Hello, this is Park Min, the head and director at Studio Cliff
Today we will be talking about animation artwork
What exactly is an artwork?
What is the difference betwen an artwork and a concept art?
I will be covering topics like these
First, let's talk about concept art design
We use the term concept a lot in a daily sense
Concept, it could be referring to some sets of action
'Is that your concept today?' 'What's the concept of your outfit today?'
'What's the concept of the party?'
We say such things
And when we say concept art design
In terms of its dictionary definition
Its examples include movies, animated movies, comics, games
TV series, there are a lot
Even theaters
Basically it applies to all kinds of content
Same with music, even music is included
An illustration of an outline of its design, color or general mood
Illustration, this matters
What illustrations outline the general mood?
This may sound very abstract
But let me take an example
Squid Game, people around the globe have watched it
What colors does the show Squid Game remind you of?
It could be red, it could be blue
The color of their tracksuit, we have a lot
The tracksuit of those who hold the weapons
In the arena, those who are like soldiers or police officers
And we have the green tracksuit too
The representative color on the players
And the colors on the grotesque yellow doll
It's yellow, also red
Also black, with her black hair
These colors give us a hint on the mood
Or the characteristic of this movie, this TV show
Or this comic, or this animated movie
So that's the expression they have
This is more precise than abstract
In fact, production that we talked about
Or even the concept art, it's usually very abstract
Let me take an actual example
We have a font for this text, 'I love you!'
This font is called Gothic
And the impression of this word, 'I love you'
It should be that of an image, not of the word
So we have this big image of 'I love you'
What does this remind you of? How does it make you feel?
What does it make you imagine? Let's think about it
See how this is in block letters
It could be part of an advertisement, something very dry
Or it could be a line from a public service announcement (PSA)
Or something out of a big advertisement in the street or at a subway station
Something public, something almost clinical
It doesn't show much of that emotional cue
It's something that is familiar, something we see in a regular basis
'I love you', let me now change, not the word
But the image to change its mod
It's the same word
The size of the font is similar as well
This is my own handwriting, I attempted something unique
How does this make you feel?
This is now completely different
Of course, based on who is looking at this
Each one of you may feel something different out of this
For me, this looks dynamic, full of energy
Probably out of an immature love, still learning how to love
So this has some sort of a first love atmosphere
There are some bold, thick strokes
As well as really thin strokes, almost like an arrowhead
While some remain very blunt
So this hasn't yet defined what love is
Still desires to be loved, while getting to know what love is
It hurts, it gets hurt
That's the first love atmosphere I get from this
Something clumsy, yet in the process of completion
Something like that, I guess
Let me show you another one
What about this one?
This is something I wrote
Handwritten on a digital screen
It's very yellow
'I love you', the handwriting style is something very common
Reminds me of my teenage years, junior high and high school
And with the yellow color, it feels warm as well
With this round shape overall
It feels like a heartwarming letter
Delivered to someone's parents, something intimate like that
Or this font could be expressing the love
Within a very intimate friendship
Something positive, heartwarming and humble
That's what I see from this
Of course, you may disagree with my interpretation
But I'm sure many of you can
Relate to me with these impressions
Let's take another one
It's the same font in a different color
I mean, different font
With the same letters
'I love you', how is this one?
It's eerie, with that dark hue to the red
It's like a letter written with someone's blood
The font is very rough, as if it's written on a wall
We see some theme of obsession
Like that from a stalker
Some heavy bias
Perhaps something criminal that is inconsiderate
Or maybe this signifies death
Or even signifying murder
That's how this feels like
What we've been doing is reading images, not words
Even with the same letters, with different means of expression
The whole atmosphere, the mood changes
Let's say this 'I love you' is a title for a movie
That means that this is the mood throughout the movie
So we can take a preview of that atmosphere here
We can expect the emotional dynamics of the movie
So this is the concept
With the font and the color
The expression changes completely
And so does the impression
Concept, this is the idea we're dealing with
And a dictionary definition of concept
Is an idea, or a notion
An idea, that's something we use to define something
And we have concept as well as
Art, and that makes concept art
Concept, the notion and idea, and the art
So it's an ideated art, in a way
Expressing a notion through art
That's what we call a concept art
So art as of itself holds some meaning
Because it's only through art the notion is expressed
Just like the font and the color we saw
This requires some artistic choices
So concept art is a form of art
That forms the idea, or the overall mood
That's the gist of this term
This poster is something I made decades ago
It's a mid-length film, an animated film
I am showing you this to demonstrate
In the process of making this film
What role did concept art have?
And how was the concept art created?
I'd like to go over these with this example
Let me preface briefly
I've worked as an animator for a long time
It's been over 30 years
And there must've been my day one of career
Day one of being an animator, first day at the animation company
And the story of that first day at work
Is what this animated film, 'Sofa', talks about
So I sit on this worn out sofa for the whole day
And get home
I got no work assigned at all
They knew the workload was heavy
So they expected me to quit anyways
So they would not talk to me
And not assign any work
This shows years of history
Of so many people having come
To this animation company, this production
And just leaving without staying for a long time
It contains so much joy, sorrow, hope
Despair and disappointment
And all the hardships of those working at an animation company
And the overcoming processes, trial-and-error, all those difficulties
This film is aimed to talk about all these things
So I used this one object as the topic
The representative image as this sofa
So it's a story told by this worn-out sofa
The story revolves around this sofa
So see how there's a sofa and the title
If this is the poster for the movie
This could be the concept art
How can this be a movie poster?
All we see is the word 'Sofa' and a worn-out sofa
The color is somewhat dull
It's neither gold nor grey
It's just a vague, dull color
This drawing of that old sofa
What does this mean?
Every eye that sees the word 'Sofa'
Will interpret the meaning of this worn-out sofa
In one's own separate ways
What would happen to this old sofa?
It looks old, so this must be about time
And a sofa is where someone takes a rest
So who are these people who are taking a rest?
That question may pop up
This is when I first finished the scenario
And worked a scene of the movie as the concept art
It may be too dark for you to notice here
But see how yellow is used for the sofa
It's not an actual yellow here but
This is a blackout curtain
And this ray of light is peeking in between
And this is a desk that animators use
We see sheets of paper all over the room
The lamp is lit
We see several of the desks
That specifically animators use
This could be in the early morning
A morning before going to work
Right before going to work
That's the morning we see here
Or, it could be a dusk, right before the sunset
But, thinking out of experience
Because this is a freelance work
That very often requires working overnight
This is more likely to be early in the morning
So that's the reson behind this color
We can imagine that
The work must've been very intense
And that they must've gone home exhausted
And the fact that the light is shed on the worn-out sofa
This gives us a hint that there must be
Some meaning behind this
The fact that the light is shed here
Because I wanted to convey how heavy the workload is
And how unappreciated it is, in terms of payment as well
And despite this work being considered not important
I wanted to convey the stories of those who have
A vocation, and some passion towards their work
That's what I wanted to include in this concept art
So I tried expressing such an atmosphere
So with the illustration
Remember, in the lecture about storyboarding
I said it's pre-visualization
While that pre-visualization used storyboarding
To describe the narrative dynamics
This instead uses colors or other moods
To express how the gist of the movie will be
To show it
It may sound a little too abstract
But what movie directors do is to
Actualize such abstract things
You can think of it as something similar
This is during the day, in an office
It's a lunchtime
Notice how we can make these cuts, as we call them
And that's how an animation company looks like
This is a fictional background that I made, but
See how there are chairs, desks, lamps
These are all potential cuts
These contain all the needed images
There's the doorphone, some pencil sharpner
Perhaps everyone left for the lunch
Or everyone went into a meeting room for a meeting
There are many clocks for LA, Seoul, Tokyo, Japan
These three different times are needed
In order to deliver the works in time, in a tight schedule
And see how grey is used as the main tone
No warmth is found
We don't even know whether it's night or day
That's the concept art for this atmosphere
For such a hard work, you don't know whether it's night or day
There is not a hint of fun
That's the space of such works
This must help a lot with how the story flows
As I make colors for the image
And as I make movements
You know, those who work in such a place
Wouldn't be jumping up and down out of joy
But If they do jump up and down
Laugh and have a great time
That must be a very precious bit of time
Out of their tight, overwhelming schedule
That's what this emphasizes
This is one of the film stills
Notice the sofa I just told you about
It's a worn-out sofa
And this is the only spot where the light is shed through the window
It's all blackout curtain otherwise
All animation companies use blackout curtains
And to the left, this is the camera
We put some physical film here
And this is like a mini animation studio
Notice the lighting
This means there should not be another source of light
That's why there is a blackout curtain
Here, we'd put some piece of paper
On the desk, just as an architectural drafting
This is a desk for animators
Notice this pair of socks hanging here
And electric wires are everywhere
Some trash, pieces of paper, memos
The socks mean that someone must've failed to go home
That's what this is saying
Here's this person with his bag
First day at work
This is the protagonist, sitting on that worn-out sofa
Behind him is some light shed from the back
This is a still
Which has a lot of story to tell
Through concept art and storyboard
This is a still of the final output
The color is, you may call it gold but
It's also very muddy, like the mud color
There are some bright bits
And notice how there are shadows in the background
While this character himself doesn't have one
This may look very glamorous
But up close, it's less glamour
Than dark in many parts
I consider it a metaphor to life
This world is neither something gorgeous
Nor some hopeless darkness
And that 51% of the hopeful
Something worth living for is there
While the other 49% is something dark
Exhausting and difficult things
I consider that as part of life, especially for this job
That's why I used such expressive methods
As I said, methods
The animated films we know
Have so many different colors in there
But I used grayish color for this film
And that's what this concept art tells you
The role of a concept art
Is to guide the directions
It's not necessarily about replicating everything
Of it in the actual film, because it's still a work in progress
It's a tool that can help with
The overall film later on in the production
This is called 'Deal'
Which is about those who demolish buildings with explosives
Here are some concept arts of this film
Demolishing a building with explosives
That means dynamites are planted
In every pillar of this old building
These are electric wires
And over at the other block, we see
Grand and luxurious skyscrapers
After the demolition and renewal on this construction site
This will also turn into a luxurious place like over there
An expensive real estate, like Gangnam
That's the job here, demolishing old buildings
Turning them into new, luxurious places
So that's a creative role, in which
The protagonist feels pride
We see a safety helmet here
And a pair of work gloves, with a red rubber coat
Electric wires for their work
We see green, red, black and burgundy
Notice how bomb defusing devices have different colored wires
That's what this is about, the different wires with different colors
And in the film, we see a mouse there
And the character sitting next to the mouse
In a worn-out building, looking into the sunset
These scenes do not exist in the actual film
But within the narrative
There are some sequences where they have a love-hate relationship
That's what this image is trying to represent
Since this is the golden hour
Golden and yellowish colors are used
So that even their silhouettes show the intimate relationship
Archenemies wouldn't sit next to each other
To appreciate the sunset together
Even in the actual film, these two rarely get along
However, through concept art like this
We can see how the two think of each other
And how, eventually and finally, their relationship will be in the end
That's what this concept art is showing
In fact, this background is never used in the actual output
It's literally a concept art
Concept, notion, idea and art
So it's an ideated art, quite literally
It's an art piece, so there's the drawing part
There's a layout, a composition, and an atmosphere
That was on concept art design
Particularly in animation and artwork
Now we will be talking about character design and color design
Character design and color design
I'm sure you're familiar with character design
But color design may sound new
Let's go back to what I first showed you
The different versions for 'I love you'
Remember how each color and font made the word feel different
This determines the overall mood of the narrative in the film
And allows the audience to expect such
So this becomes immersive
When the color is red
Compared to when it is yellow, that feels different
So color design is something that determines this
That's a simple definition of that
For live action movies, the color of a character's outfit
Can represent who that person is
If the protagonist loves the color red
That character must be very passionate
Or perhaps violent
It reminds us of blood
Or for some of us fire
And if a character wears yellow
Yellow reminds us of chicks
Spring, forsythia, kindergarten, and more
It's some heartwarming, warm relating images
This is what color design is about
Let's look at the color design here
I showed you the poster of this movie
Named 'Deal', and this is its character design
This is called a mouth chart
I have made the character for this figure
And this protagonist will be speaking in the film
So I made versions A, B, C, D, E and F
For the images of this character speaking
Here, this mouth is for the 'eh' sound
This is for 'oh'
This is for 'wah' or opening his mouth
This is 'eu' or opening it not as widely
This only shows his teeth
This is his closed mouth
This is needed because an animation shows
Fast images by frames
So it allows for the image to lip-sync with the lines
This is also a design
Next is a list of face expressions
Of the character, from different angles
This is called expression
These things are needed before the production
No matter whether I am in charge of this animation
And these characters are made by myself
I may be the character designer, but
The film requires a lot of images with the protagonist
This is a short film, 15 minutes long
But even that requires a lot of images
So every time an image is drawn
There must be a reference image
That applies even for my own drawing
Even if this is my own drawing
I need the reference to draw one
And if this is for an animation made by many people
There must be an indicator like this
Serving as a manual
This is the design here
This is something original, that doesn't exist anywhere else
Here's the profile, how he looks from the side
Here's his hairstyle
How the eyes change for expressions
When he is angry, when he is shouting, all these
These serve as the standard images for reference
This shows different angles of the face
In the film, the camera captures the character from different angles
And based on the shape of the head or the hairstyle
The facial expressions of him looking up or down
The designs of that may change
That's why we need a reference like this
When he looks down, or up
This guides you to draw him in this style
If we don't have this, for instance, for him looking up
There are many animators participating for one single work
And those who do
They will be drawing in their own styles
That's why it's crucial to have such reference images
This is what a character designer does
This is called character design
This is the face part again
And it is rotating, three-quarter to the side, the profile image, the back
This is called a turn-around
With these drawings
Suppose that he is turning his head to the other side, to left
You can refer to a mirror image of this
When you only have this frontal face
It is not easy to imagine the profile
That's why we need the designs separate for both frontal face and profile
For this frontal face, you do not know how high his nose bridge is
Or how stuck out his chin is
That's why that depth is illustrated in the profile
You need to design it like an architecture
That's the job of a character designer
And also, this facial color, the hair color, and
The color of his shirt on the neck area
That's color design
Notice how thick his neck is; he seems short in height
His job is to demolish buildings
So he must be strong, and with such a dangerous job dealing with explosives
He must have a very clear sense of will and philosophy
Also he must be a very physically healthy person, right?
That's all the imagination you need for this character design
Here, imagining his skin color as pale and fair
That may feel a little unfitting
He works every day at demolition sites
So it is more likely that he has a tanned skin tone
So this is an example of doing both color and character design
Considering such elements
That was face-turn, or turn-around
Here's the full body
Now that we have the face, we need the whole body too
He is wearing a safety overall
The construction uniform, with reflective strips
And a helmet for the construction site
But the inside of the helmet isn't touching the head
There's another plastic layer
Which covers the head, ensuring for some space in between to cushion the impact
This is an ordinary safety helmet we see at every construction site
With the adjustment strap too
This is the turn-around for this character
A three-quarter turn, profile, back
The frontal body isn't too difficult, unlike the frontal face
At this trun-around, he seems to have some short legs
For an animation style, developed upper body, thick neck
That's the character here
We see very little feet, because this is an animated character
This is character design only using lines
And when we add color to this
It now feels very different
First of all, we have brightness and saturation
As well as depth
For the line drawing, it was all empty
But now it's all filled in
This feels very different, much heavier
With these colors, we can see all the weights
But, using these colors for the entire film
It may feel a little too heavy overall
So we have another draft
This uses gradation
More brightness and less saturation to make things brighter
See how lighter this looks
It's much lighter in mood than the previous version
This suits the film type as an animation, it seems fine
But when we consider the role and the traits of this character
This may feel a little too light
Something too lightweight
And this character should not look lightweight
His philosophy is as heavy as the building
His sense of will and pride in his job
This must feel something grandeur and heavy
I can say this as the director of the work
So we have yet another draft like this
It's a typical animation style
More saturation, more brightness
It has less saturation than the first draft we saw
Which you may not remember now
This is what it used to be like
The outfit used to be something plasticky
An aluminum-like shiny material
And going past the lightweight version, we see more wrinkles
And even for the helmet, the contrast with the shadow is stronger
So there's the depth
With the wrinkles, we see how the outfit has more texture
Same with the face
That's why these colors are used here
This is what a colorist does
The name is colorist
So that was what character design and color design are about
And these were the processes for each
An animal character
There's an animal in that film
A mouse, its mice family, and a cat
We need a turn-around for our cat too
We can't only work with the frontal face
Because the profile may look completely new
So we need it like this here
It gives us a sense of how its bones are structured
The cats may move however they want to in a film
But there must be an underlying understanding of how its muscles move, for example
It may be a fictional animation, but it doesn't mean it defies basic laws
We need expressions for the mouse too
These expressions
Remember the images of the protagonist's face, shouting
Lip syncing, looking angry or smiling?
This mouse, which is one of the main characters
It also needs such images of action as well
That's the character design
These are the references for the film
Here is the mice family
We have the whole family standing next to each other
Doesn't this look familiar?
How criminals stand in front of lines that indicate their height
And they would take their mugshot like this
This is called a character height chart
A character may be taller
And another shorter, like this one
So this is like a table of all the characters
Comparing their heights
Because the height difference must remain the same
For every scene
So this one is always taller than this one
And this older character, always shorter than this one
And this CEO-looking mouse, he's always the tallest
This must remain the same from the beginning to the end
This is called tone and manner
It isn't easy to keep all these throughout
We need to refer to this character height chart
At all times, so that even if many people work together
Each can have the same reference for their drawing
So that was character height chart
This is character design too
I showed you a coffee movie one time
This is the concept and the character design for that movie
This one image explains a lot of things
It also shows us the mood of the film
You may be wondering, for an animation
Because I said I used golden, grayish yellow for the sofa
With the so-and-so reasons
It doesn't necessarily mean that this coffee movie, 'Espresser'
Also uses this color for the same reason
It just expresses a different color in mood
With this image alone
This must be the owner
This must be a part timer
Or a staff at the shop
Of course, you may disagree
But this is something that
Many people instantly think of with this image
This woman, based on her face, she looks quite old
She doesn't look like she's in her early 20s
That's why we can assume that she's the owner
And she looks very skillful with this coffee machine
So she may be the owner of the coffee shop
While, here, notice how he is still figuring things out
Which is a part-timer thing, in a sense
So the difference may be between their positions
Which may influence their relationship, as illustrated here
This is a character design
That is also a concept design
Which describes the situation of the story
This is the height chart, as I showed you before
These are the characters at 'Sofa'
See these lines?
Each line could indicate specific heights like 175, 170cm
Which may be an indicator of a very detailed height setting for each
This height chart stays so from the beginning to the end
Whenever these characters stand next to each other
This proportion must be there
Height proportion is one of the most important things of a character design
I once produced a music video of
An American singer-songwriter based in LA
For a music video production
We start with the storyboard and its concept art
This singer-songwriter requested for one thing
Her sexy concept was very important
And she wanted to bring out parts of her body, her legs and hip
For the overall visuals in the video
So this light is coming from the floor
From below the stage
This light will allow for a very glamorous and
Sexy character design in this concept art
This is one way to do it
This is from 'Latte Artist'
An animation film I showed you before
I once showed you its storyboard as well as
Its storyboard reel
And I also showed you some actual stills from the film
This is the character from that animated film
His arm is stretched out to indicate the body proportion
So that's the length, with this arm dropped down
This indicates how it looks like when held out
This is his frontal body
We have his profile as well
His outfit stays the same
And because his outfit isn't something too difficult or abstract,
Which includes some jeans, T-shirt, sneakers and an apron
This turn-around is looking rather simple
This is how the female protagonist looks like
Jeans and shirt, very simple
It's not something flashy with jewelry accessories
Her hair, when it's up and when it's down
That's how they look like
She is about 166cm tall
Then, with the height chart, she is always shorter than the male character
If we assume his height as 180cm
So that's the height proportion design, color design as well as the character design
Part of the process of character building
Includes character design and color design
Before the actual animation work
And after the pre-production
This part of work is situated right in between these two
Now, let me explain about background setting design
The background is another drawing
As I showed you my scenario before
Inside a lit-up coffee shop
When a character walks in to turn the light up inside the shop
When we are doing a live action film
We can just film that actual action in the camera
However, to draw its background in an animation
We need all the scenes for all possible views in that coffee shop
For example, from bottom to top
From top to bottom, from the sideways
The eye-level view from when the character stands up
Or when he sits down, when he sits down on floor, when he walks
All these possible views
Just as the camera lens stays at an eye level
That will be recreated
All designs must represent that view
In a drawing
That's what background design is
While that's background design
For background setting design, it's the key scenes
For example, for a five-minute animated film
Let's say we need 50 cuts for the background scenes
That means we need 50 images of that background
But we cannot possibly draw each and one of
These 50 images
50 will include the frontal look, the sideways
From the top, from the bottom, from outside
These few key, central scenes
Of the background is given to the animators
And the rest scenes are created
Based on these key images
The word 'setting' refers to how this becomes the reference
Remember the turn-around I showed you before?
The turn-around of face and body
This becomes the reference for the kneeling position
Or the falling position, or the character's back
Or he could do a tumble, whatever it is
The setting as reference for all these
It is based on the character design
Same with the background
To help with your understanding
Let me show you the background for 'Sofa' and 'Deal'
This is the initial design
As you remember, the final output had
Grayish, gold-ish dull color
And the sofa was yellowish
This is that worn-out sofa below the windows
This is the animator's desk, Director Yoon's desk
This is a scene of where we call the production room
We see a printer and a dest at the back
Here's another table
We see messy electric wires on the floor
And a trash can
We see some trees outside
So it must be not in winter
This is how the sofa looks like
This is the setting
This is the setting of when we
Turn our head and face this way
And I can make another view based on this setting
With this setting view
This is the actual still in the film
This is how it looks like
It's not visible here, but the sofa must be around here
This is the desk we see over here
And this table here is right at the back
See how it's all coherent
Does that make sense?
So the setting is the reference
With that reference in hand
We get to make the exact same backgrounds
Of the views from here and there
That is background design
This is something very simple
It's the inside of a subway as the setting
We have the door, we have the glass windows
And we see people sitting here
Out the window will be outside
And this is the ceiling of the subway
This is a very simplified version because
We do not need as much detail for the setting
If we are to add some details
And use it as an actual background, this is how it looks like
We see some handles
We see people sitting over here, dozing off
We see the map between the door and the window
And we see that handrail area where we lean on
Automatic doors
And Han River in the back through the subway window
So these are separate designs for the background
Using layers
There's a layer of the sky at the back
A layer with the buildings
And the bridge on top of those
And then the doors
And the handles, these are parts of the background
Six to seven of those merged together
On top of this is the animation cell, or rather
The level for the animation characters
We are not much familiar
With the concept of layers
Through programs like Photoshop
Layers stack on top of each other
That's the gist of it
And this is a background design where
Layers separate parts of the background
Next, this is the production room
This is the key setting of the production room
In the animation studio
Manager Yoon's desk that I showed you earlier is right here
And then a sofa next to it
And the socks on the right is over here
And far right from the socks
There will be the camera and the mini studio
And we had three clocks, remember?
I don't know if you still remember these
This is the entrance and exit, one door
One tiny door
And some array of desks
Where people are working
Each person is in their own desk, touching up their cuts
Checking their work, very busy
Answering the phone, etc.
And then there's this back view of the protagonist
We see his back, seated at the sofa
He's sitting there, just watching everything
So the concept is that this is from the back view
And how is this brought to life?
This is how it looks like
I used this drawing for my exhibition
I just used some different colors
In a cinematic manner
It is seemingly black and white
But there are hints of color
See, here is the sofa
The sofa from the back
So all lights are coming from
The lamps on the desks
Because this job requires meticulous work
Under dull lighting
Since this job deals with physical films
It's such a sensitive place
When we develop film
It should be done in a dark room
When we connect this view to that logic
It becomes clearer to assume the reasons
Behind this background design
This is the background for a 2D animation
of 'Latte Artist', a VR work
I worked on this based on an actual coffee shop
Located in Seodaemun
The images here are distorted quite a bit
But as you know, VR device is what you wear on your head
Something bulky, looking like a pair of glasses
That device is called an HMD
Once you wear that and look into this scene
This street view will be in the actual scale in reality
And have no distortion
Since this view is laid out flat
The vanishing points are, one here
Half here and another half here, so it's two
It has two vanishing points
In this laid out view
This is the background design
This is also an inside view of the coffee shop
This is the bar table
This bar area with coffee machines
An air conditioner, a water dispenser
Another drinks bar at the back
Grinder for coffee
This is also distorted here
Which is a laid out view
This is a screenshot
Which makes it look like this
This shows one female and one male character
Notice how he is split in half
This, in the real view, will merge together
And become one whole character
So they are facing each other
The female character is in front
And the male character at the back
That's the position in the video
And the background design
Looks like this
This, of course, is the main background
With the coffee machine at the bar table
So that was on the background design
We talked about a lot today
What is setting?
You create setting first
And design the background
We do not set for each scene or cut
It's only for the key ones, same with the character design
Only the character designs that work as reference
Even for color, only those that work as reference
So that everyone else can work based on those
It's like a manual
That's how we can think of it
Same with concept art
Same with background design setting
With 50 or even 100 cuts and scenes
You can't set for each and every one of them
So you only make the key ones
That encompass the entire view when combined
By making these settings
Wherever the camera goes
Whatever the camera faces
You can have the background for it
Some call this continuity
Some call this a hook-up
Either way, this aims for that same coherence
If a desk is there
Even when the camera faces from here
The desk must still be there
And even from that side
The camera must always be there
These are called coherence
Which is the most important part of continuity
Designing background through background setting
And through character setting
Designing character
And then through that set design
Designing color
We've looked at some actual examples
From my works to see how these ideas work
Let's end the lecture here for today
1. Concept Art Design What is concept art design? Illustration drafting for content design, color, mood, etc. Allows for assuming for the overall mood of the content through color Allows for assuming for the narrative dynamics of the film
Role of concept art design Allows for assuming for the overall atmosphere through color and mood Helps with the narrative dynamics Guideline
2. Character Design, Color Design, Background Design Color Design Individual mood for each color Character trait stereotype Reminds of related images for the character
Character Design Mouth Chart: images of the character speaking Expression: Standard/reference for drawing- images of facial expression, face, full body, character, etc. from various angles
Face Turn-Around: Frontal face and profile designs are required Full Body Turn-Around: Physical traits, outfits, core accessories
Height Proportion Chart: images of character heights; every time characters appear together, the proportion must stay the same
Background Design Unlike live action, animation requires design for different views Background setting design: Sets key background scenes and designs other scenes based on this reference
Continuity and coherence are key when creating other views with the background setting as reference