Documented above is the final outcome of this 3D workshop task. I selected a woodland scene and combined the use of an active camera with the ‘cc page turn’ effect to manipulate a convincing peel/ sticker aesthetic, implemented progressively through the use of layers. All contents of the scene were vectorised and illustrated in Adobe Illustrator, before being imported into Adobe After Effects.

The making of my 3D video, Nature’s Paradise:

The peel/ unfold effect: I applied this editorial preset (“CC Page Turn”) to each asset within the scene, evoking a sustained style throughout my animation. This effect supports the introduction of all content, reducing randomness and allowing the scene to progressively ‘build up’ in a method which feels less chaotic. Additionally, this method evokes a immense level of curiosity, inflicting interest from the viewer. This is due to the fact the viewer has to make sense of the scenes, where reality decrypts through their own eyes, rather than being straight-up handed to them, heightening focus. To reflect: this specific technique worked successfully through my scenic construction, being unconventional and unique at the same time.

Active Camera:

I introduced an active camera into my animation, intended to move throughout the scene upon a three-dimensional z-axis. Throughout the duration of the video, the camera progressively creeps towards the front/ viewers perspective, illustrating depth with movement. This was achieved through the increased incorporation of detail and an establishment of a definite foreground/background. In reflection, using this active camera aided the overall effect of my animation, forcing the viewer into a gripping journey through my constructed scene of nature.

To set up the camera, I applied values to the position factor of the ‘time-vary stopwatch’, changing it’s z-axis values from the beginning to the end of the scene. I also stopped movement towards the end of the video while my typographic content appears in order to minimalise distractions for the viewer, and so full attention could be given.

Each illustrated figure was provided with 3D qualities, so that I could position content as intended through the cameras backwards journey. This allowed for control over when aspects would appear, and where they would exist within the foreground/ background. Also, an automated transition from foreground to background was achieved as the camera moved past each object, immediately inflicting a sense of space within the scene.

This image shows a completed scene, where the camera has reached its ‘end point’ in its journey and all elements are exposed to the viewers eye-sight. This image shows a full scene, where all assets exist in harmon with one another, depicting an idyllic woodland scene.

Character/ Figure Design:

My animals used in the scene, I created these simplified illustrations using Adobe Illustrator, where I reduced detail and form down to its most simplistic value. This way, the animals are kept simple, while being easy to recognise. The shapes were produced using the pen and fill tools, with a soft gradient on the deer and fox.

Here are the trees I illustrated for my video, again simplified with regards to shape, form and detail. I replicated these many times, to create a ‘woodland/ forest’ effect within my scene. A texture was applied to the more prominent foreground trees, utilising that of which I used for my grass. This induces an additional sense of depth and detain, while maintaining a correlated minimal aesthetic.

Storyboard:

This was the story-board I constructed prior to working digitally. Visualising my ideas in this analogue method allowed me to compile my thoughts, and make sense of how I could construct this video.

Research and Inspiration:

MGMT – All We Ever Wanted Was Everything from oneedo on Vimeo.

This reference video provided initial inspiration with regards to the peel/ sticker effect utilising a layered approach, and how this can be replicated through numerous elements in order to introduce detail in a scene. The active camera moving backwards provides the video with a journey, maintaining the focus and attention of the viewer due to the gripping unconventional sense of the edit, as well as the unpredictable content, permitting the visual from becoming boring or predictable. Textures are applied to provide detail, as well as to enforce the association between depths of reality compared to those that exist in the art of minimalism.

Charley Harper:

Modernist artist best known for his highly stylised wildlife prints. His works often feature animals and nature based scenes, in a simplistic reduction of true form.

Harper’s abilities to reconstruct scenes of nature inspired character design and scene construction in my animation. A simplistic approach, Harper exaggerates form through enhancing key shape, illustrating such with bright pigments.