Principles of Animation: Analysis of Pendleton Ward's Adventure Time operaAt At the request of Eric Homan (the vice president of development at Frederator Studio), Adventure Time was created by Pendleton Ward to enter a short-lived Nickelodeon showcase, Random Cartoon, early 2006. Because it went viral after its first release on the Internet, they decided to bring the concept to Nickelodeon in 2007 but it was rejected twice. When Nickelodeon no longer had the rights to produce the Adventure Time series, Frederator Studios quickly brought the concept to other channels. Fortunately, in 2008, Cartoon Network, where Pendleton Ward was working at the time as a storyboard artist and writer, showed great interest in turning it into a full series. However, they would only do so once Mr. Ward could prove that the Adventure Time short was “not a one-hit wonder. ”Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original EssayWith the help of Mr. Ward's college friends (Patrick McHale and Adam Muto), they developed ideas for creating a rough storyboard and submitted it to Cartoon Network. Their first attempt failed, but their next attempt “The Enchiridion” was approved and became the first to enter the production phase. In April 2010, the first episode of the series "Slumber Party Panic" officially debuted. Pendleton Ward was the showrunner of Adventure Time until he stepped down during the fifth season and instead served as the show's plot writer and storyboard artist. As a result, the new role of showrunner was given to Adam Muto. Animation Workflow Since an episode of Adventure Time usually takes about nine months to produce, several episodes are worked on at once. Most cartoon shows have a writers' room where a new idea is developed and written as scripts, but in some rare cases, such as Adventure Time, it is written as storyboards. In an interview with the AV Club in 2012, Ward said: “We start out just shooting into the wind and telling weird stories about what happened to us during the week. Once the storyboards or basic plots are made, a simple two- to three-page draft is written and given to the storyboard teams, who have two weeks to roughly visualize the draft, write the dialogue along with the lines, choose all the shots of the camera and edit the outline. Then a rough storyboard is given to Kent Osborne (one of the producers) and he will write a note of what needs to be changed or improved for the storyboard teams. The teams will have two more weeks to change the situation. This process is repeated until Osborne approves the storyboard. After some preparations, the voice actors complete their work. Next, an editor assembles the final storyboard frames into an animatic and times them to match the voice recordings. The animatic undergoes some revisions and changes. Then it is given to the cleaning artists who redraw each sketched frame into a clean and tidy frame. At the same time, background and layout artists design and assemble the backgrounds. Shortly after, the final animatic is animated. While each episode's design and coloring is done in the United States, it is animated in South Korea in three to five months. The episode completelyanimated is sent back to the United States for revisions and edits. During this time, you may need to reanimate some scenes, record additional dialogue, and add some effects. Finally, an episode is released. Animation Styles“Adventure Time pays attention to quality articulation and animation. Every second of the approximately eleven minute episodes features smooth animation filled with fluid motion, point of view changes, and key frame rate that allows your mind to relax and enjoy the show. The animation in Adventure Time is smooth and more stylized compared to the animated television programs of a few decades ago. While backgrounds are usually complex and colored with tones and shades, characters are drawn with simple shapes and colored only with basic colors. The aim is to help the animation process become quick and simple. The series focuses on the attractive principle of animation because its target audience is children. To make it appealing to children, character designs often have simple round and curvy features. Applying Animation Principles Exaggeration: The scene in figure 3 is an exaggeration of Finn's face where he clearly exaggerates his mouth and large round eyes to make him seem much more scared of what is happening in front of his eyes. Likewise, for the scene in figure 4, the exaggeration of her curved mouth exposing long sharp teeth, bright red eyes, frowning eyebrows, and disheveled hair undoubtedly makes her appear furious. Attractiveness: The emotions of both characters are easy to read and understand their personality. With the help of exaggeration, the characters seem more dynamic and attractive to the viewers. Staging: After a wall in Marceline's house opened up in an intimidating new place in the scene of figure 2, instead of her usual black eyes, we could see a reflection of what's happening in her wide eyes: a silhouette in the middle of a chaotic fire. The purpose of the scene in figure 3 is to direct the audience's attention to Finn's emotions and why he is scared. Secondary Action: In figure 3, the main action is Finn's wide open eyes and mouth when he is scared. The secondary action is the hands on the sides of the head showing Finn's confusion and inability. In figure 4, the main action is Marceline's intense facial expression when she reminds Finn that her father stole her bass. The secondary action is her wavy hair which emphasizes how angry she is. Both secondary actions give the primary actions more depth and meaning. Squeeze and Stretch: The cloud-like character is light and soft, so it bounces when it makes impact with Finn. Since it is important to maintain the volume of the character, when the force of the movement crushes the character, it becomes a little thinner and longer. When the character recovers, his volume returns to its normal state. Bow: That character floats along a sinuous line (bow). This gives the feeling of a floating object/action in real life. Timing: The cloud-like character is programmed to mindlessly and constantly float towards Finn, but immediately bounces back when he touches him. The timing of the floating gives the illusion of how light the character is, how quickly he moves towards Finn, and how the impact bounces him back. The purpose of timing is to apply the laws of physics in the natural world to the world of animation. Solid Drawing: From the five figures above, the drawing style is very consistent. Even though there are some exaggerated scenes, they are still in their style without looking out of place. Straight and Pose Pose: This animation gives the fire afluid and casual movement. This animation has more control over Finn's movements. History of the work At the request of Eric Homan (the vice president of development of Frederator Studio), Adventure Time was created by Pendleton Ward to enter a short Nickelodeon showcase, Random Cartoon, in early 2006. As it went viral after its first Internet release, they decided to bring the concept to Nickelodeon in 2007, but were rejected twice. When Nickelodeon no longer had the rights to produce the Adventure Time series, Frederator Studios quickly brought the concept to other channels. Fortunately, in 2008, Cartoon Network, where Pendleton Ward was working at the time as a storyboard artist and writer, showed great interest in turning it into a full series. However, they would only do so once Mr. Ward proved that Adventure Time's Short was not a one-hit wonder. ”With the help of Mr. Ward's college friends (Patrick McHale and Adam Muto), they developed ideas for making a rough storyboard and sent it to Cartoon Network. Their first attempt failed, but their next attempt “The Enchiridion” was approved and became the first to enter the production phase. In April 2010, the first episode of the series "Slumber Party Panic" officially debuted. Pendleton Ward was the showrunner of Adventure Time until he stepped down during the fifth season and instead served as the show's plot writer and storyboard artist. As a result, the new role of showrunner was given to Adam Muto. Animation Workflow Since an episode of Adventure Time usually takes about nine months to produce, several episodes are worked on at once. Most cartoon shows have a writers' room where a new idea is developed and written as scripts, but in some rare cases, such as Adventure Time, it is written as storyboards. In an interview with the AV Club in 2012, Ward said: “We start out just shooting into the wind and telling weird stories about what happened to us during the week. Once the storyboards or basic plots are made, a simple two- to three-page draft is written and given to the storyboard teams, who have two weeks to roughly visualize the draft, write the dialogue along with the lines, choose all the shots of the camera and edit the outline. Then a rough storyboard is given to Kent Osborne (one of the producers) and he will write a note of what needs to be changed or improved for the storyboard teams. The teams will have two more weeks to change the situation. This process is repeated until Osborne approves the storyboard. After some preparations, the voice actors complete their work. Next, an editor assembles the final storyboard frames into an animatic and times them to match the voice recordings. The animatic undergoes some revisions and changes. Then it is given to the cleaning artists who redraw each sketched frame into a clean and tidy frame. At the same time, background and layout artists design and assemble the backgrounds. Shortly after, the final animatic is animated. While each episode's design and coloring is done in the United States, it is animated in South Korea in three to five months. The fully animated episode is sent back to the United States for revisions and edits. During this time, you may need to reanimate some scenes, record additional dialogue, and add some effects. Finally, an episode is released. Animation Styles“Adventure Time pays attention to quality articulation and animation. Everything is fine:.

Topic > Principles of Animation: Analysis of Pendleton Ward's Adventure Time operaAt At the request of Eric Homan (the vice president of development at Frederator Studio), Adventure Time was created by Pendleton Ward to enter a short-lived Nickelodeon showcase, Random Cartoon, early 2006. Because it went viral after its first release on the Internet, they decided to bring the concept to Nickelodeon in 2007 but it was rejected twice. When Nickelodeon no longer had the rights to produce the Adventure Time series, Frederator Studios quickly brought the concept to other channels. Fortunately, in 2008, Cartoon Network, where Pendleton Ward was working at the time as a storyboard artist and writer, showed great interest in turning it into a full series. However, they would only do so once Mr. Ward could prove that the Adventure Time short was “not a one-hit wonder. ”Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original EssayWith the help of Mr. Ward's college friends (Patrick McHale and Adam Muto), they developed ideas for creating a rough storyboard and submitted it to Cartoon Network. Their first attempt failed, but their next attempt “The Enchiridion” was approved and became the first to enter the production phase. In April 2010, the first episode of the series "Slumber Party Panic" officially debuted. Pendleton Ward was the showrunner of Adventure Time until he stepped down during the fifth season and instead served as the show's plot writer and storyboard artist. As a result, the new role of showrunner was given to Adam Muto. Animation Workflow Since an episode of Adventure Time usually takes about nine months to produce, several episodes are worked on at once. Most cartoon shows have a writers' room where a new idea is developed and written as scripts, but in some rare cases, such as Adventure Time, it is written as storyboards. In an interview with the AV Club in 2012, Ward said: “We start out just shooting into the wind and telling weird stories about what happened to us during the week. Once the storyboards or basic plots are made, a simple two- to three-page draft is written and given to the storyboard teams, who have two weeks to roughly visualize the draft, write the dialogue along with the lines, choose all the shots of the camera and edit the outline. Then a rough storyboard is given to Kent Osborne (one of the producers) and he will write a note of what needs to be changed or improved for the storyboard teams. The teams will have two more weeks to change the situation. This process is repeated until Osborne approves the storyboard. After some preparations, the voice actors complete their work. Next, an editor assembles the final storyboard frames into an animatic and times them to match the voice recordings. The animatic undergoes some revisions and changes. Then it is given to the cleaning artists who redraw each sketched frame into a clean and tidy frame. At the same time, background and layout artists design and assemble the backgrounds. Shortly after, the final animatic is animated. While each episode's design and coloring is done in the United States, it is animated in South Korea in three to five months. The episode completelyanimated is sent back to the United States for revisions and edits. During this time, you may need to reanimate some scenes, record additional dialogue, and add some effects. Finally, an episode is released. Animation Styles“Adventure Time pays attention to quality articulation and animation. Every second of the approximately eleven minute episodes features smooth animation filled with fluid motion, point of view changes, and key frame rate that allows your mind to relax and enjoy the show. The animation in Adventure Time is smooth and more stylized compared to the animated television programs of a few decades ago. While backgrounds are usually complex and colored with tones and shades, characters are drawn with simple shapes and colored only with basic colors. The aim is to help the animation process become quick and simple. The series focuses on the attractive principle of animation because its target audience is children. To make it appealing to children, character designs often have simple round and curvy features. Applying Animation Principles Exaggeration: The scene in figure 3 is an exaggeration of Finn's face where he clearly exaggerates his mouth and large round eyes to make him seem much more scared of what is happening in front of his eyes. Likewise, for the scene in figure 4, the exaggeration of her curved mouth exposing long sharp teeth, bright red eyes, frowning eyebrows, and disheveled hair undoubtedly makes her appear furious. Attractiveness: The emotions of both characters are easy to read and understand their personality. With the help of exaggeration, the characters seem more dynamic and attractive to the viewers. Staging: After a wall in Marceline's house opened up in an intimidating new place in the scene of figure 2, instead of her usual black eyes, we could see a reflection of what's happening in her wide eyes: a silhouette in the middle of a chaotic fire. The purpose of the scene in figure 3 is to direct the audience's attention to Finn's emotions and why he is scared. Secondary Action: In figure 3, the main action is Finn's wide open eyes and mouth when he is scared. The secondary action is the hands on the sides of the head showing Finn's confusion and inability. In figure 4, the main action is Marceline's intense facial expression when she reminds Finn that her father stole her bass. The secondary action is her wavy hair which emphasizes how angry she is. Both secondary actions give the primary actions more depth and meaning. Squeeze and Stretch: The cloud-like character is light and soft, so it bounces when it makes impact with Finn. Since it is important to maintain the volume of the character, when the force of the movement crushes the character, it becomes a little thinner and longer. When the character recovers, his volume returns to its normal state. Bow: That character floats along a sinuous line (bow). This gives the feeling of a floating object/action in real life. Timing: The cloud-like character is programmed to mindlessly and constantly float towards Finn, but immediately bounces back when he touches him. The timing of the floating gives the illusion of how light the character is, how quickly he moves towards Finn, and how the impact bounces him back. The purpose of timing is to apply the laws of physics in the natural world to the world of animation. Solid Drawing: From the five figures above, the drawing style is very consistent. Even though there are some exaggerated scenes, they are still in their style without looking out of place. Straight and Pose Pose: This animation gives the fire afluid and casual movement. This animation has more control over Finn's movements. History of the work At the request of Eric Homan (the vice president of development of Frederator Studio), Adventure Time was created by Pendleton Ward to enter a short Nickelodeon showcase, Random Cartoon, in early 2006. As it went viral after its first Internet release, they decided to bring the concept to Nickelodeon in 2007, but were rejected twice. When Nickelodeon no longer had the rights to produce the Adventure Time series, Frederator Studios quickly brought the concept to other channels. Fortunately, in 2008, Cartoon Network, where Pendleton Ward was working at the time as a storyboard artist and writer, showed great interest in turning it into a full series. However, they would only do so once Mr. Ward proved that Adventure Time's Short was not a one-hit wonder. ”With the help of Mr. Ward's college friends (Patrick McHale and Adam Muto), they developed ideas for making a rough storyboard and sent it to Cartoon Network. Their first attempt failed, but their next attempt “The Enchiridion” was approved and became the first to enter the production phase. In April 2010, the first episode of the series "Slumber Party Panic" officially debuted. Pendleton Ward was the showrunner of Adventure Time until he stepped down during the fifth season and instead served as the show's plot writer and storyboard artist. As a result, the new role of showrunner was given to Adam Muto. Animation Workflow Since an episode of Adventure Time usually takes about nine months to produce, several episodes are worked on at once. Most cartoon shows have a writers' room where a new idea is developed and written as scripts, but in some rare cases, such as Adventure Time, it is written as storyboards. In an interview with the AV Club in 2012, Ward said: “We start out just shooting into the wind and telling weird stories about what happened to us during the week. Once the storyboards or basic plots are made, a simple two- to three-page draft is written and given to the storyboard teams, who have two weeks to roughly visualize the draft, write the dialogue along with the lines, choose all the shots of the camera and edit the outline. Then a rough storyboard is given to Kent Osborne (one of the producers) and he will write a note of what needs to be changed or improved for the storyboard teams. The teams will have two more weeks to change the situation. This process is repeated until Osborne approves the storyboard. After some preparations, the voice actors complete their work. Next, an editor assembles the final storyboard frames into an animatic and times them to match the voice recordings. The animatic undergoes some revisions and changes. Then it is given to the cleaning artists who redraw each sketched frame into a clean and tidy frame. At the same time, background and layout artists design and assemble the backgrounds. Shortly after, the final animatic is animated. While each episode's design and coloring is done in the United States, it is animated in South Korea in three to five months. The fully animated episode is sent back to the United States for revisions and edits. During this time, you may need to reanimate some scenes, record additional dialogue, and add some effects. Finally, an episode is released. Animation Styles“Adventure Time pays attention to quality articulation and animation. Everything is fine:.