Overall, I feel quite dissatisfied with the critical report. I feel that I could have made more in-depth observations and explored my findings more thoroughly. I also lack proof for my research, I should have evidence for my point and reference the authors throughout the report. I think picking one particular scene was a good choice because it allowed me to explain the theory behind colour in more detail, and I enjoyed the research. It allowed me to dig deeper, learn more about using colour scripts, and I hope to use this knowledge in my future art projects.
In his extraordinary colour studies at Yale University the artist Josef Albers demonstrated and defined what is called colour interaction.
(Block, 2020)
Albers’ studies clarified theories about how colors appear to change their hue, brightness, or saturation when placed next to each other. His demonstrations, based on his personal work and the work of his students, developed into a set of rules that accurately predict how colors interact with each other and appear to change. Making a color change its appearance requires two ingredients:
The susceptible color – a color that appears to change.
The catalyst – a color or tone that activates the change in the susceptible color.
(Platige Image, 2019)
The same interaction can be created from shot to shot, which is called successive contrast. In successive contrast, the catalyst is the color in the first shot and the susceptible color is in the second shot.
(Block, 2020)
For the rest of Term 1, I concentrated on finding books on colour and learning the different systems, analyses, and approaches to classifying the art of colour. “The Visual Story: Creating the Visual Structure of Film, TV, and Digital Media” (2020) by Bruce Block talks about colour interaction, which I found interesting considering I was writing about a scene with only two colours. However, after careful deliberation, I decided that it would have to be an entire essay chapter to discuss the details, and it is not worth just mentioning it in the article. I also don’t think that such an approach was taken by the concept artists at Platige Image.
I thought about describing the scene in the context of the entire short (or other colour palettes), but due to the scope of the critical report, I rejected this idea. Instead, I turned to other books to deepen my knowledge and background in the essay.
Further questions:
Should I explain where I get the correlations between colour and emotion?
Should I go into more detail about the theory behind it?
How accurate should I be when explaining colour theory (e.g. colour scripts)?
Why am I deconstructing a particular scene?
Can I include the artists’ opinions on colour in the essay?
Areas to research:
Derrick German
Andy Warhol
Experimental filmmakers
Early filmmakers
Disney
Bibliography:
Albers, J. (1975) Interaction of color. New Haven: Yale University Press.
Atterbury, R. (1971) Colour: the art of its uses. London: Franklin Watts.
Binns, B. (1991) Designing with two colors. New York: Roundtable Press.
Block, B. (2021) The visual story: creating the visual structure of film, TV, and digital media. London: Routledge.
De Grandis, L. (1986) Theory and use of color. Englewood Cliffs: Prentice-Hall.
Eiseman, L. (2000) Pantone guide to communicating with color. Cincinnati: How.
Evans, R. (1974) The Perception of Color. Hoboken: John Wiley & Sons.
Gage, J. (1999) Colour and Meaning. London: Thames & Hudson.
Guild, T. (1995) Tricia Guild on colour: decoration, furnishing, display. London: Conran Octopus.
Holtzschue, L. (2017) Understanding Color. Fifth edition. Hoboken: John Wiley & Sons.
Libby, W. C. (1974) Color and the structural sense. Englewood Cliffs: Prentice-Hall.
Padgham, C.A. (1975) The perception of light and colour. London: Bell.
Platige Image (2019). Fish Night. Available at: https://platige.com/wp-content/uploads/2019/03/FISH_NIGHT_STILLS-12-1-1800×1074.jpg. (Accessed: 02 January 2023).
Verity, E. (1980) Colour Observed. London and Basingstoke: The Macmillan Press.
In the “Animated Documentary,” Honess Roe attributes the document’s authenticity to our understanding of realism and the concept of images that reflect reality and thus represent the actual occurrence of events. (Honess Roe, 2013)
I chose a topic exploring the use of colour in contemporary animation because it is close to my concept education and my interest in designing complex landscape scenes. However, even though I am very interested in painting backgrounds, I usually have trouble choosing a colour palette. I figured taking the time to better understand the theory would help me develop skills further. In addition, I chose the short “FISH NIGHT” from “LOVE DEATH + ROBOTS”, not only because it focuses on the “magic of colour” but also because it is one of my favourite VFX studios. I do enjoy the research stage in both academic writing and artwork creation, so I don’t need a lot of motivation in deciding on a subject.
Nevertheless, I wanted the issue to be more technical and useful in my practice. I think analysing the work of a studio I am probably interested in applying to in the future could be helpful and knowing the colour scripts would improve my illustrative skills (especially crucial in matte painting and composing). I would also like to mention that the animated anthology “LOVE DEATH + ROBOTS” is a great representation of the VFX industry today. Analysing one particular short film can also help put together a consistent and in-depth argument. I realise that my research question is too broad and I may have to compare two animations to develop a balanced argument, but I will do so in further research.
Critical report:
Audience: other students and people working in the animation industry.
Purpose: analyse how to create narrative compelling scenes using stylised colour palettes.
The Netflix film created by the Platige Image team is based on a short story by Joe R. Lansdale. The author himself, with 45 novels and 30 collections of short stories to his name, claims that “Fish Night” is one of the most pivotal stories in his career. The script was adapted by screenwriter Philip Gelatt.
(Platige Image, 2019)
“Fish Night” stands out from the rest of “Love, Death + Robots” with its intimacy. From this reason, the stylization was quite a challenge and we had to put in the magic of colour. Each scene has a harmonious, carefully-selected colour palette. There are warm tones at the beginning so the audience can feel the heat of the desert on their own skin. Then the temperature of the colours drops, but in a way that befits animation, which always has the power to surprise. The cold night is not limited to cold tones – and soon a frenzy of colour appears in the sky. (Rafał Wojtunik, art director)
(Platige Image, 2019)
Further Reading:
Amidi, A. (2011). The art of Pixar: the complete colorscripts and select art from 25 years of animation. San Francisco, Chronicle Books.
Bacher, H. (2012). Dream Worlds: Production Design for Animation, CRC Press.
Bacher, H. P. (2015). Sketchbook: Composition Studies for Film, Laurence King Publishing.
Becker, B. (2015). Cloud Country Pixar animation artist showcase. Glendale, CA, Disney Press.
Block B. A: (2008) The visual story: creating the visual structure of film, TV and digital media. Amsterdam; Focal Press/Elsevier.
Carter, A. A. and L. Huffman (2013). Punch Drunk Moustache: Visual Development for Animation and Beyond, Design Studio Press.
Collington, M. (2017). Animation in Context: A Practical Guide to Theory and Making, Bloomsbury Publishing.
Dobson, N. Annabelle Honess Roe, Amy Ratelle, Caroline Ruddell (Eds) (2018). The Animation Studies Reader. London: Bloomsbury Academic.
Furniss. M. (2008) Art in Motion: Animation Aesthetic. Eastleigh: John Libbey
Ghertner, E. (2010) Layout and Composition for Animation, Routledge.
Hannes, R. (2018) Animation: From Concept to Production. CRC Press. USA
MacLean, F. (2011). Setting the scene : the art & evolution of animation layout. San Francisco, Chronicle Books.
McClean, S.T., (2007) Digital storytelling: the narrative power of visual effects in film. Cambridge, Massachusetts: MIT Press.
Pallant, C. (Ed.) (2015) Animated Landscapes: History, Form and Function. London: Bloomsbury Academic
Wells, P. (1998). Understanding Animation. London: Routledge
According to Honess Roes, “Taxonomy for documentary” something can be considered an animated document if it is recorded or created frame by frame, it concerns the world, not its creator’s world, and has been presented and/or received as a documentary.
“Another Day of Life” marks the first attempt to translate the work of Ryszard Kapuściński (a reporter from the Polish Press Agency) into the language of film, both animated and documentary. However, the book on which the film is based is less of an impassive account and more of a personal diary of what happened in Angola in 1975.
It features surreal sequences that depict the world around the writer from the perspective of his emotions and feelings. This, in turn, creates a movie about Kapuściński himself. Thus, although the animation accurately describes the events in Angola, it cannot qualify as a documentary. It was created frame by frame but focuses on the world partly imagined by its creator. Nor was it presented as a document by its producers. However, I argue that the purpose, in this case, was to demonstrate subjective experience. It certainly lacks objectivity in what we see on the screen, an argument by Christina Formenti, but the film does not claim to be impartial. Moreover, it separates the “author’s thoughts” (surreal scenes) from true-to-life events (realistic scenes).
After this week’s lecture, I decided to analyze the award-winning animated short “Metamorphosis”. It was created in 2020 by Kaifu Liu and published on Youtube (https://www.youtube.com/watch?v=ReSE2IvNjT0). While it is not acknowledged by scholars, I believe it is a good example of experimental animation.
It has elements of formative abstraction and manipulation of form and space. Colour (only black and white) and form (lineart animation, only basic shadows). However, as a viewer, I have no problem with reading shapes and their language. The visual message is clear. It is the dynamics of movement, rhythm and sound that are the main theme of the work. It is also a non-dialogued film, drawing elements from surrealism and expressionism. It communicates the narrative through gestures, performance, and alternative audio components.
The artist describes that most of his inspiration comes from personal experiences. The purpose of this short film is to discuss human emotions before entering society. Their involvement is investigative and emotional, trying to convey a message through disturbing sound, chaotic animation (character movements) and surreal representations of human thoughts. All this provides sensory and emotional responses (conceptual abstraction). The artist’s personal and independent vision thus uses both formative and conceptual abstractions.
“The Metamorphosis” – experimental animation short film
Categorisation: The work draws inspiration from Surrealism and Expressionism. It introduces a mood of unease and disturbance. Human figures are always moving, enhancing the impression of tumult. The theme is people’s emotions before entering society (probably social anxiety). An attempt to visualise the thoughts in people’s heads, using symbolism, to convey the feelings of those who suffer from anxiety. I think the techniques used by Kaifu Liu are more abstract and experimental (chaotic line work) than individual scenes, but the whole thing presents itself as a unique work of art.
Process: The animation looks unfinished, but it is this process that reminds me of intrusive thoughts. The movement of the lineart combined with disturbing sounds intensifies this experience. I believe that technique has become an essential part of the message.
Formal Elements: The work explores light, movement, rhythm, timing, tempo, transitions and audio relationships.
Bibliography:
Kaifu Liu (2020) The Metamorphosis. Available at: https://www.youtube.com/watch?v=ReSE2IvNjT0 (Accessed: 07 November 2022).
I decided to analyse the movie Klaus (2019) directed by Sergio Pablos. This is the “Man in the Hole (Fall-Rise)” storyline, discussed by Kurt Vonnegut.
Klaus (Netflix, 2019)
Breakdown of the story arc (the 8 stages):
The character is in a zone of comfort (lounging at the Postal Academy).
Jesper wants to keep his current status, but his father forces him to challenge himself.
He enters an unfamiliar situation – the post office of Smeerensburg.
He gets to know the town, its residents and the problems with collecting mail.
However, with help from Klaus, he starts sending correspondence and fulfilling his challenge.
After completing the task, he almost accepts the offer to return home, making the other characters think he has abandoned them. This almost leads to the triumph of the shadows.
Jesper manages to save the gift-giving mission and reunites with his friends.
His life goals have completely changed and he decides to stay in Smeerensburg. He found his family, home and purpose in life.
Klaus (Netflix, 2019)
Protagonist’s timeline:
We first meet Jesper Johansen, the spoiled descendant of a politically influential family, who spends his free time at the Postal Academy. He plans to get passed through and pushed into the world, where he’ll coast on family money and connections. Instead, Jesper’s father assigns him to a remote town on the island of Smeerensburg that has not sent or received mail for years.
Jesper’s timeline
Arriving in Smeerensburg by ferry, the place seems like a hope-sucking panorama, devoid of colour. A nice detail was Klaus’s slow colour transformation later in the film. A warm golden glow slowly spreads across the cold blue landscape of Smeerensburg as the city gradually begins to change.
Klaus (Netflix, 2019)
After the hero’s efforts to convince anyone to send a letter to have an excuse to leave this awful place, Jesper meets a mysterious craftsman (Klaus) in a remote patch of woods and the origin story begins. Jesper becomes less obnoxious as he discovers the secrets of the place. There is a constant feud between the two clans. Alva, a teacher turned fishmonger, is starting to pursue her career after having previously abandoned it.
Klaus (Netflix, 2019)
This thematic journey towards understanding the truth about people and the world finally allows him to solve the central problem. However, before that happens, he almost abandoned his newfound dream of improving life on the island to return to his home. Ultimately, Jesper decides to stay in Smeerensberg and save Klaus from the plot of the villains. This lets the other characters see how much he’s changed, and he wins his bittersweet happy ending with Alva as his wife, two kids, and a new task to continue Klaus’ legacy.
Klaus (Netflix, 2019)
Some of the changes we see in his character arc are:
A personality change.
A change in a character’s behaviour.
A change in goal from one extreme to another.
A change from ignorance to wisdom.
A change in relationship to another character or characters.
A change in values and beliefs.
A betrayal of a friend or loved one.
A change from one role to another.
Archetypes:
Hero: Jesper Johansen is Klaus‘ protagonist (2019, Netflix). He answers the challenge of reviving the post office in Smeerensburg. Completing the quest helps restore balance to the island and improve the lives of its inhabitants. In addition, we as viewers experience the journey through Jesper’s eyes.
Mentor: Initially a loner, a large woodworker who makes toys, Klaus is the mentor archetype. He motivates Jesper on missions, trains him in toy making, and helps him mature as a person.
Threshold Guardian: Mogens, a sarcastic ferryman from Smeerensburg who enjoys humour at the expense of others. He guards the way to the island and forces Jesper to challenges. This is often at the expense of the main character. He does not reveal much information, but he is a harbinger of change, so he can be considered the archetype of the Herald or even the Trickster.
Shadow: Families of Smeerensburg (adults). They want to keep the old order on the island. Dissatisfied with the changes Jesper and Klaus are bringing, they try to get rid of them. Lord Aksel Ellingboe, the patriarch of the Ellingboe clan, carries on an ancient feud of his clan with the Krums. Mrs Tammy Krum, the matriarch of the Krum clan, has an ancient feud between her clan and the Ellingboes.
Trickster: Alva, a teacher turned fishmonger, becomes the love interest of Jesper. She uses ridicule to help us see the absurdity of the situation and force change.
Allies (helpers): Márgu, a young Sámi girl who gets to know Jesper well despite the language barrier. The Lapps represent the virtues of the hero. With their helpfulness and cordiality, they support Jesper and Klaus.
Klaus (Netflix, 2019)
Bibliography:
Klaus (2019) Directed by Sergio Pablos [Film]. Netflix.
StoryMasterAcademy (2011) Hero’s Journey Archetypes explained. Available at: https://www.youtube.com/watch?v=5rnV9aszXbQ (Accessed: 05 November 2022).
Will Schoder (2016) Every Story is the Same. Available at: https://www.youtube.com/watch?v=LuD2Aa0zFiA (Accessed: 05 November 2022).
After the last week, I went and did some research on the potential topics for a critical report. I found a lot of journals and reports that can be useful in creating a complex and academically challenging question. In my essay, I would like to be precise and focus on the details. The challenge may be not to overdo the research or create a subject that already has an answer to the research question. Therefore, I decided to structure my report around the analysis of one animation work – Fish Night, the twelfth episode of the first volume of LOVE DEATH + ROBOTS. Not only is this a great piece of art showing the thoughtful use of colour theory, but it’s also a work by a VFX studio that I admire a lot – Platige Image. The Film Language and Research lecture also influenced my thinking about colours in the context of the mise-en-scène; the relationship between shots and colour, animation staging, etc. In response to the assignment, I came up with the following brief:
Title: A study on the immersive value of colour art in TV animation focused on the short “Fish Night” from the TV series “LOVE DEATH + ROBOTS”
Introduction: Colour art explains the effects of colours on people and sets off the overall emotional tone of TV animation, expressing the value ideas behind the creation. I would like to examine how choosing bold colours based on the colour theory can effectively convey the character’s thoughts and feelings without losing the medium’s immersion.
Keywords: Colour theory Animation Immersion Atmosphere Aesthetic value
Bibliography:
Ambrose, G. and Harris, P. (1971) Colour. Lausanne : AVA Publishing SA.
Curtis, C., Dart, K., Latzko, T., and Kahrs, J. (2019) Non-Photorealistic Animation for Immersive Storytelling. Genoa: The Eurographics Association.
de Ruiter, E. and Lacet, M. (2006-2007) ‘Immersive Animation’. Gatze Zonneveld EMMA ISCA. Available at: (Accessed: 16 October 2022).
Glebas, F. (2013) The animator’s eye: adding life to animation with timing, layout, design, colour and sound. Burlington, Massachusetts: Focal Press.
Guild, T., Back, A. and Merrell, J. (2013) Colour deconstructed. London: Quadrille Publishing.
Shamsuddin, A. (2013) ‘Evaluating Content Based Animation through Concept Art’, International Journal of Trends in Computer Science, 2 (11)
Zollinger, H. (1999) Color: a multidisciplinary approach. Zürich: Verlag Helvetica Chimica Acta.
Feedback: My research question is unclear, especially since the word “value” has many definitions, so I should change it. There is also a problem with the assumptions around colour theory because I should not try to assign uncertain meanings without reliable sources.
Instead, I decided to focus more on the narrative use of colour scripts rather than emotional responses. Colour is assertive non-verbal communication. I could write about many aspects of this storytelling device: tints and filters, specific objects, transitions and symbolism, and costumes. However, I believe studying colour as an element of mise-en-scène can help me focus on the topic and make it more specific. I should also consider the purpose of using certain colours or having an absence of colour. I plan to analyse the meaning of colour palettes and how they help visualise the entire movie.
How do colours influence the animation staging (how it affects the placement and settings of the characters, as well as the length of the shots, etc.)?
Do the colour palettes of subsequent scenes comply with the principles of screen direction and continuity? How does it work with an animation layout?
Task 2: Evidence of understanding the term mise-en-scène.
High Noon: “Waiting for Frank Miller”
1. Settings & Props: The repeated shots of the clock end at the most decisive moment when the minute hand reaches noon. The use of spatial composition at the intersection from the railway track shot to the church interior shot. It is almost like an announcement of impending death. Similarly, an empty chair and shots of an abandoned city build a mood of horror.
2. Costume, Hair & Makeup: The costumes indicate that there are likely two opposing groups in this conflict (one in messy clothes and one well-dressed).
3. Positioning of characters/objects within the frame: Shots are consistently getting closer and closer, from long and medium shots to big close-ups.
In our first Design for Animation lecture, we were shown the course outline and review. As an introduction to research topics, my practice group presented potential ideas for the critical report. This encouraged me to start thinking about my written work for the unit. In August, I visited the Tate Modern display on colour, and the works exhibited there (especially Quarta-Feira de Cinzas / Epilogue 2006 by Rivane Neuenschwander and Cao Guimarães) inspired me to reflect on the influence of colour on our daily lives. In conjunction with the public discussion on the “disappearance of colour from the world”, I would like to explore its subject in visual effects and animation, and how it affects the audience.
Quarta-Feira de Cinzas / Epilogue 2006 Rivane Neuenschwander and Cao Guimares born 1967, born 1965 Purchased using funds provided by the 2006 Outset / Frieze Art Fair Fund to benefit the Tate Collection 2007 http://www.tate.org.uk/art/work/T12412
I was also interested in the colour theory in interior design and architecture (how often modern spaces lack personality and a sense of belonging). As I am interested in fine arts and art galleries, I thought about moving the discussion to the heritage sector and trying to understand how museums display colour. However, considering we only have 1500 words, I chose not to deal with such broad and complex topics and instead focus on a more technical analysis of colour in animation. When creating my works, I try to think about how it can affect the viewer and how best to convey the story. For me, this is the basic role of concept art – to communicate the idea of the project and immerse the audience in the created world. I think that VFX, especially compositions and matte paintings, have many similarities to concept art, which is probably why they are so exciting to me. I would like to explore the methods used in them. I suppose I could combine the above topics in my thesis, but for now, I plan on focusing on better understanding how artists use colour and how it affects people. I also believe that it can help me in my practical work.
