Chapter 9: Conceptualisation, Developing Ideas
Defining the objective Every design begins with an objective. My objective is to create a 2 minute animated piece with a soundtrack and a clear sense of narrative story line. This should be kept in mind from conceptualisation through to the final execution.
Targeting the audience Visual communication (i.e. animation) must facilitate a reaction from an audience, so it is important to define the audience you are aiming towards with your production. My audience is fellow young adults, like myself.
Researching the topic A thorough analysis of your subject matter should occur before you begin to conceptualise. This has occurred throughout the course already with the amount of class sessions and readings I have been assigned, through which I have learnt all about animation as a discipline and form of communication. I have been conducting research in the form of searching through books, films and online for inspiration for my piece.
Understanding the restrictions Budgetary constraints can limit the use of materials and equipment. I have been able to download any of the software I need online, and the remaining ones I believe I will use are all provided on the university computers. Creators must be realistic about what can and cannot be accomplished within the given window of time that is available. I have a limited time frame in which to create the animated piece, and will be restricted within that by how much animation software technology I can teach myself, and how much time I can dedicate to working on this particular project while also balancing my other coursework from different modules. I am also restricted by the brief I am working to, as it must be based on a poem of my choosing; have an obvious narrative structure; feature credits; have a soundtrack but no narrative voice-over or dialogue or lyrics.
Considering image style There are several types to choose from such as realistic, photographic, abstract, illustrative etc. These also sub divide into visual styles of of graphic, textural, sketchy, blended etc. The style should reflect the theme or message of your narrative. I have been looking at inspirational illustrators and animators to gather ideas from, and have been practising with character design in my spare time to try to decide on a visual style that I am, strong at creating and that I personally like.
Brainstorming I brainstorm at home on my laptop, while listening to classical music. I try to remove myself from any other distractions. I typically draw out mind maps using my tablet directly onto Photoshop, which I can then upload on my blog, but otherwise I carry a small sketch book around with me so that I can write down any ideas that spring to mind.
Evaluation This must take place once you have completed brainstorming, to determine what to discard and what to keep. Is it realistic enough to implement technically? Will the means to implement it fit within a budget? Will it appeal to my desired audience?
Clarification and Refinement The book talks about these terms with relation to client viewing and criticism, but since I am not working for a client, I must receive criticism and advice from my animation tutors to work off. If there are any sequences, concepts or ideas that they do not understand, I have to find a way to convey them differently so they will be viewed by the audience as I have desired.
Storyboarding This is the final phase of conceptualisation. It is a cohesive succession of frames that provide a visual map of how events will unfold over time. I am required to complete a storyboard to prepare for my animated piece, of about 25 frames over 5 pages or so, and each needs to reference a key frame in the animation. I am having a difficult time at the moment setting out the storyline of the narrative, and visualising what exactly will happen in my animation. There must be continuity and a cohesion between the style of images. Most storyboards work to a 4:3 ratio.
Animatics These are the next step on from Storyboarding, as they add motion to images and addting transitions and synchronized sound. We are required to create a short animatic for our first hand-in assessment. This piece is not meant to span the whole length of our narrative, but instead be a reflection or indication of the style, aesthetic, mood and form of animation we will use. It will allow both myself and my tutors to pinpoint potential problems related to light, cinematography, motion and sound production. I have been working with my sound composition artist to have a short piece ready for the time of the hand-in deadline.
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