Drawing and animation.

Just now, whilst considering the scuba divers i will be drawing tomorrow whilst animating, i believe it will be best to draw these charachters onto paper and move them about the page, as aposed to redrawing them every movement. This is largely to do with the nature of their movement. I want there to be a clear distinction between their movements underwater and those movements of the frantic main charachters above water. A smooth movement of calm against the chaotic jittering of the main chrachters.

It is interesting to note the way in which I have begun to build up a routine for drawing, Indeed I have been drawing in a far more stuctured and regemented way than ever before. It began after I wrote the story. I then set about fairly maticulously, compared to my normaly lasissez faire aproach in any case, drawing all the items and scenes i believed would be in shots. for example this I drew in the bath:

From these observational drawings I began to draw in a more relaxed way, working on developing them in to some thing that was simple and refined. Well abit refined anyway. Now that it has come to the animation process itsself, I have taken to drawing the day or night before, the charchters and actions I will be working on the following day. We will see how this system work. As the inarticulate furniture sales-man said: Sofa, so good.

It is strange the difference between drawing on paper and acetate, not just the difference in surface, but also in pressure. For it is difficult not to think about, as you draw on the acetate, the fact that this is the only one that realy counts. I find that forgetting this is one a hard and unnatural thing to try and do, but possibly the key to making the one that realy counts, realy count.