Project Three : Kinetic Animation (History of Typography)

Before starting the Kinetic Animation project it is important to assess and explore the history of typography and why it is such an important tool and visual art form for artists today?

Typography is the art form of expressing ideas and words visually. It is known to be created by Johannes Gutenberg who was a German publisher. What brought upon the creation of typography was that beforehand it was done by hand in book, Gutenberg was aware of how time consuming, expensive, but most of all unnecessary it was to society at the time which is what inspired him to create the first ever type face, known as Black Letter.

Black Letter typeface


It consist of thick vertical lines and thin horizontal connectors. The advantage of this typeface was that it was very useful for scribing, despite this the main disadvantage of this typeface is that it was very easy (especially when put close together in print) to look dense and squashed together, resulting in it being quite hard to understand by readers.

One man saw this and felt the need to somehow develop and fix this fault, this man was Nicolas Jenson, a Frenchman that worked in Venice (Italy) during the 15th century. Jenson was greatly inspired by the ancient Roman buildings and felt the need to replicate and transform the order of the ancient buildings structure into a typeface known as "The Roman Type"

The Roman typeface


This typeface consisted of straight lines and regular curves which resulted in the typeface being very clear and legible, addressing and successfully correcting the issue of the typeface being too dense. This typeface was an instant success and spread quite quickly across the whole of Europe.

The next development was the invention of "Italics" (by Aldus Maniutius) which were very similar to the typeface Roman, except for the letters being slanted and majorly stylized. The purpose behind the development was a way of addressing cost issues, as Italics was made as a way to fit more letters on the page to save money.

Italics typeface




This typeface was extraordinary and fulfilled its purpose, it lasted until the 18th century.

The next major development of typography was a typeface named "Caslon" which was made in England by a man named William Caslon.

Caslon typeface




This typeface was based off castle lines and is referred to in Typography as "Old Style", this means that the typeface consists of low contrasts between thick and thin strokes.

A few years later, this was developed by John Baskerville to a typeface known as a "Transitional" typeface. This typeface consists of a finer and higher contrast between thick and thin strokes.

Transitional typeface




Then this was later on developed to an Italian typeface known as Didot by a man called Edo and Bidoni which is classified as a "Modern" typeface. This consists of an extreme contrast between strokes.

Modern typeface





William Caslons great grandson (Caslon the 4th) got aggravated with the sight of seraphs and so he decided to remove it and create the typeface known as "Sans Serif".

Sans Serif typeface





This typeface did not succeed immediately but was later on very successful with the coming of the second industrial revolution, as it was a popular choice for all the posters and billboards during that time, of course the letters were manipulated to be wider and taller, to fit the billboards proportionally.

The popular use of "Sans Serif" on billboards brought upon the typeface known as "Egyptian" (slab-serif) which consisted of thick serifs and was mainly used for titles.

Egyptian typeface



This however resulted in the audiences in the 90s being sick of these typefaces as they were all becoming either too similar or too complicated. The solution to this? In the 20th century Paul Renner created the typeface known as "Futura" which consists of simple geometric ships (also known as geometric sans)

Futura typeface




As we have seen before in the history of typography, this typeface was later developed by Eric Gill to a type face known as "Gill Sans" which was very similar to "geometric sans" but had gentler and had more natural and harmonic curves. This is also referred to as "Humanist Sans".

Gill Sans typeface



The next development happened in Switzerland in 1957 , where the typeface "Helvetica" was first introduced. This typeface consists of simple curves and was available in a variety of different weights. This typeface was a major success and some often refer to it as the worlds favourite typeface.

Helvetica typeface



With the production of the computer, everything changed.

Typography is now accessible to all, and can be characterized and manipulated by all with the use of digital programmes.

Animation Production Process

To make an Animation, there are four initial key stages to ensure a successful animation, here are the four stages:

(The key stages are underlined and in bold)

Pre-production 

Before any animation can truly begin, there needs to be a solid idea of what the animation will be and its purpose, the basic principles of the animation tends to be summed up during this phase, such as the target audience and how it will appeal to them. The content of the idea tends to rely on the chosen medium. This aspect is only the beginning and because of that it needs to be kept simple and effective, but from the beginning of creating an animation a specific budget has to always be kept in mind, as it determines what will be available to avoid time consumption later on when certain materials might not be available later. 

Once this stage is complete a script is often made to follow the story of the initial idea, this stage is crucial as through the narrative content the characters purpose is summed up, this helps the writer to later on communicate clearly to the director on what the best camera framing may be that will best emphasize and clearly communicate the characters thoughts and feelings, more specifically on what will create the biggest impact. As this is what breaks down the initial idea into frames and scenes, and most importantly time length.

Next, the script needs to be finalized into a visual format, which is better known as the storyboard. This method of presenting is popularly used as not only is it time effective, but it is also cost effective as it is a format available throughout regardless of available media and technology. It is also easy to manipulate and do again, in case the client is not pleased with the result, this also leaves the client comfortable with speaking changes, as they don't have to worry about wasting expensive material. The storyboard is very effective as it sums up the main key points of the scene, such as the camera moves of every frame and the details of the setting, such as (if in a park) the number of trees that are needed to create impact, and if the sky is needed in the shot. The production of the animation essentially does not start unless this has been approved by the client.

After the storyboard has been approved and completed, it is given to an individual with the role known as the Animiatic to transfer it into a digital format, more specifically to edit and add audio effects, this is then finalized a a blueprint. The Animiatic helps decide the appropriate length of each frame, so as to not overdo, overwork or go over the budget with the animation. To ensure an efficient and strong foundation for the ending result. The time taken to do this depends on the number of frames given to edit,  for instance if an advert it will possibly take a few days, whereas if it is a movie it will possibly take a few weeks.

The next stage is a  technique that is often used for 3D animation rather then 2D animation to add special effects. This is known as Previsualization (previs). It is used as it is very const-effective for what it provides to the animation. What is significant about this technique is that it can be used and estimated so that it can instantly put into the final product of the animation. Again the time for this stage depends on the time length of the frames that are given. 

Traditionally after this is when the signature style (trademark) of the design is worked out for the overall project, however this is determined by the client and animation type and can occur at any stage of the project. For instance, if it was an advert, the design would be needed from a very early stage.  The design can be done in a variation of mediums, it is often started on a 2D medium and then later transferred into a digital medium, as digital manipulation is often found as having a professional finish and being more time efficient (depending on the users skill).  This stage is continued on until the client themselves have approved of the product. 

The next stage is often used if the type of animation is 2D, this stage is known as Modelling which can vary from a clay model, a puppet, and to a simple prop. This stage must be accurately and precisely done, as any mistakes can affect the overall precision and quality of the animation. Modeling is also not cheap, therefore a mistake can result in extra funds being needed to correct and redo mistakes. When it is 2D, the object is often manipulated to add the illusion of depth, this is usually done on 3D software (3D scanner). The time involved for the stage depends on the detail, amount, and size of the object and materials that are needed. After this (most likely if the object is a puppet) Rigging is done to ring the characters form (such as the legs and arms) together. A variation of techniques can be used to keep it together and allow controlled movement, such as 3D mesh bends and armatures. This process can be quite complicated and time consuming, especially when combined with 3D elements. 

The Final stage of pre-production is adding the overall texturing to the set. This is usually added on the models and flat surfaces that need added depth and final details to ensure the quality and impact of the objects. It can be used in both 3D and 2D animation, there are even instances where 3D animation is used to give a model a two dimensional effect. In 3D animation, a popular technique used is mapping that allows the user to manipulate and control the surfaces overall finish and depth, whereas in 2D animation it often involves puppets, and therefore the final textures are either sculpted or hand painted. The time involved in this depends on the quality and quantity of detail that is needed. 

Once this is completed, the next stage which is production. Concentration is crucial for pre-production as the progress and attention to detail put during pre-production simplifies and eases the production stages, especially in terms of the budget.

Production 

The first step in production is creating a Layout that is based on the storyboard that was made during pre-production. This is done by focusing on the panels of the storyboard and developing them to resemble scenes in more detail. In a 2D animation it is often the background that is focused on first, the animators mark the areas that the character would be involved in to maintain accuracy and efficiency. In 3D animation the focus is first put on the position on the camera and the space of each model that is being use. The time involved in this stage depends on the detail and space of the background, this stage can also be expensive depending on the cameras that are needed.

Once this is done the actual Animation is now being made, this stage is different depending on the type of animation that it is. If it is a 2D Animation (also known as classical animation) the first thing that is done is that the key frames are each successfully done and ready for the characters poses. This is then filmed, and to maintain quality the frames in-between the scenes are evened out to maintain smoothness of speed throughout the animation. Additional effects are also added if there are any rough lines that are still present within the characters movement that need to be cleaned up. This type of animation is known for its smoothness frame by frame.

Normal 2D animation is usually done with the use of drawings, that are scanned and digitally manipulated to match a variation of expressions, this is done as a way to maintain time efficiency rather then drawing each facial expression from scratch (which was often done when animation was first introduced.). This maintains character performance, allowing the viewer to clearly understand and communicate visually with the character. This type of animation is popular for its time and cost efficiency.

In 3D Animation, what makes this process complicated is the use of a model as many issues and technical difficulties can arise from the use of a virtual puppet. This animation requires those working in it to be highlight specialized as the model is often manipulated and controlled by coordinates rather then simply by hand. regardless of all this the technique is often worth all the time, as it presents the most realistic results that are always able to impress, engage, and fascinate users. The result of 3D animation never lacks quality and what I like about it is that the viewer themselves are able to recognize and understand the effort put in, helping them to better appreciate what they are seeing.

The time and cost involved during this overall stage relies on the length and the props needed for the animation.

After the animation has successfully been recorded, it is sent to be Rendered, putting together each frame to process a final image. This time length (and cost) of this stage depends on how many frames are being put together, for instance for a high percentage of frames, it is usually sent to a render farm to render the animation as quickly and efficiently as possible. This stage is also mainly done for 3D animation.

Once this is all completed, all that is left is to add the final effects that are needed, this is known as Post - Production.

Post Production

The first steps of post production is usually to add the Special Effects to the animation, this includes creating the illusion of a bigger set, making props seem realistic, manipulating the time of the setting, or adding extra digital details. Effects are often easier to add on 2D animation as the effects are often quite simple, ranging from simple saturation highlights, tones, and shadows. What's easier about 2D animation is that the effects can also be drawn, allowing the user to add  unique individual style to the animation, drawing can also sometimes be more time-effective then digital manipulation. As with using programmes data is more prone to problematic issues such as being easily be lost, certain computers can also be slow increasing the time it takes to add the effects. 3D effects are more time consuming with both rendering and creating 3D effects. 3D effects also tend to be more complicated then simple shadows and highlights and cannot be drawn, but must be made in digital programmes.

After this the animation is sent to Compositing where it is put together into one final composition. This stage often involves colour correction, masking, rotoscoping and any needed screen corrections.This also includes wanting to erase certain objects from scenes. The animations final form and how it will be viewed to the public is finally decided within this stage, which is why attention to detail is absolutely crucial at this stage, as are final checkups on each frame. This stage can be time consuming depending on the quantity on final corrections that are needed.

After this the only thing left to add is the (Audio) sound effects that occur throughout the whole animation, this is usually done lightly during pre-production to decide on a final atmosphere but is not fully incorporated in the animation until post production. The audio has a massive effect in an animation, as it can emphasize the impact of a scene, whilst also having the potential to ruin it, because of this sound engineers and Foley artists are hired to ensure that the audio is at its finest throughout the animation, creating a harmonious balance, rather then a disturbance. The time involved in this aspect depends on the priority the director (and client) has on the audio, as the creation and finalization of music is not something that can be rushed or have a planned deadline. Cost also depends on the amount of musicians involved, for instance if an orchestra is used it will not be cheap.

Packaging

The final stage is deciding upon the packaging of the product and weather it needs any additional exposure, such as an illustrated advert in a magazine, or a digital advert that is available across the digital media. This of course relies completely on the target audience. 

Different Job Roles Within The Animation Sector

Animation is a massive sector that has many roles within it, each role is crucial and commits to the ending result of an animation, these roles include:

The Director

The directors role in an animation is to guide the vision that is wanted for the specific animation, this includes being the individual that determines the overall decision of what is included and what isn't, such as what is said by a character,the visual production of the animation, soundtrack, production costs and process, storyboard and much more. To be a director, one must possess a variation of skills, such as not only having a  highly imaginative approach, but also being able to process and visually guide a storyboard. A director has to be able to easily communicate and guide every aspect of the animation, this includes being able to maintain a balance between the creative team so that everyone is treated fairly and is equally pleased with the result, in addition to this they must also have a very strong and tough personality, as to ensure that deadlines are met whilst still not going over the budget that was given. They must be highly responsible individuals as if anything goes wrong they will be the ones held responsible.


Model Maker 

The role of a model maker in an animation is to produce and guide the models used in an animation, such as props or puppets. This role requires complete precision and accuracy as a small mistake in detail as part of a model can endanger the whole animation. Individuals partaking in this role must have a strong knowledge over a wide range of materials including the possible health and safety dangers with the materials they are using. They must also have a  high level quality in their own craft skills including casting, metal working, costume making and more. As individuals they must be able to clearly and easily communicate with production managers of any possible problems, they often work with art directors or assistant directors with the job.They are expected to work effectively under pressure as with this role a short time is often given then needed.

Researcher

The role of a researcher is to make sure that in an animation the detail of the content involved is both accurate and original, to do this researchers tend to communicate with academic experts to ensure that the accuracy and quality of the content is met for the animation. They often keep tabs and records on the variety of different records that are both available and used, as to successfully source the material. Researches are expected to be both fast and efficient in their job as a mistake in detail can not only ruin an entire animation, but can accidentally offend and bring on law suits if not successfully sourced. This is why Researchers are required to have excellent organisation skills as to avoid such silly mistakes. They often work with Production Designers and the art department (of the animation) to ensure that everything on set is correct, they also tend to work during the pre-production of an animation.

Lightning Assistant 

The role of a lightning assistant requires adjusting positioning of light to suit and match a specific shot, to do this the Lightning assistance is expected to have efficient and excellent technical skills and have a professional knowledge of lightning to be able to operate and adjust to a number of specific positions of lightning, but to also know how to approach certain problems with efficient solutions, such as if the lightning equipment were to not work the assistant must know how to quickly solve this. They must also have a sound knowledge of the health and safety regulations that follow the addition of lightning equipment and those it surrounds. A lightning assistant is expected to have a great attention to every small detail to get the best shot possible (this also requires efficient colour vision)  they are also expected to work for long hours both physically and mentally. They often work with operators and electricians that are part of the animation, and must be involved in the script reading to fully understand what shot is needed for the scene, preparing a lighting plan as a response that includes the positioning, colour and type of light that is used.

Key Animator 

The role of a key animator requires focusing on the basis of the development of the characters that are part of the production, and figuring out both the concepts and content of the characters roles and how they will act to successfully communicate the personality of the character to the viewer. To do this the animator will most likely be working and communicating very closely with the director. A key animator must have very precise observational and timing skills as they often work with stop motion, which also requires not only very high quality sculpting skills, but also patience and efficient working as stop motion animation tends to be a very long process, They are more often working in groups and therefore must be able to clearly communicate with the group to acquire the best result. Key animators often work during the pre-production of an animation.  

Film And Video Editor 

The role of a film and video editor involves editing the content shown to the audience, this also requires deciding weather the content is both appropriate and accurate for the purpose of the specific animation. To do this, individuals specializing in this area are often required to have a sound knowledge and experience in editing software such as adobe after effects and Photoshop , in addition to this they should also be able to manipulate  the sound and add any needed special effects. They are responsible for the scenes that are shown in the animation and the time that every frame takes depending on its importance to gain the most entertaining and clear piece the specific animation can get.

Photographer

The role of the photographer in an animation studio is to take photos that help to both advertise (And sell) the product in its later stage, but also in animation techniques such as stop motion, the photographer is the individual who is in charge of capturing each frame with the precise movement and action. This requires utmost patience and precision as with just the smallest mistake, the animation will have to be done all over again. The individual must be able to effetely solve any visual issues and be skilled in using photography successful to convey certain thoughts and feelings. They must also be able to clearly communicate with the team in order to ensure that they are given all the materials that are needed. In some cases, this role also requires the individual to have experience with image manipulation and editing software as to both erase and add any needed special effects. Most of the work is usually done in a set or a studio.

Storyboard Artist

The role of a storyboard artist is one of the most crucial aspects of the whole animation as it determines the overall direction of the animation. The storyboard artist is in charge of illustrating (visually) the action and purpose of each frame, this includes the setting, the characters movement, and the narrative content of that particular frame. This role requires the individual to have a complete understanding and skill of composing a story, such a being able to clearly layout each scene and have drawing skills that are able to visually communicate clearly and effectively sum up the characters mood, action and overall demeanor.  This also includes having excellent organisation and presentation skills whilst being able to communicate the direction of the story through digital media and editing software. The storyboard artist must also be aware of what is available through the budget, as this helps them plan the overall time and make any technical changes, such as a change of scenery because of cost. They tend to work with the producer, director and the client.