Animation Short Films for Bira 91 by Muskan Jain

ANIMATION SHORT FILMS FOR BIRA 91

ANIMATION FILM DESIGN B.DES 2017 NATIONAL INSTITUTE OF DESIGN

Degree Project by Muskan Jain Guided by Mr. Ajay Tiwari Sponsored by Dev Kabir Malik Design, New Delhi

Acknowledgements

ANIMATION SHORT FILMS FOR BIRA 91

This document is a result of the learnings I acquired of my 4 years of study at the National Institute of Design, Ahmedabad, India. I would like to begin this document by thanking my mom for being my idol and personal lucky charm, my dad for always believing in me, my beloved sisters, Ishita and Smriti for supporting me all this while. I thank my guide Ajay Tiwari for motivating me to explore different ideas and improving the scope of this project with every valuable feedback. Next I would want to thank Mr. Dev Kabir Malik for providing me with the opportunity to undertake this project with Bira 91. His guidance and feedback helped me through this project. Also, the team at DKMD - Kruttika Susarla, Amrita Mohanty, Drishti Khokar and Aman Bhardwaj were a constant support for resources and knowledge.

I would want to thank Animation Film Design at NID for imparting me with years of knowledge and skill-set.

Sushant for always being there, listening to my constant blabber and taking out time to help with my project.

All my faculties at NID, Mr. Dhiman Sengupta, Mr. Sekhar Mukherjee, Mr. Kaushik Chakraborty, Atul Bhai and many others who have shared their knowledge and helped me be a better one.

Special thanks to my seniors again, Dinesh Ram, Varsha Jayant Mehta, Neeraja Raj, Aman and Sushant for helping me during documentation of this enormous process.

I would also want to extend this opportunity to thank the Director, Mr. Pradumnya Vyas and the entire academic department and staff members for ensuring an enriching educational experience at NID.

Lastly, Animates for being my continuous source of motivation and without whom the 4 years wonâ&#x20AC;&#x2122;t have been possible.

All juniors and seniors especially Shivatmika for guiding me in the discipline and mentoring me in times of confusion and unclarity. Saumya, Harshika and Vaishnavi for being my best friends and making the NID experience wonderful.

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Contents

i ii. iii iv

Acknowledgements Project Brief Budget Project Timeline

08 12 14 15

1 About 1.1 1.2 1.3 1.4 1.5 1.6

National Institute Of Design Animation Film Design Degree Project Bira 91 B9 beverages pvt ltd Client Dev Kabir Malik Design Sponsor

18 21 21 22 24 26

2 Background Research 2.1 Beer 2.1.1 Significance 2.1.2 Beer In India 2.2 Project Background 2.3 Animation in Advertising 2.4 Initial Development

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30 32 33 34 35 36

Pre Production 3.1 Pre Production of Strong 3.1.1 Inspiration 3.1.2 Conceptualization 3.1.3 Script Writing 3.1.4 Storyboard 3.1.5 Character Treatment 3.1.6 Layouts 3.1.7 Animatic 3.2 Pre Production of Light 3.2.1 Inspiration 3.2.2 Conceptualization 3.2.3 Script Writing 3.2.4 Storyboard 3.2.5 Layouts 3.2.6 Animatic

Post Production 47 48 50 65 70 76 78 83 87 88 90 94 98 102 112

4 Production 4.1 Production Summary 4.2 Production Stills of Strong 4.3 Production Stills of Light

5.1 5.2 5.3 5.4 5.5

Rendering Compositing Editing Sound and Music Score Titles and Credits

144 146 158 150 152

6 Conclusion 6.1 6.2 6.3

Film Stills For Strong Film Stills For Light Conclusion

156 166 176

7.1

Bibliography 7.1.1 Image Credits Colophon

178 179 182

7.2 117 118 128

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Project Brief

ANIMATION SHORT FILMS FOR BIRA 91

The final project brief from the client was to create two 30 seconds long animated short films for Bira 91 new variants Bira 91 Strong and Bira 91 Light. About the Variants Bira 91 Strong is a High Intensity Wheat beer. This is the first strong beer based on wheat and has 7% alcohol. This beer is top fermented ale giving the beer a unique and rich taste that is low on bitterness, high on honey and caramel notes. Bira 91 Light is one of the first low-calorie beers to be introduced in the Indian market. The beer is positioned as a “lunchtime lager” – a quick refreshment that you can have with a light meal any time of the day. A super light body, clean appearance, and crisp taste, Bira 91 Light is filled with exotic hops from Europe giving it a pleasant, natural finish making it eminently sessionable.

Bira 91 is a range of products by B9 beverages Pvt. Ltd. Two aims behind founding the brand were, to create a quality beverage that Indians value as their own and to introduce a new aesthetic sensibility in this sector. In the last three years or so, Bira 91 has seen considerable success in the market, and has chosen not to market the product in the conventional ways, relying on word of mouth and alliances with like-minded cultural initiatives instead. My role was to conceptualize, storyboard, execute and revise scripts based on regular feedback from the client and the team. One intention was to help Bira 91 reach the audience through storytelling. The story concepts that were developed through this process are specific to the beer and what it offers.

This document maps the project defining each and every stage of the process, the initial understanding of the project, the sponsor, the client, pre production, production, post production of films, the challenges faced in the animation process, analysis and observations from Bira 91. Each and every stage of this project has been a learning in some way, one of the most important being working for Bira 91, which is one of the most successful Beer brands in India and sponsored by DKMD, a strategic design company in New Delhi. My project guide was Ajay Tiwari, faculty of Animation Film Design discipline at NID who helped in giving shape to the project. This document is a reflection of this enriching experience.

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Budget

Stipend (6 months) Guide Visit Degree Projects (2) Miscellaneous Contribution to NID Total

ANIMATION SHORT FILMS FOR BIRA 91

90,000 5,000 7,000 10,000 5,000 117,000

OCTOBER SEPTEMBER

Project Documentation

Post-Production for Light

Project Timeline

AUGUST

Production for Light

Research and Pre-Production for Light

JULY

Post-Production for Strong

JUNE

2017

Production for Strong

MAY

Guide visit Research and Pre-Production for Strong

APRIL

Initial conceptualization, development of stories, inspirations and explorations

Understanding the visual language, brand style and client profiles

MARCH

Introduction to the Brief and Planning

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‘Animation is not the art of drawings that move but the art of movements that are drawn.’ - Norman McLaren

ANIMATION SHORT FILMS FOR BIRA 91

About

MUSKAN JAIN

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The National Institute of Design is internationally acclaimed as one of the foremost multi-disciplinary institutions in the field of design education and research. The Business Week, USA has listed NID as one of the top 25 European & Asian programmes in the world. Established in 1961 under the Ministry of Industry and Commerce, NID has produced several leading personalities in the industry, as well as great educators and thinkers.

National Institute Of Design A Brief Introduction

National Institute Of Design today, functions as an autonomous body under the department of Industrial Policy & Promotion, Ministry of Commerce & Industry, Government of India. NID has been declared â&#x20AC;&#x2DC;Institution of National Importanceâ&#x20AC;&#x2122; by the Act of Parliament, by virtue of the National Institute of Design Act 2014. The mandate for NID is to offer world-class design education and to promote design awareness and application towards raising the quality of life. NID has taken five decades of pioneering hard work by the academic community at the institute to develop a system of education which lays more emphasis on learning than on mere education. Over a span of the last 50 years, the institution has made it a point to lay emphasis on learning and to pursue innovation led designs through the development of the mind and skills of designers. This technique has motivated students to perform better and has given them an edge over other design professionals. NID offers a wide spectrum of

ANIMATION SHORT FILMS FOR BIRA 91

design domains while encouraging trans-disciplinary design projects. NID is a unique institution with many problem-solving capabilities, depths of intellect and a time-tested creative educational culture in promoting design competencies and setting standards of design education.

Today the National Institute of Design is internationally acclaimed as one of the finest educational and research institutions for Industrial, Communication, Textile and IT Integrated (Experiential) Design. It is also recognized by the Department of Scientific and Industrial Research, Government of India as a Scientific and Industrial Research Organization.

National Institute Of Design picture by Bhushitendu Bhatt MUSKAN JAIN

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(Above)These pictures are very important as they capture my various experiences and memories at NID. ANIMATION SHORT FILMS FOR BIRA 91

The art of visual story-telling has been a part of human culture since the beginning of civilization. Animation is one of the many ways in which we tell our stories and communicate with one another. Indian Animation industry is now opening up to original ideas to mark its own identity in the global animation map. For this there is an ever-increasing demand for trained human resources and thinking minds as animators, content creators and mentors.

Animation Film Design

Faculty of Communication Design

Animation programme at NID, since its inception has always nurtured and mentored uniqueness both in the global and the local context. The objective of this programme is to enable students to find solutions to complex problems in various fields of communication design using animation film making as a creative medium. Initial part of the 1st semester, students get introduced to basic design skills and topics for broader understanding of subject and context of design education before they get

introduced to knowledge areas pertaining to animation design in particular, as well as communication in its social and cultural contexts. In the later semesters, students are exposed to a workshop and project mode of learning where they experiment with various mediums (e.g. 2D, 3D, Clay, Mixed Media, Pixilation, Experimental, Graphic Narratives etc.) to tell animation stories of many kinds. In addition, for students’ experiential learning, cross-disciplinary campus life, NID Film Club, Action Analysis, Field Visits, Case Study and other interactive sessions always give a value added experience. After the initial inputs and dynamic curriculum, students’ projects eventually result in a unique and original product, which also brings various international and national awards and recognition from time to time. The department also exposes students with Chitrakatha; a biennial student international animation festival where many national and international experts of animation world come, share and interact about their work with the students.

DEGREE PROJECT The end of the students’ academic tenure at the National Institute of Design is marked by the culmination of a substantial investigation in the field of design on a topic closely allied to their discipline of study. It is through the degree project and subsequent documentation of the same that this investigation takes place. This is the final academic project for the student. A jury comprising faculty members evaluates the students’ performance in the degree project, after which, students are awarded NID’s professional education programme final degree. The degree project is an opportunity for students to demonstrate their expertise as independent practitioners of design. This project must be done with academic rigor incorporating systematic inquiry and informed design decisions. The phrase ‘systematic inquiry’ implies the presence of a structure and method by which the student must carry out his/her project.

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Bira Logo Unit

ANIMATION SHORT FILMS FOR BIRA 91

{ /bi-ra/, noun} Refreshingly modern beers, imagined in India with the effect of unleashing your inner self- that playful, friendly, smart & slightly odd creature that is inside all of us

BIRA 91 B9 Beverages (the company behind Bira 91) is a start-up with the mission to bring a craft beer revolution to the world. Based out of New Delhi, with expansion in motion throughout the US, everyone at B9 Beverages cares deeply about one thing – creating and making beers that people can fall in love with. With over a decade of experience spanning many diverse sectors such as technology, healthcare, agriculture, real estate and FMCG, New Delhi based entrepreneur Mr. Ankur Jain launched BIRA 91 in 2015. Intrigued by the overlap between international development and private enterprise in emerging markets, he has, since then, stretched his abilities and know-how across continents – BIRA 91 is currently available in India & USA.

On completing his bachelor’s degree in Computer Engineering from Illinois Institute of Technology, Chicago, in 2002, Mr. Jain brought to life his first entrepreneurial venture, a healthcare information startup within the same year. The start up helped healthcare companies with revenue management. After running it successfully for about 5 years, he returned to India and realized that his true calling lied in brewing beer. Soon after returning to India, Mr. Jain joined Reliance Fresh, then a core startup within Reliance, as a Retail Director. Working at Reliance helped him understand the distribution and infrastructure challenges in F&B, and get acquainted with the country’s fast-growing startup ecosystem.

In 2009, Mr. Jain left Reliance to start Cerana Beverages, a company that imported and distributed premium craft beer brands from Belgium, Germany, and the US. The beer was available in 330 ml bottles and sold in Delhi, Mumbai, and Bengaluru. In June 2014, he raised seed funding from unnamed investors to expand the business and launch his own bottled craft beer, Bira 91 in 2015. Selling up to 10,000 cases a month in Delhi alone, the distribution soon spread to Mumbai, Bengaluru, Pune, Goa, Kolkata, and was later launched in New York.

We are handcrafting a revolution,one barrel at a time, and recruiting revolutionaries, one drinker at a time! Say Bira 91. MUSKAN JAIN

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Handcrafting the world’s greatest beer is our life’s work. With careful selections of the World’s best ingredients; malts from Belgium, hops from the Himalayas and water from the finest sources – all combined to bring you the World’s finest beer! - Bira 91 team

B9 Beverages Pvt. Ltd. Client The client company is roughly as old as the Bira 91 brand—three years— though it existed before that as Cerana Beverages, under which name it had been importing speciality Belgian beers. The company has grown rapidly since its inception, from a small core team, to a 40-strong head office at New Delhi and regional ones at Mumbai and Bengaluru, to, now, in five more cities across India and the US; the organizational structure has undergone a few overhauls since the beginning, and will probably continue to do so as it scales over the next few years.

ANIMATION SHORT FILMS FOR BIRA 91

Early on, Dev was called on-board as Creative Director, due to which DKMD has continued to hold stewardship of the brand three years since the first briefing. They approached DKMD for the entire brand-building process in 2014. At this point, they had a basic idea of the kinds of beer they would brew (through a tie-up with a brewery in Belgium). The visual identity was designed in a couple of months, while the beer recipes were still being refined. By winter, there were some early tasting sessions, mostly in New Delhi, and the potential was visible. When

it finally launched in early 2015, Bira 91, which the audience generally refers to as Bira, went viral. They received funding from venture capital giant, Sequoia, and were covered widely in the news. By end2015, sales had gone through the roof, targeting a million cases a year. They then made their first venture into foreign markets as beer sponsor for the revered Tribeca film festival in New York City, with whom the they had bagged a three year contract.

(Above) These pictures show presence of Bira 91 in various events and celebrations across the world especially Tribeca Film Festival in NYC in 2016. MUSKAN JAIN

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DKMD Studio 26

ANIMATION SHORT FILMS FOR BIRA 91

We are a strategic design company. A small team of highly qualified experts, we work on hand picked projects to deliver meaningful work & noticeable results. Truly memorable brands must make business sense and yet emotionally resonate with consumers. We pride ourself in our commitment to excellence at both the strategic & artistic ends of the spectrum. We make sure every aspect, from idea to execution is crafted and customized for lasting impact. - Dev, principal designer, DKMD

Dev Kabir Malik Design (DKMD) Sponsor DKMD has, over a decade since it was founded, evolved from specialist graphic design firm, to brand identity consultancy, to strategic design company. It has consciously chosen the small studio model, having experimented with various configurations, and works on hand-picked projects with a team of experts. One of the studio’s early axioms was that effective communication isn’t equal to clear communication, which is reflective of a firm grasp over aesthetic and functional concerns, which is evident in the diversity of work done for clients across sectors.

Regular discussions are vital to the studio’s work style. Directions are collectively dissected, evaluated and then taken forward or abandoned; eventually chosen directions thus get refined over the course of multiple conversations. I think that, by involving everyone, the studio is able to make better informed decisions. It was an exciting time to intern at DKMD because the studio is actively incubating side projects. Some aspects I enjoyed were the output-driven mindset, the collaborative atmosphere, a steady inflow of good food and great coffee, and the company of genial creatures— human, canine and feline too (subject to ability to care).

Every project is a unique challenge and opportunity but in order to maintain consistency and quality, we broadly follow a structured yet flexible process framework. -DKMD about their process

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ANIMATION SHORT FILMS FOR BIRA 91

Background Research

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Craft beer refers generally to beer produced using traditional processes. The meaning of the phrase, which also signifies higher standards, has evolved over recent years—from referring to small, independent and traditional breweries to a blanket term for a large number of products not created by big “mega-brewery” corporations. It is also a buzzword used to categorize a currently lucrative market all over the world, and markedly relevant since Bira 91 is a craft beer brand.

Beer Beer refers to any fermented beverage made from (starch of ) grain. • Brewing is the term used for the production of beer; breweries are sites of beer production, or organizations producing particular brands of beer. Microbrewery is a legal term that describes breweries of a specific size, e.g.. in the US, a brewery producing ten thousand barrels of beer or less. • Draft beer a.k.a draught beer refers to beer that is drawn from a keg, as opposed to packaged in a can, bottle or otherwise. • ABV or alcohol by volume is a standard measure of the alcohol content in any alcoholic beverage. Beers generally fall into the 3 to 12 % range. • IBU or International Bitterness Units is a scale used to measure bitterness of a beer. 30

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•

EBC or European Brewery Convention is a popular system used to specify beer color. SRM or Standard Reference Method is an alternative for the same. Brewing process Beers are made using four basic ingredients: grain(usually barley, but wheat, rye etc. can also be used), water, hops—what is hops— and yeast. In a typical process, the grains are malted—a process involving heating, drying out and cracking of the grain—and then mashed—steeped in hot water—and drained. The resulting sweet liquid, called wort, is boiled while hops and spices are added to it, and then cooled, strained and filtered. Fermentation is carried out by adding yeast, which converts the worts to alcohol and carbon dioxide, which may be removed before forced carbonation. Finally, the beer is aged or stored in kegs or casks or packaged into a bottles or cans.

Beer styles Variations in fermentation give rise to three kinds of beer used to categorize most of the existing sub-styles: • Ales, which are fermented at warmer temperatures with what are called “top fermentation yeasts”. Ales typically possess a fruity flavor and range from pale to dark in color. • Lagers, which are fermented at cooler temperatures with what are called “bottom fermentation yeasts”. Lagers typically possess a cleaner, crisper flavor than ales; Pilsner is a popular lager style. • Hybrids are also created by hybridizing these two processes, i.e. fermenting with “ale yeasts” at cooler temperatures or “lager yeasts” at warmer ones; some sub-styles made with hybrid methods include Kolsch and Altbier.

(Above) Famous brands of beer are shown in this page, their names are Peroni, Tuborg, Heineken, Carlsburg, Harp, Guinness and Bintang.

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Beer, probably discovered by accident a few millennium ago, is one of the oldest beverages humans have produced; over the millennium, it has been significant in most cultures—in ancient Egypt during the building of the pyramids, beer was considered nutritional—and has arguably played a crucial role in many technological developments, such as refrigeration and the agricultural revolution to name a few.

Significance

Beer, after water and tea, is the thirdmost consumed beverage in the world. —Wikipedia

The modern era of beer began roughly at the end of the 19th century, which witnessed innovations such as automatic bottling and the brewing of the first Pilsner (until this point, ales were predominant worldwide). In subsequent centuries, trade and industry allowed age-old techniques to travel across the globe while mass brewing became commonplace. By the 1970s, Budweiser (already a hundred years old) had become the first brand to sell ten million barrels in a year. Typically, beer is seen as the benign one amongst alcoholic drinks owing to its relatively low abv; in popular culture since the mid-twentieth century, it has tended to signify an easy-going attitude. Beer drinking is frequently shown in popular culture as a recreational evening activity for groups of friends (mostly consisting of men); it also regularly accompanies the watching of sports, whether at home, at a bar or at the stadium. Then again, beer is incredibly versatile, and commonly consumed at restaurants too, whether packaged or fresh from the tap (draft). It is always seen at pubs and can also be drank directly from kegs—as seen at house parties in American movies and TV shows—or brewed at home (a surprisingly easy and widespread practice).

ANIMATION SHORT FILMS FOR BIRA 91

The inception of Bira 91 was timed perfectly, amidst the mushrooming of microbreweries in India and craft beers the world over; the dip in Kingfisher’s reputation further paved the way for its taking over instantly as the nation’s top-selling draft beer.

Beer in India

India also has strong historical ties with beer, which is known because scriptures are speculated to have specified recipes for brewing it. In recent times, however, India has not been very lenient to the drink, preferring stronger alcohols like whiskey instead. Beer constitutes a very small portion (about 5%) of alcohol in India. Beer in India also displays a few peculiar trends. For example, the common misconception that a stronger beer should taste more bitter has led to the prevalent trend of bitter strong beers in India; Strong beer has an unusually ardent following here—of all the beer sold in India, 83% can be categorized as strong. Indians also have a tendency to choose other alcohols in colder seasons, which means that summer is the peak season for sales. Moreover, bitterness is, particularly for Indians an acquired taste, which means that any beer that isn’t too bitter could woo drinkers here—this idea contributed to Bira 91’s immediate success, probably deliberately so. As a consequence of these factors, thoughts on beer in India are polarized. Generally, either you drink bitter, strong beer, or you avoid beers altogether. Asia is today a huge market for beer sales— four of the biggest brands in the world are Chinese—saw its first brewery founded in India in 1855; it still exists as Mohan Meakin, maker of notorious rum, Old Monk and brewed Lion, an IPA, and then, Golden Eagle, which was our most popular beer until Kingfisher took over in the late ‘80s. In any discussion on the topic of Indian beer, “The King of Good times” demands more than a mention; a product by the UB group, it was taken to the peak of global recognition under the flamboyant Vijay Mallya, and like other beers in their native places, enjoys a special spot in Indians’ hearts (specially Bangaloreans).When it gained its top spot in per-liberalization India, a luxurious, leisurely lifestyle was aspirational for the lower middle class striving towards building a nation that met and made world standards; Kingfisher made exactly that promise, and got lucky, because it found an audience at home as well as abroad (even beyond the diaspora). For anyone from that generation—a sizeable number of them now in the NRI group—there is no question when it comes to beer. But this very strength of the brand—its legacy—has now made it uncool as “your Dad’s beer”, and its aristocratic character—personified literally by Mallya—has lost its relevance, more so given his recent mentions in the news for all the wrong reasons (somewhat signifying the sad demise of that lavish dream). Kings in Goa, Cobra in South India, Haywards in North India, Danny’s in the North East, are some examples of brands that have retained close relationships with their regional audiences despite stiff competition from the big players. Another manifestation of local loyalty is the recent microbrewery boom, with each city proudly patronizing its breweries. Bangalore, with Toit, Arbor and more, leads this trend, while Mumbai and Pune— Doolally is significant—are close in succession. The New Delhi NCR crowd, has also joined the club. MUSKAN JAIN

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Bira 91’s messaging is aimed at young, urban audiences, with an increasingly global mindset while staying rooted in its context—as evidenced by “91” and “ imagined in India, for the world”.

Project Background In mid February 2017, I got the opportunity to join DKMD as an intern and the brief initially, was to create two-three different short animations - 30 seconds each (so that the basic requirement of a minimum animated footage is possible) for Bira 91. This was a very appealing idea to me as I really wanted to explore the different aspects of animation film making in Advertising; not just characters but designs and aesthetics and character creation. Short films and stories are thrilling to me as they’re very precise in format and doesn’t lead on for too long; I had dozens of ideas coming to my head, it was not easy to cut all down to one. Initially I was asked by many people, being an animator, why was i working with a Graphic design studio? Based on my understanding, Graphic Design and Animation overlap a lot and I realized working in an environment different from animation, will help me in cross- learning and gain in interdisciplinary interactions.

ANIMATION SHORT FILMS FOR BIRA 91

At the end of the first two weeks, I had a meeting with Dev and we discussed the direction of the project and tried to make it clearer. At last, it was decided that I was to create three 30 seconders for three new Bira 91 variants - Light, Strong and IPA launching in upcoming months. Later, the client decided to cancel the animation for IPA. The two animated short films would be around 30-50 seconds each to be given to the client company, B9 beverages pvt. ltd., which would be my final assignment project for college. And so I was ready to begin. I was aware I would have to switch myself between the multiple roles of director, writer, storyboard artist, sound designer as this wasn’t a production house where there were different team members assigned for different aspects of the film. This was a one-person production; basically, I would have to see the whole thing from start to finish.

As a final-year student, I also needed to overcome my preconceptions about techniques of animation. For one, there was the traditional animation way of thinking where all emphasis is placed on the story, character and backgrounds; as per this stereotype, all the work with developing Bira 91’s character was already done and there was simply nothing for me to add. The other aspect of re-familiarizing myself with the subject involved updating historical, textbook-like definitions to the real-world scenario and acknowledging the drastic effect the internet, digital technology and social media have had over the past decade. During initial meetings, Dev urged me to approach Bira 91 as a “universe” for story ideas ; it was challenging and I had to stretch my limits to even begin to make a contribution. As Ed Catmull covers in his book, Creativity isn’t about an idea or a sudden burst of information. It is a process, and often a messy one.

Animation is a technique, not a genre. - Gore Verbinski, American Director

Animation In Advertising

Cartoon ads date back to as early as 1920 and bringing the characters to life wasn’t too far behind. The “Botany Lamb” series of commercials (1941) are often cited as the first animated television commercials and in 1947, the “Reddy Kilowatt” character, created in 1926, was brought to life by means of cel animation by cartoonist Walter Lantz. And who could forget Tony the Tiger (1952), Trix Rabbit (1957), Jolly Green Giant (1958), Mr. Clean (1958), Charlie the Tuna (1961), Cap’n Crunch (1963), the Pillsbury Doughboy (1965), The Keebler Elves (1968), and Hamburger Helper Helping Hand (1971)? And today we have the computer animated M&M characters, the Aflac Duck, the Geico Gecko, Chester Cheetah, and many other unforgettable characters.

Yesterday’s animated characters are tough to forget because they are still around today promoting these enduring brands to a new generation of consumers. You simply cannot think about tuna without seeing images of Charlie dancing around in your head. And today’s animated ad characters are even tougher to forget. Besides TV, print, and don’t forget radio, these characters have made their way onto our computer screens, laptops, cell phones, iPads, tablets, and even video game consoles. So, you can certainly see the importance of animation in advertising on all fronts, but let’s zero in on digital content—just for a sec.

Animation has become the highlight of digital marketing campaigns because not only does it make promotional online videos more entertaining (studies show that funny content was the most shared content in social media), it communicates the message more effectively. For example, according to Softway Solutions, it would be “impossible to show the internal working of a product or a process as the real time video may not be able to film/show the internal process.” Animated videos “will have a better recall value as they present information in a visually attractive manner.”

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Initial Development

(L-R)Initial Monkey sketches to understand its character and personality. These are sketches from my sketchbook at DKMD. 36

ANIMATION SHORT FILMS FOR BIRA 91

(L-R) I was trying to create new characters of monkey inspired by illustrations of various artists, trying to create back stories for monkey. I was trying to label monkey with different personalities. These sketches are from my sketchbook in DKMD. MUSKAN JAIN

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(L-R)Planning, Note-making and initial story ideas. 38

ANIMATION SHORT FILMS FOR BIRA 91

(Top Left - Right) Some of the initial story directions that I tried.

The first piece of great advice that Dev (principal designer at DKMD) and Kruttika Susarla (Senior Illustrator at DKMD) gave me - they said,‘First of all, learn to draw the monkey’. I drew pages and pages of just monkey standing or in rather ordinary poses. Drawing the Bira monkey(which i will be referring to just ‘monkey’) should become an instinct, so that I could later concentrate on what he is doing and make him come to life.

All sketches and notes shown in this section are taken from my personal sketchbook that I kept in DKMD and carried everywhere I went so that I keep noting/sketching ideas as and when they come to me. As Richard Williams covers in his book, The Animator’s Survival KitDrawing should become second nature, so that animator could concentrate on the actual actions and the timing of them and give the performance life.

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(Above) Basic Monkey Skeleton. Taken from my sketchbook in DKMD.

ANIMATION SHORT FILMS FOR BIRA 91

(Above) Illustration made in Adobe Photoshop for a story idea.

Following concept is one of the earliest ones: Refer to above panel; Monkey wakes up in the morning at his home. He brushes his teeth, takes bath and gets ready to go to his office. He gets his breakfast, goes to office, works on his Mac, has coffee, returns home, watches TV, has his dinner and goes off to sleep. Next day, wakes up as gentleman with mustache, brushes his teeth, gets his breakfast, goes to office, works on his Mac,

has coffee, returns home, watches TV, has his dinner and goes off to sleep. Next day, he wakes up as a lady with nice blonde hair. She brushes her teeth, takes bath and gets ready to go to her office. She gets her breakfast, goes to office, works on her Mac, has coffee, returns home, watches TV, has her dinner and goes to sleep. Flashback to first day, when Monkey is returning back home from work, he is driving his car..and in between all the gloom,

he sees waterfall..people partying by the side, he goes there to see whats happening..and there are people having Bira 91..He meets all new kind of people, parties with them.. has all this fun with people, gets inspired. So everyday, he goes and meets different people through Bira 91and makes his life interesting. Even though, he lives the same life everyday. However, now everyday he finds a new him going to work and having fun along the way.

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(Above) Rough sketches and notes for a story idea. I started coming up with lot of stories and Dev suggested that I make lots of doodles with them for better understanding. For example, refer to the sequence above (Start at the top left. Read towards down till the last frame on the left, move to back to the next top frame on the left....Continue that way). In this concept, the monkey is inside the bottle swimming in the beer. Another monkey on the outside picks it up to drink from, missing the small monkey inside.

ANIMATION SHORT FILMS FOR BIRA 91

Initial Ideas were fun but did not answer the questions ‘Why?’- Why was the monkey drinking Bira?, ‘What?’- What change happens ‘When’ he drinks it?

(Right) Images from a short animated sequence I did in DKMD, using the existing graphic elements, as a part of an exercise to know the brand language. The animation was done in After effects.

One of my other colleague, Anvi suggested that as an exercise, I should try animating the already existing graphics with the monkey and create a back story. The sequence above is a result of this. Using after effects, I animated a 2-3 seconds sequence, screen-

shots from which are shown above (Start at the top left. Read towards the right till the last, move to back to the next lower frame on the left....Continue that way). The concept was - the beer is pouring from the beer tap into a glass. Monkey is standing inside the glass with his umbrella so the beer doesnâ&#x20AC;&#x2122;t fall onto him directly. As the level of beer rises in the glass, he keeps drinking head. Monkey therefore can have infinite amounts of beer as Tap is never able to fill from it, so

that level never rises over his glass to full. Dev gave me a lot of freedom to come up with all kinds of stories. At this time I was also looking at other Beer brands as explained in earlier sections. This approach was very helpful and encouraging while I was writing stories for Bira. All these exercises helped me to get familiar with the character and get myself to immerse in the film making process.

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3 Pre Production

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Pre-production is the phase of further developing ideas and planning prior to the process of production. In an animation sense it is the period before any real animating takes place. Like all great projects the success is in the planning. This section gives an overview of the different steps involved in the Pre-production process and how each step helped to develop a ‘road-map’ on which I were to base my further production stages.

Pre-Production Strong

While developing my story ideas for ‘Strong’, I was conscious of the need for simplicity. I knew within the given time period of my project, I would have to do more than hundred drawings so I decided to keep things as simple as possible. With the story and visual concept sorted, it was time to develop some of the detail. As an animator, I had to keep in mind the available resources such as budget, time and man power at all times.

During the development of ‘Strong’, I aimed to bring clarity to the story way earlier in the process and therefore began sketching the key stages of the animation during pre production. By now I had decided to make both my story approximately 30 seconds long. From now on my challenge was to make my animation appear to run smoothly and naturally within that timeframe. I knew I would have to do most of the work myself so I planned to keep my ideas as simple as possible.

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Bira 91 Strong already had an identity that primarily made it identifiable and attractive as a strong beer and additionally gave it a rich, humorous personality. Now it needed a story to be built upon the following keywords : Bold, flavorful, intense, risky, daring, humor, fearless and adventure.

Inspiration Strong

Two keywords that immediately formed the basis of the story explorations were ‘humor’ and ‘intense’. This combination urged a nod to slapstick and offshoots of it such as Spy Vs Spy’s quirky art style and award winning animation of Tom and Jerry. The Far Side was another quick association - is a single-panel comic created by Gary Larson and syndicated by Universal Press Syndicate, which ran from January 1, 1980, to January 1, 1995. Its surrealistic humor is often based on uncomfortable social situations, improbable events, an anthropomorphic view of the disasters, (often twisted) references to proverbs, or the search for meaning in life. These became sources of inspiration, and relevant as well. 48

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A character whose core traits align closely with the Strong Bira Monkey is Popeye. Popeye is the main protagonist of the Popeye Franchise, a sailor character created in 1928 by Elzie Crisler Segar for his Thimble Theatre comic strip (subsequently renamed after Popeye himself ). The star of many comics and animated cartoons, he is best known for his squinting (or entirely missing) right eye, huge forearms with two anchor tattoos, skinny upper arms, and corncob pipe. He can occasionally be seen smoking his pipe but usually he toots it like a tugboat and sometimes uses it as a weapon by blowing the smoke in his enemies faces. His strength varies among his portrayals: as per the original comics, he is super-humanly strong and can lift huge objects,

while in later adaptations he is not quite as mighty until he gains a boost in strength by eating spinach. Popeye’s creator, E. C. Segar, characterized him as violent and uncivilized yet introspective and with a high moral fiber. Popeye convinced American kids to eat spinach. He has a long and rich history spanning nearly a century and is one of the most recognizable and beloved cartoon characters in the world, consistently regarded as one of the best ever created. Felix the Cat comics were suggested to me by Ajay. One cannot miss the similarities between the monkey and Felix. It was the perfect inspiration for my stories. Felix is a funny-animal cartoon character created in the silent film era.

Bira Monkey personifies the brand without explicitly referring to the product, a tactic that helps tackle stringent legal restrictions. Though a lot of options were tried, including tigers, whales, sheep and fish, the monkey was chosen due to its potential to be interpreted as an anthropomorphic character, that personifies the brand, and can also be read by viewers as a reflection of themselves. (Next Page - Top Left to Bottom Right) Trail of the Pink Panther(1992), The Incredible Hulk 70s comic, Felix the cat comic, Duck Island- Far Side, 25 ways to quit smoking by Bill Plympton, comic strips of Tom and Jerry, Homer-Simpson, Plymptoons, Popeye, Silicon Valley TV show-opening sequence, Spy Vs Spy comic strip.

(Above) Pictures of my favourite cartoon shows, fictional characters and funny animations which were inspiration for Strong are shown on this page. MUSKAN JAIN

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Conceptualization Strong

(Above) Initial concept skectches. Innovation is a process that is developed over time. We have to embrace that, and give it time and this is why most of my project went into the development phase. To be precise, I spent around two months of my six ideating and doing development work. It was not for a lack of trying, I promise; but innovation takes its own sweet time.

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Since the premise involved a Strong Beer, I thought of all the odd situations and crazy consequences. Under Dev’s instructions, I set upon creating believable and relateable scenarios. First I started off with wild and crazy ideas and sketches of things that couldn’t possibly happen to the monkey. I let my mind wander.

All the sketches shown in this section are taken from my sketchbook I kept in DKMD. In the above sequence, monkey gets hold of the beer bottle(STRONG), he drinks it. And then there’s the consequence - his body falls out. This sequence is just one of the approaches I have worked with, on the same storyline.

Development is the beginning of the film making process. Sadly many ideas never made it past this stage but those that did had the best chance of success. Developing an idea, although challenging, was as exciting as seeing my film completed.

(Above) Initial concept sketches in a rough storyboard format

( Above; Start at the top left. Read towards down till the last frame on the left, move to back to the next top frame on the left.... Continue that way) I was trying to develop a story idea where the monkey is just walking around the city and catches the sight of the new variant. What does he do next to have it or what happens when he drinks it? I kept asking myself these and many more questions while drawing these frames.

As the story goes, monkey is walking on a street. He comes by a shop where the strong Bira is on display. The display says danger on top/side of the Bira strong bottle. Monkey is tempted by the bottle and wants to have the forbidden thing on display. Cut to breaking him into the shop and drinking strong Bira. His physical body falls out leaving out his skeleton drinking the Bira. The bones of the skeleton begin cracking/breaking and getting

bigger and stronger. His physical body on the ground wakes up and joins the stronger/ bigger skeleton. Ending with Strong Bira and its logo.

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(Above) Strong Monkey practice sketches.

Ideas initially were abstract but using methods such as drawing and writing thoughts down on paper made them easy to come back to at a later date and I also shared them with my colleagues. Collaborating and getting help at this stage from Dev and my other colleagues was very useful as often two minds are better than one. The process took several days.

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(Above) Rough story sketches for Strong.

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(Above) Initial story concept sketches for Strong.

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(Above) Initial story concept sketches for Strong.

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On the left, it is an image of another rough story idea I had done during conceptualization of Strong. Here, The scene begin by showing the monkey running on top of the buildings, jumping from one to another, sliding, swinging off the poles, in chase of something that is not seen yet. He seems to be really in hurry. Finally he comes in front of a shop which is open and going to close soon. As he is going to enter, it closes. Inside there are STRONG BIRA bottles. His mouth is watering watching the beer bottles and he decides to break into the shop and get it. He drinks it satisfied. Ending with Strong Bira and Logo.

(Above) Initial story concept sketches for Strong. 56

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On the Right, we can see some Quick Keys for a potential story.

(Above) Initial story concept sketches for Strong. MUSKAN JAIN

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(Above) Initial story concept sketches and note-making for Strong. 58

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(Above) Initial story concept sketches and note-making for Strong. MUSKAN JAIN

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(Above) Initial character sketches and rough story ideas.

These were many iterations regarding the story and the setting. In this section, we saw the initial ideations regarding Where, When and How monkey encounters Strong Bira and what happens thereafter. We went through many crazy ideas and finally my mentors and I decided on a isolated room as the space where the main action happens. It was an interesting take to envision. 60

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I aimed to put more focus on the what is happening (action) rather where it is happening (setting). Therefore, the background space is open to interpretation. In the next few pages, you can see more ideating and detailing of the story sequences - these are extracts from my notebook that I used full-time in DKMD to jot down my ideas.

(Above) Initial concept sketches in a rough storyboard format. MUSKAN JAIN

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(Above) Initial concept sketches in a rough storyboard format. 62

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Chosen Direction

During a meeting to finalize the story, we ended up with a final short story arc where the monkey hits a jar containing Bira by a large, heavy hammer (a rubber mallet perhaps), he drinks it causing fireworks leading to strong Monkey. We ran with it because it seemed close enough to the basic message (i.e. 100% flavour 100% risk) while adding a pinch of humour. The idea of the monkey as representative of the drinker could be extended into a cautionary (exaggerated) hint about the consequences of having the beer. Fireworks at the end(possible indication of a hangover) were picked as potential elements.

(Above) Final concept sketches in a rough storyboard format. MUSKAN JAIN

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Since the story showed potential, I moved on to writing the idea so as to see if it translates well and how it would need to be executed, to keep the visual language effective and on-brand. There were a lot of mistakes in the steps and my understanding of the camera angle was not fully developed which I made efforts to correct consequently.

(Above) Note-making for the final story concept in my sketchbook. 64

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Script writing, sometimes called Screenwriting, involves creating an outline of all of the events taking place in an animation. This means detailing all of the audio such as dialogue, sound effects and music score. It also details all of the visual events or features appearing or taking place throughout such as fades, transitions from one scene to another, characters appearing, descriptions of the landscape etc. -MOVE IT Animations

Script Writing Strong

The No-dialogue short screenplays underwent numerous changes as I was working on it. Being one of the most important components for developing the story of Strong(as it outlines all the important bits: the movement, actions, expression and dialogues if any of the story), I spent a long time on this part of my entire process developing Strong.

I began writing the finalized stories in stepsa process Dev suggested - I felt comfortable in. I got a lot of input from both my colleagues and Dev who told me to write it in a different way initially- in order to help me out as Iâ&#x20AC;&#x2122;d never done scriptwriting professionally before. Initially, I was aiming for a 30 seconds plot for both Strong and Light. Therefore, I wrote the script for that. However, while animating it got stretched to 45-50 seconds.

The narrative for Strong is Linear i.e. narratives that present stories in a logical manner by telling what happens from one point in time to the next without using flashbacks or flash-forwards and then returning to the present. In the following screenplay, I have tried to adhere to the standard screenplay format while describing what happens on screen and remaining as faithful to filmâ&#x20AC;&#x2122;s idiosyncrasies as possible. The drafts of the film are followed by the final screenplay.

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Rough Script Strong Here is the rough draft for Strong with transitions, actions, sounds and expressions. Step 1: Fade in. Danger sign in the center of frame. Step 2: Zoom out to Strong Bira Bottle in a glass container on top of the danger sign. Step 3: More zoom out to reveal only table in the middle of the frame, with Strong Bira on it. Step 4: Full shot. Monkey enters, walks by the table and straight out of the frame. Step 5: Fade out; Black frame. Step 6: Monkey re-enters the frame, face towards the bottle. Step 7: Zoom in to his face, he gets curious of the Beer. Step 8: Monkey quickly goes out of frame. Step 9: He re-enters with an axe in his hand and breaks the glass container. Step 10: Crash sound; Black frame. Step 11: He stands in the middle of all the wreckage and picks up Strong. Step 12: He drinks Strong Bira and when he finishes it; Step 13: He sticks his tongue out, jerks back, bottle falls out of his hand; Step 14: And drops dead on the floor. Step 15: Sad note; Black frame. Step 16: His one leg twitches, then the other leg is thrown up in the air. His whole body starts shaking and vibrating, coming to life. Step 17: He jerkily stands back, his muscles grow bigger and stronger. Step 18: His skeleton lights from inside as stronger and bigger too. Step 19: He flaunts his strong arms to the audience. Step 20: Strong Bira logo dissolves in. Step 21: Fade out.

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Revised Draft for Strong: Step 1: Fade in. Danger sign in the center of frame. Step 2: Zoom out to Strong Bira Bottle in a glass container with danger sign on it. Step 3: More zoom out to reveal only table in the middle of the frame, with Strong Bira on it. Step 4: Full shot. Monkey enters, walks by the table and straight out of the frame. Step 5: Fade out; Black frame. Step 6: Monkey re-enters the frame, face towards the bottle. Step 7: Zoom in to his face, he gets curious of the Beer. Step 8: Monkey quickly goes out of frame. Step 9: He re-enters with a hammer in his hand and breaks the glass container. Step 10: Crash sound; Black frame. Step 11: He stands in the middle of all the wreckage and picks up Strong and smells it suspiciously. Step 12: He drinks Strong Bira and when he finishes it; Step 13: He is thrown up in the air, screams loudly and his hands on his neck, bottle falls off from his hand; Step 14: And drops dead on the floor. Step 15: Black frame. Step 16: His one leg twitches, then the other leg is thrown up in the air. One by one, his both hands are thrown up in air. His whole body starts shaking and vibrating, coming to life. Step 17: He bounces, stretches and squashes off the floor. And explodes. Step 18: BAM sound; Black frame. Step 19: Cut to Him standing tall with his muscles much bigger and stronger. Step 20: The frame zooms out. He looks right and left and there are other monkeys around as strong as him. Step 21: Fade out; white frame with Strong Bira Tagline. Step 22: Strong Bira logo dissolves in. Step 23: Fade out.

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Final Script Strong

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Storyboard Strong A Storyboard is a sequence of drawings that is used to help visualize the animation and to communicate ideas clearly. It details key events and scene changes in the animation, often accompanied by text notes describing what is occurring in the scene such as camera movements. It is often the first opportunity for others to experience a real impression of the animation before it enters the production stage. Experienced film makers will be able to visualize the movement as well as sense the overall pace of the animation. Often storyboards include notes to describe the frame in more detail such as mood and lighting as well as camera moves. The Storyboard helps to finalize the development and the storyline and is an essential stage of the animation process. It is a visual reminder of the plan and can be referred back to throughout the production stage. Storyboards can be especially useful when working in group environments, something quite common in the animation industry. As ideas develop it’s not unusual for an animator to produce several storyboards to reflect the refinement of ideas. In the next few pages,we see some rough Storyboard attempts on paper which were drawn early on in the process. They highlight my basic approach. The Final storyboard was drawn on Adobe Photoshop and illustrates how certain features and movements have been simplified to cut down on the work load. Notice how the main character reacts after having each, Bira 91 Strong and Bira 91 Light. Also the proposed end, in case of ‘Strong’, Monkey being shocked, surrounded by many more strong monkeys now appears to be far more interesting and less dull for the audience.

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Rough Storyboard Strong

(Above) Rough Storyboard on paper MUSKAN JAIN

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Final Storyboard Strong

Black fades to reveal danger sign in the center of the frame. As the camera zooms out, Bira 91 Strong Bottle in a glass container with danger sign on the bottle. Camera zooms out more to reveal a single table in the middle of a clean, well- lit and an empty room, with Bira 91 Strong on top of it protected by the glass container. MONKEY enters, walks into the room.

MONKEY passes by the table and exits.

MONKEY re-enters the room. Confused, He quickly exits.

(Above) Final Storyboard for Strong on Adobe Photoshop 72

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MONKEY re-enters with a hammer/mallet in his hand and slams the glass container.

CRASH!

MONKEY picks up Strong from the table to drink it.

MONKEY is drinking Strong. His eyes dilute as he finishes it.

MONKEY stands in the middle of all the wreckage.

MONKEY falls dead.. (Above) Final Storyboard for Strong on Adobe Photoshop MUSKAN JAIN

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His one leg twitches, then the other leg is thrown up in the air. One by one, his both hands are thrown up in air. His whole body starts shaking and vibrating, coming to life. He bounces, stretches and squashes off the floor. And explodes. BAM! MONKEY standing tall with his muscles much bigger and stronger.

Camera zooms out, MONKEY looks around to see other monkeys like him, as strong as himself.

Iris into Strong MONKEY.

STRONG Title and Logo.

(Above) Final Storyboard for Strong on Adobe Photoshop 74

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Cut to Black.

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Character Monkey

(Above) In order of the development of the â&#x20AC;&#x2DC;Monkeyâ&#x20AC;&#x2122; character for Strong and light Simplicity is the general rule to remember when developing characters. The more complex the character the harder it is to repeat over and over. Black (0,0,0,100) is the body colour for monkey and the Grey (66,59,58,41) is the highlight considering the light source is on left.

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(Above) Monkey in different backgrounds from Light & Strong. MUSKAN JAIN

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Layouts Strong

Bira 91 has a particular visual language that they have developed as a brand and the choice of colours and tone for ‘Strong’ and ‘Light’, was also key to the mood of the final pieces. Warm colours of strong gave the story an intensity and a humorous twist.

Layouts and sets are environments created for the film’s story. They are the settings where the action of the film occurs. I did a lot of prep work figuring out what exactly I was going for in terms of ‘visual display’. The backgrounds ended up using a variety of color schemes to make it work. Here are some initial layout designs for Strong in the next few pages.

(Right) Screenshot of making of final static background image in Adobe Illustrator. This room, as a setting is very important a major chunk of the STRONG animation occurs here.

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(Above and Right) Background iterations for Strong.

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(Above and Right) More Iterations for Strong.

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(Above) Making of Final Static Background Image for Strong in Adobe Illustrator.

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(Above) Final Static Background Image for Strong.

ANIMATION SHORT FILMS FOR BIRA 91

An animatic is a timed moving version of the storyboard made up of individual frames taken from the storyboard and is often accompanied by sound effects and music. It is a cheap and convincing method to present an on screen impression of an animation and as such is a useful way to present ideas.

Animatic Strong

The Animatic provided me the opportunity to assess the timing of movement and soundtrack. Shortening or lengthening how long each image is seen on screen helped to demonstrate the pace of the animation. Finally the animatic assisted me with decisions regarding scenes to include or exclude. On a commercial project like mine, an animatic is very important as it avoids wastage of time and money during production. In following pages, we can see miscellaneous shot progressions from Strong.

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Shot progression- Shot 03 from Strong

Shot progression- Shot 06 from Strong

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Other miscellaneous shots in the animatic.

Shot 01 from Strong

Shot 02 from Strong

Shot 03 from Strong

Shot 04 from Strong

Shot 05 from Strong

Shot 06 from Strong

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Pre-production involves establishing the plot of the completed animation. Because each shot in animation is so labor-intensive, itâ&#x20AC;&#x2122;s imperative to get shots right during pre-production. Re-animating a shot (because a character uses knowledge not gained until later in the story, for example) is very expensive, especially compared to live-action filming. - Wikiversity on Pre-Production as part of 2D Animation Process

Pre-Production Light Similar to the Pre-Production of Strong, I started on Light by determining the parameters of development phase: The length of the film - 30 seconds according to the brief, the style of the film - vector according to the brand language, number of characters- one, which is the brand mascot(monkey) and the use of dialogue- none as was in the case of Strong. After the parameters were determined, there were five simple steps to completing the first phase: Story Development, Scripting and Outlining, Environment Design and Storyboarding, Animatic - which are covered in the following sections.

After an intense pre-production for Strong, I had little time left for Light. However, there was no compromise for Light. I started by planning out the plot and conflict in Light story. Next, I wrote out the final story and outlined it on paper. Since, the look of the character was already drawn and finalized during Strong, some time was saved for production of Light. After that, I drew out the environments and decided on how it should look for the film. Lastly, I drew and timed out the main scenes for later use in references and planning animation for Light.

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(Above) Pictures of comic strips, posters, interesting characters and recognizable animations which were Inspiration for Light are shown on this page. 88

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In contrast to Strong, the requirement for Light was to be well-tempered, subtle and “vanilla”, to be extremely approachable and not at all extreme. We saw this as an opportunity to get deeper into visual comedy of an abstract, deadpan character. In terms of tonality, it suggested a calm absurdity, like floating mid-air without a clue to why or how. We built upon these keywords: low cal, light, floaty, easy, fun.

Inspiration Light

On the left page, you can see various visual references that play an important role in my inspiration, (Top Left - Bottom Right) Mox Nox by Joan Cornellà, Flying Monkeys from the 1939 film The wizard of Oz, Tinkerbell Wallpaper, Lost cat Cover by Jason, Taco Bell commercial with Bill Plympton, Raymond Savignac’s Poster for Air france, Dumbo The flying Elephant, Another flying Monkey, Rad Dudes Cover by Sean K.Dove, Idiots and Angels film poster by Bill Plympton, Peter pan by J.M.Barrie, CommercialPosters by Raymond Savignac, The Flying Sorceress and The Flying cat -Tom and Jerry series By William Hannah and Joseph Barbera, Mox Nox Cover by Joan Cornellà and scene from Back to Oz -Tom and Jerry.

Peter Pan is a fictional character created by Scottish novelist and playwright J. M. Barrie, was a big inspiration for me, and an influence on the thought process for Light monkey’s character. Peter Pan is a free spirited and mischievous young boy who can fly and never grows up. Like Peter Pan, the Light monkey intends to be a cultural icon. Raymond Savignac for the pinch of humour in neat and simple compositions influenced the backstory aspect of the character. He was the celebrated French poster artist who combined pure images in cheery colors with engaging humor to advertise products ranging from cars to aspirin to shampoo.

Jason, a graphic novelist published frequently by Fantagraphics, was also a big discovery for me at the studio. The Norwegian cartoonist Jason combines a poker-faced minimalist anthropomorphic style with more than a passing nod to the “clear-line” ethos of Hergé. As he has shown in a series of acclaimed graphic novels, this seemingly limited approach has proven amazingly versatile, allowing Jason to create gag comedy (Meow, Baby!), romantic melodramas (Tell Me Something), dramas (Hey, Wait...), and genuine thrillers (the period detective novel The Iron Wagon) — often without even the benefit of words, and using a stylishly minimalist color palette to boot.

Spanish cartoonist Joan Cornellà’s viciously funny Mox Nox comic strips struck a cord with me. It has garnered over one million fan followers on social media. A quick glance indicates why. Each single page strip is a wordless, full-color, hand-painted marvel of the comic strip form. That Cornellà’s visually inviting artwork is in the service of his graphic sense of humor/ horror only heightens the appeal. Mox Nox is populated almost exclusively by smiling psychopaths who invariably turn even the most mundane situation into a side-splittling and cringe-inducing farce. Tom and Jerry was initially, and then, eventually referred to, primarily because of its slapstick comedy.

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Conceptualization Light

(Left and Above) sketching variations of the Light Monkey and him in different situations, simultaneously searching for appropriate story cues through writing and notemaking. 90

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(Above) Rough story sketches for Light. These sketches shown in this page, are part of a story I was working on where the monkey is wearing heavy shoes, which he later unbuckles after drinking Light. Drinking Light makes him fly out of those shoes (giving a feeling of lightness). He floats in the sky and finally flies out of Earth. Having worked on Strong, I was quicker to make stories and refine them. The main element to work on was him floating amongst the clouds, and showing him light. Once an appropriate storyline was arrived at, I could start with storyboarding it. While getting into the details of the story; getting them right required a lot of iterations. The idea for Light, was that the monkey floats in space, amongst the clouds. This causes odd encounters with airborne objects and creatures.

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Although I was taking distanced looks every once in a while, it was still easy to get carried away and let indecision distract me from the one final story I was trying to make. At this point, I shortlisted two stories, one of which will finally be used. First one begins with the sun shining on the monkey and the monkey takes Light out of his bag. Zoom in to the monkey drinking light. He relishes its taste. He rises in the air and flies out of the frame. As he reaches the cloud, It starts raining and he falls back to Earth. Next moment, Monkey wakes up on his bed, shocked. Thinking it was a dream, he again opens Light. Again, He is in air. The story ends here.

(Above) Initial concept sketches in a rough storyboard format. (Directions for the above Storyboard ; start at the top left, move downwards till the last frame, move to back to the next top frame on the left....continue that way)

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Chosen Direction

The second story from the shortlisted ones was finally chosen to work on further. With the chosen story decided, the starting point was to refine it further and get into the details of the story. The story starts with the monkey relaxing on the side of the pool with Bira Light. Monkey drinks Light and prepares to dive into the water. He jumps into the water but instead of falling into the water, he rises up in the air. He flies out of the frame. He flies higher and higher, land below him getting smaller and smaller. He flies out of Earth and into space. He crashes into a satellite; Internet on Earth disconnects- the end. This story was chosen as it matched all the qualities of the beer- light, floaty and fun.

(Above) Final story concept in rough storyboard format. MUSKAN JAIN

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Script Writing Light Here is the rough draft for Light with transitions, actions, sounds and expressions. Step 1: Fade in. Frame full of water. Step 2: Zoom out to Swimming pool and Light Bira kept near a bench. Step 3: More Zoom out to show monkey laying on that bench and Light Bira at his side. Step 4: Monkey gets up and picks up Light. Step 5: Mid shot of him drinking Light. Step 6: He prepares to dive into the water. Step 7: He jumps into the water. Step 8: Instead of falling into the water, he rises up in the air. Step 9: He flies out of the frame. Step 10: He flies higher and higher, land below him getting smaller and smaller. Step 11: Encounters a bird, which in turn gets alarmed by the monkeyâ&#x20AC;&#x2122;s presence. Step 12: He flies out of Earth and into space. Step 13: He crashes into a satellite; slightly injured and small stars revolve around his head. Step 14: Fade out.

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Revised Draft for Light Step 1: Fade in. Step 2: Monkey laying on a bench relaxing with Light Bira bottle at his side, near a pool. Step 3: Monkey sits up and picks up Light to drink. Step 4: Close up of him drinking Light. Step 5: Full Shot. He exits the frame. Step 6: He comes running into the frame and jumps into the pool. Step 7: Instead of falling into the water, he rises up in the air. Step 8: Monkey confused by the situation, tries to resist the force pushing him upward. Step 9: He flies out of the frame. Step 10: He tumbles into sky, amongst the clouds, encounters a bird and then an airplane. Step 11: He flies out of Earth and into space. Step 12: Feeling light and free, he flies amongst the stars. Step 13: He tries to stop himself before crushing into a satellite. Step 14: Kaboom. Step 15: Internet connection not found window appears. Step 16: Fade out.

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Final Script Light

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Rough Storyboard Light

(Above) Rough Storyboard for Light on paper 98

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Final Storyboard Light

Black fades to reveal MONKEY laying on a Bench and relaxing with Bira 91 Light at his side, near the pool. He wakes up and picks up Light to drink.

CLOSE UP of MONKEY drinking Light.

Moments later, MONKEY exits the pool area.

Camera zooms out to show a wider view of the space, MONKEY re-enters running towards the pool to jump in for a swim. He stops mid-air. Confused by the situation, he tries to push himself down but is pushed upward instead. He is flown upward and struggles further in air. He flies out of frame. MUSKAN JAIN

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Cut to sky. We see a bird looking downward, confused. MONKEY tumbles into sky and the bird rushes out of the frame alarmed. MONKEY saves himself from colliding with an airplane next. He escapes and flies out of the frame to avoid anymore collisions.

Cut to space. MONKEY enters the space. Feeling free and light. He enjoys his flight among the stars. However he tries to stop himself as he sees something.

(Above) Final Storyboard for Strong on Adobe Photoshop 100

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Cut to MONKEYâ&#x20AC;&#x2122;S POV; a Satellite revolving around Earth.

Unable to stop himself, MONKEY crashes into the satellite. KABOOM!

Cut to Earth. We see Internet connection not found window.

The film ends with Light title And Logo.

Cut to Black.

(Above) Final Storyboard for Strong on Adobe Photoshop MUSKAN JAIN

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Layouts Light

(Above) Screenshot of making of final static background image in Adobe Illustrator. This ‘Swimming Pool’, as a setting is very important as major chunk of the LIGHT animation occurs here. 102

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(Above)Background iterations for Light in Adobe Illustrator. (Right)Render of an iteration.

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(Right) Final Static Background Image of Swimming Pool for Light. Initial animation when the monkey is relaxing on the bench, occurs here. 104

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(Above) Screenshot of making of Wide Shot of the Swimming Pool in Adobe Illustrator. (Right) More Iterations for the Wide Shot. 106

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The wide shot required an arrangement of buildings around the Swimming pool and show some of the sky above. To keep it simple and in alignment with the brand language, I put together blocks of buildings together with an appropriate number of clouds in the sky above. The Light elements like clouds and Satellite (in later sections) were used for the film, directly from the Bira archive as I was instructed to use them to maintain the consistency of the â&#x20AC;&#x2DC;Lightâ&#x20AC;&#x2122;.

(Above) Making of Wide shot with final changes in Adobe Illustrator. (Top Right) Glimpse of final arrangement of buildings and clouds. (Right) An Iteration for the wide Shot of Swimming Pool. (Next Right Page) Final Image for the Wide Shot of Swimming Pool. 108

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(Left Page Image) Final Space Image for last sequence in Light. (Current Page- Top left to Bottom Right) More Iterations for Space. MUSKAN JAIN

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Animatic Light

Shot progression- Shot 01 from Light

Shot progression- Shot 03 from Light

Shot progression- Shot 04 from Light

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Other miscellaneous shots in the animatic.

Shot progression - Shot 02 from Light

Shot progression - Shot 03 from Light MUSKAN JAIN

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4 Production

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The production phase was the longest and busiest phase of my project.

Production

Strong & Light Animation The entire process took a lot of time, as is expected. I stuck to a strict work regime in office and burnt the midnight oil at home working on the production. There were days when I would take a break and I would work on story ideas for light due to two main reasons: one, that Strong and light were going to be launched soon, at the end of June and two, monotony of line art. For a whole month of May and half of June, I was set on finishing of Strong. In case of Light, a whole month of August and September went in production. I started with posing the main poses of the shot. These poses are called key poses because they are the most important poses of the shot. These are the poses that convey the story of the shot specially I made sure I got those poses right as they were the most important for the flow of animation. I began with drawing the main character using circles and acting the parts that had to be animated. Using TVPaint in case for Strong, was a good idea because I had experience with it before (when I used it for my classroom project at NID) and thus, I learned a lot more about the software as well as honed my skills at using the techniques the software provided to make the work flow easier. I placed the background that I had created in Adobe Illustrator earlier below the linear art and then animated the rest of the sequence as it gave me better idea of how the character will be positioned and how they will move in the scene. It was a good work flow to follow and TVPaint really is a brilliant software to use for 2D animation. For Light, initially I started my animation on TVPaint. However, I switched early in the process to After Effects because of one main reason i.e. I felt the story of light would be best conveyed in the style of vector. This was my opportunity to try, experiment, and make my project interesting.

In the next few pages, you can see some production stills of Strong & Light, in order of the shots. I decided to do the monkey walk cycle first. It is the first action that appears in the film, Strong. It seemed the simplest and the most difficult task at the same time. Simplest because its walk was to be similar to a human walk cycle that we had done so many times during college. It was also the most daunting because walk cycles are difficult to master and needs a lot of practice to achieve that one perfect cycle. Plus, it was my first attempt of character animation in TVPaint and i had a long road ahead of me before I could animate the monkey fluidly without being held back by the software or the actions.

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Production Strong

Shot 1 Production Stills :

(Top Left to bottom Left) Screenshots of Monkey walk cycle on TVPaint. (Bottom Right) Compositing of rendered walk frames from TVPaint to After Effects to check the timing. 118

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Shot 2 Production Stills :

(Top Left and Right) Screenshots of Line animation above the static background(with opacity lowered) in TVPaint. (Bottom Left and Right) Screenshots of Coloured animation with Final background in first scene. MUSKAN JAIN

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Shot 3 Production Stills :

(Top Left and Right) Screenshots of Line animation of Monkey with claw hammer which was later changed to mallet in TVPaint. (Bottom Left and Right) Screenshots of coloured animation with temporary background. 120

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(Above) Making of final Image for CRASH in Adobe Illustrator. I tried different combinations taking help from my colleague, Kruttika who also helped with some elements to make the final piece more interesting. MUSKAN JAIN

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Shot 4 Production Stills :

(Top Left and Right) Screenshots of Line animation of Monkey standing in the middle of all the wreckage and picks up Strong to drink. (Bottom Left and Right) Screenshots of coloured animation with temporary background. 122

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Shot 5 Production Stills :

(Top Left and Right) Screenshots of Line animation of close up of Monkey drinking Strong. (Bottom Left and Right) Screenshots of coloured animation with temporary background. MUSKAN JAIN

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(Above) Image Sequence of Myself acting the part where the Monkey drinks Strong.

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Shot 5 - Continued Production Stills :

(Top Left) Screenshot of Line animation of Monkey getting drunk. (Top Right) Screenshot after final colouring. (Bottom Left and Right) Screenshots of animating the sequence. MUSKAN JAIN

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Shot 6 Production Stills :

(Above) Screenshots of Line Animation of Last Sequence.

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Shot 6 - Continued Production Stills :

(Above) Screenshots of Line Animation of Last Sequence. MUSKAN JAIN

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Production Light

(Above) Key poses for Monkey running towards the pool to jump in.

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Inexperienced as I was in After effects with respect to character animation, I had to come up with new ways to do the job for me. I was aware of the puppet tool, other mechanisms such as parenting and the use of camera as a 3D layer, but after few attempts at it with a dummy character, I was convinced that using these tools by themselves are not going to give the results I wanted. Therefore, I followed a different process in order to give convincing motion to the Monkey unlike the process followed by online tutorials for character animation.

The first step in the process was to create the key poses for the action. (Above) These are the key poses for the Monkey running towards the pool to jump in. I mainly used shape tool for all the constituent parts of the Monkey and then animate each of them separately. Monkey consisted of a head, a body, a pair of eyes, a pair of nose, a pair of ears, a pair of arms, a pair of legs and a crown. Then there were highlights for each to be animated separately. It is a lengthy procedure but worth giving a shot.

What follows are a series of screenshots of the final animations from Shot 2 and Shot 3 (also seen in Animatic section) showing how the required motion was achieved and giving an idea of my approach of animating Monkey in After Effects. (Right Page) Screenshot of the Animation for the light. I made one main shape layer, under which there are more than 20 layers of Monkey Parts and their highlights. This way I can animate all of them together and separately. I placed my key poses under the main shape layer for reference.

Shot 2 Production Still :

(Above) Production Still for the Full Shot of Monkey running towards the pool to jump in.

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Shot 2 Production Stills :

(Above) Production Stills for the Full Shot of Monkey running towards the pool to jump in.

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(Above) Production Stills for the Full Shot of Monkey running towards the pool to jump in.

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Shot 2 Production Stills :

(Above) Production Still for the Full Shot of Monkey mid-air.

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(Above) Production Stills for the Full Shot of Monkey mid-air.

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Shot 2 - Continued Production Stills :

(Above) Screenshots of the final animation on after effects using the key poses. (Left) Key poses for the final animation of shot where he rises up instead of falling into the pool.

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(Top Left and Bottom left) Screenshots of the final animation in after effects using with lowered opacity of shape layer to make the paths of key poses underneath visible. (Top Right and Bottom right) Screenshots of final animation with full opacity. I animated the individual monkey parts first and then parented the position of the highlights to their position.

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(Above) More Screenshots of the final animation in after effects of the scene where he rises up instead of falling into the pool.

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(Above) Screenshot of the final animation in after effects of the scene where he rises up instead of falling into the pool.

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Shot 3 Production Stills :

(Above) Main key poses for the final animation of shot when he rolls into the sky.

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(Left) Screenshots of Initial Visualization of the scene. (Above) Screenshots of the final animation on after effects using the key poses.

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(Above) Screenshot of the final animation in after effects of the scene where he tumbles into sky and encounters an airplane.

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(Left and Above) Screenshots of final animation of Scene 3. The production for Light was hectic. All of my energy went into framing the exact amount of precision in Light animation. Even so, I chose to do all the animation in after effects because of couple of reasons- as compared to TVPaint which is a raster based software- the image sequences are not as scalable as vector graphics. Second, shapes used within After Effects have great flexibility and is far more manipulable as compared to TVPaint raster shapes. According to me, this technique was best suited for the story.

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5 Post Production

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Post-Production Rendering

Post-production is the final stage in the process of creating an animation and involves exporting or rendering out the animation frames and then editing the pieces of animation together using Adobe After Effects and Premier Pro. The sound track, including sound effects, is also added during the final edit. The Post-production stages also involves further advanced processes such as compositing and colour correction. Rendering is the process of getting the final assembled animation scenes or pieces out of the computer in the format of a sequence of individual frames. The aim of rendering is to generate a series of individual pixel based frames or a video clip. In case for Strong, I animated on TVPaint Animation 10 Pro, from where I rendered frames to be composited on Adobe After Effects. However, In case for Light, because I had done all the animation on Adobe After Effects itself, I didn’t have to render any frames. Example of a rendered frame from Strong The rendering process can involve the creation of individual elements of an overall animation which will then be merged at the compositing stage. These individual elements are often rendered out using ‘Alpha transparency’ or ‘Alpha channels’. This means that each element is on a transparent background so that each element can be brought together and overlaid upon a background scene or graphic. The image on the right page is an example of a rendered frame. The transparent background is represented using checker pattern. See the Compositing section (next) to see how this image is incorporated.

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(Above and Right) Renders for Strong

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Compositing

After the Animation has been rendered it may be necessary to add some special effects or to combine separate rendered elements together into one final animated sequence. This process is known as Compositing. If separate elements are to be composited together they will have been created using â&#x20AC;&#x2DC;Alpha transparencyâ&#x20AC;&#x2122;. The example on the previous page was rendered using alpha transparency, represented by the checker pattern. Adding the camera moves afterwards was the best as I got to see my work coming to life finally. And that sweet taste of almost finishing my work added an extra push for me to finish it once and for all. In case of Strong, I rendered frames from TVPaint and precomposed each shot before compiling them all together in one final composition later for Editing. In case of Light, I made separate compositions for each shot and then stitched them together in one final composition later for Editing. The screenshot of the composition window on the right page illustrates how a few elements are brought together by compositing.

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Compositing for Strong - Shot1

Compositing for Light - Shot 2

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Editing The Editing stage of Post-production involves putting the rendered pieces of my animation together in the correct order of events. I used Adobe After Effects for the final editing. Ajay gave me several tips to better my work flow at editing as it is a time-consuming process that could eat you up your time whole if you werenâ&#x20AC;&#x2122;t careful. In case of Strong, I placed all my frames from TVPaint into After Effects and lined them up there according to the storyboard and script as seen in compositing. I had precomposed each shot before putting them together in Editing Composition. In case of Light also, I edited my composition in After Effects. You can see in the next page screenshots of After Effects Windows for both films and a timeline panel separately when I was editing Strong.

A timeline panel for Strong showing various shots stitched together and being edited in a single composition.

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Edit for Light consisting of Shot 2 - Shot 5

Edit for Strong consisting of Shot 1 - Shot 4

Edit for Strong consisting of Shot 1 - Shot 4 MUSKAN JAIN

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Sound and Music Score The Sound and Music Score, or Soundtrack, is a hugely important part of a successful animation. The use of audio such as music, sound effects and vocal dialogue all play a big part in telling the story. Altering the type of sound used, particularly the choice of music or background ambience, has a big effect on the mood of an animation. I started doing sound for my movie during the production of my film. Syncing animation and the voices together was all done in Adobe Premiere Pro. After I got all the music and sound effects as separate VFX files, I placed then in timeline under my Line animation. This way I was always in control of the project and it wouldn’t go out of hand if I was able to constantly tweak it according to my desire. Ajay helped in organizing my thoughts for sound. In case for Strong, as the theme for the sound is “strong”, He advised me to think of sounds or music that comes to me keeping theme in mind. I introduced variety of background sounds e.g. comic, surprise, trumpet, loud bass, firecrackers, music that worked at the monkey’s entry, and also when he drinks the beer. However, finding sound effects towards the end was challenging as they were to let way for a “stronger” sound. Timings were decided through variations of sounds and silences. Ajay helped me see it as a three part music/sound progression..1. Pre-drink, 2. Right after drinking and 3. Post-drinking the beer. Keeping this progression in mind made my work well defined. Therefore, the music and sounds transformed as per this definition. Having gone through such an in-depth process for Strong, it was easier for me to do sound for Light with the help of Dev. He mixes music and has made good music in the past. Therefore, Dev has been great help in sound designing for both films. He helped me sort the folly sounds and find appropriate soundtracks for both short films. You can see on the right page some screenshots of animation with audio in Premier Pro for Strong.

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(Above) Screenshots of Sound Editing for Strong.

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Titles and Credits

Title Cart for Strong

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Titles and Credits are an important part of a finished animation. They let people know who made it, when it was made, who funded it and more. The final stage of Post-production is the addition of Titles and Credits within the sequence. With a discussion over the naming of the films, me and Dev decided to use the unit created by DKMD for Strong and Light as the title so that it is associated to Bira 91 when the films release on social media or any other platforms. I used Adobe Premier Pro to give the basic titling and credits.

Title Cart for Light

Screenshot of initial Edit of Credits for Strong

Screenshot of Final Edit of Credits for Strong

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6 Conclusion

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Film Stills Strong

The labor described in prior sections culminate in these few pages. What follows are few of the stills from the film with the backgrounds materialized, character placed and composited.

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Film Stills Light

The labor described in prior sections culminate in these few pages. What follows are few of the stills from the film with the backgrounds materialized, character placed and composited.

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Conclusion

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The making of Strong and Light has been an enriching experience, from beginning to end, with many highs and lows. The brief I initially started with, was very open-ended. However, gradually I was able to find a direction of my own to work on. The results were unexpected but good; lively characters, quirky animation, wacky stories and two amusing short films. Looking back on my journey, I have gained so much in just 6 months. I have learned the difference between animation for corporates like Bira 91 and animation done on one’s own time (in college) - I have learned how to handle the time constraints and constant changes to one’s work when in the industry. The exposure that NID gave me was very helpful as I was able to apply all my learnings to the work while interning at DKMD. Meeting so many people from all walks of life with amazing talents and gifts, that was one of the best parts of my experience. There were so many individuals who inspired me and taught me so much about how to balance one’s own creativity with the needs of the industry. My mentor, Ajay, is someone who really helped me get used to the sudden change as I met him for guide visit, through various exchange of emails, messages and phone calls. There were so many decisions about the content and the execution of the films that I was to make in such less time, I wouldn’t have made them well without his help.

DKMD as a studio naturally had a big influence on every aspect of my work in the project; my time there was also essential in my understanding of professional practice—I was able to shed some stereotypes and see what the most important aspects of working as an animation designer are. The strong output focus of work has made me emphasize exhaustiveness of process less (where I would earlier waste a lot of my time) and see the value of insight. Inter disciplinary and intra-workplace communication is an area where I learned a lot, and I can say with surety that I have gotten over some of my hold-backs in this regard, though I still need to be more proactive. Dev often shared his beliefs about work and posed questions—some stuck— which pushed me to find my own answers. I was able to attempt balancing my creative professional life with my personal (by reading and dancing through these months), and in recreation for a healthy, fulfilling routine; many pursuits outside of work inspired the work itself. When I first got accepted to do my degree project with DKMD, I was eager to work in the company of successful illustrators and graphic designers and thereby change the face of the whole brand through a fluid animation; the actual experience was first, humbling—a big team is required, lots of expertise and experience and lots of concerns and to come together and to build it over time—and second, incredibly insightful—

Bira 91 never used Animations to its full potential before in their brand strategies. My project was an introduction and paved way for more such good animations. I was to set a standard for upcoming animations to be used by the famous beer brand. I believe I fulfilled the objectives I had set out to considerable extents, but two areas stand out where I think I significantly require more improvement: Planning, which is probably the most vital task in animation—as important, if not more than concerns of craft—as well as Story Writing, i.e. A narrative or story in its broadest sense is anything told or recounted; in the form of a causally-linked set of events; account; tale; whether true or fictitious. I personally seek to understand how to create a universe around a story, which could be built from one’s own experiences. At a personal level, I believe that integrity and maintaining self-confidence are important values to withhold going forward. Being less attached to the result and maintaining a balance between ambition and humility are traits I am yet to develop. However,this brilliant opportunity I got, has enhanced me professionally, and just as importantly, helped me grow as an individual. I truly believe this opportunity has benefited me in my future goals and career choices. A bonus is the fact that I have made a lot of brilliant memories and friends in the time I had here. My initial purpose when I joined was to make animation short films for two new Bira 91 variants and I am glad to say I have, and grown so much from the experience.

This project was quite appropriate as a degree project because it did in fact bring together a bunch of distinct directions of learning from the last few years. My 6 month apprenticeship has taught me deeply about the high-standard ethics and work culture of the design studios in addition to teaching me effective ‘story telling’ skills and how to balance making quality content in the short duration provided in the industry. Animated Short films is an interesting domain to have worked in because it enabled me to refine my visual skills, help me experiment with mediums and at the same time, enabling me to create short cinematic experiences. I look forward to working again in the same format—it sure is capable of retaining my interest as an area of work as it is interdisciplinary (which I enjoy) and relevant—and seeing it transform over the coming years. Lastly, I’m grateful to have gotten the opportunity at NID and to have done this project as the last as a student here. I’m proud of the work that I did, and the overall four-year experience.

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Bibliography Websites

Books, TV Shows & References

Sound Credits

www.Bira91.com economictimes.indiatimes.com www.gqindia.com www.livemint.com talesoffroth.wordpress.com www.buzzfeed.com www.cartoonbrew.com www.fantagraphics.com www.wikipedia.org www.beerhistory.org www.mckinseyonmarketingandsales.com www.investopedia.com www.forbes.com www.thedrinksbusiness.com www.beer.about.com www.truthinadvertising.com www.beerforthat.org www.gearpatrol.com www.youtube.com (Wall Street Journal) www.fmovies.io www.facebook.com/Bira91beer www.behance.com www.pinterest.com www.writerduet.com www.softwaysolutions.com www.youtube.com

The Animator’s Survival Kit by Richard E. Williams Character Animation Crash Course! by Eric Goldberg Timing for Animation by Tom Sito Habibi by Craig Thompson The Flying Sorceress and The Flying cat, Back to Oz -Tom and Jerry series By William Hannah and Joseph Barbera Spy vs. Spy by Mad Magazine TVPaint Tutorials by Hikarian (Youtube) 25 ways to quit smoking & Taco Bell commercial by Bill Plympton Pink Panther designed by Hawley Pratt The Incredible Hulk based on Marvel Felix the cat by Pat Sullivan & Otto Messmer Far Side by Gary larson Simpsons TV Show by Matt Groening Popeye by E. C. Segar Silicon Valley TV show by y Mike Judge, John Altschuler and Dave Krinsky Mox Nox by Joan Cornellà Peter pan by J.M.Barrie

www.freesound.org www.melodyloops.com www.audiojungle.net

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Softwares Used TVPaint Animation 10 Pro Adobe After Effects Adobe Premier Pro Adobe InDesign

Image Credits Page 19 National Institute Of Design Picture by Bhushitendu Bhatt Page 20 1- Batch dinner with Ajay Tiwar in second year- https://www.facebook.com/photo.php?fbid=964226983587490&set=t.1048782851&type=3&theater 2- Chetan working for Open Elective at NID,Ghandhinagar - https://www.facebook.com/photo.php?fbid=10153058694544096&set=t.100000005911421&type=3&theater 3- Me sketching in Mill Ownersâ&#x20AC;&#x2122; Association Building. - https://www.facebook.com/photo.php?fbid=10201736582155475&set=t.1048782851&type=3&theater 4- Shot from Group work during Stop Motion (3rd year) - https://www.facebook.com/muskanjain.nid/photos?lst=1048782851%3A1048782851%3A1507038898&source_ref=pb_friends_tl 5- Batch dinner with Prateek A. Sethi in fourth year..- https://www.facebook.com/photo.php?fbid=864730750328347&set=t.1048782851&type=3&theater 6- During Garba celebrations in NID, Paldi in 2016 - https://www.facebook.com/photo.php?fbid=10208262476136962&set=p.10208262476136962&type=3&theater 7- Chetan sketching during E.P course in foundation - https://www.facebook.com/photo.php?fbid=10202107950210289&set=t.100000005911421&type=3&theater 8- During Garba celebrations in 1st yr. - https://www.facebook.com/photo.php?fbid=582631065160977&set=t.1048782851&type=3&theater 9- Batch photo in Animation Lab in 2016 - https://www.facebook.com/photo.php?fbid=1262834547060064&set=t.1048782851&type=3&theater 10- Chetan working for his filWWWm in Cintiq Lab. - https://www.facebook.com/ctolia 11- Poster for Animation Film Festival- Chitrakatha 2013 - first Animation fest I attended as a NID student- http://www.jasrajbhatti.com/wp-content/uploads/2017/04/12-1.jpg Page 22 Bira logo unit - DKMD Archive and Anvi Sarin Page 25 1- First Tapping and Official Launch- https://www.facebook.com/bira91beer/photos/a.1536077619991636.1073741831.1490939447838787/1536077923324939/?type=3&theater 2- Bira in Tribeca Film Festival- https://www.facebook.com/bira91beer/photos/a.1661578447441552.1073741843.1490939447838787/1661578464108217/?type=3&theater 3- Bira at Tribeca - https://www.facebook.com/bira91beer/photos/a.1662526264013437.1073741844.1490939447838787/1662526277346769/?type=3&theater 4- Bira in parties at Tribeca- https://www.facebook.com/bira91beer/photos/a.1661578447441552.1073741843.1490939447838787/1661578457441551/?type=3&theater 6- Bira 91 White Preview and tastings - https://www.facebook.com/bira91beer/photos/a.1519385278327537.1073741830.1490939447838787/1519385288327536/?type=3&theater 5- Bira with Nucleya at Mehboob Studio - https://www.facebook.com/bira91beer/photos/a.1676099962656067.1073741847.1490939447838787/1676100199322710/?type=3&theater 7- Bira 91 in CTRL ALT DELETE- https://www.facebook.com/bira91beer/photos/a.1519019105030821.1073741829.1490939447838787/1863940017205393/?type=3&theater 8- Bira 91 Light first look on facebook - https://www.facebook.com/bira91beer/photos/a.1588283384771059.1073741833.1490939447838787/1825616117704450/?type=3&theater 9- Celebrating Holi in NYC with Bira 91 - https://www.facebook.com/bira91beer/photos/a.1519019105030821.1073741829.1490939447838787/1825149781084417/?type=3&theater 10- Bira 91 Strong first official look on social media - https://www.facebook.com/bira91beer/photos/a.1588283384771059.1073741833.1490939447838787/1825616127704449/?type=3& 11- Bira 91 launch in Singapore - https://www.facebook.com/bira91beer/photos/a.1519019105030821.1073741829.1490939447838787/1863940017205393/?type=3&theater 12- Bira 91 in a launch party in Singapore - https://www.facebook.com/bira91beer/photos/a.1519019105030821.1073741829.1490939447838787/1863940090538719/?type=3&theater

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Page 26 DKMD Studio in Asia Village by Kruttika Susarla Page 36-40 and 42 Images from personal Sketchbook in DKMD Page 31 1. https://www.pexels.com/photo/blue-harp-decor-on-brown-wooden-table-63633/ 2. https://www.pexels.com/photo/alcohol-bottles-drinks-beer-53181/ 3. https://www.pexels.com/photo/stainless-steel-beer-dispenser-159291/ 4. https://www.pexels.com/photo/drink-beer-cheers-toast-8859/ 5. https://www.pexels.com/photo/cold-hand-alcohol-glass-8755/ 6. https://www.pexels.com/photo/party-beer-ice-bottles-8808/ 7. https://www.pexels.com/photo/beer-bottle-105017/ 8. https://www.pexels.com/photo/bintang-green-glass-bottle-beside-clear-shot-glass-168989/ 9. https://www.pexels.com/photo/high-angle-view-of-drink-on-table-250465/ 10. https://www.pexels.com/photo/alcohol-alcoholic-alcoholic-beverage-beer-338711/ 11. https://www.pexels.com/photo/alcohol-alcoholic-amber-beer-459392/ 12. https://www.pexels.com/photo/filled-heineken-pilsner-glass-70598/ Page 49 1. Trail of the Pink Panther 1992 - http://crazy-frankenstein.com/free-wallpapers-files/cartoons-wallpapers/pink-panther-wallpapers/pink-panther-wallpapers-1920x1200.jpg 2. The Incredible hulk 70s comic- https://static.comicvine.com/uploads/original/13/135116/3068562-4.jpg 3. Felix the cat comic- https://i.pinimg.com/originals/10/90/b5/1090b57176cabd6c0aaa4428925a6501.jpg 4. Far Side comics (Duck island) - http://static.tvtropes.org/pmwiki/pub/images/Duck_island_6227.PNG 5. 25 ways to quit smoking by Bill Plympton- https://pics.filmaffinity.com/25_ways_to_quit_smoking_s-528446248-mmed.jpg 6. Tom and Jerry comic strips- http://4.bp.blogspot.com/_Zsg5sgmXkg0/Sa8gQ0bL_tI/AAAAAAAAAXc/k4VbgbEsPEQ/s320/comic+1.jpg 7. Homer Simpsons - http://cdn.skim.gs/images/homer-simpson-doughnuts/what-homer-simpson-taught-us-about-doughnuts 8. Plymptoons- http://deeperintomovies.net/journal/image15/plymptoons12.jpg 9. Popeye wallpaper - http://cdn.coda-craven.org/wp-content/uploads/2016/09/popeye-hd-wallpapers-free-1280x1280.jpg 10. Silicon Valley TV show opening sequence- https://rivierapartners.com/content/uploads/2011/06/Sillicon-Valley-.png 11.Spy Vs Spy comic strip - https://discourse-cdn.global.ssl.fastly.net/boingboing/uploads/default/original/3X/e/c/ec9bf79be9f7a76f423bbdac520a60b063d2289e.jpeg

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Page 50- 64 Images from personal Sketchbook in DKMD Page 88 1. Joan Cornellà illustration- http://www.ufunk.net/wp-content/uploads/2013/07/joan-cornella-14.jpg 2. Winged Monkeys illustration - https://in.pinterest.com/princequin/oz/?lp=true 3. Lost Cat Cover by Jason- http://www.fantagraphics.com/images/detailed/8/9781683960096.png 4. Taco Bell commercial by Bill Plympton- http://www.acmefilmworks.com/wp-content/uploads/2014/03/Bill_Plympton_comm_Foote_Cone_Belding_Taco_Bell_Fuddy_Duddy_04-300x200.jpg 5. Air France Poster by Raymond Savignac- https://i.pinimg.com/736x/ea/20/82/ea20821ea6af18d2ac22fc909621a930--air-france-advertising-industry.jpg 6. Dumbo The flying Elephant - http://2.bp.blogspot.com/-05vT5soJJ5Q/UyQCaSCsyCI/AAAAAAAAGCQ/LXtdxcULH70/s1600/fc1010_grandma_duck_02.jpg 7.Flying Monkeys(Villains Wiki by Fandom) - https://i.pinimg.com/originals/0d/33/f1/0d33f1f4419f09eb820d7baae9441151.jpg 8. Rad Dudes Cover by Sean K.Dove- https://saturdaymorningwebtoons.files.wordpress.com/2012/03/raddudes_titlecard.jpg 9. Idiots and Angels film poster by Bill Plymptoon-https://images-na.ssl-images-amazon.com/images/I/51umdCPauyL._SY445_.jpg 10. Peter pan by J.M.Barrie- https://lumiere-a.akamaihd.net/v1/images/open-uri20160812-3094-ab4vxn_f79790c7.jpeg?region=0%2C0%2C2048%2C900 11 . CommercialPosters by Raymond Savignac- https://i.pinimg.com/236x/78/22/9b/78229b1d10f95e1920cdc2bb540b3351--vintage-posters-vintage-ads.jpg 12. CommercialPosters by Raymond Savignac- http://www.iconofgraphics.com/savignac/large/savignac_perrier2.jpg 13.. The Flying Sorceress - https://forgottenfilmcast.files.wordpress.com/2014/09/the-flying-sorceress-2.png 14. The Flying cat (1952) - https://www.cinematerial.com/movies/the-flying-cat-i44625/p/npxf1qh0 15- Mox Nox Cover by Joan Cornellà- http://images.tcj.com/2016/05/Cornella_MoxNox_Cover.png 16- Flying monkeys fromTom and Jerry- http://s3.amazonaws.com/kidzworld_photo/images/2016617/b187c8c6-e474-4b67-a69e-0b78cd07cad3/tom-jerry-oz-flying.jpg

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Colophon This document has been designed and written by Muskan Jain. It has been printed at Printways, Haus Khas Market in New Delhi. This document has been set in:

Adobe Garamond Pro which is a digital interpretation of the roman types of Claude Garamond and the italic types of Robert Granjon. Fira Sans (initially called Feura Sans), a humanist sans-serif typeface designed by Erik Spiekermann, Ralph du Carrois, Anja Meiners and Botio Nikoltchev of Carrois Type Design for the Firefox OS. Roboto Slab is designed by Christian Robertson.

FF Din by dutch type designer Albert-Jan Pool who created this sans font between 1995 and 2009. Frutiger is designed by Adrian Frutiger and released by Linotype Type Foundry.

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MUSKAN JAIN muskanjain.nid@gmail.com Animation Film Design 2014-2017

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