artsource theatre/music · • describe the final storyboard idea. • how did john handle mistakes...

Title of Work: Every Picture Tells a Story

Creator:Creator: John Ramirez (b. 1967)Composer: Paul Tracey (b. 1939)

Background Information:John Ramirez has been an animator and storyboard artist

for both Walt Disney Feature Animation and Warner

Brothers Feature Animation. He loved to draw as he was

growing up, especially trains, and felt very proud when his

mother would make xerox copies of his work. Eventually,

he began to create his own comic strips - a form of

storyboarding - and later his own animated films. When

he was 12 years old he was fortunate to meet art and

animation teacher, Dave Master, who would give him the

skills, discipline and opportunities to pursue animation as

his career. At thirteen, John was an exchange student in

Japan and through his interaction with Japanese culture

expanded his horizons and altered his world point of view.

As a visual artist he was greatly influenced by the style of

Japanese artists in the design of toys, packaging, music,

films and animation. When John was a teenager his films

were shown at the Los Angeles Student Film Festival. He

says, “When people laughed I knew that the film was

working.” John is now working as a peer with many of the

professionals he was introduced to as a student.

About the Artwork:Every Picture Tells a Story shows the process of taking an

idea, developing it into a story sequence with a creative

team, and storyboarding it. Each animated film goes

through this process before it becomes a final product.

This project began with a musical piece, titled Turbo

Power, composed by Paul Tracey. John was the head

animator on the project, working under the direction

of Phillip Williams.

Creative Process of the Artist or Culture:The art of animation is all about collaboration. For

every film project a team of highly creative people

come together. They work in much the same way as an

orchestra. Just as each musician in an orchestra is an

expert on a specific instrument, each person on the

animated team is highly talented in their field. The

film director serves in a similar capacity as a conductor,

coordinating the efforts of each player to work

together. In animation, the process might begin with

the storyboardist listening to the selected music many

times - going with the images that come to mind and

then developing them into a rough storyboard

sequence. The storyboard artist then pitches the story

line and describes the characters to the other members

of the creative team. The team is

given a synopsis of the story,

hears the music and then sees

how they go together. This is done

as the story board artist points to

the images on the storyboard as

the music plays. (continued on

next page.)

My mentor Dave Masterhad a slogan we used in theclassroom, ‘If you can imagineit, you can animate it.’

John RamirezCalifornia

THEATRE/MUSIC

Photo: Craig Schwartz ©1997

TRANSFORMATIONTHE POWER OF NATURE

FREEDOM &OPPRESSION

ENDURING VALUES

THE HUMANFAMILY

ARTISTIC PROCESSES

1. CREATING (Cr)

2. PERFORMING, PRESENTING, PRODUCING (Pr)

3. RESPONDING (Re)

4. CONNECTING (Cn)

rtsource ®

The Music Center’s Study Guide to the Performing Arts

A TRADITIONAL

CLASSICAL

CONTEMPORARY

EXPERIMENTAL

MULTI-MEDIA

2

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*

*

Audio-Visual Materials: • Artsource® video: Every Picture Tells a Story. Courtesy of

John Ramirez and Phillip Williams.

• Artsource® audio recording: Full Fathoms Five, Turbo

Power and Spirit of the Landscape, courtesy of Paul

Tracey.

• Photos: Craig Schwartz ©1997.

• Cartoon drawings courtesy of Devon Tracey.

Additional References:• Selected by Robert E. Abrams, Treasures of Disney

Animation Art. Abbeville Press Publishers. New York. 1982.

• The Cartoonists Guild. Drawn Together (More than

325 cartoons by 146 cartoonists). Crown Publishers Inc.

New York. 1983.

Sample Experiences:LEVEL I• Select one of the musical pieces from the Artsource®

audio and draw three images which come to your mind

as you listen to the music.

• Make a simple flip book, showing how animation

works at the most basic level.

• After viewing the Artsource® video, list the different

people who are on an animated film team and discuss

their specific jobs and how they all work together.

LEVEL II• Think of a simple joke or everyday activity which

can be designed into a four-frame comic strip.

Research comic strips before you design your own.

• Research and make a thaumathrope, invented in 1826,

which is a card with different pictures on each side, such

as a horse and a rider. When twirled rapidly the two

separate pictures looks as if they are combined.

LEVEL III• Research the early history of animation and how new

forms of technology have allowed animators to create

innovative approaches which are featured in many well-

known films such as Roger Rabbit, The Hunchback of

Notre Dame and Toy Story.

• Select one of the musical selections from the Artsource®

audio. Divide students into groups and have each group

create a simple story in a specific environment to go with

the music, then do a series of drawings for a storyboard of the

sequence of scenes. Each group tape their pictures up on

the board in sequence and share their story using the pictures.* Indicates sample lessons

Discussion Questions:After viewing the video:• What were you able to observe about the anima-

tion team and how they worked together?

• Describe the final storyboard idea.

• How did John handle mistakes or ideas which

weren’t quite right? Did you learn anything from

observing him work?

• Listen to the music, Turbo Power on the Artsource®

audio. Can you think of other ideas and images that

come to your mind as you listen?

• Think of situations where you have worked with

others on a project. How can you use the techniques

demonstrated by the animation team to be more

effective when you next work on a project?

Continuation of the Storyboard process:The members of the team discuss and critique the

ideas, adding suggestions. The storyboard artist then

goes back to the drawing board and incorporates the

new ideas. This process is repeated over and over

until the work is refined and mutual agreement is

reached. Only then, does the animation process

begin. The entire process usually takes about two

years for a feature film. The project, Every Picture

Tells a Story, was done in about three weeks because

there was an unexpected opportunity to create a

storyboard chapter and video piece for SRA and

Glencoe/McGraw-Hill textbooks. John was featured

as a creative artist who uses drawing to communicate

ideas and stories for animated films.

Multidisciplinary Options:

• In the 8th grade, John Ramirez made a 60 second

short film, Midnight in the Park, where a man takes

a walk and statues come alive. If your students could

make a 60 second film what topic would each one

choose that could be communicated in one minute?

Ask them to title their idea and draw five pictures

which show the sequence of what happens. Divide

them into partners and ask them to use their pictures

to tell their story to their partner. After both have

shared their pictures and stories, ask them to write a

summary of the story sequence, as if they were pre-

senting it to the Animation Director.

LEVEL I Sample Lesson

INTRODUCTION:

Flip books are a simple and delightful form of drawn animation. They are easy to make and also help students see how many aspects there are to a simple action. Drawing a bouncing ball is a classic Flip Bookexercise. To make it more complex, add the animation principle of “squashing and stretching” the imagesto bring exaggeration and humor into the illusion. The ball would appear squashed when landing andwould stretch, or elongate when rising upward. Older students with more drawing skill and understanding ofthese two concepts would probably enjoy this additional challenge.

There is a grid provided for doing the Flip Book drawings, as well as measurements for having older students use their math skills to work out the measurements for their own grid. You may also xerox theoriginal Flip Book drawings, cut them up, sequence them and bind them as a model for the students. Ittakes 24 frames of drawing to equal one second of film. Therefore, we will be working with 24 frames ofequal size. They should be longer horizontally than vertically, for example 4 inches wide and 3 inches tall.When bound, only about half will be seen so images need to be drawn on the right half of the paper.

OBJECTIVES: (Student Outcomes)

Students will be able to:

• Understand the basic principle underlying an animated film which is a series of drawings giving the illusion of movement. (Responding & Connecting)

• Create a simple action idea and make it into sequential drawings which become a Flip Book. (Creating & Presenting)

• Describe, discuss, analyze and connect information and experiences based on this lesson. Refer toAssessment at the end of this lesson. (Responding & Connecting)

MATERIALS:

• Xeroxed copies of the grid or paper, rulers and pencils so students can create their own grids.• Xeroxed copy of Flip Book model for making into a sample for students to see.• Pencils, colored markers, crayons or other materials with which to draw. • Masking tape, bookbinding tape or other strong tape with which to bind the Flip Book pages.

PROGRESSION:

• Show the students the Artsource® video, Every Picture Tells a Story. Use the Discussion Questions on pagetwo to help them reflect on what they saw and understood.

ENDURING VALUES

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CREATE A FLIP BOOKMUSIC

• Give students some background on the Flip Book and show them a sample.

• Pass out materials and ask them to think of several simple actions that could be drawn for a Flip Book.These might include: a bouncing ball, a shooting arrow, the sun rising or setting, a seed growing into aflower. (If students are very young or inexperienced, have them all begin with the bouncing ball idea.)

• It would also be a good idea to bounce a ball and let them observe what happens on the way up and onthe way down. Explain that they can also add the concept of stretching the shape of the ball as it rises orsquashing its shape as it hits the ground.

• Professional animators use a “Guidesheet” as they animate, which shows the full progression of theaction they are to draw. Have students use one sheet of paper to show the full progression of the idea theywill draw and explain that their drawings will need to show very small changes. It might also help to dothe beginning and the ending before filling in the drawings in-between. They must have 24 drawings toequal one second.

• After the drawings are completed, direct students to cut them and sequence them, lining them up sothey can be bound with tape. Use masking tape, bookbinding tape or other strong material to bind eachbook on the left side, covering about an inch of space from the left boundary toward the middle of thebook. The book can be flipped from either direction. For example, if a sun was shown rising, it couldalso be setting if flipped from the opposite direction.

• Direct students to title their piece and make a cover page for the front and one for the back, which willhave the title or other decorative images. Then, have students share their books with each other.

EXTENSIONS:

• Repeat the process with another action idea.• Make a longer Flip Book, aiming for two sec-onds (48 frames).• Add color and details to the images.

ASSESSMENT: (Responding & Connecting)

DESCRIBE: Describe the process of making yourFlip Book. DISCUSS: Discuss ways you figured out how tomake your idea work. Discuss any problems ornew things you learned. ANALYZE: Think about how and why we seeaction when we are simply seeing a series of still imagesor drawings. Discuss your ideas about this.CONNECT: What other illusions do you know that can trick our eye into seeing something which is different than what is actual?

VOCABULARY: animation, Flip Book, grid, guidesheet

Emphasis on: Common Core - CA State Standards for Language - Reading; Writing; Listening;Speaking

Drawings for Every Picture Tells a Story by John RamirezPhoto: Craig Schwartz ©1997

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INSTRUCTIONS FOR DOING THE BOUNCING BALLDrawings by Devon Tracey

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7GRID FOR A FLIP BOOK

Drawings by Devon Tracey

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LEVEL II Sample Lesson

INTRODUCTION:

Comic strips are a simple form of storyboarding. They have four frames in which to tell a joke or simplestory. The style of art and the characters’ postures and expressions are also integral to the success of the idea.



• Understand that comic books are a simple form of storyboarding. (Responding & Connecting)

• Create a simple story with specific characters and a beginning, middle and end, translating their ideainto four sequential drawings, similar to a comic strip. (Creating & Presenting)


MATERIALS:

• Artsource® video, Every Picture Tells a Story.

• Examples of comic strips.

• Pencils, colored markers, crayons or other materials with which to draw.

• Strips of paper, about 2-3 inches wide and 12 inches long, folded into 4 sections.

PROGRESSION:

• Show the students the Artsource® video, Every Picture Tells a Story. Use the Discussion Questions on pagetwo to help them reflect on what they saw and understood.

• Give students some background on storyboarding and how comic strips demonstrate this technique.

• Show them several examples of comic strips and have them decide how successful the artist was in making the story or joke understood with drawings and simple dialogue.

• Have the students make a list of the things they think make a good comic strip and set their own criteria for the project. The criteria might include: clear idea with a beginning, middle and end, simpledrawings, interesting characters, etc.

ENDURING VALUESCREATE A COMIC STRIP

THEATRE/MUSIC

9Comic Strip created by Devon Tracey

• Direct students to give their characters a name and personality and title their strip. Then, have studentsshare their books with each other.

EXTENSIONS:

• Make a second idea using the same characters, just like a real comic strip.

• Make a xeroxed publication with all the comic strips from the class and share it with parents and other classes.

• Add color and details to the images.

• Make a display of the comics in the classroom or hall.

VOCABULARY: storyboard, comic books, character, image, visual impressions


DESCRIBE: Describe the process of making your Comic Book.

DISCUSS: Discuss how you figured out how to make your idea work. Discuss any problems or newthings you learned.

ANALYZE: Think about how and why we see action when we are simply seeing a series of still imagesor drawings. (persistence of visual impressions) Discuss your ideas about this.

CONNECT: What other illusions do you know that can trick the eye into seeing something which isn’treally what we think. (magic tricks)


LEVEL III Sample Lesson

INTRODUCTION:

Paul Tracey has composed threemusical pieces which can stimulateyour students’ imagination for thepurpose of drawing. Featured onthe Artsource ® audio are threediverse selections of music.

The first is Full Fathoms Five whichstarts out with recordings that Paulmade at the beach in SantaMonica, California. You will hearwaves breaking, seagulls calling andbubbling water sounds which createan ocean environment enhanced byslow, undulating sounds from theflute, whale songs and percussioninstruments.

Turbo Power was written for adance company that made a videostaged in the traffic environmentat the Children’s Museum in Los Angeles. It is a fast-paced, delightful romp with horns blowing and suddenstarts and stops. This is the piece that John chose to work with for this storyboard. It is interesting to notethat he created a very different idea than the one Paul had when he was composing the music.

The third piece, Spirit of the Landscape, transports us to an equatorial rain forest and conjures up exoticanimals living in this magical jungle atmosphere. In this work, Paul uses the technique of singing whileblowing into his flute to create different sounds.



• Understand that animators, storyboard artists and composers work together in a collaboration whencreating an idea for an animated film. (Responding & Connecting)

• Learn to collaborate with others to storyboard an idea. (Connecting)

• Learn how to work with music to inspire images and then find ways to connect the images into an idea and relate them to the music. (Creating & Performing & Presenting & Connecting)

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ENDURING VALUES

Drawing forEvery Picture Tells a Story

by John Ramirez

Photo: Craig Schwartz ©1997

ANIMATE MUSICMUSIC

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MATERIALS:

• Artsource® video, Every Picture Tells a Story.

• Pencils, colored markers, crayons or other materials with which to draw.

• 8 1/2 x 12 inch sheets of paper (16 per group)

PROGRESSION:

• Show the students the Artsource ® video, Every Picture Tells a Story. Use the Discussion Questions on pagetwo to help them reflect on what they saw and understood.

• Review the storyboard process and discuss what is required of the team.

• Explain that in making an animated film, both the animators and composers are challenged. Sometimesthe visuals inspire the music; at other times the music gives direction to the visuals. In this assignment,the music will inspire the visuals.

• Either select one piece of music for the class to work with, or give them the opportunity to listen to allthree Artsource ® selections and decide which one they want to use. The object is to work as a collabo-rative team in creating a storyboard idea which will be presented to the full class.

• Pass out paper and drawing materials and let each group work. Discuss with the class what they thinkthe criteria for the assignment should be. For example, 16 drawings, a clearly structured story with abeginning, middle, end, cooperation and support amongst the artistic team, a clear narrative presentationby one or more students, etc.

• This project will probably take several class working periods or can be assigned as a homework project.Students should also have time to reflect on what they have created and refine and rework their idea manytimes, just as the process was shown in the video.

• When each group is finished, they should review the criteria and discuss how well they met it. Then,refine their project one more time before making a storyboard presentation to the full class.

EXTENSIONS:

• Discuss and critique the projects in a supportive way.

• Use the storyboard as a guide for a storyboard video.

• Repeat the process and use a different composition.

• Reverse the process and begin with story, then add music.

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Drawing for Every Picture Tells a Story

by John RamirezPhoto: Craig Schwartz ©1997

VOCABULARY: storyboard, comic books, imagination, score


DESCRIBE: Describe how your group worked together.

DISCUSS: Discuss any problems or new things you learned.

ANALYZE: Think about what you could add, change or do differently next time to work even bettertogether as a team.

CONNECT: How can you use the storyboard process in something you are currently studying?


BACKGROUND AND HISTORY OF ANIMATION

The thaumatrope, a crude animation device, was invented in Europe in 1826. It is a card with strings attached. It has different pictures on each side, such as a horse and a rider. When it is twirled rapidly, the two separate pictures look as if they are combined. The phenakistoscope (invented in 1829), is a circular devise with pictures on the inside and slits evenly spaced around the top edges. If you lookthrough the slits when it is spun like a carousel, the series of still pictures create an illusion of motion.Another device, the Flip Book, is explained in Sample Lesson I.

In the early 20th century, an American man named Winsor McKay made some of the early, pre- WaltDisney, animated films. He created one in 1918 with drawings showing the sinking of the Lusitania, thatwas so realistic people couldn’t believe it was made from animated drawings. In the early animated productions, drawings of a figure were photographed against simple backgrounds. After 1913, animators could use a single background for shots because of the development of celluloid sheets. Themobile figures were drawn in ink, either as line drawings or solid silhouettes on transparent celluloidsheets and superimposed onto various backgrounds.

It was Walt Disney, the visionary pioneer, who took animation into the realm of major motion pictures.His most famous character, Mickey Mouse, was introduced in 1928 and went through a series of changesbefore becoming the popular character we now recognize. A few years later, opaque paints replaced theblack ink drawings and longer, more elaborate stories were produced when animators began to work as acollaborative team. The first major animation films were Snow White and the Seven Dwarfs, released in1937, followed by Fantasia, which premiered in 1940.

Although the United States is the largest producer of animated films, there are now many other countriessuch as Thailand, South Korea, Australia, Yugoslavia and Brazil, which produce animation. Mostanimation is filmed by an adjustable camera (automated rostrum camera) which is suspended above thehorizontal table which holds the combination of cels which have been placed in position. These cels arephotographed in sequence to produce the illusion of movement we call animation. Computer technolo-gy has enabled animators to produce very complex moving images and backgrounds. They use a programcalled Paintbox which allows the artist to work more quickly and with greater precision. However, it isinteresting to note that cel animation continues to be the animation of choice used by Disney Productionsas well as many others.

In an animated film there is usually a story which serves as a structure, but sometimes the visuals inspirethe music while at other times the music gives direction to the visuals. The goal is to create a close inter-play of animation and music so they carry the story line forward smoothly�. The animators also take noteof the movement and facial expressions of the actors doing the voices and often incorporate these personalexpressions into those of the animated characters. Disney animator, Duncan Marjoribands, states, “A goodperformance by a voice actor can tell you who a character is. . .”

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artsource theatre/music · • describe the final storyboard idea. • how did john handle mistakes...

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