LAUAN601 - Practical Production - Character Developed concepts

Developing my animated turnaround for the characters Roy, Bunnicula, and Black Dynamite.




The original Bunnicual concept layout for development, this turnaround concept for further reinterpretation. Experimenting with the design and models, then developing them for different block programs through transformation. For the unique features of each character design and then explore and compare them, this will produce an in-depth analysis into the techniques that make each design unique to the identification of that block program.  





Progressing the analysis in understanding what elements work the best in conveying the desired effect, not only aesthetically but regulatory in terms of how the design fits in with media application. Two opposing examples of views would be, the contrasting criteria’s that was the focus point for the primary research conclusion. Based on character design concepts being either, applied to the different regularity terms regarding the audience, by conveying what elements work the best for advertisement.

The finding from each character concept are compared and evaluated through a combination of simplified drawings to focus on the design features and speculation towards an overarching conceptual objective, to explore effective character design represented on age specific block programming. This establishes how the production techniques for regulated block programs, through conclusive stages that describe the unique contrasting ways character design features are amplified, to appeal through the aesthetics that communicate from the onset, based on the first visual identification an audience has of a character design. This character design aesthetic can develop to apply to an audience.

Roy:

Focusing on Roys original character design from 'Badly drawn Roy' as an example for an adult/mature audience produced version. This is based on the fact that Roy's character develops into a children's series and is redesigned with more friendly features, relatable for kids.

Exploring the effective 2D character design aesthetics, within age specific television block programming, by producing an analysis that examines the overall responses from practitioners based on theoretical research, to determine the production of character designs, for regulations within audience groups. The findings of this project for performance, dictate that there is a relationship between the features of character design, to portray a story and communicate by relating to the audience. Expressed through intuitive features desirable according to the audiences aspirations, influencing trends and production. What is associated with a feeling or expression that develops in individuals, in younger audiences it is the fascination and archetypes that characters represent as broad learning outcomes associated.

LAUAN601 - Practical Production - Character Referencing/Experimentation

Main character research and experimentation.
Roy is an Irish-British animated children's television series in Dublin, which was broadcast by TRTÉ in Ireland, on the block program, CBBC.

The series is filmed as a mockumentary and based on the short film called Badly Drawn Roy which was commissioned by the Irish Film Board, RTÉ and the Arts Council of Ireland through their frameworks scheme for new animation.

It is important to mention that there are two character designs for Roy. The original design, from the short film 'Badly Drawn Roy' and the most recent design. 'Roy' from the TV series

My character experimentations are based form the most recent character design of Roy. From the TV series, 'Roy'. 

I have found that the original character design concept for Roy, is based on the 'Rough animation' process. This is the drafting of line work that would usually then undergo the 'Clean-up process'. That adds refined lines to the character animation. 

But Roy's design is based on the fact he hasn't undergone this 'clean-up' stage, and remains a rough animation. Because of this, the character design retains this sketchy look and has a unique loose visual aesthetic. Perfect for younger audiences.

Roy's original character design, in comparison to another character design of the 'cleaned-up' stage, from the short film 'Badly drawn Roy'

Although this might pose a problem for my project. As Roy is not meant to be in a finished design stage, and I am researching and comparing other finished and 'cleaned up' character designs. 

But I realise the fact Roy is not complete, is because he represents a unique and aesthetically pleasing style. Made to stand out and ideal for the younger audiences. Representing a quirky and exciting theme that is relatable of the featured block program Boomerang. 

This simplistic design has a unique take on expressive characteristics. Which is actually ideal for comparison with other uniquely age specified character designs in this project.

More importantly I realise that the original design can be used as a 'mature' version for comparison of the character design.

...

Main character research and experimentation.
Bunnicula the vampire rabbit, once the pet of Count Dracula: The series premiered on the block program Boomerang in the United Kingdom and Ireland.

Bunnicula's character design is predominantly made of goofy features, and aimed for an audience of younger children. The script writing has an alternative 'edgy' vibe expressed with the character design. Through comical gothic themes and gore and based on vampires and monsters with a more comedic and cartoony side.
More ways the character design represents this audience, is through the comedic script and comical animation. This character is indeed a bunny rabbit with sharp fangs and the wide looking, but cutely deceiving eyes. 
This cartoon wouldn't appeal to a preschool audience, not because there is too much to process on screen. But because the actions of the characters are certainly not predictable or desirable for preschoolers. 

I am producing the practical with no colour, sticking to only shading and tonal textures. As I want to emphasise on the character design features for the line work to analyse the changing structure of the transformation.

The it is convenient I have chosen characters which feature mostly black and white colouring.
The vampire rabbit Bunnicula has mostly black and white, with only pink eyes.






...

Main character research and experimentation.
Black Dynamite, as Michael Jai White, The show, released on the block program 'Adult Swim'.
Set in the 1970s, is predominantly a parody of and tribute to blaxploitation cinema. Playing from the stereotypical characters and ethics of that 'exploitation film' and time period.

1970's America, setting dark comedy elements from the offset with stereotypical character deign, and setting. Drawing all dark comedy from undermining the harsh setting. This show sets low moral standards and adult themes through portraying hard hitting reality and violence. With Sarcasm, dark humour and an underlining ruthlessness. Appealing only to adult and mature audiences, filled with stereotypes and ideologies racism.

For example, most villains in this cartoon are made out to be physiologically unstable with backstories of suffering and abuse. Mostly from growing up in the cesspool of prostitution, pimps, drugs and violence that this cartoon entails. Almost prompting genuine motives, but with interesting twists and disheartening resolutions.

Most episodes of the show were rated TV-MA (akin to the R rating of the movie itself) for bloody, stylised violence, strong sexual references (including nudity, references to prostitution, and depictions of sex acts), and humour derived from racism and discrimination. Overzealous training montages, sex and adult scenes intertwined with comedy.

Studying the character designs and experimenting with them, understanding why they are unique and represent the desired themes.

Featuring the 1970's characteristics and fashion, based from 70's film aesthetics.

...

LAUAN601 - Practical Research - Choosing the cartoon

The practical of this project is the most important area because it informs the rest of the project swell as the primary research.

For my practicals I am going to create turn arounds, which are animated T-poses. Because my project is based on age rated television program character designs, I am going to try and transform the designs as they are in the animated turn around.

Choosing a suitable cartoon show that best represents the 'CITV' program age range from examples:

Choosing a suitable cartoon show that best represents the 'Boomerang' program age range from examples:

Choosing a suitable cartoon show that best represents the 'Adult Swim' program age range from examples:

I have decided to take the visual elements of the character designs most associated with 3 programs and swapping the features between each other to transform the design. Then describing with theory how the visual design changes and appeals for different audiences, with different design features.



Chosen shows:

'ROY' from CITV:

'BUNNICULA' form Boomerang:

'BLACK DYNAMITE' from Adult Swim:

LAUAN601 - Primary Research

Contacting as soon as possible for further  research,
Question-air through email, know what I am asking, define the direct that applies to my research question.

Secondary, online journals, video essays (respectable)

Primary research:

I will be contacting professional practitioners in the industry for completing a questionnaire. That I will refine with questions on character design application and specification in production of animated television series. Exploring the visual aesthetics and design.

I am targeting Executive producers because my project is based on  character specialisation in 'block programs' for age ranged target audiences. Informing Primary research, theoretical practical production in my project.

I am planning on contacting Tim Searle because of the work he has done in children's television and his experience. Since he is now head of the official BEANO studios, a possible opportunity to stand out when contacting him. Would be the fact that I have been awarded a silver pencil at D&AD for a BEANO project.
These areas of Tim Searl's expertise in his work, are the focus points in my project. Children's entertainment, BBC danger mouse is one of my chosen character designs to identify and analyse for a target audience.


The fact that this primary research could prove almost essential in my project is a good stepping stone into my theoretical work. But it is important that I must proceed in contacting him, with techniques that I have covered previously in my projects, to successfully appeal to engage an interview with professionals.

I am aware that it is also important to have a backup plan, incase Tim Searle is not available within the time limit for my project.
So I plan on contacting Sue Longhlin form Jelly London.

Jelly London is a production company and illustration agency representing a collection of the world's finest creators. 

Interview email (draft)

Sue Longhlin from jelly London:

I am a student studying animation at Leeds Arts University and I am contacting you for a quick interview regarding my assignment brief. I am wondering if you are available to answer a quick questionnaire based on successful character design specified for television block programs.

(use previous successful interview tactics)

Sue Longhlin from jelly London:

Hello, I hope you are available to answer these 5 questions for my final year project at Leeds Arts University. If this email is a bit late I would appreciate any time taken to respond.

I am ‘Exploring how unique and effective character design is best represented, within age specific television block programming.’ 

Contacting professional executive producers for insight into production for character specifications. This is primary research to inform the theory and practical work in this project:

• How would you ensure character designs are age specific, towards your main target audience?

• If you are changing a character design towards a more mature target audience, originally intended for a younger audience, what changes would you implement? As well as vice versa, towards a younger audience?

• Broadly speaking, what techniques are TV programs employing with character designs to the attract audiences?

• Are animations aimed at pre-school audiences pushing the boundaries for comedy with perhaps more mature themes in character design and script writing? Do you feel that the boundaries between age related programming are becoming blurred? For example, for a more broad and perhaps mature content viewership?

• How do you feel character designs are developing for todays audiences, compared to original character designs?

Thanks, James Parker.

---
(second contact for primary research)
Tim Searle form the BBC and head of Beano Studios:

Hello, I am studying animation at Leeds Arts University, writing a character design "spec's" essay. I have been suggested in contacting you through my mother, Sarah Foster that studied textiles at West Surrey (wes cad) College of Art. For a quick insightful interview for my project.
Thank you.

(perhaps include, once contact has been stablished):

If you can suggest any other contacts in, this field of character design for animation, I would most appreciate it. Thank you for your time.

I have successfully 'connected' with both producers, and I am hoping to continue my conversation with them, so that I might ask to complete a short interview towards my primary research in my project.

Tim Searle 

... (draft messages)

• Great to see you have connected with me, I am looking forward to contacting you, via email or phone call. Regarding my primary research exploring effective character design within age specific 'block programs'. 
• Great to see you have connected with me, I am looking forward to further contacting you in regards to my assignment. 
• Great to see you have connected with me, I am looking forward to further contacting you if possible, in regards to my assignment.

(what I realise is that in contacting professionals, you must have patience and confidence, but always cautious and calm in messaging, using obligatory terms that can be interpreted in the best sincerest ways. Also using academic style writing with no personal perspectives, until confident contact has been established with the professional, in which these phrases can be used).

Sue Longhlin and Tim Searle have accepted to do a quick series of questions via email and in person, for me:

(message)

Contacting message:
I shall send an email soon with a few questions in relation to my assignment, that would work perfectly. Thank you.

Reply message: Will do, I was told you would be a great contact to have. I am grateful for this opportunity regardless. What a coincidence, my University hosts a trip to MAF and I am attending for my final year. Splendid! I will chat to you if we get chance, hope to see you there. JP

>>Will do, I was told you would be a great contact to have, I suppose this is a bit cheeky! But I am also grateful for this opportunity regardless. What a coincidence, my University hosts a trip to MAF and I am attending for my final year. Splendid! I will chat to you if we get chance, hope to see you there! JP

It is time to produce a short insightful interview style email for the professional contacts, with a series of questions that will inform my primary research for this project.

A great opportunity for me to possibly network with any other associates of Tim Searle at Manchester Animation Festival. If the opportunity arises.

(ask at the office, for Tims free time in schedule, )

Hello Tim, great to meet you...
My primary research informs the practical and secondary research. I am ... 'Exploring how unique and affective character design is best represented, within age specific television block programming'.

5 questions for Tim:

My projects primary research informs the secondary and practical work.
How would you ensure character designs are age specific, towards your main target audience? (For example Beano Studios or BBC programs. Perhaps similarly to traditional Beano comic readerships age range of 8-12.)

If you are changing a character design towards a more mature target audience from a younger age, what changes would you implement?

Broadly speaking, what techniques are tv programs employing with character designs to the attract target audiences?

Are pre school animations pushing the boundaries for comedy with perhaps more mature themes in character design and scrip writing? do you feel that the boundaries between age related programming are becoming blurred? For example, for a more mature content viewership.

How do you feel character designs are developing for both younger and older audiences? Compared to original designs? (For example, Beano characters that have been developed).

This short but insightful interview with Tim Searle, was held at Manchester Animation Festival. In a reasonably quiet theatre room reserved for the ‘VR experience’ At 15:00, 15th of November, 2018.

The Head of Beano was very cooperative and took time to respond to each question, despite a possibly busy senior executive schedule. The interview then proceeded on the structured path that had been planned. The recordings of this interview are portrayed in order and with the full quotes in regard to the questions:

The Head of Beano was very cooperative and took time to respond to each question,
despite a possibly busy senior executive schedule to maintain. As one of the judges
of the short films competition at the festival. The interview proceeded as planned, the
recordings of this interview are portrayed in order of proceeding. Presenting the full
quotes in regard to the research questions:

Searle, T. (2018) ‘Assessment Interview for Character Design Aesthetics in Block
Programs’ Manchester Animation Festival. Unpublished.

- Hello, thank you, Tim Searle for taking this opportunity to answer a few questions,
briefly for my project.

Tim Searle: ‘Ok, It's a pleasure’

- Great, let's get into it. How would you ensure character designs are age specific,
towards your main target audience? For example Beano Studios or BBC programs.

Tim Searle: ‘Essentially you need to go with your gut feeling. But nowadays
everything is Focused grouped, so it goes out for research. A BBC example,
developing a new version of Duckula with a new take aimed at the audience 12 - 14,
but came back at 9 - 10 actually preferred it over the older ages. A lot happens at
this age, with the younger child aspirations, they start to want to seek out things that
they perceived to be more grown up and cooler. This case is occurring more
frequently than previously, when for example, Duckula was released. There is a
point where kids reject what they see for kids, essentially to avoid what they perceive
as patronising. Older shows are reimagined as a growing trend based from this.
They are reproduced, proving younger audiences are reaching out for reimagined,
distributors need the comfort of proven marketing for these audiences.’

- That is interesting and does actually lead into my next question. If you are changing
a character design towards a more mature target audience from a younger age, what
changes would you implement?

Tim Searle: ‘What that audience aspire in comic books, illustration techniques
dictates a certain aesthetic to be accepted by that audience. But there are also
exceptions to character design such as the writing, historically for example South
Park with a relatively young looking aesthetic but the writing dictates the tone as well
as the hard hitting audio.’

- Are pre school animations pushing the boundaries for comedy with perhaps more
mature themes in character design and script writing? do you feel that the
boundaries between age related programming are becoming blurred? For example,
for a more mature content viewership?

Tim Searle: ‘Hey Duggee, the show is a good example for parents liking the success
of that show, appealing to young parents and young kids, because it's graphically
cool.’

- Broadly speaking, what techniques are tv programs employing with character
designs to the attract target audiences?

Tim Searle: ‘The characters are redesigned to look cooler, appealing to statistics of
market research, but the writing is equally important, juxtaposition. Regardless of
redesigns and new looks of characters, the writing is essential and comes down to
the script. One of the jobs is reimagining Dennis and gnasher unleashed, reimagined
in SGI, but the character development needs to be more neonce and improved on a
level of scale for kids audiences.’

- How do you feel character designs are developing for both younger and older
audiences? Compared to original designs? (For example, Beano characters that
have been developed).

Tim Searle: ‘Miming the characters, understanding why they are together, fault is
comedy, insecurities. At the end of it, you need to work to get a kid of 9 to watch the
show, as well as kids of 21, to get the kids to be believable.’

- Brilliant, thank you very much, that is it.





In contacting the Executive producer of Jelly London, I feel this feedback is more than adequate for my primary research, and comparing to what Tim Searle has responded with. Through my own thesis of primary and theoretical research, for the backbone of my project.