At last, the world premier of my cartoon inspired by the ducks, swans, geese, squirrels and monster pike seen on our Monday morning walks around Newmillerdam.
Tag: Animation
Duck Storyboard
Assembling cast, sets and opening titles for my cartoon.
Wood Pigeon Screen Test
For his waddle-on cameo in my Ode to a Duck cartoon, the wood pigeon is supposed to be empathic and concerned rather than ranting and irate, but, if you’re familiar with wood pigeons you’ll know that they have a limited repertoire.
The line work was drawn in Lamy fountain pen in my sketchbook. I’ve combined two of my sketches and coloured them in Photoshop. I kept testing the Photoshop PSD file in Adobe Character Animator, to make sure things were turning out more or less as intended.
I haven’t added the blink yet, as I did for the squirrel this morning, but this character is evidently the unblinking sort.
Next up, a foraging moorhen . . .
That Blinkin’ Squirrel
I got the mouth working yesterday, this morning the eyes and, who knows, I might eventually get that bushy tail swishing around.
Walking the Duck
This animation was a way of getting more familiar with onion skinning and using the Light Box in Clip Studio paint so it’s turned out to be a bit of lame duck because, having drawn the 12 frames needed for one half of its waddle, I didn’t feel that I needed to continue to complete the second half of the step. If I was starting again, I’d pay as much attention to the sway of its body, which is such a feature of ducks waddling along.
Rhubarb by Candlelight
I’m steadily getting there with my animations for the Rhubarb Festival. For the forcing shed sequence, I’ve kept exactly to my original comic strip. I can add sound effects and lighting effects later, but for the moment, this tells the story just as I did in the booklet.
Rhubarb Animation
Speeding along the motorway, you can cross West Yorkshire’s Rhubarb Triangle in five or ten minutes but put on your boots and get out walking and there’s so much to discover. For a Creative Digital Challenge for next month’s Rhubarb Festival, I’m putting together a proposal for a short animation. I’m trying to pack a lot into it:
- 8 picture maps
- 3 comic strips
- 60 pen and watercolour sketches
Section one is A Brief History of Rhubarb: From mammoths to Marco Polo; Chinese medicine and herbal cures; Victorian gardens and the Rhubarb Special night train from Ardsley Station, which, until 1966, carried 200 tons of rhubarb to London.
Puppet Warp
I’M LOOKING forward to spring and being able to get out drawing wild flowers again but I can get a bit of practice by drawing cut flowers from the florists. The iris appealed to me more than the carnations and daisy-like flowers in the same bouquet because the structure of the flower is more obvious.
I’m continuing to familiarise myself with the features of the latest version of Photoshop and I’m intrigued by ‘Puppet Warp’, a new feature in Photoshop CS5. This works by putting a mesh across your drawing which you can then manipulate by adding node 
points and pulling and pushing them about to distort the drawing in various ways.
It’s useful for a whole lot more than the ‘puppet’ animation that the name suggests but that’s a good place to start to get to know what it does.
When I drew the walking Moorhen a few years ago I had to draw a dozen or more separate frames to make up the complete action. With Puppet Warp you can do just the one drawing and bend, distort and move it around in Photoshop.
It’s not going to give you the charm of a fully hand-drawn animation but for certain subjects it should work well. It has the advantage that you can avoid the ‘boiling’ effect you get from textures, such as crayon and watercolour, that you can’t possibly match between one hand-drawn frame and the next and it can save a lot of repetitive ‘in-betweening’ between the key frames of the action.
Cowslips Warren
I’VE WRITTEN before about my time working in the background department on the film version of Watership Down (see 5 November 2002) and included some roughs but here’s some of the actual artwork, which I’ve just found while going through the drawers of my plan chest. It’s drawn with a fine dip pen nib, a Gillot 303 or 1950, in Pelikan Special Brown Indian ink. This technique didn’t lend itself to the production size so I drew it half size and they photographed and printed a full-sized, sepia-toned version on matt paper.
The original drawing is about 5½ x 4 inches. It was an odd experience to see my postcard-sized drawing projected on the cinema screen – along with the animation, the music and the vocal talents of John Hurt and Richard Briers amongst others in that particular scene.
Another background artist added the colour later. No wonder I’m described as ‘Assistant Background Artist’ on the credits. As I’d explained when I took on the job, after working through the autumn on the film in London, I wanted to get back to Yorkshire by springtime to complete work on my first book, A Sketchbook of the Natural History of the Country Round Wakefield.
Like Cowslip’s Warren, this sketchbook format nature guide was drawn in brown ink using a fine-nibbed dip pen and printed – single colour – in the Pantone equivalent of Special Brown.
Kingfisher
THIS MORNING I spotted a Kingfisher flying to a perch on a branch on a pebbly bank at the edge of the river by the Bingley Arms. It spent a minute or two bashing the small fish it had just caught against the branch.
It watched from the perch for a while then dived down into the shallows beneath, emerging without catching a fish. Back on its perch but looking the other way, it watched, then dived again, once more without success, before flying off downstream.
It’s a long time since I saw a Kingfisher and I don’t remember ever seeing one dealing with a fish but it’s good to know that they’re still about.
Monkeying about with Elements 5
As I listened to the radio, I started doodling on the back of an envelope. Envelopes are often pleasant to draw on, smoother than the cartridge I’m used to but still with enough grain on the surface to provide some character.
I’ve recently loaded up Photoshop Elements 5 on my computer. It came bundled with the scanner but I’ve never given it a try. I’ve yet to find a program that makes animated GIFs as simple as they should be. The Elements version won’t allow me to vary the speed between frames so this ape is doomed to roll his eyes continuously at a rate of 0.2 seconds between frames.
