effect is accurate and detailed. Connections are made between the scientific principles and the observed animation effect. Reflection and Analysis (15 points) Reflection demonstrates thoughtful analysis of the thaumatrope creation process. Student identifies challenges encountered and strategies used to overcome them. Insightful connections are made between the experience of creating a thaumatrope and the historical significance of early animation devices. Answer Key Pre Assessment 1. C 2. D 3. D 4. A 5. B Post Assessment 1. C 2. B
80 3.A 4. C 5. A 6. B 7. D 8. C 9. C 10. C 11. C 12. C 13. C 14. A 15. A
81 LESSON 7 FLIPPBOOK MAKING COURSE CODE: EANI0323
82 Objectives: 1. Understand the historical significance and evolution of flipbooks. 2. Apply key principles and techniques of flipbook animation. 3. Develop creativity and storytelling skills through flipbook creation. Pre Assessment 1. That is the name of the device that allows users to view flipbook animations more easily by flipping a lever? a) Kineograph b) Mutoscope c) Praxinoscope d) Zoetrop 2. Who is often considered the father of the modern flipbook due to his work in motion photography? a) Eadweard Muybridge b) Thomas Edison c) George Méliès d) Walt Disney 3. Which of the following artists is known for their creative use of flipbooks in their artwork? a) Vincent van Gogh b) Leonardo da Vinci c) Pablo Picasso d) Georges Méliès 4. What is the primary difference between a flipbook and a zoetrope? a) A zoetrope is electronic, while a flipbook is analog. b) A flipbook is handheld, while a zoetrope requires a viewing device. c) A flipbook contains more images than a zoetrope. d) A zoetrope uses a different principle of motion perception. 5.Which of the following is not an example of a popular flipbook animation theme? a) Jumping frog b) Running horse c) Dancing ballerina d) Flying spaceship
83 History of Flipbook With their simple but charming form of animation, Flipbooks became one of the biggest selling optical toys in the late 19th and early 20th centuries. The books are designed so that each page’s image advances the scene from the previous page; when the pages are thumbed rapidly the sequence becomes animated due to the persistence of vision. The flip book looks like a small notebook – originally stapled, mostly bound today- that you hold in one hand while you flip over the pages with the thumb of the other hand, either from front to back or from back to front. They are also called flick books, thumb books, or hand cinemas. Flipbook animation has been around for over 150 years. Pierre-Hubert Desvignes is credited with creating a version of the flipbook around 1860, though John Barnes Linnett, a British lithograph printer, was the first to patent the design. Linnett’s flipbook debuted in 1868 and was called the kineograph, which is Latin for “moving picture.” Shortly after the flipbook’s debut, English-American photographer Eadweard Muybridge developed a way to make his own flipbook by setting up a camera rig to take multiple pictures at rapid speed, that when viewed in sequence produced a moving image. The flipbook continued to evolve, with American inventor Herman Casler developing a mechanical version called the mutoscope, which used a Rolodex-like mechanism rather than a book to produce the animation. Flipbooks set the groundwork for film as they projected moving scenes on paper, which eventually evolved into moving scenes projected on to a screen—what we know as film today. Easy to manufacture and made of photographs or lithographs (drawings), toyshops or joke shops sold them. Thanks to their low cost to produce, they were often offered as promotional gifts. Flipbooks were popularized in the early 1900’s by the Cracker Jack Company who gave them away as free in-pack prizes. Other marketers soon followed suit with flipbooks, including manufacturers of bubble gum, cigarettes, automobiles and snack foods. Then, in the 1960′s, innovative marketers from Disney, Gillette, McDonald’s, Post Cereals, Canada Dry, Ford (and others) resurrected the flipbook animation trend, creatively using flip books as novelties, interactive brochures, and promotional giveaways to promote their products. But unfortunately, that trend ended in the 1970’s in favor of new “interactive multimedia” technologies that began to take the spotlight. Because they were never meant to be kept and were cheaply produced, it is very hard to find flipbooks in good conditions and to archive them. The magic of a flipbook touches everybody, no matter the age. As you do not need peculiar knowledge to use it, it has a universal characteristic . Here's a brief overview of the history of flipbooks: 1. Predecessors: The concept of creating motion through sequential images can be traced back to ancient times. In China, around the 2nd century BC, a device called the
84 "Zoetrope" was developed. It consisted of a rotating drum with vertical slits, and when images were placed inside the drum, spinning it would create an animated effect. 2. Early Development: The precursor to the modern flipbook can be found in the late 18th century. John Barnes Linnett, an English inventor, created the "kineograph" in 1868. It was a device with a strip of paper attached to two spools, which could be turned by hand, allowing the images on the paper to move. 3. First Patent: The first known patent for a flipbook-like device was granted to John Barnes Linnett in 1868, who described it as a "moving picture book." His invention was similar to a modern flipbook, consisting of a series of images bound together in a book format. 4. Commercialization: The concept of flipbooks gained popularity in the late 19th century and early 20th century. They were used for entertainment and as promotional items. Companies started producing flipbooks with various themes, including cartoons, humor, and advertising. 5. Popularization: Flipbooks became widely popular during the early 20th century as a form of inexpensive entertainment. They were commonly found in amusement parks, circuses, and arcades. Many artists and animators also used flipbooks as a way to experiment with animation techniques. 6. Technological Advancements: With the advancement of technology, flipbooks evolved as well. In the 20th century, advancements in printing and mass production techniques made it easier to create and distribute flipbooks on a larger scale. 7. Persistence in the Digital Age: Despite the rise of digital animation, flipbooks have not become obsolete. In fact, they have experienced a resurgence in popularity as a nostalgic and tangible form of animation. Artists and enthusiasts continue to create and share flipbooks both in physical and digital formats. The flipbook's long history showcases its enduring appeal as a simple yet captivating medium for creating the illusion of motion. It has served as a foundation for the development of more complex animation techniques and continues to inspire artists and animators today. Theories and principles of Flipbook The creation and functioning of a flipbook are based on certain theories and principles that contribute to its animation and illusion of motion. Here are some key theories and principles related to flipbooks: 1. Persistence of Vision: The flipbook relies on the principle of persistence of vision, which is the phenomenon where the human eye retains an image for a fraction of a second after it disappears. When a series of images in a flipbook is flipped quickly, the persistence of vision makes them blend together, creating the perception of continuous motion. 2. Frame Rate: The frame rate is the speed at which the images in a flipbook are flipped. The higher the frame rate, the smoother the animation appears. A higher number of images per second creates a more seamless motion, while a lower frame rate may result in a choppier animation.
85 3. Keyframes: In flipbook animation, keyframes are the individual images that represent significant moments or key positions in the sequence of motion. These frames establish the starting and ending points of a movement, and the transition between keyframes gives the illusion of continuous motion. 4. Timing and Spacing: The timing and spacing of the images in a flipbook are crucial for creating a realistic sense of movement. Proper timing involves determining the duration of each frame and how long it remains visible before moving to the next frame. Spacing refers to the distribution of keyframes to create a smooth flow of motion. Varying the timing and spacing can influence the speed, rhythm, and emphasis of the animation. 5. Motion Arcs: Motion arcs refer to the curved paths that objects or characters follow when they move. In flipbook animation, creating smooth motion arcs adds realism and fluidity to the animation. By carefully designing the trajectory of an object or character across keyframes, the illusion of natural movement can be achieved. 6. Secondary Action: Secondary action involves incorporating additional movements or actions that complement the primary motion in a flipbook. It adds depth and richness to the animation, making it more dynamic and engaging. Secondary actions can include reactions, gestures, or movements that support or enhance the primary movement. 7. Timing Charts: Timing charts, also known as exposure sheets or dope sheets, are often used in flipbook animation. They provide a visual representation of the timing and duration of each frame, allowing animators to plan and organize the sequence of images more effectively. These theories and principles form the foundation of creating successful flipbook animations. Understanding and applying these concepts can help animators create more compelling and realistic motion in their flipbook sequences. Supplies Needed -Stack of paper like sticky notes, index cards, or a small notepad -Pencil, pens, and colors -Tape or stapler -Lightbox (optional) Step 1 Get a thick stack of paper. You’ll need a thick stack of small pieces of paper, like sticky notes, notepad paper, or index cards—the kind of paper that is conducive to page-flipping. Most standard flipbooks contain approximately 60 images, but you can use as many as you need to tell your story.
86 Step 2 Think of a story. The best stories for flipbooks are simple motions like: a wheel rolling across the page, a frown turning into a smile, a person doing jumping jacks, or a flower growing. Step 3 Start at the bottom right. The last sheet of paper in your stack will be the first image of your flipbook. Use a pencil to draw your image towards the bottom right of your paper stack so you can see it when you start to flip. If you draw your image too close to the spine of your book, it won’t be visible while flipping. Step 4 Draw the next image. The card on top of your bottom sheet will be your second sequence. Draw the sequence in the same area as the previous sequence, but change its movement slightly. You can place a lightbox beneath the stack of paper to see the initial image better, creating a tracing paper effect. Step 5 Continue the process. Each subsequent piece of paper should contain a slightly changed image of the one you drew before so that the images form fluid, consecutive movements— images should not jump across the page or suddenly move out of sequence. Step 6 Polish and enhance. After illustrating the animation sequence on your sheets of paper, you can enhance it with markers, ink, or other coloring tools. Keep your designs consistent to present a continuous sequence as you flip through the book. Step 7 Hold the flipbook in your right hand. Flip all the pages up with your left hand then let them go one by one to watch the action. Once everything is in order use tape or a stapler to secure the pages. Add a title page to the top and enjoy! Note you can also use a series of photographs to make a flipbook. Tips and techniques in making flipbook 1. Plan Your Animation: Before starting your flipbook, it's helpful to plan out your animation sequence. Decide on the action or movement you want to depict and break it down into keyframes. Consider the timing, spacing, and flow of the animation. Sketching out a storyboard or rough sketches can help you visualize the sequence before committing to the final flipbook. 2. Start Simple: If you're new to flipbook animation, it's best to start with simple movements and shorter sequences. This allows you to practice the basics and get a feel for the medium. As you gain experience, you can gradually tackle more complex animations and longer sequences. 3. Use Reference: When animating realistic movements, reference materials such as videos or photos can be invaluable. Study the motion you want to recreate and analyze the key poses and positions. Observing real-life movement can help you capture the essence and dynamics of your animation. 4. Focus on Fluidity: Smooth and fluid motion is key to creating an engaging flipbook animation. Pay attention to the spacing and transitions between keyframes. Aim for consistent spacing to achieve a seamless flow. Avoid abrupt changes or gaps between frames that can disrupt the illusion of motion.
87 5. Experiment with Timing: Timing is crucial in animation. Varying the duration of each frame can create different effects. Shorter intervals between frames produce faster motion, while longer intervals create slower motion. Play around with the timing to achieve the desired effect and add a sense of rhythm to your animation. 6. Add Secondary Actions: Secondary actions can enhance the realism and interest of your flipbook animation. Consider incorporating additional movements or reactions that support the main action. These secondary actions can bring your animation to life and make it more engaging. 7. Test and Refine: As you work on your flipbook, periodically test it by flipping through the pages to see how the animation looks. This allows you to identify any issues, such as gaps, jumpy motion, or inconsistencies. Make necessary adjustments or corrections to improve the overall quality of your animation. 8. Consider Materials: While traditional flipbooks are often created using paper, you can experiment with different materials to add visual interest and texture. Try using colored paper, cardstock, or even sticky notes to create unique effects or layers in your animation. 9. Share and Seek Feedback: Once your flipbook is complete, share it with others and seek feedback. Sharing your work can provide valuable insights and perspectives that can help you grow as an animator. Listen to constructive criticism and use it to improve your future flipbook creations. Remember, practice is key to improving your flipbook animation skills. The more you experiment and create, the more you'll develop your own style and techniques. Have fun and enjoy the process of bringing your animations to life! Learning Activity 1 Title: Create Your Own Flipbook Animation Objective: To learn about the history, principles, and techniques of flipbook animation by creating a simple flipbook animation. Materials Needed: Stack of small, blank papers (sticky notes, index cards, or notepad paper) Pencil, pens, and coloring tools Tape or stapler Optional: Lightbox or tracing paper Instructions: 1. Planning and Storyboarding Think of a simple story or motion they would like to depict in your flipbook. It could be a bouncing ball, a character waving, or any other basic movement.
88 Sketh out your animation sequence on a separate sheet of paper, creating a storyboard. They should break down the movement into keyframes and plan the timing and spacing between frames. 2. Creating the Flipbook Start at the bottom right corner of the stack and draw the first keyframe of their animation. Remind them to leave enough space for the image to be visible while flipping. Moving up the stack, draw the subsequent frames, making slight changes to depict the motion or movement. Emphasize the importance of consistency and smooth transitions between frames. If available, used lightbox or placing a sheet of tracing paper between each page to create a guide for drawing subsequent frames. Once the animation sequence is complete, you can enhance your drawings with coloring tools to make their flipbook visually appealing. 3. Assembling and Testing the Flipbook Hold your flipbook in your right hand and use your left hand to flip the pages upward. Test your flipbooks by rapidly flipping through the pages to see the animation in motion. Make any necessary adjustments or refinements if the animation appears choppy or inconsistent. Once satisfied with the animation, you can secure the pages together using tape or a stapler. They can also add a title page to the top of the flipbook. 4. Sharing and Reflection Provide an opportunity for learners to share their flipbook animations with the class or in small groups. Encourage them to explain their chosen motion and discuss the techniques they used to create the illusion of movement. Facilitate a discussion about the learning experience. Ask questions such as: What challenges did you encounter while creating the flipbook animation? What did you learn about the principles and techniques of flipbook animation? How does the flipbook demonstrate the persistence of vision? How could you apply the principles and techniques of flipbook animation in other forms of animation or storytelling?
89 Summary of the lesson Flipbooks are a popular form of animation that originated in the late 19th century. They consist of a series of images that, when flipped rapidly, create the illusion of motion due to the persistence of vision. Flipbooks were widely sold as optical toys and promotional items and played a significant role in the development of early animation and film. The history of flipbooks dates back to ancient times, with early predecessors like the Chinese "Zoetrope." The modern flipbook was patented by John Barnes Linnett in 1868 and gained popularity as an inexpensive form of entertainment. Flipbooks evolved with advancements in technology and printing techniques. The principles behind flipbook animation include persistence of vision, frame rate, keyframes, timing and spacing, motion arcs, secondary action, and the use of timing charts. Understanding these principles is essential for creating realistic and engaging flipbook animations. The process of making a flipbook involves using a stack of paper, drawing a sequence of images that progressively change, and flipping through the pages to see the animation in motion. Planning the animation, starting with simple movements, experimenting with timing and spacing, and adding secondary actions are useful tips for creating compelling flipbook animations. Despite the rise of digital animation, flipbooks have maintained their appeal as a tangible and nostalgic form of animation. Sharing and seeking feedback on flipbook creations can help improve skills and develop a personal style. Practice and experimentation are key to mastering the art of flipbook animation. Post Assessment 1. Who is credited with creating a version of the flipbook around 1860? a) Pierre-Hubert Desvignes b) John Barnes Linnett c) Eadweard Muybridge d) Herman Casler 2. What was the first patented flipbook-like device called? a) Kineograph b) Mutoscope c) Zoetrope d) Flipbook 3. Which principle does the flipbook rely on to create the illusion of motion? a) Persistence of Vision b) Frame Rate c) Keyframes d) Motion Arcs
90 4. How many images per second are recommended for a smoother animation in a flipbook? a) 10 b) 24 c) 60 d) 100 5. What is the term for the individual images that represent key moments in a flipbook sequence? a) Keyframes b) Secondary Actions c) Timing Charts d) Motion Arcs 6. What is the purpose of secondary actions in flipbook animation? a) To enhance the realism and interest b) To control the frame rate c) To create motion arcs d) To determine the timing and spacing 7. Which term refers to the curved paths that objects or characters follow when they move in a flipbook animation? a) Persistence of Vision b) Frame Rate c) Keyframes d) Motion Arcs 8. What are timing charts, exposure sheets, or dope sheets used for in flipbook animation? a) Planning and organizing the sequence b) Enhancing the animation with colors c) Creating secondary actions d) Determining the frame rate 9. What type of paper is commonly used for creating flipbooks? a) Sticky notes b) Cardstock c) Tracing paper d) Construction paper 10. Which company popularized flipbooks in the early 1900s by giving them away as free inpack prizes? a) Cracker Jack Company b) Disney c) McDonald's
91 d) Canada Dry 11. What is the precursor to the modern flipbook called, developed in the late 18th century? a) Zoetrope b) Kineograph c) Mutoscope d) Flipbook 12. What is the primary principle behind flipbook animation? a) Persistence of Vision b) Frame Rate c) Keyframes d) Secondary Actions 13. What is the recommended starting point for drawing the first image of a flipbook? a) Top left corner b) Bottom left corner c) Top right corner d) Bottom right corner 14. How many images are typically found in a standard flipbook? a) 10 b) 24 c) 60 d) 100 15. Which term refers to the distribution of keyframes to create a smooth flow of motion in a flipbook animation? a) Persistence of Vision b) Frame Rate c) Timing and Spacing d) Secondary Action Performance Task Title: Flipbook Creation and Reflection Task Description: Rely on your Activity create a video reflection on the process and the scientific principles behind the flipbook animation effect. Rubrics: Creativity and Design (30 points) The flipbook demonstrates unique and visually appealing designs.
92 Complementary images are well chosen and effectively displayed. Creative elements, colors, and details enhance the overall design. Craftsmanship and Presentation (25 points) The flipbook is neatly assembled with secure attachments. Images are drawn or printed clearly and centered on the disc. The animation effect effectively. Understanding of Scientific Principles (30 points) Reflection demonstrates a clear understanding of persistence of vision and phi phenomenon. The explanation of how these principles contribute to the flipbook animation effect is accurate and detailed. Connections are made between the scientific principles and the observed animation effect. Reflection and Analysis (15 points) Reflection demonstrates thoughtful analysis of the flipbook creation process. Student identifies challenges encountered and strategies used to overcome them. Insightful connections are made between the experience of creating a flipbook and the historical significance of early animation devices. Answer Key Pre Assessment 1. B 2. A 3. C 4. B 5. D Post Assessment 1. A 2. A 3. A 4. B 5. A 6. A 7. D 8. A 9. B 10. A 11. A 12. A 13. D
93 14. C 15. C
94 Objectives: 1. Master pouring and manipulation techniques in sand animation. 2. Create engaging visual narratives through sand storytelling. 3. Develop artistic expression using various movements and gestures in sand animations. LESSON 8 SAND ANIMATION COURSE CODE: EANI0323
95 Pre-Assessment 1. What aspect of sand animation allows it to transcend linguistic barriers? a) Sand scattering technique b) Music accompaniment c) Visual language creation d) Finger carving technique 2. What is the most compelling feature of sand animation? a) Its permanence and stability b) Its durability and longevity c) Its fragility and ephemeral nature d) Its repetitive and predictable patterns 3. What is the effect of sand animation on the audience? a) Uncontrollable laughter b) Immersion in a seemingly real world c) A sense of detachment and confusion d) Heightened awareness of soundscapes 4. What is the primary goal of sand animation performances? a) Instruction and education b) Replication of existing artwork c) Commercial entertainment value d) Intellectual property protection 5. What is the relationship between sand animation and projection art? a) Sand animation is a subcategory of projection art. b) Sand animation is unrelated to projection art. c) Sand animation can add an artistic element to projection events. d) Projection art is an outdated form of sand animation. History of Sand Animation "In every grain of sand there is a story." Charlene Lanzel's sand animation, sometimes known as sand art, sand drawing or sand painting, is beautiful to look at but lasts only in the moment. It is sand storytelling that makes life and time flow by, right before your eyes. Perhaps what makes this art form so appealing, aside from its beauty, is its fragility and ephemeral nature. Sand animation is the most compelling new art form to come around in decades. A popular new trend in performance art, sand art is a form of live sand painting which evolved from earlier sand animation films. Live sand art performances are very dynamic and require the artist's presence to happen. It has quickly become very popular all over the World.
96 Sand animation was invented in 1968, by Caroline Leaf, for her project at Harvard University. Her first stop motion animated film was "Sand, or Peter and the Wolf", which she created by moving sand with her hands on an illuminated glass surface. By the late 1990’s, sand animators began demonstrating their works of live animated art to large audiences, adding a projector and screen. Charlene Lanzel’s projected, live, storytelling performances explore the relationship between real and virtual spaces, and create emotionally immersive environments which provide both entertainment and instruction. Her live sand animations are projected large scale onto a mega screen, using the latest in digital technologies, and synched to a live or recorded soundscape. Are you fully utilizing the projection screens at your venue? You can add a futuristic, artistic and informative element to your event with a living sand animation, the latest trend in projection art. How Does Sand Art Work? Sand Artist | Charlene Lanzel's art is created live onstage, where people can watch the artist doing her performance in a darkened room. A video camera is positioned over the illuminated glass tabletop, upon which the artist creates sand magic. Sand scattered on a light box is formed and reformed into ever changing shapes and images that tell visually powerful stories. Charlene creates these fluid illustrations from memory, for large audiences, with an overhead camera instantaneously projecting onto a large screen for the audience to see. Charlene Lanzel's sand performances are choreographed, rehearsed and synched to a dramatic soundscape, which Charlene creates to enhance the mood. Music accompanies the entire process as the sand artist’s hands follow the rhythm. Her hands move slowly or quickly, as the elegant artwork is created, which challenges and motivates in a captivating way. The audience amazes at the decisiveness in her hands, since the sand artist's hands can always be seen creating in the projection. The results of the sand animator's process are unique. It is never possible for the animation to exactly repeat. Each effort the artist makes results in a slightly different design. It is a practice which uses the visual and aesthetic properties of sand to create a live animated image. Sand is a fluid material and its grains settle by chance, creating living images made of a single texture. Sand art storytelling makes life and time flow by, magically, in front of your eyes. Watching sand animation come to life, in real time, has an extraordinary effect on the audience. Audience members are uncontrollably drawn into Charlene’s seemingly real world made up of sand characters, trees, mountains and seas. Live sand art is a magical art form that charms. Creating images conjured seemingly effortless, like an oracle or a magician, Charlene's hands skate on glass like a kind of dance. The moving sand creates continuously fluid and poetic figures with original storytelling. A visual language is created that transcends linguistic barriers.
97 Old and young watch and listen together, and all is in harmony, because they all share the same emotions. Drawings are in perpetual transformation which excite imagination, surprise and allow abrupt changes of tone and unexpected images. All eyes will be glued to the fluid artwork, shown live on the big screen. A sensory sand experience is created, that goes above and beyond your expectations. Sand Artist | Charlene Lanzel keeps audiences spell-bound by the twists and surprises that follow every sweep of her hands. There are two types of Common Sand Animation Techniques: • Pouring Techniques • Manipulation Techniques Pouring Techniques: Pouring is an additive technique that varies depending on how much of the canvas is affected. Canvas pouring is used to set the texture and initial context for painting or (Fig. 2 left), to change context while storytelling. Skinny pouring is used to draw tiny details, lines, and shape (Fig. 2 right). Fig 2: Canvas pouring (left) creates background textures, while skinny pouring (right) is for drawing lines. Manipulation Techniques: Sand manipulation techniques move sand rather than adding it. Fingertip drawing traces out lines with the tip of one or more fingers. While, finger carving uses the whole finger - index finger, small finger or thumb, for drawing and fine tuning shapes. Fig. 3: Fingertip drawing (left) and finger carving (right) to create and manipulate shapes. • Palm rubbing: Palms are often used to create circular or spiral like patterns. • Hand sweeping: Whole hands are often used to make big sweeps to clear the canvas and set up a new stage for the animation.
98 Fig. 4: A palm rub (left) draws patterns, and a Hand sweep (right) clears part of canvas. Sand animators also use both hands simultaneously to quickly draw or pour symmetrical patterns in sand. Fig. 5: Symmetrical hand sweep (left) Process Everything starts with an inception of idea, a thought or theme. After initial ideation the artist can hunt around for ideas or information that will help to build the body of the story to be presented. The artist needs to think about how many visuals can be covered in the estimated time. The more detailed the visuals are the more time it consumes, so an effective plot is one which is simplistic yet beautiful and has powerful visuals. A proper beginning and an end is decided so that the story can be effectively told. Since it’s a visual art so storyboard visuals are framed in such a way that the story can be understood mostly be seeing the visual one after other rather than depending much on sound. Being a continuous act its ephemeral in nature, so the artist need to plan the visual in such a way that within few strokes on hand one visual get change to another and soon maintaining the beauty ,thereby Progressing in the story.
99 Sand Animation Tips and Techniques Have your set up your light box? Now, let's learn to create sand animation! Here are some tips! 1) Move sand in different directions. Moving sand in one direction, as opposed to another will change the image. 2) Use your fingertips, hand and tools. The sky's the limit when it comes to creating pictures in the sand. Different tools result in different effects! 3) Play around with different amounts of sand. Use less sand for areas that are meant to be lightly coloured, and more sand for areas that are meant to be dark coloured. Learning Activity Title: Sand Animation Creation Objective: Apply sand animation techniques to create a visually engaging storytelling piece. Instructions: 1. Brainstorm and choose a theme or story for your sand animation. 2. Plan your visuals and create a simple storyboard to guide your animation. 3. Create your sand animation using the techniques learned. 4. Once the sand animations are complete, present your creations to the group, explaining the story behind your animation. Summary of the lesson This lesson introduces the art of sand animation, also known as sand art or sand painting. Sand animation is a visually captivating and ephemeral art form that combines storytelling with the
100 manipulation of sand on an illuminated surface. The lesson covers the history of sand animation, its evolution from films to live performances, and highlights the work of renowned sand animator Charlene Lanzel. The process of sand animation involves creating fluid illustrations by moving and reshaping sand grains on a light box. The artist's hands are captured by an overhead camera and projected onto a large screen for the audience to witness in real-time. The performances are choreographed and synchronized with a dramatic soundscape to enhance the emotional impact. The lesson also explores different techniques used in sand animation, including pouring and manipulation. Pouring techniques involve adding sand to create textures and change contexts, while manipulation techniques focus on moving and shaping the sand with fingertips, carving, palm rubbing, hand sweeping, and symmetrical hand movements. Post-Assessment 1. Who is credited with inventing sand animation? a) Charlene Lanzel b) Caroline Leaf c) Peter and the Wolf d) Harvard University 2. What is another term for sand animation? a) Sand drawing b) Sand scattering c) Sand pouring d) Sand manipulation 3. Which of the following is a characteristic of sand animation? a) Permanence b) Durability c) Fragility d) Stability 4. When did sand animation emerge as a popular trend in performance art? a) 1950s b) 1980s c) 1990s d) 2000s 5. In sand animation, what surface is typically used for creating the artwork? a) Canvas b) Glass tabletop c) Wood panel