Architectural Animation Through Miyazaki’s Work ARC 650 Research by Design LO4- Dissertation
Haibin Fu 1307105 Arts University Bournemouth
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Image list Fig. 1. Hayao Miyazaki. (2012). [Online image]. Available from: http://d.hiphotos.baidu.com/baike/c0%3Dbaike80%2C5%2C5%2C80%2C26/sign=7a a0c3bf82025aafc73f76999a84c001/14ce36d3d539b60091408ac8e950352ac75cb7c 7.jpg [accessed 2 August 2014] Fig. 2. Nausicaa of the Valley of the Wind. Miyazaki, H. (2007) The art of Nausicaä of the Valley of the Wind : watercolor impressions. San Francisco, CA: VIZ Media. p. 45 Fig. 3. Upminster Windmill (2012). [Online image]. Available from: http://www.londonarchitectureblog.com/2013/03/daily-focus-18-upminsterwindmill.html [accessed 4 September 2014] Fig. 4. Sub-continental. Miyazaki, H. (2007) The art of Nausicaä of the Valley of the Wind : watercolor impressions. San Francisco, CA: VIZ Media. p. 67 Fig. 5. Bath House. Miyazaki, H. (2002) The art of Miyazaki's Spirited Away. San francisco: Viz Graphic Novels. p. 30 Fig. 6. Japanese Inn. (2012). [Online image]. Available from: https://www.flickr.com/photos/gnosis/6806218/in/set-149458/ [accessed 4 September 2014] Fig. 7. Mysterious Town. (2012). Miyazaki, H. (2002) The art of Miyazaki's Spirited Away. San francisco: Viz Graphic Novels. p. 36 Fig. 8. CG Works. Miyazaki, H. (2005) The art of Howl's moving castle. San Francisco: Viz. p.76 Fig. 9 Living Room in Howl’s Castel. Miyazaki, H. (2005) The art of Howl's moving castle. San Francisco: Viz. p. 88 Fig. 10. Shadow Light Animation (2008). [Online image]. Available from: http://djcadchina.files.wordpress.com/2012/02/youarehere__1137916200_img_4772. jpg [accessed 4 September 2014] Fig. 11. Parallax Scrolling (2012). [Online image]. Available from: http://upload.wikimedia.org/wikipedia/commons/8/82/TWW_parallax_scrolling_sampl e_1.jpg [accessed 4 September 2014] Fig. 12. Architectural Animation (2012). Fear, B. (2001) Architecture and animation. New York; Chichester: Wiley. (Architectural design.) p. 5
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Architectural Animation Through Miyazaki’s Work It is an adventure story without any weapon and fighting with super power. It does not describe the fighting between justice and evil, but teaches people how to survive in the society in which justice and evil coexist. Learning human love, using human intelligence, Qian ultimately return human's society. That is not because she defeats the evil things thoroughly, but because she is successful to exploit her own vitality which is concealed in her body. The Japanese society is becoming more and more ambiguous and paradoxical. So, when I am making my film, my consideration is telling the reasons and strengths of the life by using characters in my animation world. (Miyazaki, 2002) Animation is like a language that everyone in the world can understand through a continuous motion and shape change illusion. Animators often use animation to reflect the real world. Animation can be configuration and abstraction, specific continuity and specific non–continuity, unity of style and multiple styles. However, the key concept is the story that allows people to understand what kind of life they want through storytelling. Hayao Miyazaki was born in 1941 is a Japanese film director, animator, manga artist, illustrator, producer, and screenwriter. Through a career that has spanned six decades, Miyazaki has attained international acclaim as a masterful storyteller and as a maker of anime feature films, along with Isao Takahata, co-founded Studio Ghibli, a film and animation studio. The success of Miyazaki's films has invited comparisons with American animator Walt Disney, British animator Nick Park, and American director Steven Spielberg. He is considered one of the most popular and influential animators in cinema.
Figure 1
(Feldman, 1994) Hayao Miyazaki has many theories not only about animation, but also relevant to human spiritual lives. For example, Miyazaki said ‘animators can only draw from their own experiences of pain and shock and emotions.’ In some circumstance, animation is like a dream, reflect what happened during the day, and dream cannot create any strange creatures without any influence. Studio Ghibli is founded by Hayao Miyazaki
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and Isao Takahata. There are many good animation made by Studio Ghibli, such as Nausicaa of the Valley of the Wind (1984), Princess Mononoke (1994), Spirit Away (2001) and Howl’s Moving Castle (2001) which was nominated for the Academy Award for Best Animated Feature at the 78th Academy Awards in 2006. This essay mainly discusses the theory and philosophy behind animation and it will critically analyse the animation made by Studio Ghibli, especially Hayao Miyazaki’s ideas. Besides, specifically in architectural scenes within animation and precedent analysis which includes Nausicaa of the Valley of the Wind, Spirit Away and Howl’s Moving Castle. Moreover, some research not only about the industry of architectural animation but also about techniques like traditional shadow light animation, stop motion, 2D, 3D and other methods will also be analysed as well as some modern and contemporary animation techniques in films. In addition, the spread of the animation such as uploads on the internet, on DVDs and the future of the animation will be analysed in the last part.
Nausicaa of the Valley of the Wind Animation gives a broad way to allow people to jump out of 3D world and enjoy 2D world. In Hayao Miyazaki’s animation, the balance between humans and nature is always shown. In his animation it is rare to see modern cities, instead, stories often takes place in villages, for example in Nausicaa of the valley of the wind. In this animation, Hayao Miyazaki put a great deal of effort in the scenes of environment to create a warm atmosphere, especially about the village. Nausicaa of the Valley of the Wind is an early film of Studio Ghibli which is a pre-Ghibli work released in 1984. In the production of both the manga and the film, Miyazaki drew on multiple sources of inspiration. Figure 2 is a frame sketch of windmill. Hayao Miyazaki states:
Figure 2
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I want to use this kind of Venetian blind windmill in the movie but was unable to depict it in any kind of detail. So I was looking for a chance to draw one. These type of windmill sails actually do exist. When the speed of the windmill passes a certain point, the blinds open letting the wind pass through-likewise, when the wind is too strong, this prevents the windmill from turning too fast and breaking. (Miyazaki, 2007: 44) As can be seen from this watercolour painting, the princess is sitting on the top of a large timber windmill. Some details can be seen, not only the working theory of the fan and blind, but also the mortise and tenon joint structure. Apart from character, from architecture point of view, whatever the shape of the blind or the connection between each timber both of them are well organised and look real. On the other hand, in the real world, people would not sit on the air fan unless they can fly. So this became the power of the animation that allows people to enjoy a kind of peace and relaxed moment which cannot happen in the real world. The windmill plays a very important role in this animation. Windmills make energy and bring water to provide resources for villagers, they also let audience believe this is the Valley of the Wind though they cannot see or touch the wind. Because there are many windmills, the scene suddenly becomes vivid due to the spins of the blade even from a distance. What is more, windmill is represent for clear and sustainable energy with zero carbon emission.
Figure 3 Page | 4
Compared with animated windmill, Upminster Windmill which is in the London Borough of Havering was built by James Nokes, a local farmer in 1803. The mill was originally part of a small complex which included cottages, storage for grain and flour, a bakery, coal and steam houses, animal housing, a granary and a Mill House. The windmill was in use until 1910 and produced flour for the local community and then continued to be used in a reduced capacity until 1934. (Figure 3) Upminster Windmill has smaller and shorter blinds than windmills in animation, in order to reduce the weight of windmill, two large blades are just simply combined together rather than use other fixtures. In brief, these two windmills are quite similar but the animation picture looks more beautiful and romantic, through a 2D drawing to present a beautiful architecture world. Therefore, animation is a kind of art, art comes from life and goes beyond it. Moreover, there are different kinds of windmills shown in the animation, gives a rich meaning of the Valley of the Wind. The Valley of the Wind is not a place which was created in isolation. Hayao’s same name manga (figure 4) shows the map of the world. The name of this map is subcontinent. It looks like the map of Asia. People living in a place which is between Sea of Corruption and Ocean of Salt, this part is similar to southwest China map. To make the plot more reasonable, some extra work has been done. Mountains and rivers depicted by Miyazaki, even plain and hills have their own names. Thus, the location of the Valley of the Wind is unique, also how they use fresh air to let windmills work, and everything has a time and space to set up within a fantasy world. Miyazaki states below: To be born means being compelled to choose an era, a place, a life. To exist here, now, means to lose the possibility of being countless other potential selves. Yet once being born there is no turning back. And I think that's exactly why the fantasy worlds of cartoon movies so strongly represent our hopes and yearnings. They illustrate a world of lost possibilities for us. (Miyazaki, 2007: 66)
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Figure 4
In this specific era and place, Miyazaki has to make every place and creature reasonable. In the beginning there was only an idea, and then with time flow several concept sketches were drawn. Moreover, the map of the imagined world became much clearer, strange creatures in this land spread out by the author’s fantastic mind, though these strange creatures fighters like living beings, have not been shown in film. In the way, this entire imagination is quite like architecture, most architecture has a story to tell. Architects have to choose their site first. Then, based on this site and relevant environment, create something interesting. During the development, the shape and structure might be changed several times. But following by an initial idea, the complete project will become distinct just like animation.
Spirited Away The influence of Nausicca of the Valley of the Wind on future productions is profound: the communities of Princess Mononoke, the environmental respect of My Neighbour Totoro, the powerful` gods of Spirited Away. (Odell, 2009: 30) 17 years later after Nausicca the Valley of the Wind, Spirited Away was a huge success, it became a masterpiece of cinema and remains Japan’s highest-grossing film. However, behind the fame is hundreds of Studio Ghibli staffs day and night hard work. Figure 5 shows the Miyazaki’s drawing about the concept of Bath House. Cross-section of Bath House and interior depict the spatial relationship between the Page | 6
bathing quarters and the entrance has been shown in his watercolour sketches. This is one of the reasons why this animation became so successful. In architecture aspect, though the exact space may not that accurate like AutoCAD project, or separate logically. For an animator, enough work has been done. Because these kinds of sketches and plan would not be shown on screen, it is just for the animators themselves to know the position in their mind, or even some animations have no accurate plan for architecture. However, people may not realise what kind of work and how much work has been done beyond animation. For example, the frame of Bath House only takes two seconds in Spirited Away. For 2 seconds, animators need to draw many drafts to test and make sure the Bath House looks fantastic and reasonable. Animators have to try to scale windows and doors as correct size, as well as the height of trees and flag, and then, they need to decide what kind of colour combination is suitable and background to finish this frame.
Figure 5
What is more, the street is well organised with different types of shops. Animators have to not only make sure for the space, but also have to draw different time during the day and night. These work needs to be done whether final animation going to use it or not. To the audience, the most important part is the first impression, so first frame has to be pleased, and then animators need to keep every frame looks as
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good as first one, though they may not realize how much effort the author has put in this animation. Again, like the windmill in Nausicca, after the huge success of Spirited Away, during an interview Miyazaki confirmed the Bath House idea came from some Japanese architecture. For example, a traditional Japanese inn in Shima onsen, one of the oldest hotels in the world. It has been operated by the same family for 46 generations. (Figure 6)
Figure 6
This reminded me of my trip a few years ago to Shima onsen, in Gunma prefecture. It was a long, cold bus ride from Tokyo to get there, but it might have been the greatest place I’ve ever been. The ryokan we stayed in may not have been 1,300 years old, but it was very old. In fact, the main building was the inspiration for the enormous bath house in Spirited Away. (Hayao, 2009) Bath House is a very grandiose and unique architecture in the Spirit World. Built in a traditional Japanese bathhouse style, its color scheme encompasses shades of red, green and semi-dark tones of brown. A waterfall is also present at its bridge crossing. Not only Bath House, but also the mysterious town of 'Spirited Away' actually exists, at Tokyo area museum (Figure 7). It is hard to create something without any inspiration. As can be seen, one of the advantages of the animation is to create a higher form of life. The house can be more beautiful and even amazing without any constraint of real world. No need to be concerned about engineering and gravity, sometimes architecture is quite like a game, it can be painted with any kind of Page | 8
amusing pattern by designer. The designer can also easily change the design idea if the pattern looks do not match the architecture style. Relationship between architecture and animation is coexisting, with each other’s help, architecture could be entertainment and animation could have an architecture theory to rely on.
Figure 7
Sometimes, people believe architecture is real and solid, but animation is like sounds and music, it needs to rely on DVDs, hard drives, papers or other solid material to survive, and animation comes from real life and imagine. Animation is like a dream, the difference between animation and dream is animation can be spread by audio and sound. The same as architecture, at the beginning of human age, there are no human architecture but trees and stones. Human use their own imagination and power to create architecture on the ground by their wisdom. In the same way, animation could be as complex as architecture. Both architecture and animation are created by man, though architecture is solid and it can hardly move, animation looks lightweight. Animation can spread to every corner of the world by internet. Moreover, animation also has hard copy as drawings on paper or board.
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Some of the more elaborate shots in Spirited Away do use CGI, but normally this is restricted to putting hand-painted textures on simple geometric shapes to allow for 3-D tracking and also a number of shots that required steam and smoke effects. But they also used traditional techniques. (Odell, 2009: 36) Miyazaki himself states: ‘Do everything by hand, even when using the computer.’ There are not many shot using computer technique. For Miyazaki, hand drawing is always more important than computer drawing, because he was born at the age making animation without computer. On the other hand, computer saving lots of time and making things easier which is a very big advantage. So the key is to control the balance of hand drawing and computer.
Howl’s Moving Castle In Miyazaki recently work before he retired, Howl’s moving castle also use CG. (Figure8) As soon as it became clear the castle’s movements would be created with CG, I recalled the rubber multi-plane we used for the Ohmu in Nausicaa of the Valley of the Wind. I had in mind a perfected version of the rubber multi-plane for this film. (Miyazaki, 2005: 77)
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As can be seen, use computer to make animation can save much time than drawing by hand. With the technology development and help, the Howl’s Moving Castle of the movement becomes much more dynamic. On the other hand, all the 3D computer characters are based on 2D drawings. The castle would not exist without original hand drawings. At the first glance of Moving Castle, audience may attracted by this complex moving monster, after carefully look the details of it. Most people will marvel at the idea and hand drawing of Howl’s Moving Castle.
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Figure 8
One of the absolute key requirements to success as an animator, whether in traditional 2D or computer animation, is good drawing technique. Despite some novice’s claims that drawing skill is not important because of computer innovation, our experience and experience of all major and minor studios involved in animation is that drawing is crucial. (Hedgpeth, 2004: 9) Although there are still many wonderful animations without any CG works inside, it will be much helpful and looks more real if CG could support to make steam, water, light and other environment like that. It is a trend that more and more 3D animations will be made. On the other hand, Miyazaki is an animator prefers to use both 2D and 3D. I think 2D animation disappeared from Disney because they made so many uninteresting films. They became very conservative in the way they created them. It's too bad. I thought 2D and 3D could coexist happily. (Miyazaki, 2009: 56)
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In a sense, 2D animation and 3D animation are like history and modern. On one side, history should be remembered. Without history, modern seems too weak. On the other side, without modern technology, history is stale and lifeless. Thus, as long as good control the balance, 2D and 3D could coexist happily.
Figure 9
Unlike windmill and Bath House, the castle which has legs never happened in real life, though it may come true in the future. Every great film begin with a simple idea, like the cell grows and multiplies and ultimately becomes a very complex and amazing creature, Miyazaki start with an interesting thought that castle can move by legs, then with idea spread and other people help, funny things become serious and solid. On one hand, the success of Howl’s Moving Castle owe to castle accord with the practical situation, rooms arrange reasonable in castle, like the cluttered sink and cupboard. Even design for the cluttered table top before and after Sophie cleans it up. On the other hand, all these architectural details are served for plot.
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Storytelling Most of Studio Ghibli’s works are quite successful, the reason why people have a deep impression of these films is the unique storytelling. The importance of film is without doubt. If you're sitting in your minivan, playing your computer animated films for your children in the back seat, is it the animation that's entertaining you as you drive and listen? No, it's the storytelling. That's why we put so much importance on story. No amount of great animation will save a bad story. (Lasseter, nd)
Without good story, the animation is just beautiful moving pictures. No matter Nausicaa of the Valley of the Wind or Spirited Away, all Miyazaki’s animations have a good storytelling. Even Miyazaki himself agrees the storytelling is a crucial part of animation just like the spirit of human being. He states: I do believe in the power of story. I believe that stories have an important role to play in the formation of human beings, that they can stimulate, amaze and inspire their listeners. (Miyazaki, 2009) Narrative is not only crucial for animation, but also for architecture. Leading by these narratives, buildings have their own external appearance and functions. Windmills and Bath House are created to serve Nausicaa of the Valley of the Wind and Spirited Away. Apart from Miyazaki’s animation. The world earliest animation is simply some naive drawings on a goblet, people have to use their imagination to make it move in their mind. This shows the possibility of the animation and it spread the most important idea and accurate information to the viewers to let them know what is author what to say at once and this is the key feature of any animation. People with different languages, even a young child can immediatelly know the story with several continuous drawings. Most Miyazaki’s work tells a simply story, there is not considerable dialogues. every audience can guess the story from character emotion and environment.
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Architectural Animation Another key feature and reason of Miyazaki’s films success is the architectural background, the imaginary architecture within the animation. Such as the windmill in Nausicca of the Valley of the Wind, the bath house and the mysterious town of Spirited Away, the moving castles in Howl’s Moving Castle. Moreover, they could have a same name, architectural animation. Specifically, in architectural animation history; it is more about the age of spaces and buildings without computer. Architecture is a subject about space, light and shadow. An early animation form is shadow light animation. For example Chinese shadow theatre figures in mainland China. It is a kind of typical traditional shadow light animation, an ancient form of storytelling and entertainment. (Figure 10) During the Han Dynasty 206 BC-220 AD, shadow puppetry has been made because of the emperor lover died from an illness, because of miss her too much, his officer using different shape of leather pieces to rebuild her. Then using an oil lamp to make her shadow move and bringing her back to life. By many years of development and spread, today, puppets made of leather and moved on sticks are used to tell dramatic versions of traditional fairy tales and myths accompanied by music and sound. It is also very popular in Southeast Asia, especially in Indonesia, Malaysia, Thailand and Cambodia. (Ewart, 1998: 25)
Figure 10 Page | 14
This is the early form of the animation, due to there is no computer at that age, people have to use their own way to express the information. Even today some computer animators try to use computer to make shadow light animation. The success of shadow light animation is due to it is dedicated handmade character, interesting and mystery stories, also the atmosphere. It can be either simple or hard to make. Although the tools that it need is just candles, cloth and paper cut, the complex of animation is depend on story, characters, backgrounds and details. Undeniably, computer is one of the most powerful and efficient tools to make animation today. Animation became so easy to make because of computer technique develop, even only one people use couple of hours can achieve hundreds of animators in the past. However, the key feature of animation is not the techniques, the idea and thoughts became leading position. Some successful examples like Disney still cannot be replaced by others products, though the age of character like Mickey Mouse or Bambi are already past, the memories of everyone has been saved forever. Animation without computer about spaces and building is always made by real models shot or 2D drawings separate into different layers, use different size, colour darkness and speed of movement to show spaces. This technique has been frequently used in early video game graphics as well. Figure 10 is an example of
Figure 11
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Parallax scrolling. There are four main methods of Parallax scrolling has 4 methods which are the layer method, the sprite method, the repeating pattern/animation method and the raster method. But the most common and important method is the first one. In some circumstance, it also called as 2.5D animation. This is a very clever and simple way to let animation become more vividly, though not looks very real. Studio Ghibli’s works often use this way to show space and speed. Nevertheless, animation is a way to present a feel, a story and an atmosphere to audience, it does not need to be that accurate. In architectural animation, although sometimes under certain circumstance need to show the details, the exactly measure and distance. Most of time, in a sense, the feeling of space is more important than anything else. What is more, architecture is always the best thing in the animation to show the space, letting people sense space, feel a 3D world in the 2D animation. Thus, architectural animation is in a quite important position. (Figure 12) An Architectural Animation can be defined as it is a short architectural movie created on a computer. A computer-generated building is created along with landscaping and sometimes moving people and vehicles. Unlike an architectural rendering, which is a single image from a single point of view, an architectural animation is a series of hundreds or even thousands of still images. When these images are assembled and played back they produce a movie effect much like a real movie camera except all images are artificially created by computer. It is possible to add a computer-created environment around the building to enhance reality and to better convey its relationship to the surrounding area; this can all be done before the project is built giving designers and stakeholders a realistic view of the completed project. Architectural renderings are often used along with architectural animation. (Kelvin, 2009: 21)
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This definition only gives a narrow meaning to architectural animation. Architectural animation is only just a rendering animation. The sound can tell the space and distance from reverberate. Architecture is a subject that shows space. Moreover, there are other factors such as the site, strategy, lighting, interaction and materials which have a big connection with architecture.
Figure 12
The relationship between architecture and animation is ripe for scrutiny. Over the last decade, animation has emerged in architectural practice as a sophisticated design toy. Initially, at least, animatory techniques were able to impress almost on the strength of their novelty alone. This is true of their use in filmic walkthroughs, as popular presentational gimmicks, and in the adoption in the creative process where they have been responsible for alluring, futuristic images, gyrating through space. In this issue of Architectural Design, animation’s place in architecture comes of age. The blind infatuation of the early years is at a close. We are entering a challenging new era, as the relationship is being stretched and tested in every way. (Fear, B. 2001: 5) Discuss about architectural animation, the first thing that people can remind it architectural walk through animation. Some people believe it is an amazing way to show the space and let people can real experiment the space that even not existing. On the other hand, some people think it is boring with no plot and no characters, just a space showing animation with background music and sounds. Page | 17
Architectural animation is a kind of modern type of animation often created by 3D computer software or less commonly by stop motion sketches and models. In a way, the architectural animation is an auxiliary means for architects and an extra material for the person who need to know the spaces and building.
Conclusion Through Miyazaki’s work, as can be seen, architectural animation has a crucial position. Without windmills, Nausicaa of the Valley of the Wind cannot tell a beautiful story; without Bath House, Spirited Away cannot as mysterious as before; without castle in Howl’s Moving Castle, this film cannot be created. Architectural animation is like human arms and legs, though man without limbs can still be alive, people do not want to lose their limbs, in the same way, animation always needs architecture. On the other hand, narrative in architecture also takes an important position. Without narrative, architecture becomes meaningless and lifeless. Good architecture always has a pleasing narrative behind it. For example, most of Frank Gehry’s work is in strange shapes and distortion, from his initial idea to the final building, there is always a narrative evolution in his development sequence. From this point of view, architecture and animation have the same features. Moreover, narrative in architecture might be animated using 3D and even handmade drawings or models. Narrative is a link between architecture and animation as well. With the help of animation to show the narrative of architecture, architecture becomes vivid. Like Bath House in Spirited Away, due to monsters and ghosts who live in it, it has its own story to tell, the function of each of its parts also help the audience to have a deep impression of Spirited Away. For example, the temple connected the ghost world and the real world. Characters use this path to get through and reach the other part. People create narratives and people also enjoy stories. Everyone has the ability to create their own world and then add details into their world. What is more, with the help of details, the magic unreal world becomes more and more real. From world to countries; from cities to buildings; from each floor plan to furniture. The world becomes clearer with these details, such as the material of the floor and even what kind of nails and screws will be used in a table. This is not only ability for animators and architects, but also a gift for everyone. Page | 18
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Appendix Literature research: 1. Franck, K.A., Lepori, R.B. and Franck, K.A. (2007) Architecture from the inside out. 2nd edn. Chichester: Wiley. Tree is leaf and leaf is tree. House is city and city is house. A tree is a tree but it is also a huge leaf. A leaf is a leaf but it is also a tiny tree. A city is not a city unless it is a huge house. A house is a house only if it is also a tiny city.” - Aldo van Eyck, architect and humanist thinker Page 105 large panes of smoky glass reflect the clouds in the sky and the buildings opposite and the people on the sidewalk. There are no visible openings in the perfectly smooth walls, no windows, no doorways: all is hard silvery surface, reflecting all but revealing nothing. It’s nearly impossible to tell where or how to enter or whether anyone is presently inside. The building invites neither the eye nor the body to engage. Coldly, regally. It says look but keep your distance, observe but do not participate. ( K.A., Lepori) Page27 3.Aldersey-Williams, H. (2003) Zoomorphic - new animal architecture. London: Laurence King.
4. ARCHITECTURAL DESIGN and Spiller, N. (ed.) (1998) Further architects in cyberspace II. London: Academy Editions.
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When a distinguished but elderly scientist states that something is possible, he is almost certainly right. When he states that something is impossible, he is very probably wrong. Arthur C Clarke1973/ page21
Changes in the cyberworld are made everyday; a week is a very long time in computers. After digesting the content of this volume we can only look forward in anticipation to the next chapter and towards architecture with an invigorating future. Page7
5. Hedgpeth, K. and Missal, S. (2004) Exploring drawing for animation. Clifton Park, NY: Delmar, Cengage Learning. (Design exploration series). from 2d to 3d One of the absolute key requirements to success as an animator, whether in traditional 2D or computer animation, is good drawing technique. Despite some novice’s claims that drawing skill is not important because of computer innovation, our experience and experience of all major and minor studios involved in animation is that drawing is crucial. (Hedgpeth, K. 2004) Page 9 8.Porter, T. and Neale, J. (2000) Architectural supermodels - physical design simulation. Oxford: Architectural Press. In the face of the digital revolution, modelmaking remains the medium that allows architects to test their concepts in physical space. But the fact that three-dimensional model can now be digitally transformed, refined and computer programmed into its physical existence brings a new and exciting dimension to the skills of the architect. P186 12. Leslie, E. (2002) Hollywood flatlands - animation, critical theory and the avant-garde. London: Verso. The generation that allowed Hiltler to become great takes its adequate pleasure in the convulsions which the animated cartoon imposes upon its helpless characters, not in Picasso, who offers no recreation and cannot be ‘enjoyed’ anyhow. Misanthropic, spiteful creatures, who secretly know themselves as such, like to be taken for the pure, childish souls who applaud with innocent approval when Donald Duck gets a cuffing. Page 170 Page | 23
16. Wells, P. (1998) Understanding animation. London: Routledge.
Humankind has always been fascinated by moving images. The desire to make pictures move has provoked some of the most innovative developments in the fields of Science and Technology during the twentieth century. Curiously though, it is this very fact which has inhibited a proper recognition of the animated film and animation as an art form. Page 1
It consisted of a cylindrical box attached to a pivot. A coloured strip of paper on the inside face of the cylinder showed the consecutive stages of a movement. When the cylinder rotated, these stages were reflected in rapid succession on a mirrored prism mounted on the pivot, and the viewer who looked at the prism would see the drawn image move freely. (Bendazii,1994:4)
Early version: This essay is mainly discussed the theory and philosophy behind animation and it will critically analyse the history of architectural animation and precedent analysis in China, Japan, France and United States. Moreover, some research not only about industry of architectural animation but also about techniques like traditional shadow light animation, stop motion, 2D, 3D and other methods will also be analysed. Furthermore, how these techniques have been used in films. Also, about the spread of the animation such as uploads on the internet, by DVDs and the future of the animation will be listed in the last part. Main body: 500 precedents, theories and your analyses of evidence----------------663 words The early animation can date back to thousand years ago, it is about an earthen goblet discovered at the site of the 5,200-year-old Burnt City in southeastern Iran, depicts what could possibly be the world’s oldest example Page | 24
of animation. The artifact bears five sequential images depicting a Persian Desert Ibex jumping up to eat the leaves of a tree. Through this earliest animation in the world (Figure 1), though this animation is very simple with naive drawing on a goblet, people have to use their imagination to make it move in their mind. This shows the possibility of the animation and it spread the most important idea and accurate information to the viewers to let them know what is author what to say at once and this is the key feature of any animation. People with different languages, even a young child can immediatelly know the story with several continuous drawings.
In the west, Emile Reynaud, a French professor, invented the Praxinoscope., also known as the zootrope. (Figure 3)
It consisted of a cylindrical box attached to a pivot. A coloured strip of paper on the inside face of the cylinder showed the consecutive stages of a movement. When the cylinder rotated, these stages were reflected in rapid succession on a mirrored prism mounted on the pivot, and the viewer who looked at the prism would see the drawn image move freely. (Bendazii,1994:4) Compared with shadow light animation, praxinoscope is more like the early form animation which known by most of us today. It is a device that does not need electricity, a very popular toy for both children and adult. The disadvantage is quite obviously as well. For example, it is quite complex to set up, people have to change inside paper to see the next animation. It is difficult to storage and the animation is even less than a second However, people still enjoy zootrope and it became the link of modern animation. On the other hand, the zootrope is similar with the earthen goblet. Sadly, it does not have that technology to let goblet rotate in high speed in that age. Page | 25
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