Animation Storytelling & Research
The Hero's Journey
Over the past few weeks I learned about the Hero's Journey, which is a narrative framework that is often used in books and film. It describes a typical storyline that follows a hero throughout their adventures. This narrative starts by introducing the hero in their everyday life, who then embarks on a journey, overcomes challenges, and ultimately returns having changed as a person.
Storywriting
The first assignment was to write parts of a story following the Hero's Journey. I had to send the story I wrote to another student, and a different student would send me their story. The story I wrote can be read below:
De gewone wereld
In de uitgestrekte woestijn van Zandora woont Rashid, een jongen met een liefde voor kamelen. Zijn ouders, Youssef en Samira, runnen een bescheiden bedrijfje dat toeristen kamelenritjes geeft door de woestijn. Rashid’s dagen zijn gevuld met het zorgen voor de kamelen en hun stallen. Dagelijks zorgt hij ervoor dat hun vachten stralen, hun hoeven weer tegen een lange dag vol tochten kunnen, en dat ze ’s avonds weer terugkomen in een schone stal met een welverdiende trog voer. Het zijn lange dagen en de zon brandt genadeloos, maar de kamelen sjokken geduldig voort, hun ogen halfdicht tegen het felle licht.
De woestijn is zijn thuis. De gouden zandduinen, wapperende tenten en het geluid van klapperende hoeven vormen Rashid’s vertrouwde wereld. Hij kent elke kameel bij naam en weet hoe hij ze moet kalmeren als de wind opsteekt en de zandstormen beginnen. Maar soms kijkt hij naar de horizon en hij vraagt zich af wat er verder ligt, voorbij de eindeloze duinen. En zo begint zijn verhaal, in de vertrouwde diepten van de woestijn, waar de kamelen hun schaduwen werpen op het warme zand. 🌵🐪✨
Ontmoeting met de mentor
Diepe zorgen omhullen Rashid's gedachten terwijl hij 's nachts wakker ligt. Rami is spoorloos verdwenen. Hij kan zich de dag dat Rami geboren werd nog goed herinneren, want het was voor het eerst dat hij een geboorte meemaakte. Vanaf die dag heeft hij voor het babykameeltje gezorgd en raakten ze onafscheidelijk. Wetende dat Rami nu niet vredig in zijn stal ligt te slapen, blijft Rashid al woelend piekeren over wat te doen. Hoewel hij nooit ver van zijn kamp is gegaan, voelt de gedachte om alleen de woestijn in te trekken als een onoverkomelijke uitdaging. Zijn ouders waren natuurlijk bezorgd en verboden hem om te vertrekken, bang voor de gevaren die buiten de vertrouwde duinen op de loer konden liggen. Maar kan hij Rami zomaar aan zijn lot overlaten?
Op een dag riep grootvader Rashid naar zijn hut, een plek doorgaans gevuld met de geur van kruiden en verhalen die ouder waren dan de zandduinen zelf. Grootvader, met zijn rimpelige gezicht getekend door de tijd, keek Rashid diep in de ogen en sprak met een wijsheid die alleen verkregen wordt door vele jaren leven in de uitgestrekte woestijn.
"Rashid," begon grootvader met een zachte stem die het ruisen van de wind nabootste, "jij en Rami hebben een band die dieper gaat dan het zichtbare zand. De woestijn verbergt geheimen en kansen, maar ze zal ook haar mysteries onthullen aan degenen die er met een open hart en vastberaden geest naartoe gaan."
Rashid luisterde aandachtig terwijl grootvader verderging. "Jij bent meer dan alleen de hoeder van kamelen, Rashid. De woestijn heeft plannen voor jou, en Rami is de sleutel tot de volgende fase van jouw reis. Laat angst je niet weerhouden. Ga de horizon achterna, ontdek wat de duinen verbergen, en vind Rami. Je draagt de erfenis van onze mensen met je mee."
Grootvader reikte Rashid een oud kompas aan, versierd met symbolen die de oude wegen van de woestijn markeerden. "Dit zal je leiden, mijn jongen. De woestijn spreekt tot degenen die durven te luisteren."
Met een mengeling van angst en vastberadenheid in zijn hart nam Rashid het kompas aan. Het was tijd om de veilige schaduwen van de vertrouwde duinen te verlaten en de onbekende horizon tegemoet te treden, met grootvaders wijsheid als zijn kompas in de eindeloze zee van gouden zandduinen. 🌄🐪✨
Storyboard
I was randomly assigned a storyline by another student, and I was to create three storyboard images that show key moments from the narrative. The story I received was about a friendly goblin trying to fit in with the rest of the village, but who faces rejection from the human townsfolk. The story I was assigned can be read below:
“Once upon a time there was a blue goblin who lived in a small town (the architecture is kind of just typical fantasy medieval town) Despite his very friendly and helpful attitude the humans didn’t like him too much, they made fun of him behind his back. He wished to just be equals with the humans, but for the time being he is just going to try to make the best of it.”
Illustration
For this assignment I had to draw one frame of a story written by another student. The story I illustrated is about a girl who lives in a treehouse with her pet cat in the aftermath of the apocalypse. In this scene she accidentally discovers that animals, including her pet cat, have gained the ability to speak. The story I was assigned can be read below:
"ORDINARY WORLD
Hazel loved the end of the world. She knew it was supposed to be a bad thing, but she couldn't help feeling happy. The world was so much quieter and calmer now. No more cars, no more crowds, no more noise. Just nature and peace.
She had always liked nature. She liked the trees, the flowers, the animals. She liked to walk in the woods and collect mushrooms and berries. She liked to watch the birds and the squirrels. She liked to breathe the fresh air and feel the sun on her skin.
She had built a treehouse in a big oak tree near a stream. It was cozy and comfortable, with a bed, a table, a stove, a shelf full of books, and, of course a working bathroom she was very proud of that one. She had found most of the things she needed in the abandoned houses and shops. She had also made some things herself, like a blanket, a basket, and a fishing rod.
She had a cat, too. His name was Milo, and he was her best friend. He had followed her home one day, and they had been inseparable ever since. He was a fluffy orange tabby, with green eyes and a pink nose. He liked to sleep on her lap, or on the blanket in the sun. He liked to chase butterflies and mice.
Dont get her wrong she misses her family very much, its been so long since she saw them. They got separated at the beginning of what got dubbed “the end” and she has no idea to which shelter they went. Most of them are gone now anyways, not much sense in searching when she hasn’t seen another human being for over almost 2 years.
hazel and Milo had a simple and happy life. They woke up with the sunrise, and went to sleep with the stars. They ate what they found or caught, and drank from the stream. She read books while he laid on her lap, snoring in the stream of sunlight coming from the little window. She was happy, if a bit lonely.
THE CALL
From one morning to another, hazel started noticing weird things, or rather weird sounds. Little murmurs and high pitched sounds around the corner, what sounded like a muffled conversation outside the little bathroom window. One time she peeked outside to see if there was something there, but the only thing she saw was the backs of a lizard and a mouse, skittering away.
They were probably startled by the noise.
REFUSAL OF THE CALL
Hazel thought she must be hearing things, it has been a long time since she spoke to a person after all. She’s always talked to milo about these things, even if she knows he doesn’t understand. But its nice to talk to him, therapeutic even. Hazel told him about the sounds she has been hearing and about the mice outside the bathroom. She told him that he should pick up the slack and be a proper mouse hunter, hazel was not waiting for an infestation.
Even if the noises only got more frequent, she figured it wasn’t that bad, and she could live with some little voices in her head.
But one afternoon after she got back from fishing, she heard it. Clear as day. Those were voices. These were not the murmurs she’s used to hearing. No this was a conversation. Carefully setting down her bucket with the two fish she caught, she sneaked over to the window. As she was pressed to the wall under her windowsill and the vines tickled her back, hazel strained to try and hear what was being said in her little treehouse. She saw a small lizard, scurrying into her home, right through a little crack in her wall. So that’s where the bastards got in! Suddenly she got knocked out of thought by the sound of a high pitched voice saying “she’s here! She heard you!”.
MEETING THE MENTOR
The fucking cat starts TALKING
The ANIMALS CAN TAKL NOW BECAUSE THE APOCOLAPSE HAPENSD
The voices were the fucking mice and lizards"
Background animation
The setting outline I was assigned for this exercise described a dimly lit library during a stormy night, with flickering lights that hang from the ceiling casting a faint glow on the dusty bookshelves. The footprints leading up to one of the bookcases hint at a solitary reader who has still found their way into the old library. The outline I was assigned can be read below:
"The story takes place in a library. It takes place at midnight.
It is stormy outside, shaking the flickering lights left and right. The library itself is holding together pretty well for the state it is in. Wind can get in through the windows, the newest thing in the building, ironically. They’re always slightly open. Occasionally, a pipe creaks.
The library floor is coated in a purple carpet, clearly very old. The building is structured of wood mainly. It’s a wonder it’s still standing after all these years, especially because nobody is looking after it nowadays.
The area is pretty big, big enough for a person to hide somewhere unseen. The library is completely dark, except for the few lights that are almost on, hanging from the ceiling, casting a faint, golden light onto the dust-ridden bookshelves. They’re flickering, they could run out of power any moment now. There are spiderwebs in the corners of the walls, almost like nobody comes in the library at all anymore. A single tray of footsteps leads to the very last bookcase, holding books of the fantasy genre. The only genre that people, or rather, one person, reads nowadays."
Thursday research
For this research I asked myself the question what I still wanted to learn about animation, and what European companies specialise in this.
• Small, cute, or atmospheric animations
This is mainly done by independent artists on social media, and I don't think it's something you can really learn at a company. I believe this is mostly learned by doing and experimenting a lot. I want to learn this because it seems fun to me and fits my creative identity.
• Emotion and body language
Companies that make animated films or series excel at this. Among others, I found Nørlum (Denmark), Cartoon Saloon (Ireland), and Blue Zoo Animation Studio (UK). I enjoy incorporating emotion into my work and as a dancer I find body language and movement fascinating, so I want to improve my animations in this area.
• Explainer animations, AfterEffects, and the technique behind corporate animations
There is a high demand for this, and many animation companies specialize in it. I want to learn this to better market myself and it just seems useful to be able to do. Some companies that do this include Barabas and Creative Beards.
• Animation with a painterly art style
As an artist, I enjoy working in a painterly style, and it would be really cool to be able to do this in animation as well. One company I found that does this is Buck.
With this project I decided to combine some of my animation goals. I wanted to make an animation with a painterly art style and I wanted show emotion in my animation as well. I came up with the idea of a sleeping cat who is disturbed by an annoying fly. I tried to show the irritation building up that ultimately leads to the cat fully waking up and lashing out at the fly.
I started with a written outline and a very simple sketched storyboard on paper
Scene 1 – Introduction
Introducing a peaceful setting, the cat comfortably curled up in a sunny spot in in a room.
Scene 2 – Disturbance
The fly enters the room, buzzing around and disrupting the peace.
Scene 3 – Cat’s initial reaction
A close-up of the cat’s face shows an irritated expression as it notices the fly buzz past. Nevertheless, the cat tries to ignore the fly in hopes it will just go away.
Scene 4 – Building irritation
The fly keeps buzzing around the cat, and the cat noticeably starts to get more annoyed. Its irritated expression intensifies, its ear starts twitching, and it opens an eye, unable to remain asleep.
Scene 5 – Too close for comfort
The fly gets too close to the cat, and the cat fully wakes up, startled and disgusted.
Scene 6 – Resolution
The cat lashes out at the fly, and the fly is chased away.
Next I used Blender Greasepencil to sketch out all the frames for a moving storyboard. The timing was a bit off in the moving storyboard, but I decided that was something I could fix while working on the painted frames.
I exported the frames and used these as a base for the painted frames that I did in Photoshop. I then put the animation together in Premiere Pro and added some sound effects.
Reflection
I keep learning over and over throughout every assignment how important it is to have a good planning when it comes to animation. Animation is a lot of work, and for frame-by-frame 2D animations there are no real shortcuts. That’s why sticking to a good planning and having an idea of what needs to be done and how long everything will take would have been very beneficial. I didn’t make such a planning for this assignment, and as a result it was a lot of work at the end to get everything done. For the final animation in the next period, I will take this lesson to heart and plan out my process from start to finish.
Having said that, even with 2D frame-by-frame animations there are ways to work smart. With efficient use of layers, I did manage to reduce a lot of work, and I only had to redraw the parts that were actually moving, instead of having to redraw the whole cat.
I do feel that I still need more practice to get used to this process. Right now I’m still spending a lot of time thinking about what I need to do next, what steps to take, and what would be the most efficient. A solid planning would probably have helped with that as well.
As for the animation itself, I would have liked to do more with body language. The focus was mostly on the cat’s facial expression, but I didn’t do anything with body language until the very end of the animation. Given more time, I would have liked to make the cat’s body movements a bit more natural, perhaps by adding breathing movements.
I think my process could also be more streamlined, and I could have maybe skipped some of the steps I did. For the moving storyboard, I think I went into too much detail. I didn’t have to go in frame-by-frame, it would have also sufficed to only do keyframes. I will keep this in mind for the final animation assignment in the next period.
Trend research
The assignment was to do research on my own animation style and to collect references. Where is this or a similar style being used? What new techniques are being used and what software is being used?
How would I describe my style?
Looking at my animations from the past few months, my animation style can be described as 2D animation with a painterly style, usually but not always with line art. It appears somewhat sketchy and messy here and there, and I would also characterise my style as cute and expressive.
Where is this style being used?
The cute and expressive aspects of my animation style are frequently seen in cartoons or animated films suitable for all ages.
The painterly aspect of my work can also be found in the work of companies like Nørlum from Denmark, who produce animations with a cartoony yet painterly style.
Dutch animator Hisko Hulsing also uses a painterly animation style, as seen in 'A Dream of a Thousand Cats' or 'Junkyard', but his style tends to be more realistic and serious, whereas mine is more playful.
Dutch animator Hisko Hulsing also uses a painterly animation style, as seen in 'A Dream of a Thousand Cats' or 'Junkyard', but his style tends to be more realistic and serious, whereas mine is more playful.
From left to right: A Dream of a Thousand Cats (Hisko Hulsing), Detroit Zoo (Nørlum), Raven Girl (Nørlum), Spirit Seeker (Nørlum)
What techniques and software are being used?
Nørlum uses ToonBoom Harmony and 2D puppet animation.
ToonBoom Harmony is professional animation software primarily used for 2D animation, but it is also possible to incorporate certain 3D elements, for instance to create parallax effects. It lends itself well for cutout animation and character rigs, and the drawing tools that are based on vectors make it easy to scale and adjust visual elements afterwards.
2D puppet animation is a technique where characters, backgrounds, and props are created as separate components. This allows animators to avoid redrawing everything for each frame, and they can instead move around pre-made elements to create frames. This method saves time by reusing assets and at the same time it ensures animation consistency since the same characters and props are being used throughout.
What are the current trends in animation?
I found a lot of articles outlining lists of trends in 2D animation at the moment.
Global Trends in 2D Animation (medium.com)
1. AI-generated Animation
2. Hybrid Animation Techniques (blending 2D and 3D elements)
3. Nostalgia-driven content
4. Increased focus on inclusivity and diversity
5. Interactive and web-based animation
https://medium.com/@noahtaylorr/top-trends-in-2d-animation-to-watch-in-2024-uk-aab47c50cd14
1. AI-generated Animation
2. Hybrid Animation Techniques (blending 2D and 3D elements)
3. Nostalgia-driven content
4. Increased focus on inclusivity and diversity
5. Interactive and web-based animation
https://medium.com/@noahtaylorr/top-trends-in-2d-animation-to-watch-in-2024-uk-aab47c50cd14
Top 10 Animation Trends of 2024 (laivideo.com)
1. AI
2. Uncanny valley
3. Reel breakdowns (showing process in a reel)
4. Media literacy
5. Casual surrealism
6. Micro-interactions (small animations when interacting with the web/an app)
7. Video collage
8. Material illusions
9. Cinema-splosions
10. Higher frame rate
1. AI
2. Uncanny valley
3. Reel breakdowns (showing process in a reel)
4. Media literacy
5. Casual surrealism
6. Micro-interactions (small animations when interacting with the web/an app)
7. Video collage
8. Material illusions
9. Cinema-splosions
10. Higher frame rate
https://www.laivideo.com/blog/top-animation-trends
Top Trends in the Animation Industry (goodfirms.co)
- Usage of hybrid animation
- Adoption of vertical videos
- Growth of VR animation
- Incorporation of depth sensors
- 2D animation videos for marketing
- Enhanced use of kinetic typography
- Rise of whiteboard animation
https://www.goodfirms.co/resources/animation-industry-past-present-trends-future-predictions
- Usage of hybrid animation
- Adoption of vertical videos
- Growth of VR animation
- Incorporation of depth sensors
- 2D animation videos for marketing
- Enhanced use of kinetic typography
- Rise of whiteboard animation
https://www.goodfirms.co/resources/animation-industry-past-present-trends-future-predictions
Inspiring 2D Animation Graphics: Exploring Trends and Innovations in the Animation Industry
1. Retro revival
2. Experimental animation
3. Interactive animation
4. Motion graphics integration
5. Augmented reality & virtual reality experiences
6. Digital puppetry
7. Environmental and Social awareness
https://www.linkedin.com/pulse/inspiring-2d-animation-graphics-exploring-trends-innovations-industry-g3wef/
1. Retro revival
2. Experimental animation
3. Interactive animation
4. Motion graphics integration
5. Augmented reality & virtual reality experiences
6. Digital puppetry
7. Environmental and Social awareness
https://www.linkedin.com/pulse/inspiring-2d-animation-graphics-exploring-trends-innovations-industry-g3wef/
My analysis
Having looked at four different articles about trends in animation, trends that seem to pop up in multiple of these articles are:
Artificial Intelligence
Artificial Intelligence (AI) is transforming 2D animation by automating creation processes, making them faster and more cost-effective. AI tools are able to generate animation from scripts or voice inputs, allowing creators to focus on storytelling. This makes animation more accessible to more people, but at the same time there is a concern about AI devaluing professional work. Despite that, AI is a dominant trend in the media world, breaking through workflow ceilings and continuing to change the media landscape we know today.
Hybrid Animation
Hybrid animation combines 2D and 3D techniques to create a more immersive experience, allowing artists to tell complex stories with realistic effects. It offers the traditional charm of 2D animation, but it also allows animators to utilise the depth and dynamics of 3D, which results in a visually rich experience that appeals to a wide audience.
Nostalgia-driven content
Modern animation is embracing nostalgia by combining retro aesthetics with contemporary storytelling. Classic animations and styles are being revisited and rebooted, making use of the emotional connection that audiences already have with the animation. At the same time newer modern versions of stories also captivate newer generations, while retaining the charm of the original story.
Inclusivity, diversity, social awareness
Animators are using 2D animation to raise awareness about environmental, social, and mental health issues, creating animations that educate and inspire change. This trend aligns with a broader effort in animation studios worldwide to show more inclusive and diverse characters and storylines, reflecting a societal shift towards representation and equity.
Interactive web-based animation
Interactive web-based animations are becoming more prevalent, allowing people to interact with content in various ways. These are often in the form of micro-interactions that give animated feedback to the user. From elaborate 'Like' button animations with sparkles and hearts to interactive email and folder creation, these small interactions make mundane tasks just a little bit more intriguing and fun.
Interactive web-based animations are becoming more prevalent, allowing people to interact with content in various ways. These are often in the form of micro-interactions that give animated feedback to the user. From elaborate 'Like' button animations with sparkles and hearts to interactive email and folder creation, these small interactions make mundane tasks just a little bit more intriguing and fun.
AR/VR animation
AR and VR are opening up new possibilities for 2D animation, allowing artists to design captivating animations that come to life in augmented and virtual environments. This provides unique interactive and immersive experiences, and it redefines how audiences engage with animated content.
AR and VR are opening up new possibilities for 2D animation, allowing artists to design captivating animations that come to life in augmented and virtual environments. This provides unique interactive and immersive experiences, and it redefines how audiences engage with animated content.
