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Animation And 3D
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3D Animation |
Traditional animation (also called cel animation or
hand-drawn animation) was the process used for most animated films
of the 20th century. The individual frames of a traditionally
animated film are photographs of drawings, which are first drawn on
paper. To create the illusion of movement, each drawing differs
slightly from the one before it. The animators' drawings are traced
or photocopied onto transparent acetate sheets called cels, which
are filled in with paints in assigned colors or tones on the side
opposite the line drawings. The completed character cels are
photographed one-by-one onto motion picture film against a painted
background by a rostrum camera.
The traditional cel animation process became obsolete by the
beginning of the 21st century. Today, animators' drawings and the
backgrounds are either scanned into or drawn directly into a
computer system. Various software programs are used to color the
drawings and simulate camera movement and effects. The final
animated piece is output to one of several delivery media, including
traditional 35 mm film and newer media such as digital video. The
"look" of traditional cel animation is still preserved, and the
character animators' work has remained essentially the same over the
past 70 years. Some animation producers have used the term "tradigital"
to describe cel animation which makes extensive use of computer
technology.
Examples of traditionally animated feature films include Pinocchio
(United States, 1940), Animal Farm (United Kingdom, 1954), and Akira
(Japan, 1988). Traditional animated films which were produced with
the aid of computer technology include The Lion King (US, 1994) Sen
to Chihiro no Kamikakushi (Spirited Away) (Japan, 2001), and Les
Triplettes de Belleville (2003).
Full animation refers to the process of producing high-quality
traditionally animated films, which regularly use detailed drawings
and plausible movement. Fully animated films can be done in a
variety of styles, from more realistically animated works such as
those produced by the Walt Disney studio (Beauty and the Beast,
Aladdin, Lion King) to the more 'cartoony' styles of those produced
by the Warner Bros. animation studio. Many of the Disney animated
features are examples of full animation, as are non-Disney works
such as The Secret of NIMH (US, 1982), The Iron Giant (US, 1999),
and Nocturna (Spain, 2007).
Limited animation involves the use of less detailed and/or more
stylized drawings and methods of movement. Pioneered by the artists
at the American studio United Productions of America, limited
animation can be used as a method of stylized artistic expression,
as in Gerald McBoing Boing (US, 1951), Yellow Submarine (UK, 1968),
and much of the anime produced in Japan. Its primary use, however,
has been in producing cost-effective animated content for media such
as television (the work of Hanna-Barbera, Filmation, and other TV
animation studios) and later the Internet (web cartoons). Some
recent examples are; SpongeBob SquarePants (USA, 1999–present), The
Fairly OddParents (USA, 2001–present) and Invader Zim (USA,
2001–2002, 2006).
Rotoscoping is a technique, patented by Max Fleischer in 1917, where
animators trace live-action movement, frame by frame. The source
film can be directly copied from actors' outlines into animated
drawings, as in The Lord of the Rings (US, 1978), or used in a
stylized and expressive manner, as in Waking Life (US, 2001) and A
Scanner Darkly (US, 2006). Some other examples are: Fire and Ice
(USA, 1983) and Heavy Metal (1981).
Live-action/animation is a technique, when combining hand-drawn
characters into live action shots. One of the earlier uses of it was
Koko the Clown when Koko was drawn over live action footage. Other
examples would include Who Framed Roger Rabbit? (USA, 1988), Space
Jam (USA, 1996) and Osmosis Jones (USA, 2002).
Stop-motion animation is used to describe animation created by
physically manipulating real-world objects and photographing them
one frame of film at a time to create the illusion of movement.
There are many different types of stop-motion animation, usually
named after the type of media used to create the animation. Computer
software is widely available to create this type of animation.
Puppet animation typically involves stop-motion puppet figures
interacting with each other in a constructed environment, in
contrast to the real-world interaction in model animation. The
puppets generally have an armature inside of them to keep them still
and steady as well as constraining them to move at particular
joints. Examples include The Tale of the Fox (France, 1937), The
Nightmare Before Christmas (US, 1993), Corpse Bride (US, 2005),
Coraline (US, 2009), the films of Jiří Trnka and the TV series Robot
Chicken (US, 2005–present).
Puppetoon, created using techniques developed by George Pal, are
puppet-animated films which typically use a different version of a
puppet for different frames, rather than simply manipulating one
existing puppet.
Clay animation
Clay animation, or Plasticine animation often abbreviated as
claymation, uses figures made of clay or a similar malleable
material to create stop-motion animation. The figures may have an
armature or wire frame inside of them, similar to the related puppet
animation (below), that can be manipulated in order to pose the
figures. Alternatively, the figures may be made entirely of clay,
such as in the films of Bruce Bickford, where clay creatures morph
into a variety of different shapes. Examples of clay-animated works
include The Gumby Show (US, 1957–1967) Morph shorts (UK, 1977–2000),
Wallace and Gromit shorts (UK, as of 1989), Jan Švankmajer's
Dimensions of Dialogue (Czechoslovakia, 1982), The Trap Door (UK,
1984). Films include Wallace & Gromit: The Curse of the Were-Rabbit,
Chicken Run and The Adventures of Mark Twain.
Cutout animation is a type of stop-motion animation produced by
moving 2-dimensional pieces of material such as paper or cloth.
Examples include Terry Gilliam's animated sequences from Monty
Python's Flying Circus (UK, 1969–1974); Fantastic Planet
(France/Czechoslovakia, 1973) ; Tale of Tales (Russia, 1979), The
pilot episode of the TV series (and sometimes in episodes) of South
Park (US, 1997).
A clay animation scene from a Finnish television commercial
Silhouette animation is a variant of cutout animation in which the
characters are backlit and only visible as silhouettes. Examples
include The Adventures of Prince Achmed (Weimar Republic, 1926) and
Princes et princesses (France, 2000).
Model animation refers to stop-motion animation created to interact
with and exist as a part of a live-action world. Intercutting, matte
effects, and split screens are often employed to blend stop-motion
characters or objects with live actors and settings. Examples
include the work of Ray Harryhausen, as seen in films such Jason and
the Argonauts (1963), and the work of Willis O'Brien on films such
as King Kong (1933 film).
Go motion is a variant of model animation which uses various
techniques to create motion blur between frames of film, which is
not present in traditional stop-motion. The technique was invented
by Industrial Light & Magic and Phil Tippett to create special
effects scenes for the film The Empire Strikes Back (1980). Another
example is the dragon named Vermithrax from Dragonslayer (1981
film).
Object animation refers to the use of regular inanimate objects in
stop-motion animation, as opposed to specially created items.
Graphic animation uses non-drawn flat visual graphic material
(photographs, newspaper clippings, magazines, etc.) which are
sometimes manipulated frame-by-frame to create movement. At other
times, the graphics remain stationary, while the stop-motion camera
is moved to create on-screen action.
Pixilation involves the use of live humans as stop motion
characters. This allows for a number of surreal effects, including
disappearances and reappearances, allowing people to appear to slide
across the ground, and other such effects. Examples of pixilation
include The Secret Adventures of Tom Thumb and Angry Kid shorts.
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For many years, I have lived
uncomfortably with the belief that most planning and architectural design
suffers for lack of real and basic purpose. The ultimate purpose, it seems
to me, must be the improvement of mankind.
James Rouse
I am but an architectural composer.
Alexander Jackson Davis
I hope that America as a whole, and especially its architects, will become
more seriously involved in producing a new architectural culture that would
bring the nation to the apex - where it has stood before - and lead the
world.
Tadao Ando
I look upon myself as a musical bricklayer with architectural aspirations.
Robert Mayer
I'd say that my profession ends where architectural thinking ends -
architectural thinking in terms of thinking about programs and
organizational structure. These abstractions play a role in many other
disciplines, and those disciplines are now defining their 'architectures' as
well.
Rem Koolhaas
I'm not an architectural composer.
Harrison Birtwistle
It fills one with a sense of architectural possibility.
Paul Goldberger
It was always my intention that The Frieze should be housed in a room which
would provide a suitable architectural frame for it.
Edvard Munch
Profit and bottom line, the contemporary mantra, eliminates the very source
of architectural expression.
Arthur Erickson
Supply and demand regulate architectural form.
Adolf Loos
The center of Western culture is Greece, and we have never lost our ties
with the architectural concepts of that ancient civilization.
Stephen Gardiner
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