FEARZ: characters

Guess I had to do it long ago, but only when I started to animate the understanding of character’s construction became essential. Well, here they are:

cha_sizes

chaRAY
chaHECTOR
chaFISH

 

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FEARZ: animatic

After hundreds of changes and improvements, finally, I’ve got my animatic sorted. It’s a bit more than “animatic” already – some movement is already there too. In terms of  the final look, I’m planning to go to hyper-stylized version,  very graphical,  limited colour palette,  “screen-print-like” I would say.  More I think about it, more sense it makes for me – not only it reflects my visual preferences but it is the natural way of working for me.

Music and timing are still rough, but I’m glad I can jump into producing the actual scene-by-scene animation.

Ps. oh, and I still need to get a name for the film….

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FEARZ: concept art

Last project absolutely convinced me that some kind of plan or concept sketch is absolutely must in the animated story. So here are some of my drawings to get to know the setup of my story.

After the last tutorial with  Philip Hunt from Studio AKA I started to question my decision about the final look of the film, but these are just concept designs

beach1
fish1

concept-belly1 concept-belly2

 

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FEARZ: meet Ray

Here is Hector’s little sister, Ray. She’s about 6 years old, very active, and so cheerful that it could be irritating sometimes. She can take care of herself – and she always does while her brother “too busy to play” with her.

RAY-exploringThis is “a work in progress sheet” as her character hasn’t settled in my head yet – but the main shapes are here.

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FEARZ: meet Hector

The very first appearance of my boy. His name is Hector. A bit annoying 13 y.o. boy, not very emotional person, but passionate gamer. Cruel, but cute in his own way.chaFEARZ-emo1chaFEARZ-dolphin

Apparently in Greek mythology, Hector  was a Trojan prince and the greatest fighter for Troy in the Trojan War. Good to know but most of all his name rhymes with “vector” and refers to “algebraic!” and “mathematical!”  – is it too far from Adventure Time reference? Or should I ask “is it far enough”? The truth is I’m strongly inspired by AT and ideally hope to get similarly crazy vibe.

Bonus track: back home he has a dog

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How the question got its mark

Another offside project I’ve been busy with.

Did I mention how lucky I am to have such talented and initiative classmates?  This time Charlie invited me and Mick to take part in quick combo – to make a short animation for the typographic short story. The script was so good that we came up with the style and designs very quick and had no problems to get it to the production. Had to say I didn’t participate in the actual character animation but had a lot of fun with compositing in AE. Plus I’ve got a chance to experiment with kinetic typography and graph editor.

The Question Mark is a literal wonder. But just what goes into shaping this pondering piece of punctuation?
How the Question got its Mark charts the (mostly) true story of the birth of a Question Mark – Where did it come from? How did it get its hunch-back shape? Why is it even here? And just what is a Caret anyway?!
We attempt to explain these, and more, as we reveal just how the Question got its Mark…

Written by Anthony Khaseria
Animation: Tatiana Alisova, Mick Lawrence, Charlie Tetlow
Narrated by: Laura Wolfe
Recorded and Mixed by Christian Lewcock at Maze Hill Shoals Studios
Sound Effects courtesy of FreeSFX.com

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exploring the style

I believe that everything we do is connected to everything else. For example, last summer I was invited to paint a huge mural for surf school in Portugal. It’s kind of dream job by itself (and, perhaps, the most challenging I had so far) . But what important now is the exploration of visual language and “the look” I want to bring to my current animation. (also there were quite a lot of research regarding the wave’s behaviour which is useful for my story too)

GOPR1485

People say I have “a style” – guess I do, but only because I have a habit to analyse my likes and dislikes.

So, for the first presentation of FEARZ  I made this list:

FEARS_prez8After a month of work I have to say I changed my mind only about one point – there WILL be background in my animation. Actually I want to push myself to work more with that – usually I’m too lazy or don’t have time for background art.

In turn, the chosen look explains my choice of software – it will be Flash of course. Same approach as here with spraycans – shapes, neon colours, distortion, flow.

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As an offside note here are two more reasons:  2) ENO collaboration forced me to break down to steps my usual workflow in Flash and make it much more effective so I work there quick. 3) I will use the assets I create for animation in the game making process, as backgrounds and props

 

 

 

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Getting real!

Too excited to keep it private: my characters got another dimension, now it’s the actual tattoo!

My “tattoo flash” for the friend:

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It was a cover-up and she got it finished just two days ago:

cover-up

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Procrastination

Some time ago I reached a new level of procrastination – instead of working on FEARZ or commissioned projects I made a birthday video for my friend. Took me about 2 hours to animate and 3 to clean up, was a lot of fun.

Oh well, I have an excuse – I was practicing lipsync and acting.

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ENO: the official release

Meanwhile, our films for ENO are officially online. All of them are here:

CENTRAL SAINT MARTINS STUDENTS PRODUCE OPERA-INSPIRED ANIMATIONS

Second-year students from Central Saint Martins have produced a series of animations which take their inspiration from ENO’s Spring 2015 season.

Inspired by a visit to Terry Gilliam’s Benvenuto Cellini at the London Coliseum, students from Central Saint Martins’ MA course in Character Animation created short fiction animation films in response to productions in ENO’s Spring 2015 season.

The students took their inspiration from characters, plot/subplots, the specific direction and design concepts of the productions we are staging, and the socio-political context in which the operas were written.

All 40 students submitted proposals and 10 pitches were selected to be made in groups. The aim of the project was to engage young creatives with an artform they had had little exposure to, and to make visible career opportunities for using their animation skills within video design for performance.

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