Rebecca Pearce-Davies Art

I'm really happy with the final animation, and think it flows nicely though there are a few things that could be changed. I worked with my partner to make our own music track inspired by "The Incredibles" theme tune and with a "Mission Impossible" feel, though this isn't finished yet I feel it has potential to work well with the advert. https://soundcloud.com/rebecca-pearce-davies/shelterbox-music-first-draft/s-gjz6b

Given more time this test shot could be a lot better but I've got the fundamentals done, something that can be developed further. For one thing, the shot is too fast and the slowing down is too much, I would also like to animate the kids in the window more, though I think how the shadow works off the light and environment works well. I also did  drawings of the children to go in the shot.  Concept art  Test shot

I was still trying to work with   Mary Blair’s style, though I feel my original sea palace came out a lot better as it’s more textured and raw, giving more mood and atmosphere than the sky palace. Also the styles are slightly different and I think the sky palace would look better with a bit more painterly texture, and perhaps with the clouds being more blocky and less translucent like Mary Blair’s clouds. That said, I think the Palace did come out well and I really like the moon shapes and definitely makes it looks more space like. I really like Mary Blair's style, but to imitate it was actually much harder than I thought as there is no out-line work, and everything is more focusing on block colours and shapes to produce details and form, so i took away all the out-line work. Concept art   I feel my test shot could have been a lot stronger if I had given myself more time, as I did it in after effects I struggled to get th...

It took me a while to get the leg movements right, as I started off with a walk but was having trouble with the puppet tool and couldn’t get the timing right. I must’ve started the donkey shot about four times, going through walks to a canter and then ending up trying to do a trot, by which time I had learnt everything I needed to actually get a good animation out of after-effects.

Concept sketches of the sky palace. I was looking at pictures of space and came across some pictures of the moon in its different stages and was thinking that the shape might look interesting as a castle or palace as it's quite symmetrical and has a bold form.  Concept drawing of how the Princess will evolve from the moon into her human form. It's taken me a while to get this clay model of the Princess done, but I am really happy with the outcome and think I have got the proportions well, although I may have overdone the hair size. I think I've definitely captured the movement of the dress as well.

Working from a half done layout from a screenshot of the "Heroes Wanted" animatic, I made a full layout. I changed it as the trees on the left hand side once varied enough, it's also interesting trying to get the perspective and angles of the trees accurate.  Digital watercolour tutorial in photo shop:  The third years decided to do a tutorial on how to use the watercolour brush that they have chosen for the look of their film and how to colour with it, which I found very helpful, though I didn't have time to finish it. My only concern now is getting a good lay-out style for the trees that will work well with this colouring process/ look.

This is my section of the podcast for our group, talking about the future of 3D printing in stop-motion. Looking into the future of 3D printing and its use in stop-motion animation, we can already see from systems such as Cuttlefish that the technological possibilities are becoming greater and greater every year. Considering how far we have come in the last 10 years alone, it’s reasonable to assume that 3D printing will soon become even more refined and cheaper, making it more and more accessible to stop-motion studios and independent animators. But as with all technological progress, there are some potential pitfalls that need to be understood and addressed. Looking at the history of CGI, after it came into general use in the film, television and (later) gaming industries in the late 90s and early 2000s, the ease of its use led to many poor-quality effects and even entire animated films where the animation teams had clearly cut corners during production to save time and mo...