This document provides information on using shapes and colors in character design. It discusses how different shapes like squares, circles, and triangles can be used to convey certain personality traits. Squares represent strength and reliability, circles represent friendliness and safety, and triangles represent danger and hostility. It also discusses how mixing shapes can create complex designs. It then discusses using color in character design. Certain colors can immediately provide understanding of a character's personality, and color combinations, saturation, and placement can emphasize different traits. The rest of the document includes style sheets and descriptions for several original character designs. It explains the creative choices behind each design and how the use of shape, color, clothing, and other visual elements represent aspects of

1. Pre-Production
William Anderson

2. Shapes in Character Design
Square: Used to portray characters who are strong and reliable either
physically, mentally or both. Characters made up of squares usually
convey a feeling of confidence and someone who other character may
confide in.
Circle: Characters made up of circles and ovals are usually friendly and
safe. Additionally, round objects may be used to make a design seem
more youthful. A character whose design is includes circles may be
viewed as approachable and likeable by other characters.
Triangle: Due to their angular design, characters made up of triangles
are perceived as dangerous and potentially hostile. This leads them to
be commonly found in villain designs. However, triangles can also be
used to portray a character’s cunning and determination. Depending
on where they’re found as well as the colours accompanying them,
triangles can be used to portray characters of varying morality.
Furthermore, due to triangles meeting at a point, they can be used to
draw the viewers attention to a certain area of a character’s design.

3. Each of these shapes can be used in various ways. This includes their
various meanings as well as the ability to use them to mislead
viewers. A character’s design may represent their personality earlier
on in the story, but as they change can be used as a visual
understanding of how the character has grown and changed.
By using a mixture of shapes in a character’s design, a more complex
visual representation can be created. Different combinations of
different shapes lead to different meanings, e.g. a character made
up of circles and triangles may be soft and kind to people they
know, but hostile towards others.
A quick doodle showing how a mixture of shapes can create a
more complex look. The square head makes the character appear
more steadfast and protective, whilst the angular body
demonstrates their power. Together, they make the character
appear to be a powerful protector of others. An example of this
specific combination in media is Superman.

4. Colour in Character Design
Colour can be used to give the viewer an immediate understanding of a character’s
basic personality traits. Due to the wide variety of colours available, unique and
complex combinations can be created to portray different meanings.
The size of the area a colour covers can give an idea as to how big a part this personality
trait has in the person. Additionally, the location of said area can give a more specific
meaning to what the colour is referring to (e.g. if the colour red is located in a person’s
eyes, it typically means that they are hostile).
The saturation of the colours can be used to draw the viewers eyes to certain areas of a
character’s design. This makes this area of the character their most distinguishable trait
and gives it a greater feeling of importance.
An example of mixing colours in design. The blues give a feeling of
reliance and loyalty, whilst the yellows make the character feel friendly.
The combination of warm and cold colours, blue and yellow especially,
give the impression that this character is close to their friends in both a
caring way and a protective way.

5. Colour in Character Design
When designing my characters, I wanted each design to look interesting and
unique. To do this, I made sure to use a variety of shapes in their designs
whilst maintaining a limited but expressive colour palette. By keeping each
character’s colour scheme limited, I ensured that their designs didn’t
become too cluttered. Furthermore, it puts more emphasis on the colours
that are there.
A big factor of my character designs is the appeal behind them. This means
using colours that complement each other whilst using varying vibrancy to
not only show different meanings, but to also create a greater contrast
between different colours.

6. Style Sheet: Character Designs #1
Blue – Represents
characters’ smarts
andideas of loyalty. The
use of a cool colour to
cover most of the
characters design shows
that they are reserved.
Gold – Represents the
characters connection to
the theme of the story.
The use of a warm colour
to cover a smaller area
shows the character’s
want to be more outgoing
and friendly and how it is
covered by the more
vibrant and cold blue.
Pink – Similar to the gold, shows the
character’s held back want to be more
open. However, here the colour is
more vibrant to draw the viwers eyes
in order to show the immediate
connections between the shapes of
the pink areas alongside the
character’s ability.
Shapes – Made up of
triangles and a square.
Shows the character’s
strong resolve whilst also
portraying an intelligent
and somewhat violent
nature.

7. I probably found this design the most difficult to create as it was the one I had the clearest idea of
how I wanted it to look like in my head. There were many repeated trials for creating the design,
with slight changes occurring to the cloths each time. For example, the black hood was only added
on the final version. I am overall happy with how the design turned out as I feel that it not only
reflects the character’s personality, but is also an appealing look.
The design takes influence from both Japanese culture and designer clothes brands. I made sure to
add some unique and personalized features e.g. the butterfly motifs.
I feel that the design has enough detail to make it interesting but not too much to make it
impractical to animate. To make sure this was true, I created some short animations featuring this
design. I found that the detail didn’t limit what I could do with the character and additionally didn’t
cause the animation to take an unrealistic amount of time to create.
To ensure that I would be able to redraw this design from different angles and perspectives, I create
multiple still-art pieces featuring the character in different positions e.g. sitting. This gives me an
idea of what the character’s design would look like for the areas not visible on the main design
shown on the previous page.
Style Sheet: Character Design #1
Butterfly shapes are a big part of this design, as the represent freedom and growth. Butterly
imagery can be seen in both the button at the middle bottom of the jacket and well as in the
shape of the ‘chest window’ (although the top half of this Is partially covered by the hood).

8. Style Sheet: Character Designs #2
Purple – Shows the character’s
wealthy background. Material
of clothes around mid-torso are
made from silk, which further
shows this point whilst
additionally representing the
character’s more agile actions.
This part of the clothing is
directly inspired by a piece of
Gucci clothing, which further
shows her wealth
Sky Blue – Shows
character’s smarts and
friendliness. Blue belt
alongside purple trousers
show character’s
practicality.

9. Style Sheet: Character Design #2
When creating this design, I wanted it to feature many differences to design #1 to
show the differences in the characters. One noticeable difference is the type of
clothes worn. Whilst the clothes in design #1 feature more baggy areas and longer
sleeves to cover the arms to show the character’s reluctance and more held back
personality, the clothes is design 2 are far more sleek to show a greater confidence
and outgoingness. However, I also wanted to have some common features between
the two to display where their personalities are more similar. For example, the use of
the colour blue in both designs shows that both people can work well with others.
The clothes in this design are also used to create some of the shape imagery. For
example. The silky clothes around the midriff wrap around down at the sides, creating
a triangle shape which as stated on the previous stage is used to portray a more
cunning and confident personality.
When creating the character’s lower body, I wanted to have a combination of fashion
and practicality. I decided that slim fit trousers would work best for this. By adding a
belt that utilised the sky blue colour scheme seen elsewhere in the design, I was able
to create an appealing look that doesn’t look impractical for the character and
combat. Whilst research suggests that skirts are actually a very practical article of
clothing for melee combat, as shown by Roman soldiers, samurai etc. I felt that one
would not fit the character’s personality. Additionally, having this character wear
trousers provides more contrast between her and the other two female characters in
shown in some of the following slides.

10. Style Sheet: Character Designs
Yellow/Blonde – Gives
immediate idea as to
character’s western genes.
Use of warm colours in
character’s entire design
portrays a friendly and happy
demeanor. This colour also
represents cowardice and
worry, traits of this character
early on in the story.
Pink – Represents character’s
femininity as well as
friendliness. Less saturated
colour draws less attention,
making the clothing less
appealing and showing the
character’s lack of wealth, as
does the rugged folds shown
in the material of the dress.

11. One noticeable thing about the colour scheme is this design is how unique it is amongst
the others, with it being the only one to majorly use yellow/blonde as well as having less
saturation on the clothes compared to the others. This, in combination with the more
creased and basic clothes displays the caracter’s poorer background, as stated in the
previous slide.
I believe I succeeded in creating a design dominated by round shapes. The character’s
hair was originally thinner, but to make the head appear more round I Made it thicker
and less contained. On top of making it more round, the more frizzled hair emphasises
the character’s background.
The main idea behind this character is to be someone who holds many
traditionally feminine traits. I wanted them to start the story of rather scared and
weak, but greatly develop throughout the story to be able to more than hold
their own. I find that many female characters who writers want to make ‘strong’
or ‘competent’ are unable to hold many (if any) traditionally feminine traits, so I
wanted this character to be someone who can be both. I made sure to represent
this in their design, having long hair and wearing a pink dress.

12. Style Sheet: Character Designs
Blue – Represents
loyalty. The darker tone
of blue compared to the
ones used on other
characters shows that
this person isn’t
particularly outgoing.
Grey – Shows that the
character has a more
moody personality. The
baginess of the clothes
shows how this person
isn’t very wealthy.
Additionally, the baginess
helps to create a more
square shaped body.

13. Similar to the previous character design, this one stands out by being the only design
to be predominantly made up of squares. This immediately shows the character’s
significance in the group. These squares also show the character’s more stoic
personality which can be quite jading and sarcastic, as well as how secure they feel in
being like this. However, the softer material that the clothes (especially the hat) appear
to be made from shows how the character can be nicer with certain people.
The loose bottom of the shirt in this design allows for some interesting movements
as the material folds with the body and its motion. This looseness is used to
emphasise elsewhere on the character’s body, specifically the arms. Here, the shirt
is tighter, showing the character’s muscled physique. Just like the last design, the
paler skin and light hair shows the character’s western origin.
The heavy use of blue not only shows off the character’s loyalty, but as it is a
traditionally male associated colour further emphasises the character’s more
masculine and muscular build. Alongside the grey, the colder colours display the
character’s sarcastic and nihilisic outlook.

14. Style Sheet: Character Designs

15. The highly saturated hot pink not only shows off the character’s hot-headed
qualities, but also their rudeness and self-entitlement. Furthermore, the hot pink
used has a hint of purple, a royal colour which is used here to show off the
character’s connection to people in political power. The black not only brings out
this colour, but provides a colder contrast to further show their rudeness and
quick hostility towards others.
I wanted this design to exude confidence. To do this I made the clothes
more fitted to the character as well as a bit more revealing. Additionally,
the use of sharp shapes as well as the vibrant colours further emphasise
this.

16. Style Sheet: Character Designs
Red – Shows character’s violent
and brash nature. High
saturation draws the viewer’s
eyes to these areas. This
exaggerates these traits of the
character. These red areas are
baggier and softer than the
purple ones, showing that the
character does have a friendly
personality when they’re not
angry, which the red excessive
red shows he is quick to.
Purple – Dark colour
makes the red stand out
more, further drawing
attention to it. Thse
purple clothes being
tightly fitted show the
character’s confidence.
Shapes – Made up of
triangles and a circle. The
triagnes show the
character’s more
confrontational and
agitated side, whilst the
circle shows their more
friendly and childlike
demeanor when around
people they like.

17. I wanted the body of this design to be as angular as possible. As previously stated, I
did this by having the shoulders be wider than the waist, creating a ‘V-shape’ build.
However, I also made sure to add small softer bits at the shoulders. Although the
material of this part of the deign looks softer than the purple areas, it still forms a
triangular shape, exaggerating the angular design.
I wanted this design to be able to be as emotive as possible. This created a
potential issue, as I wanted thicker and longish hair to make the head and face
appear more round. In order to avoid covering the face too much, I made the
fringe and sides of the hair medium-length as to not cover too much of the face. I
also decided to add two headbands in order to make this type of fringe more
realistic. Furthermore, the use of red in these headbands adds more contrast to
the colours of the character’s head.

18. Style Sheet: Character Designs
Red – Represents character’s
confrontational personality.
Excessive use of colour shows
that this isn’t a hidden trait of
this character. Additionally, use
of red in the eyes makes the
character appear untrustworthy.
Grey – Shows character’s
uncertaincy in themselves.
Also represents
character’s conflicted
feelings over whether or
not they leave the group
to keep themself safe.
Shapes – made up of
triangles. Shows the
character’s high
intelligence and cunning.
Also makes the character
appear conniving and
untrustworthy.

19. Drones
These are beings who, with a couple of exceptions, have no sentience of their own. They
act as drones of a sort, acting on an autopilot to achieve their objective. Therefore, the
colours of their designs reflect not their personalities, but their abilities. Additionally, they
typically have some reflection on the person who ‘owns’ them.
I don’t necessarily plan to use all of these upcoming designs in my animation, but having
them exist gives me the availability of choosing to do so. Furthermore, they help to give
me an idea of the style I want to go with for these beings’.

20. Style Sheet: Character Design

21. I wanted the colour scheme of this design to be similar to that of ‘Character Design #1’.
However, I inverted the proportions of each colour in order to have the warmer colour
dominate the design. This represents how when the character obtains this ability, they see
it is a way to develop themselves, thus becoming more expressive.
The top of the head has four sharp ‘tendrils’. The look of these are influenced by crowns,
thus acting as a direct reference to the entity’s name; King No-One.
The design boasts a skirt which, although pink, resembles grass tufts. I wanted an overall
them for each design in this range to be influenced slightly by traditional tribal imagery.
This was done to show the entity’s connection to biological matter.
The wings found all over this design represent freedom and change, a theme that I
wanted to keep apparent in each iteration of this entity’s designs.

22. Style Sheet: Character Design

23. As the ability of the main antagonist, I wanted this design to look at intimidating as
possible. I decided on using a base colour of black to create a foreboding feeling.
Aditionally, I added spiked growths on the design’s head and back to make it
appear more threatening. By using a bright yellow to highlight certain areas, I
incraesed the amound of contrast in the design, thus making it feel more jarring
and out-of-place. I deliberately tried to make the design appear more massive and
muscularly built than the other designs in this section to exaggerate its
threatening appearance.
I have a sequence in mind for my animation that heavily involves this design, so it is
important for me to have a detailed layout of its design. Furthermore, I plan to have it
appear alongside the previous design, so its predominantly black design will contrast
well with the brighter gold and pink of the other design. This will not only show the
difference between the two users’ mentally, but will also make it easy to see what is
going on.

24. Style Sheet: Character Design

25. As one of the few of these entities with sentience, I wanted its design to
show the fact that it has its own personality. To do this, I gave it eyes that
appear more humanlike, having iris’ instead of having a more bug-like look
that all the other eyes used in these designs have.
The hot pink and vibrant green colour scheme shows off its brash attitude.
Additionally, the pink matches with the colour scheme used in character
design #5, showing their connection.
I made sure to include many lines and other features running in the same
direction next to each other for this design to represent its ability of forcing
things to run in parallel.
This design is one of the ones that I enjoy the most, as I find its shapes and colour
scheme to be very appealing. I have a set sequence in mind that may or may not
involve this design, so having a detailed drawing of it to hand is useful for if I do.

26. Style Sheet: Character Design

27. Style Sheet: Character Design
This design is intended to have a more hazardous look. To convey this, I ensured
that the colour purple covered a large proportion of the design to give a toxic
feeling. Additionally, the use of stripes of alternating colours is similar to the
alternating use of black and yellow is hazard warning signs.
The mask/helmet found on the design’s head is sharply pointed a the front, given the
design an instantly hostile look. I decided to add a sort of visor infront of the face,
which has a glass-like texture to it further emphasising the design’s sharpness.
The overall body shape of the design is very angular, with a shoulder width far
broader that the waist. This makes the torso instantly resemble a large triangle,
showing the entity’s dangerous and violent potential. Additionally, even though the
skirt in the design looks to made of a soft material, the way it falls create an image
of triangles yet again. I deliberately did this to make this design appear to violent
that even something that should appearmore friendly still looks hazardous.
On top of the hazard theme of this design, I wanted the entity to appear feral and
almost Frankenstein’s monster esque. To do this, I added little strings where the
shoulders would be attached to the main torso.

28. Style Sheet: Character Design

29. My intent with this design was to create a feeling of poison and to a certain
extent industrialisation. One noticeable thing about the design is the gas mask,
which is a nod towards the entity’s ability which involves releasing a gas.
Furthermore, gas masks are typically associated with WW1, which makes this
design feel all the more threatening. The blue ‘tentacles’ that appear from behind
the entity are reminiscent of pipes/tubes, which make the design appear
unnatural.
The use of three legs gives this entity’s design some uniqueness, ass all he other
designs in this section are bipedal. This adds to the entity’s unnatural look.
Furthermore, the claws found at the bottom of each leg add more sharp angles to
the design, given off a more threatening vibe.

30. Audio
Music
For the backing track, I plan to use a fan-cover of the song Traitor’s Requiem. I have
chosen this song because I feel it fits with the theme of the animation. Additionally, by
using a fan-cover I can have more control over the overall tone. The creator of the
cover I have chosen has repeatedly expressed how they are more than happy for
people to use her cover for their own projects.
SFX
In order to have some sort of audio of my own creation in the project, I have
decided that I will add SFX to accompany the visuals. These SFX will be based on
what occurs in the animation and will be used sparingly as to not clutter the audio.
Furthermore, I will need to make sure that the SFX aren’t so loud that the backing
track isn’t audible.
I will create the SFX myself using a mixture of audio software as well as real life
objects. I can record these objects using a microphone.

31. Storyboard
Creating a storyboard provides me with a detailed outline of what I plan to create. I can
use it to brainstorm potential sequences and also come to an understanding of how
long I want these sequences to be. Additionally, my storyboard allow me to plan out
how I will sync up the audio to the visuals. This includes both the backing track and the
SFX I plan to overlay.
My storyboard’s structure will be simple, being spread out amongst multiple pages each
featuring a 3x3 of boxes. These boxes will rough drawings of the visuals and will be
accompanied with organised text boxes outlining what will occur during the
corresponding part of the animation both in terms of visuals and audio. Furthermore I
will make sure to include the angles and ‘camera’ movements that I will be using in
these scenes.
This storyboard will be a simple rough draft of what I plan to create with focus on what
movements I plan to use.

32. Foot presses down on
flower, and pulls away
Zoomed out from previous
shot, leg drags flower
Head turns upwards,
as does the ‘camera’.
Title fades
in against
night sky
background
Drone flies past
person’s head, hair
moves with the wind
caused by it.
Smoke rises
upwards
Punches at camera
Brings up gun
and shoots,
camera follows
bullet.

33. Drone flies around person Two clackers hit eachother
Clackers bounce off eachother,
becoming balls. Person arises from
below and moves off screen to the
right
Fist
shoots
out
towards
camera
Shot
begins in
hair,
camera
pans out
at
character
cluthes
their
head
Doors close in on
person who
desperately tries to
escape.
Character charges
towards screen.
Camera follows
their movement.
Cutting transition to
next character. Second
character appears to
punch towards the left.

34. Character claps hands together Chains rise up
Light outline of character emerges
and spins around
Fist rises
up and in
brought
down
towards
the
camera,
which
follows it
down and
right.
Close up of character’s face lit
up by pink. Slight movement
to the left.
Character emerges leaning back.
Camera slowly zooms out and
character simultaneously moves
back and right.

35. Digital Screen Advertisement
This style of advertising is similar to posters, as it utilises a
still image to present an aspect of the product it is
intended to advertise. The main difference between the
two is the location of where the advertisements would be
found.

36. Digital Screen Advertisement
These images need to be visually enticing whilst not being too cluttered. In order to
maintain authenticity, these images will include details such as release dates and
titles.
Eye-catching title
Release date in smaller
text as to allow the title
to stand out more
Rough draft of
character pose
Plants around rim of
screen
List of colours I plan to use

37. Style Sheet: Posters
I plan to use a layout inspired by this cover used for
one of the Thanos Saga Marvel comics. I chose this
layout because I like how the lighting from the gauntlet
is used to natural segregate the characters into
different sections of the poster. Additionally, I find that
this layout is an effective way of showing off an
extensive cast without cluttering the page. A lot of my
inspiration for my still art comes from the Marvel
Comics, so including inspiration from it in my FMP feels
like natural progression to me.
My only issue with the poster is the poses of the
characters, as they are all very personalized to their
histories and personalities. To account for this, I will
create my own poses that better reflect my own
characters.
Aside from obvious changes such as the characters present, I would change the title to
interact more with the lighting that divides the page. This would add an extra dynamic to the
page whilst making the title feel more included in what is occurring on the poster. The heavy
use of black to make the lighting more emphasised works well, so I will likely keep this
technique.

38. Pre-production• What are you making? (explain what you have been asked to do)
I am making a short animation in the style of an opening for a TV show. This will include visuals, SFX and a
backing track. Additionally, I will be creating still-art to advertise my work. This will include posters, character
sheets, box-art and advertisements inspired by the Jojo x Lumine event.
• Why? (What is the purpose of making your Film)
For the past few years I have wanted to work in the writing industry, specifically writing animated TV shows.
This led to me creating stories of my own with original characters, plots and themes. Previous to this project I
had created various pieces of artwork dedicated towards my stories whilst also developing my writing. When I
was told about how the FMP would work, I decided that I would create an animation in the context of my own
work as a means of getting an actual product related to it out there. Additionally, this gave me a base line for
the features of my project. I knew that I wouldn’t be able to create a long animation as I have neither the time
nor the resources to do so. Instead, I decided to create a short animated opening for the show, featuring
artwork of my own creation as well as a backing track. To ensure that I have put my own work into audio, I
decided that I would add SFX that I created myself to accompany the visuals.
I hope to develop my own work further as I progress through the different stages of animation, and I see this
FMP, as well as other potential projects in the future, as a good way of doing so whilst also working through
education.
• Who is it for? (Audience)
My target audience is older teens to young adults. As proved by my survey and online research, the gender of
said audience isn’t important. My target audience will likely have a wide interest in animation, and will have
had previous experiences with other animated works.
• Where will it appear/on what? (How will audience see it)
In a real life situation, my animation would appear at the beginning of the episodes of a TV show of my own
creation. This could air on a variety of different providers, ranging from Sky and other live TV stations to
companies such as Netflix and Amazon. As for the context of this project, my animation will be uploaded to my
Youtube channel to be viewed by professionals and online viewers alike.
Reflection:

39. Resources
Hardware Software
Graphics Tablet Adobe Premiere
Computer Adobe Photoshop
Large Memory Stick Graphics Tablet Driver
A graphics tablet and its respective software are vital for this project, as without them I will not be able to
create the digital art necessary for my animation. Furthermore, by spending time practicing with my tablet I
will be able to improve the quality of my work come the time for my production period. I bought my graphics
tablet last Summer, which allowed me to have a decently sized period of time to adapt to drawing digitally
rather than on paper.
Furthermore, this practice as well as the time I spent working at college has allowed me to understand Adobe
Photoshop as well as Adobe Premiere. This means that I have been able to use more complex features of both
software, such as masks on Photoshop and visual edits on Premiere.
My practice with Photoshop has also allowed me to practice my animation skills, which entails both my ability
to draw frames as well as editing them. For example, I have taught myself how to use lighting and blurs to
create the illusion of motion. Additionally, I have learned how to use different poses to create interesting and
fluid movements for characters, which will allow for my piece to be more interesting.
A large memory stick will allow me to move bigger files between my computer at home and the MACs at
college. Whilst simply emailing the files will work for smaller parts of my project such as my Powerpoint
documents, sending over my animations will require more space.

40. Contingency Planning
Risk Prevention/Solution
Work gets corrupted/deleted Create backup saves for all work. Ensure that
these saves are located in separate folders to the
original work in case the entire folder gets
damaged
Drawing tablet gets damaged Ensure tablet is in a safe environment when not
in use. Utilise the tablet’s protective case to
ensure its safety.
Can’t transfer data between computers via email Prepare a large memory stick for transferring
work. To ensure that the memory stick has space
and isn’t corrupted, I will use a stick entirely
dedicated to this project.
Not enough time to finish all work planned Spend extra spare time on work. Focus on more
important tasks first e.g. animation.
Can’t use drawing tablet on college Macs Work on drawn work at home whilst focusing on
written work at college.
Unable to get into college I have all the software and hardware that I will
need at home to allow me to continue working
Can’t access internet for references Download any images that I plan to use for
reference (e.g. clothing).

41. Health and Safety
Potential Issue How will the issue be
avoided?
Eyes hurt from staring at screen too long Take regular intervals from work to rest eyes
Back hurts from sitting down too long Every 30 mins, stand up and walk around a bit
Liquids damaging electrics I will make sure to keep liquids away from all
electronics
Headache/nausea from spending too long on
computer
Take regular breaks from working and make
sure to not stay up too late working
Lose sleep due to working overtime Set a deadline that I can work to. Once this
deadline is met, I will make sure to stop working
and rest.
Cables getting trapped/caught Ensure all cables are safely away from anything
that they could get caught in. When moving
chair, check to make sure that no cables have
gotten trapped in the wheels.

42. Production Schedule
Week Tasks
Week 1 Create first short sequence. Sketch animation frames using a
blue brush, then proceed to create a smoother outline in black.
Add colour including shading. Throughout this process,
repeatedly run the animation through to ensure it is still
smooth and fluid. Repeat day 1 tasks, but this time for the next
sequence. Ensure that the previous sequence transitions into
the net fluidly. Continue this process each day, aiming to
complete 1 sequence per day in college time. Each evening, go
over what I created that day and refine it so that the quality is
as high as possible.
Week 2 Continue to create animation using the same steps found
in Week 1. Ensure that the sequences can smoothly
transition into each other. Check over any already existing
animations that I have created to ensure that there aren’t
any jarring moments within them.
Week 3 Begin editing the sequences together in Adobe Premiere.
Ensure that the transitions created are used to allow the
sequences to flow into one another seamlessly. Add the backing
track to accompany the visuals, ensuring that they sync up with
one another. This will include syncing up cuts to the audio as
well as actions that occur.
Week 4 Create SFX to add to my visuals. Use Adobe Premiere to add
them to the animation and again ensure that the audio syncs up
to the visuals. Make sure to create a wide array of SFX to ensure
that I have plenty to choose from.

43. Production Schedule - Issues
An issue arose in terms of time provided to spend on the FMP - it was initially
believed that there were 4 weeks allocated to producing the practical piece of the
FMP, but It has been found out that there are instead only 3 weeks. Additionally, the
2 weeks for pre-production has been cut down to 1. I believe that I can handle this
issue, as I have spent a lot of time out of class working on my animation and thus I
feel that I will still be able to finish my project in time without dropping the quality.
However, this does mean that I will be forced to move what I had planned to do in
week 4 into week 3. Provided I am able to drawing my animation by the planned
deadline, I will be able to complete this work as long as I spend additional time
working on it.
The time that we were told about this was at the beginning of what we believed to
be the second week of our pre-production. This has resulted in me not having it
finished. However, I feel that I have done plenty of work on it already and that I can
spend the first two days of this week finishing it off, which will then allow me to
focus on my production. One issue that has arised is that I need to set up my
graphics tablet on the college MAC that I used, something that I planned to do during
my pre-production in preparation for the production period. Whilst I can still get this
set up, this will force me to spend a day or two not being able to work on my
animation at college. To counteract this, I will instead work on it at home whilst using
my college time to finish off my pre-production as previously stated.