Dominique Year 2 animation blog part 2

In-text: (Kleon, 2014) Your Bibliography: Kleon, A. (2014). Show Your Work! . 1st ed. New York: Workman Publishing Co. 'By taking advantage of internet and social media, an artist can share what ever she wants... she can be as open about her process as she wants to.' p.30 'Share sketches, works in progress, post pictures of your studio, or blog about influences, inspiration and tools …. you can form a connection with her audience.' p.30 'Human beings are interested in other human beings and what they do.' p.36 'audiences want to be apart of the creative process.' p.38 'by letting go of your ego, we allow for the possibility of people having an energising connection with us and our work, which helps us move more of our product.' p.38 'Take a lot of photos of your work in different stages in your process.. shoot videos of you working.' p.43 'A da...

Stabile, C. and Harrison, M. (2003).  Prime-time animation . 1st ed. London: Routledge. Trigonis, J. (2016).  CROWD FUNDING . 2nd ed. Studio city ca: Michael wise productions. Creeber, G. (2015). The television genre book . 3rd ed. London: British Film institute. Wheeler, A. (2013). Designing and brand identity . 1st ed. New Jersey: John Wiley & Sons. Winder, C. (2011).  Producing Animation . 2nd ed. MA: Elsevier Inc. Pilling, J. (2001). Animation . 1st ed. Crans-Près-Céligny: RotoVision. Millman, D. (2012). Brand Bible . 1st ed. Beverly, Mass.: Rockport Publishers. Kleon, A. (2014). Show Your Work! . 1st ed. New York: Workman Publishing Co.

In-text: (Millman, 2012) Your Bibliography: Millman, D. (2012). Brand Bible . 1st ed. Beverly, Mass.: Rockport Publishers. 'The brands (playboy, Disney, Oprah) comprise empires that transcend mere media conglomerates; they used rich story telling and compelling narration to reach audiences... and they branch out into numerous media, giving consumers different ways to experience and participate in the brand narrative.' p.220 'Successful brands create loyal customers who come back again and again because they feel the brand is an extension of their personalities' p.291 'In each brands case, we're looking to engage the brands target customer.' p.296 'Process is focused on discovering that an brands point of view and defining that.' p.296

Today, using after effects, I decided to 'animate' a intro of my name and specialities for my show reel and website.  I chose this font ( trajan pro) as it is clear to read, the use of  serif adds slight delicacy, connoting my care for detail.  It also signifies creativity, but with its spacious lettering that is thin and tall, and almost bold, it gives off a professional look. I choose to have white a background as white has symbolism of fresh, pure, innocent and clean. I want to give off positive, trusting and professional vibes. If I had more time I would done a 2D animation name intro, but a simply ran out of time management. Perhaps I can add a logo In the background to give some colour to make it more creative and interesting.

In-text: (Pilling, 2001) Your Bibliography: Pilling, J. (2001). Animation . 1st ed. Crans-Près-Céligny: RotoVision. '(John Cary said ) you need colleges who will take your idea and improve it...  work with others to a bible.. that define character relationships and talk about visual interpretations.' p.20  'You (should) hire a writer, designer, other artists, an animation director, an editor ect' p.20 '(John) Carry sees his role as an producer putting art and money together, as an integrated mindset.' p.20 'Tv tends to commission for particular time slots, which determine Finacle and time constraints.' p.30 'Every stage of production has different pains and pleasures.' p.30

In-text: (Winder, 2011) Your Bibliography: Winder, C. (2011). Producing Animation . 2nd ed. MA: Elsevier Inc. 'key items that affect an animated budget is: -the projects purchase price - the cost key creative talent attached to the property - the type of story being told - the choice of art direction, style, technique, complexity - the format - where the animation is being  produced -  and the delivery schedule.' p.14 'A low-budget traditional 2D show can start at $250,000 per an episode; a more high end animation prie-time show can reach over $1.5 million per an episode.' p.15 'completion bond' p.15 different types of animation producers; 'employee producers', 'entrepreneur producers', 'executive producer', 'producer', 'co-producer', 'line producer', 'creative producer', 'associate producer' ect. these are based o...

In-text: (Creeber, 2015) Your Bibliography: Creeber, G. (2015). The television genre book . 3rd ed. London: British Film institute. in early tv era, animation was dismissed as 'illustrated radio', 'animated programming had to adapt to much-reduced budgets and ultimately, drew more heavily  on heavily on comparatively minimalist contemporary idioms in graphic design and art.' p.177 'with its oft-repeated  and limited movement cycles, Hanna- Barbera created animation which was necessarily more  character- and performance-driven and relied on witty scripts and amusing vocal deliveries.' p.177 '(with the success of his shows) Joe Barbera was justified in his view that 'kids don't give darn if there is 4000 or 40,000 drawings, so long as the entertainment is there" (cited in Wells, 2007) ' p.177 'animation has flourished and is increasingly recognized as an extraordinary vers...