What is the role of scene design in animation aesthetically? Grace Qin
Layout artists determine the backgrounds, camera angles and paths, lighting and shading of the scene. The scene design in animation, can be interpreted as the layout, the switch arranged by the animator waiting for the character to turn on. Other than the narrative, the main body of an animation is the character, scenes are elements surrounding the character, where it is placed by the animator, socially and historically, the extras as a part of the society environment as well, everything varies along the timeline excepting the character on the whole. Among the three sections, pre-production, production and post- production, design of the layout of the scenes, usually happens during the production part. During production, role of the characters and the narrative of the story determines the blueprint of the scenes, its main role is to build atmosphere guiding the audience into the narrative, and to clarify the relationship between space and time within a film. It is constantly being considered when determine the good or bad of an animation, stands a vital position in conveying message to the audience. In additional, environments provides the stage and space for the characters to act in, a well-designed set of scenes can improve the animation on artistic aspect, enhanced the theme and has great impact on the style of the animation. Barry Purves referred in the Fundamentals of Animation, interpreted animation as an art of ‘metaphor’ for role-play showing different perspectives and ideas about the culture we live in, and elements within the animation are integrated in a coherent way (2006, p33). The point that environments and characters illuminate and support one another has been made in the statement. Apparently, the design of scenes is an art form, but serves the purpose of the animation in the first place, not its own, therefore not an individual art piece that ignores the rationality of the script. In my opinions, it occupies an important position of the visual experience given to the audiences, constitute the main visual content and the reflection of the style of the animation, imperceptible influenced on perception of re-narrated metaphor. Therefore I intend to discuss the position and visual influence of scene designs in an animation, supporting the argument with key statements and sources. To my subject discipline, effective scene designs reinforce the impact of an animation visually and emphasis the character that brings the animation to a higher level, therefore discuss on the topic offers either a possibility of a clearer understanding of application of scenes as an animator or the ability to comprehend and interpret films. Firstly, the statement I intend to make is that the art of scene design including layout stands its position in animation industry. By researching on the topic, I discovered several authors who have considered and commented on the scene or layout in making animation. For instance, Fraser Maclean suggested that layout is ‘a lot like an actor on stage’ (2011, p7), he mentioned the term cinematography, describing animation layout as a combination of perspective, staging and applied mathematics (2006, p17). While Hans Bacher, an animator, has defined composition as the ‘harmonious combination’ of shapes and movement within a field that creates the world (2008, p72).Simultaneously, Paul Wells claimed that layout should be simple and direct, ‘like a poster’, and could be informed on history of architecture and landscapes (2006, p51). I strongly agree on Maclean where he described the relationship on character and layout as actor and stage, having constant interactions with each other, yet I would add to the point that as the layout provides the stage for the actor, it can exist on its own while the character need a stage whether if it is as simple as a piece of blank paper, because of the luxuriant movements can be made to express emotional feelings, which I want to discuss in the later development of the essay. In my opinion according to Wells’ point of view, I believe simplicity is not pale but another form of complexity, with effective connections with the character, yet the scene should not overtake the character’s position, but to adapt complexity within harmony, which refers back to Maclean’s point, acting on the suited set stage. Most importantly, the space of the stage should be altered due to the concept of the animation, setting a compatible stage is the key of art of layout, which forms the
discussion for the case studies. Furthermore, Wells pointed out that layout involves more than one art, which is because more than one kind of movement involved in animation. (p31) It links back to what Bacher emphasized animation layout as a ‘harmonious combination’, adapting into the point, the kinds of art should be combined harmoniously as well, to achieve a coherent stage for the actor to act on. Eventually, the comments of the authors can be related and complement one another as the attitudes shares common ground that the art of layout could be interpreted as a suitable stage for the character to complete the animation. Above statements has briefly shaped my interpretations to the role of layout, further on I intend to argue the question with examples of animations referring back to the points I made to support them. Starting with an example based on the statement claimed by Paul Wells (2006), with simple and direct layout, Father and Daughter (2000) produced by Cinete Filmproducie, as a simple but extremely effective in communication and interaction. Less scenes were used to animate a complicated story, to demonstrate a lifetime of the daughter cycling to the same place every d ay to wait for her father to come back. Focused scenes such as the rolling of the wheel and the fallen leaves on the ground demonstrates the elapse of time. Additionally, the description follows as describing layout as a ‘poster’ given by Wells, for instance, in Pear Cider and Cigarettes (2016), a short film nominated by Oscar, introduced the relationship between Robert, the director, with a ‘self-destructive, yet charismatic’ friend (IMDb, 2016) in a form of informal documentary, colours and typography demonstrated in the layout of the scenes have strongly emphasis characteristics with adult topics as sexual, addiction and brutal expressions, an unacceptable form of existence by the society. The background within a majority of the story is set in China, where demonstrated by the use of typography and architecture with strong cultural reflections, gives an intuitionistic feel for the adaption of the scenes referring back to the real world, which is one essence of an animated documentary achieved through the successful composition of the environments with the character. Therefore the compatible stage decided for the animation contains scenes demonstrates the characteristic such as addiction to alcohol and cigarettes, by the ashtray and smoke in a hotel room as one of the major scene in the film. Several scenes were used more than once, the switches between stages along the storyline clearly demonstrated the transitions of perspective followed by the audience with the character himself. Each scene showcase a distinct American pop art culture, therefore the keynote is set. A referring back to the Golden layout rules of Disney pointed by Wells (2006, p51), it demonstrate strong poster-like frames that suggested richness in content of each scenes, hence gives a strong emphasis of the statement. I would argue it as a successful documentary but still, lack of consideration for the timeline being a part of layout as minor scenes kept in still for a relatively long time, causing intension for distractions and visual fatigue. Accordingly, Bacher suggested that research into areas as architecture, historical environment and landscapes for references of layout starts ‘simultaneously’, and visual approach differs in different subject matters such as ‘comedy and thriller’ (2008, p44). Another animation Spirit: Stallion of the Cimarron produced by DreamWorks, referred to historical. Among the techniques, switches between 2D and 3D is not noticeable by vision. It could be said as an outstanding example of a natural complicated combination of techniques. The background has been set based on western America, of set scenes with key features such as the grassland and Gobi desert, a wide stage covering several spaces but links effectively. Each were used within appropriate time, furthermore the consideration on the change of weather reflecting on the character’s moods have effectively established an emotional connection between the audience and the narration. The lighting as a part of layout, is a reason of the success of transitions between 2D and 3D, the light of the 2D part has no significant differ to the 3D animation, has achieved what Karatikarn and Tanzillo’s book(2017) suggested, by ‘taking geometry and transforming it’ to create the
setting that the audience can submerse themselves into. When considering the scene for an animation, the style should be considered whether realistic or abstract, moreover maintaining an emotional connection with abstract visualization, as he said, A good story is the most important thing, but it has to be set in a ‘believable world’ (p72). This leads to another animation I intend to mention to emphasis the point is Paprika (2006) written and directed by Satoshi Kon in 2006, a film which leads the audience into an illusion of shuttling between reality and dreams. There are a few scenes with extremely complicated layout with events taking place constantly, but the focus point can be captured by audience. The stages within the film, as I interpreted, can be separated by reality and illusions, and apparently, the language of camera has been adapted to the making of the film where minor details was implied to indicate the transition between stages, naturally, smoothly adapted the world view into audience’s mind undoubted as a ‘believable world’, the use of slow motion movements within normal speed. The successful and incredibly wise use of layout for the scenes, cooperated with the camera, gives a visual feast for people that are not only animation enthusiasts but everyone. In contrast of complicated set of layout, an animation made for a virtual reality experience named Pearl (2016), took place in only one space, the front seat in a car, but unexpected movements happening in the scene, it is a perfect example for making layout within one space but gives infinite possibilities. Through this method, the animation showcase us a time elapse of the growth of the girl named Pearl and the evolution of the car as well. The layout within the animation has been designed effectively to communicate that, constantly changing of minor details, and the appropriate lighting from outside of the window at the right time. Another short animation by Satoshi Kon named Good Morning, have the similar type of layout with a small space but continuously create interesting interactions with the character, which is what Maclean (2011) suggested that an actor within the ‘stage’ given to him or her. Character animation is the main type I analysed, but reflecting on that animation layout is the composition of shapes, and the continue the argument of layout animation existing on its own, the form of animation with abstract scenes are atmosphere of scenes build of textures or shapes of an unrecognizable visual perception set for emotional resonance, despite the character, an expression of the layout, a conflict with the point of animation layout being the elements surrounding the character, animating the ‘unconscious’ (2012, p3), I would interpreted abstract animation it as a form of a layout animation. In an interview based on the production abstract animated short Tower Bawher, Theodore Ushev, the animator defines animation personally as art and ‘social manifesto’, but not an entertainment (p93). The finished animation to my observation, is a composition of simple but reflective shapes, along with some typography applied. Another existing abstract animation Swinging the Lambeth Walk (1940), demonstrated a deconstructed set of shapes, which in the intro of the animation, referred to a ‘colour accompaniment’. In my opinion, the stage that layout gave to an abstract animation is on the entire screen, with a highly freedom to play with shapes and colours, to express emotional feeling through these two elements, therefore it can be an individual art form as itself, different to character animations. Among the books I have been referring to, Bacher’s book (2012) has covered a complete journey from scratch to the completion of a conception design of an animation especially showcasing the appropriate interactions that could be made to the scenes. By leading us through the process, Bacher helped us build an understanding of the basic role and rules of animation layout. Similarly, Andrew Selby has gathered a set of informative interviews of animators talking about their process of production of the animation. Among the two books, the weakness is that it fails to explain the importance and the relationship of the layout to the character, but limited to the process of pre-production in making an animation, however Maclean highlighted this in his book (2011) that the layout provides the stage for the actor to act on, which link to the point I made through analysing animations. Wells’ book (2006) at
the same time pointed out that the design of the scene should be informed on several aspects such as culture and historical events. The articles support the point Bacher intend to make and by exploring the articles we can develop the principle ideas into a more concluded statement. Before draw the argument to an answer, I would like to refer back to the basic point that I shared with Ed Ghertner (2012), suggesting that animation might seem to some that the interaction between characters drives the story of the film, the characters are also ‘constantly interacting with the world in which they live’, and that is the art of creating effective and beautiful scenes, moreover that scenes can exist and express emotions on its own while characters could not. In sum, the brief analyse of the research question in the essay can be drawn that as an art form, the design of the scenes in animation undeniably occupies a massive proportion in setting the keynote of the expression style in the animation, driving the plot of the narration while foreshadowing and applying complexity, what I would say, the most important part within the process of production of an animation, therefore it should be the primary concern after the concepts have been sat for animators. The case studies in the essay have not covered examples of every single genre, but precisely supported the statement of the role and importance of scene design, the argument I wanted to make at the first place. They have reflected on existing points I referenced from chosen authors’ articles and the argument I intend to make, which have been reflected in the visual research with outstanding examples. Accordingly, understanding the nature of its necessity while the character represent the spirit of the animation but the scenes surround provide the indispensable stage for it to take place, indeed determines the comprehensive tone of the final animation. Undertaking the research on the topic has shaped and built my understanding of layout art and the adaption of it in featured films, moreover for the subject discipline, changed the attitude and treatment to the design of scenes in production and improved the ability of effective production, on the other hand, developed a precision perception on visualised materials. I included the examples of animation in my visual research sketchbook that I analysed to support my argument, but more visual reflects to the purpose of researching effectively, it demonstrated a continuous study of the research matter I sat, which helped me to answer the question and to develop a growing understanding of the argument I intend to make in the essay, and the confidence of producing better layout designs in the future animations I am going to make.
Bibliography Wells, P. (2006) The Fundamentals of Animation, Switzerland: AVA Publishing Bacher, H. (2012) Dream Worlds, Independence: CRC Press Maclean, F. (2011) Setting the scene: the art and evolution of animation layout, Chronicle Books Selby, A. (2009) Animation in Process, London: Laurence King Publishing Ltd. Katatikarn, J. and Tanzillo, M. (2017) Lighting for Animation, NW: CRC Press Pilling, J. (2012) Animating the unconscious, Chichester: Columbia University Press Ghertner, E. (2012) Layout and Composition for animation, (n.d.) IMDb. 2000. Father and Daughter [online] http://www.imdb.com/title/tt0279079/ (Accessed February 2017) IMDb. 2016. Pear Cider and Cigarettes [online] http://www.imdb.com/title/tt5358978/?ref_=fn_al_tt_1 (Accessed February 2017) IMDb. 2002. Spirit: Stallion of the Cimarron [online] http://www.imdb.com/title/tt5358978/?ref_=fn_al_tt_1 (Accessed February 2017) IMDb. 2006. Paprika [online] http://www.imdb.com/title/tt0851578/?ref_=fn_al_tt_1 (Accessed March 2017) YouTube. 2016. Pearl [online] https://www.youtube.com/watch?v=WqCH4DNQBUA (Accessed March 2017) Vimeo. 2014. Swinging the Lambethe Walk [online] https://vimeo.com/92722063 (Accessed March 2017) IMDb. 2006. Tower Bawher [online] http://www.imdb.com/title/tt0814785/ (Accessed March 2017)