LISA
LISA is a traditional 2D animation short film. It is the first hand drawn animation that I ever made. The story is
about a little girl named Lisa who had an
imaginary friend that other adults couldn’t see. Her parents were so worried
that they take Lisa to see the psychologist. But what they didn’t know was
that children were full of imagination. The world in their eyes was different
from the one in the
adult’s.
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IF YOU CANNOT WATCH THE VIDEO BELOW,PLEASE CLICK HERE.
请点击以上橙色字样观看短片
PROJECT REPORT
AIM
The initial idea was to make a film that for all age audience, but the target user was people who are parents or want to be. The main idea of the short is to create a story about children’s imagination and their creation within their eyes. The purpose of making this animated short is to make those who are parents or planning to be to rethink about their education method for their children. I hope that my film can benefit both parents and children. |
Vision
Nowadays, with the increasing social competition, parents tend to put more pressure on their children. And they want them follow the rules all the time. That just ain’t. Kids should grow up in a more relaxing and natural way. So I want to use 2D animation to create a story to remind them that children’s nature is being creative and having fun. Not being boring and constrained. The reason why I choose traditional 2D animation as the media of this short film is that when I was young I’m in love with those funny cartoons. I want to create something that both children and adults can enjoy. And hope the nostalgic 2D scenes can remind them the good old days. |
BACKGROUND
CONTEXT & MOTIVATIONS
Children were always been told that “you should do this, you shouldn’t do that” in their growth. In fact, adults are accustomed to constrain their children with adults’ rules. There is no fault in that but those actions might lead to a negative consequence. They might lose or hide their ability to create.
But Creation and imagination are the most important elements in the evolvement of human kind.
Harvard University researchers found that during people’s aging, the memory function declines in the same time, and the ability of imagination also shows trend of shrinking.
The researchers gave participants (who are from different age group) some words and let them describe a past personal experience. Then let them imagine a future experience. After that, the researchers divide those descriptions into two groups, “inner memory” and “external memory”.
Inner memory is similar to the scenarios in movies, including the specific people and things, time, occasions.
External memory is mainly the generality of the facts, such as" the sky is blue”. The test shows that the older the participants are, the less details in their inner and external memory. Moreover, this change is not caused by the degeneration of the language ability.
The peak period of the human imagination is in the early stage of childhood.( Ma Ainai, 2004)
I want to make a story about how parents misunderstand the true meaning of their children’s behavior.
That is the motivation for me to create this short, I myself grew up in an environment that “everyone follows the rules”, and “You should do this, this, that like anyone else does.” So I also made this short film as the salvation of my childhood.
STORY
I put the location of the story in a European small town. Because since childhood, I have been very much in love with the fairy tale in Europe, I believe that those colorful steeple housing have a strong attraction for kids. And it also echoes the watercolor-style I choose for the aesthetic of the film.
In the beginning of the story, I didn’t give a very clear explanation of the time and location of the story. It only began with a close-up shot of the heroine. From the close-up lens gradually pulled away to a bird's-eye view of the town, I hope that that opening shot can give the audience a suspension. The world of children's imaginary world didn’t straightly appear, but gradually alternately interspersed with the reality.
Instead of using directly tell the cause of the story, I chose to let the audience themselves to understand the significance of the story. For a short film, it is hard to tell everything in one minute. Rather than making a dull short, I made some changes in the order of storytelling. That might make some shining points for the film.
ART DIRECTION
Being inspired by several art works of master pieces, the main aesthetics of this project is the European style. Also Walt Disney’s animation principles are a great fountain of my inspiration.
CHARACTER DESIGN
“I think you have to know these fellows definitely before you can draw them. when you start to caricature a person, you can't do it without knowing the per son. Take Laurel and Hardy for example; everybody can see Laurel doing certain things because they know Laurel.”
–Walt Disney (Ollie, J & Frank, T. 1995)
Characters are like the soul of animation. Good characters design not only can highlight the theme of the story, but also make the story unforgettable.
When I was designing those characters in LISA, I pictured their movement, their expressions in my mind in the same time. They were like real people. I was thinking about a lot of details like how they laugh, how they walk, long before I start to draw the animation.
I was inspired by the great French illustrator and cartoonist Jean-Jacques Sempé. His works are quite striking, contains both simple and complex, but retain a sentimental and often a little gentle edge to them.
So I try to keep my characters simple and clean. Unlike the Japanese manga style with big eyes and spatial faces, they were only with simple strokes as noses and mouths. Hope the audience would be reminded those old warm cartoons on the newspaper and television. In the mean while makes easier for me control the animation, because this short is a traditional 2D animation and I have to draw every single frame of the motions.
In the beginning of the story, I didn’t give a very clear explanation of the time and location of the story. It only began with a close-up shot of the heroine. From the close-up lens gradually pulled away to a bird's-eye view of the town, I hope that that opening shot can give the audience a suspension. The world of children's imaginary world didn’t straightly appear, but gradually alternately interspersed with the reality.
Instead of using directly tell the cause of the story, I chose to let the audience themselves to understand the significance of the story. For a short film, it is hard to tell everything in one minute. Rather than making a dull short, I made some changes in the order of storytelling. That might make some shining points for the film.
ART DIRECTION
Being inspired by several art works of master pieces, the main aesthetics of this project is the European style. Also Walt Disney’s animation principles are a great fountain of my inspiration.
CHARACTER DESIGN
“I think you have to know these fellows definitely before you can draw them. when you start to caricature a person, you can't do it without knowing the per son. Take Laurel and Hardy for example; everybody can see Laurel doing certain things because they know Laurel.”
–Walt Disney (Ollie, J & Frank, T. 1995)
Characters are like the soul of animation. Good characters design not only can highlight the theme of the story, but also make the story unforgettable.
When I was designing those characters in LISA, I pictured their movement, their expressions in my mind in the same time. They were like real people. I was thinking about a lot of details like how they laugh, how they walk, long before I start to draw the animation.
I was inspired by the great French illustrator and cartoonist Jean-Jacques Sempé. His works are quite striking, contains both simple and complex, but retain a sentimental and often a little gentle edge to them.
So I try to keep my characters simple and clean. Unlike the Japanese manga style with big eyes and spatial faces, they were only with simple strokes as noses and mouths. Hope the audience would be reminded those old warm cartoons on the newspaper and television. In the mean while makes easier for me control the animation, because this short is a traditional 2D animation and I have to draw every single frame of the motions.
The Main character Lisa named Lisa. She is 5 years old little girl with blond hair and two blushes on her apple like cheeks. She wears a red little dress and a big bowknot on the top of her head. That makes her looks cute and easily recognized.
The other one is Lisa’s imaginary friend, Mr. Bubbleman. I picture him as a magician, because children are always attracted by “magic stuff” like wizard or magician. He wears a light blue striped suit with a big top hat. On his hand is a big red bubble maker. So he can blow out a lot of bubbles in different shapes. He also has a pair of “handlebar” mustache, and when he is blowing bubbles, the mustache would shake with it. Those little details and the blue light color make him look funnier and vivid.
Other characters like Mrs. Shrink and Lisa’s parents were simple designed. The costumes which they wear are in ordinary color and simple style. I did that to make them look boring and solemn. They are the negative form of fantasy and imagination in the story.
ENVIRONMENT DESIGN
Background can tell audience the environment of the story, so it needs to be recognized at glance.
The background design is watercolor style with the coarse pencil sketches in light and fresh color. The reason I choose to use watercolor style to draw the background is that I want to make this short more “handmade”. And “hand draw” is one of the most important features in this short film.
It is inspired by “Professor Layton”, a puzzle adventure game series developed by the Nintendo. The Art style of Professor Layton is extremely brilliant, and it perfectly combines both western and eastern flavor.
Above is a corner of Mrs. Shrink’s office. I choose to draw those classical furniture is because
the story was happened in a European town. The green sofa indicates how stuffy Mrs. Shrink is.
the story was happened in a European town. The green sofa indicates how stuffy Mrs. Shrink is.
Above is the corridor outside Mrs. Shrink’s office. Her desk can be seen through the door.
Because it is a children’s psychological clinic, the wallpaper has the cloud pattern.
Because it is a children’s psychological clinic, the wallpaper has the cloud pattern.
This is a street scene for the final shot. In order to emphasize the dreamlike children’s
imagination, I used a lot of bright colors to paint those little European houses. That
makes them look like if they are from fairy tales.
imagination, I used a lot of bright colors to paint those little European houses. That
makes them look like if they are from fairy tales.
MOTION MECHANICS
Many cartoonists and animators say that the very reason they do cartoons is to get away from realism and the realistic world into the free realms of the imagination. They'll correctly point out that most cartoon animals don't look like animals - they're designs, mental constructs. Mickey ain't no mouse, Sylvester ain't no cat. They look more like circus clowns than animals. Frank Thomas always says: 'If you saw Lady and the Tramp walking down the road, there's no way that you are going to buy that they're real dogs.'
But to make these designs work, the movements have to be believable - which leads back to realism and real actions, which leads back to studying the human or animal figure to understand its structure and movement. What we want to achieve isn't realism, it is believability. (Ollie, J & Frank, T. 1995)
In order to make the motions in the film more real, I did a lot of research on how people move. I watched many videos on line, asked friends to pose for me. But I found that the most useful way to study the motion is looking into the mirror and do it myself. In that way, I can slow down the movements, break them down and draw them on the paper.
Spacing of drawings in perspective animation
To animate in true perspective requires complex draughtsmanship and some understanding of the geometrical treatment of the subject.
Especially when a character walks in perspective, an accurate perspective grid must be drawn giving the height of the character and the length of the strides, so that the animator has a clear idea of how the spacing of the strides gradually increases or decreases. It is quite a difficult animation problem to make all parts of a figure get larger or smaller and yet remain in the right proportions.
For dramatic effect when a character rushes towards or away from the camera, a low horizon is preferable. High horizons provide a more relaxed effect. In both instances the vanishing point must be established in relationship with the horizon, which represents the camera or the audience's eye level. The increasing or decreasing lengths of strides must be worked out by defining measuring points for every few drawings. Estimation is possible, but must be plotted out carefully.
Variation in perspective can be achieved by lowering the horizon and changing the vanishing point during animation. This, however, requires some experience. Weight must be evident in all perspective animation. In a perspective shot, a character can run from the foreground over the horizon in a few frames, approximately 12 to 16, provided the right degree of ‘anticipation’ is provided. Because of the speed of the action it is better to use single frame animation.
Effective animation requires movement in space and an illusion of three dimensions, otherwise the characters may appear to be too flat. Take advantage where possible of opportunities for movement in exaggerated perspective. For instance, if some part of a figure or object swings round close to the camera, emphasise the increase in size in the drawings. (Harold, W & John, H.1981)
But to make these designs work, the movements have to be believable - which leads back to realism and real actions, which leads back to studying the human or animal figure to understand its structure and movement. What we want to achieve isn't realism, it is believability. (Ollie, J & Frank, T. 1995)
In order to make the motions in the film more real, I did a lot of research on how people move. I watched many videos on line, asked friends to pose for me. But I found that the most useful way to study the motion is looking into the mirror and do it myself. In that way, I can slow down the movements, break them down and draw them on the paper.
Spacing of drawings in perspective animation
To animate in true perspective requires complex draughtsmanship and some understanding of the geometrical treatment of the subject.
Especially when a character walks in perspective, an accurate perspective grid must be drawn giving the height of the character and the length of the strides, so that the animator has a clear idea of how the spacing of the strides gradually increases or decreases. It is quite a difficult animation problem to make all parts of a figure get larger or smaller and yet remain in the right proportions.
For dramatic effect when a character rushes towards or away from the camera, a low horizon is preferable. High horizons provide a more relaxed effect. In both instances the vanishing point must be established in relationship with the horizon, which represents the camera or the audience's eye level. The increasing or decreasing lengths of strides must be worked out by defining measuring points for every few drawings. Estimation is possible, but must be plotted out carefully.
Variation in perspective can be achieved by lowering the horizon and changing the vanishing point during animation. This, however, requires some experience. Weight must be evident in all perspective animation. In a perspective shot, a character can run from the foreground over the horizon in a few frames, approximately 12 to 16, provided the right degree of ‘anticipation’ is provided. Because of the speed of the action it is better to use single frame animation.
Effective animation requires movement in space and an illusion of three dimensions, otherwise the characters may appear to be too flat. Take advantage where possible of opportunities for movement in exaggerated perspective. For instance, if some part of a figure or object swings round close to the camera, emphasise the increase in size in the drawings. (Harold, W & John, H.1981)
This is a locomotion picture of the Father. In this movement, Father turned around and walked towards the camera. I think this was the hardest one to draw in the
This is a locomotion picture of the Father. In this movement, Father turned around and walked towards the camera. I think this was the hardest one to draw in the whole film. Because that other than the walking wave, I had to consider the perspective of the movement. In this kind of action, I cannot just enlarge the walking cycle since that will make the scene looks cheap and low quality. So I have to draw it out frame by frame. The subtle change of the height was really difficult to control. So I drew the assistant line first, then I calculated the height by it. The final outcome was quite satisfying.
The number of drawing used in any move determines the amount of time that action will take on the screen. If the drawings are simple, clear, and expressive, the story point can be put over quickly, and this was all that concerned the animators during the early period. Timing in those cartoons was limited mainly to fast moves and slow moves, with accents and thrusts calling for special handling. But the personalities that were developing were defined more by their movements that their appearance, and the varying speed of those movements determined whether the character was lethargic, excited, nervous, relaxed. Neither acting nor attitude could be portrayed without paying very close attention to timing. (Harold, W & John, H.1981)
This one is Lisa jumping off the chair. I delayed the time of the movement of the hair and dress. So this action looks more realistic.
The number of drawing used in any move determines the amount of time that action will take on the screen. If the drawings are simple, clear, and expressive, the story point can be put over quickly, and this was all that concerned the animators during the early period. Timing in those cartoons was limited mainly to fast moves and slow moves, with accents and thrusts calling for special handling. But the personalities that were developing were defined more by their movements that their appearance, and the varying speed of those movements determined whether the character was lethargic, excited, nervous, relaxed. Neither acting nor attitude could be portrayed without paying very close attention to timing. (Harold, W & John, H.1981)
This one is Lisa jumping off the chair. I delayed the time of the movement of the hair and dress. So this action looks more realistic.
PRODUCTION PIPELINE
Traditional animation is a very delicate and tedious time-consuming type of animation. However using real paper and pencil will cost unnecessary time. Therefore, A digitalized hand draw simulation software has been used in the working preprocess. It keeps the touch of hand draw. And much time has been spared from scanning and any other digitalizing processes.
The software list:
Artrage(for the drafts and the background painting)
Photoshop(for the coloring)
Imageready(for the animation)
After Effect(for the post production)
Premiere(for the editing)
I used Artrage to draw the drafts of the animation, each layer as a frame. Then the file was saved as a PSD file format. The PSD file was opened up in ImageReady, The animation function allow me to see the sequence of the drafts that I’ve draw. So that I can go back to Artrage to make changes if the timing or the movement is wrong. After repeated this process, the final version of the drafts were done.
Then the Artrage files were saved as PSD files again and I colored them in Photoshop. Although that was not the plan I made at the beginning. I used to think about color them in Artrage with its watercolor effect. But then I found out that it took too much time for the computer to calculate and simulate the watercolor effects. If I do that with every frame, they wouldn’t be done on time. So finally I decided to use Photoshop do a flat color style. After finished all the layers, the PSD file was opened again in ImageReady. All layers were arranged as frames in the animating window. Then the file was exported as PNG sequence. So I can compose them in AfterEffect.
The software list:
Artrage(for the drafts and the background painting)
Photoshop(for the coloring)
Imageready(for the animation)
After Effect(for the post production)
Premiere(for the editing)
I used Artrage to draw the drafts of the animation, each layer as a frame. Then the file was saved as a PSD file format. The PSD file was opened up in ImageReady, The animation function allow me to see the sequence of the drafts that I’ve draw. So that I can go back to Artrage to make changes if the timing or the movement is wrong. After repeated this process, the final version of the drafts were done.
Then the Artrage files were saved as PSD files again and I colored them in Photoshop. Although that was not the plan I made at the beginning. I used to think about color them in Artrage with its watercolor effect. But then I found out that it took too much time for the computer to calculate and simulate the watercolor effects. If I do that with every frame, they wouldn’t be done on time. So finally I decided to use Photoshop do a flat color style. After finished all the layers, the PSD file was opened again in ImageReady. All layers were arranged as frames in the animating window. Then the file was exported as PNG sequence. So I can compose them in AfterEffect.
POST-PRODUCTION
The post-production was done in Adobe AfterEffect. It is quite easy compared with the process of the production.
I just put all the elements in the composition in order and make sure the time of the each character was in correct position. Then I export the final picture sequence.
A paper texture of old paper is added on the top of the composition and was set in Multiply mode. That makes the scene more nostalgic and warm.
The final output was exported from Premiere. So did the composition of the audio track.
The title and the ending subtitle were drawn in Artrage with pencil tool. I double draw them and repeated them to make the wiggling effect.
I just put all the elements in the composition in order and make sure the time of the each character was in correct position. Then I export the final picture sequence.
A paper texture of old paper is added on the top of the composition and was set in Multiply mode. That makes the scene more nostalgic and warm.
The final output was exported from Premiere. So did the composition of the audio track.
The title and the ending subtitle were drawn in Artrage with pencil tool. I double draw them and repeated them to make the wiggling effect.
COLOR SCHEME
In the story, the world was divided in to two parts, the adults’ world and the children’s. In Shot No.4, before Mr. Bubbleman appeared, the scene looked grey and gloomy. That Indicated Lisa was not in a good mood and the adults’ world was boring and dead. But after Mr. Bubbleman showed up, the scene became brighter and vivid. And there was also a big smile on Lisa’s face. That was where the children’s world came along.
I used After Effect’s color correction tool to change the brightness and contract of the scene.
MUSIC
There isn’t any dialogue in the film. Not only because that will take more time and man power to do it, but also makes the film less old fashion.
The music was composed by me in Garageband, an application in ipad. And it was made after I finished the storyboard. I’m a complete amateur of composer, but the application is easy to operate. That gave me the chance to do it by myself.
Why I insisted on the homemade music?
Because my intention is to do it like a MTV. And the shot changed with the rhythm of the music. I choose guitar as the musical instruments. The sound of it is clear and the beat is strong and easy to control. So I can compose it in premiere by moving bars.
There isn’t any dialogue in the film. Not only because that will take more time and man power to do it, but also makes the film less old fashion.
The music was composed by me in Garageband, an application in ipad. And it was made after I finished the storyboard. I’m a complete amateur of composer, but the application is easy to operate. That gave me the chance to do it by myself.
Why I insisted on the homemade music?
Because my intention is to do it like a MTV. And the shot changed with the rhythm of the music. I choose guitar as the musical instruments. The sound of it is clear and the beat is strong and easy to control. So I can compose it in premiere by moving bars.