Animation 2 Part 2 - Infographic

Animation 2 Part 2 - Proposal

1.0 Introduction

Modern fashion illustration was introduced during the first decade of the 20th Century. Prior to this, fashions were mostly depicted using ethnographic depictions, descriptions or engravings, copied by seamstresses. French couturier Paul Poiret wanted something new to "advertise" his new creations, and thus chose Paul Iribe and Georges Lepape -- young artists that received their training at the Ecole des Beaux Arts -- to illustrate his promotional albums for 1908 and 1910. Their imaginative and colorful interpretations of Poiret's creations immediately caught the eye of the fashionable public, and became a prerequisite for modern fashion illustration (Torre, 2011)

Fashion illustration is the graphic representation of clothing for the purpose of promoting and selling them, and it became a highly specialized field, seeing its peak during the 1940s to 1950s. Fashion magazines of that period featured the works of notable artists such as Carl Erikson, René Boüet-Williaumez, and René Bouaché, while leading fashion magazines such as America's Vogue and Harper's Bazaar and France's Femina, L'Officiel and Plaire often showcased spectacular works of fashion illustration in their pages. Eventually, photos gradually replaced artwork in the effort to promote new designs and works, but fashion illustration remained steadfast up until the 1990s, but ceased to be as prominent as it was during the 1940s and 1950s (Torre, 2011).

Fashion Sketches - Abal - Part 3 (2011). Taken from callista1981.deviantart.com.

Fashion illustration focuses on idealizing the subject matter -- as it serves the purpose of promoting and advertising, illustrations of garments often look better than they actually do in reality, and figures that model them are often "models of perfection". The resulting illustrations often are very attractive, chic and "expressive of modern life" (Torre, 2011).

Parfois illustration (2012). Taken from tania-s,deviantart.com.

Much of fashion reflects the current trends; even if the styles are "vintage" or "retro", the designs and illustrations are often up-to-date and reflective of the current trends of the day. Typically the goal is to attract fashionable people into striving for ideal styles and looks -- formed in the imagination by various forces. It is not so much a matter of preference than it is an expression of one's time (Torre, 2011).

What I wore 2 (2012). Taken from flominowa.deviantart.com.

Character design is a process that comes after characterization and consists of defining the character through physical appearance. It aims to please both the creator and the public. 

 2.0 Problem Statement

The problem arises from trying to "marry" both elements in fashion illustration and character design into one animation. 

3.0 Objective

The objective of this animation is simply to present fashion illustration in an appealing animation. 

4.0 Target audience

The target audience is mainly young people, and those interested in fashion illustration. 

5.0  Method 

5.1 Research 

Research is mainly conducted for inspiration on looking for fashions. Here, the current trends in fashion, examples of fashion illustration depicted in animation, popular styles and colours are also researched on. 

 

Figures 1, 2, 3 and 4: Inspiration from an animation. Vimeo.com, 2014

6.0 Animation process

6.1 Story

The "story" is simply a fashion showcase displaying the fashions worn by Malaysian youths today. 

6.2 Character design

The character designs are  based on how Malaysian youths are today. Both these characters are based on Malaysian people, but done in a Japanese "manga" style.

Figures 5 and 6: Character designs

6.3 Story board

The story board is rather unorthodox as the animation comprises of limited movement. Originally the storyboard was meant for an animation that is more motion graphics in nature.

 

Figures 7, 8, 9, 10 and 11: Story board

6.4 Animation process

Firstly, the outfits for the characters are cut from various materials, mostly consisting of either fabric or art grade paper. Art grade paper is great as it gives the characters a "paper doll" look and feel.

After that, the cutouts are assembled and placed on the animation board, and photos are taken for each outfit combination. There is also varying shots and adjustments created in between to give a sense of  movement.

 

 

Figures 12, 13, 14 and 15: Shots for the animation

The photos are then assembled and edited in Adobe After Effects and Adobe Premiere, with the chosen song edited in Audacity to fit the duration of the animation. 

6.5 Final Animation

The resulting final animation can be seen below:

 

Figures 16, 17, 18 and 19: screenshots from the final animation

Bibliography

Torre, R. (2011). 20th Century Fashion Illustration: The Feminine Ideal. New York: Dover Publications, Inc.

flominowa. (2012, May 18). What I wore 2. Retrieved September 12, 2014, from deviantART.com: http://flominowa.deviantart.com/art/What-I-wore-2-302682657

callista1981. (2011, April 11). Fashion Sketches - Abal - Part 3. Retrieved September 12, 2014, from deviantART.com: http://callista1981.deviantart.com/art/Fashion-Sketches-Abal-pt-3-204489212

Tania-S. (2012, October 16). Parfois illustration. Retrieved September 12, 2014, from deviantART.com: http://tania-s.deviantart.com/art/Parfois-illustration-332578078

Animation 2 Part 2 - Learning Outcomes

Learning outcomes:

1. Describe appropriate processes in relation to the chosen field of study or project.

2. Construct an individual project appropriate to the chosen field of study or practice.

3. Demonstrate innovative and creative problem solving sttributes within a chosen area of study.

4. Select and implement appropriate analytical techniques.

5. Evidence consistent levels of competence within a widening range of animation and media technologies and practices.

6. Select techniques that are appropriate for the research undertaken within the chosen field of study, both practically and qualitatively.

7. Display a sound knowledge and understanding of all health and safety issues.

8. Identify the nature and sources of information needed to write a research proposal and report (project proforma and evaluative journal)

9. Effectively plan time and work within deadlines.

10. Constructively critique the research work of peers, identifying strengths and weaknesses in technique, analysis and conclusions.

11. Actively contribute to all group activities, i.e. seminars, critiques, etc

12. Confidently articulate position within the wider cultural context.

Programme learning outcomes:

1. Further develop practical and subject specific skills in Animation

2. Develop powers of invention and creative ambition

3. Explore more independent lines of enquiry

4. Heighten awareness of health and safety issues within these disciplines.

5. Provide a lively and supportive environment to take risks in the development of creative solutions.

6. Establish an efficient and effective time management regime within a studio/workshop context.