Cel (or classical) animation has been on the rise in motion graphics and is now becoming ubiquitous. It’s that dripping wet, organic swirl of colour that leaves jaws on the floor and students scouring tutorial sites. That fluid transition that meshes scenes into stories and engages viewers. It can mean hundreds of drawings and lakes of coffee but the end result is always worth it. Where motion graphics used to trend towards being structured and clean, the industry has been undergoing an organic face lift. The combination of using traditional frame by frame, hand drawn animation alongside other techniques adds a refreshing fluid style that surpasses the structure and consistencies of key frames and motion paths.
I was new to Flash and Actionscript 3.0 when we were tasked to create an interactive storybook of our choosing in term 3 here at VFS. I chose H.G. Wells’ “the Invisible Man”.
I redesigned the story, first published in 1897, after comic book adaptations such as “Sin City” and began to work with the complex particle engines that would add the dramatic sense of place to this classic story. Box 2D, Away 3D, and the Flint Particle system helped complement the palette of monotones and fiery reds in this modernized comic book styled account of “The Man With No Face”. Having to build the project in sections, I implemented the city as a persona to the main character for the purposes of keeping the story linear.