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A blog about the neverending learning process in Animation
The idea of interpreting this conversation about growth and acceptance with flowers came from the graphic relationship between potential, growth and blooming, that I found while listening to Suzy and Bridget talk about the potential they see in people and in themselves and the disappointment that often comes with it. This is the reason I choose to follow the growth of the pink flower, who is unsure of growing and blooming, something that flowers are supposed to do but when she had a bad experience with others, left her unsure about it. She fulfills her potential only when she finds a real friend, with whom she can learn from and bloom together, leading her to accept herself and finally open.
Release date Choosing the projects I was going to work in I was in utterly loss about what to look in a project so it would tackle all the set of skills that would be part of the portfolio. This was in fact my major set back when I started to work on something After completing my own exercise of animating a rotation of a couple of characters designs I realized on the way several specifics on other roles. As an animator, I had to realize by myself that the construction is essential to keep consistency. As a character designer testing how the design is fit for purpose was a really important practice. What at the beginning seemed like an exercise far away from my principal ambition became key at the moment of working in a more professional pipeline and understanding the roles of my future teammates . Other of my main focuses on choosing the right projects, and what added some pressure at my decision, was the importance on getting relevant experience. My research had led me to know that most positions in studios require experience as storyboard artist of minimum 2 years or equivalent. So getting this experience was one of my challenges. Part of the interviews I did to storyboard artists touched this specific aspect and why experience in several projects is important. Newcomers normally get jobs as revisionists, where they help tying up the storyboard artist’s work with the director final needs. It is a great way to enter the industry because one can see the storyboards from professional artists and listen to the director’s commentary first hand. Storyboard is all about planning, and a storyboard artist needs to keep all the aspects of storytelling in mind in order to deliver. Acting, colour, composition and cuts, all must be clear in the storyboard and come natural to the storyboard artists.
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22/5/2017