Sunteți pe pagina 1din 13

 International Journal of Trends in Computer Science                         ISSN: 7462 – 8452

Volume 2, Issue 11, 2013    © Shamsuddin, Islam & Islam 

Evaluating Content Based Animation through


Concept Art
Abu Kalam Shamsuddin, Department of Multimedia Technology and Creative Arts, Daffodil International University,
Bangladesh
Md. Baharul Islam, Department of Multimedia Technology and Creative Arts, Daffodil International University,
Bangladesh
Dr. Md. Kabirul Islam Department of Multimedia Technology and Creative Arts, Daffodil International University,
Bangladesh

Abstract— The aspiration to create distinctive belongings and free restriction to one’s imagination
helps as a powerful impulsion for development of concept art for animation. Concept art is an
appearance of illustration where the focal purpose is to express a visual demonstration of a design,
thought, or mood for applying in video games, films , animation, or comic books before it is put into the
ultimate creation. Concept art is a major element of idea generation, environment creation,
background design, retail design, set design, fashion design, and architecture design. Bangladesh is a
suitable ground for producing international quality animation products if capacity building can be
done. Moreover, previous study found huge possibilities in animation field due to low labor cost. The
main objective of this research was to discover the limitations of producing concept art and identify
pragmatic solutions to the problems for overall capacity building. We visited most animation studios in
Dhaka for collecting data and found that there are lack of skilled concept artists because of knowledge
gap among them and lack of facilities in this sector. We have interviewed a good number of studio
experts for their opinion to overcome these limitations and identified few solutions to the problems such
as conduct workshop for the artists inviting international experts, training for professionals, and
update syllabus of the relevant courses taught in educational institutions. More specifically, the
concept artists need to have understanding of brainstorming, concept mapping, and aesthetic issue.

Keywords— Concept art, animation, aesthetics sense, computer graphics, digital painting
 International Journal of Trends in Computer Science                         ISSN: 7462 – 8452
Volume 2, Issue 11, 2013    © Shamsuddin, Islam & Islam 

I. INTRODUCTION
Concept art is an appearance of illustration the main goal of concept art is to express a visual
demonstration of a temper for use in films, video games, animation etc. to visualize the conceptual
thought before the final product. Concept art is also mean to give an idea about visual development
and concept design of artist’s imagination. The term "Concept Art" referred to organize the characters
with appropriate environment. Concept art is also referred to as visual development and impression
design. A concept artist is someone who generates innovative thoughts and makes communication
between thought and visualization. They should generate the approach and sense for characters,
environments and objects. It could be in the form of dream worlds and characters which could never be
real sometimes, or perhaps structural design and intend which can potentially be formed for actual.
Concept art could be very communicative and nonfigurative, not just pragmatic. The artist feels most
important to get the idea across the logic and approach for the artwork. The concept artist is extremely
significant, for the reason that it is their pre-production work which impacts the entire task. The artist
should have proper sense on creativity and sufficient skill to apply with. To be a concept artist it is very
essential to have suitable combination control on knowledge and skill.
Many developed countries in the world have successfully developed their animation industries that
contributed to their economic growth. Any developing countries like Bangladesh can be a hub for
working international quality animation products due to low labor cost. To accomplish the international
quality of animation it is very important to progress the conceptual thought at the first instance.
Moreover, imagination is particularly advanced work of the human intelligence. It is the simplest way
of standard to create any imaginary thought that recognized as concept. Human mind continuously plan
on creating incredible that has never existed before and does not exist now. This is the movement
toward any professional inventor of Concept Art. Concept art is a form of illustration where the major
objective is to communicate a visual expression of a creative thought, inspiration, and atmosphere for
use in animation, video games, films, or comic books ahead of final formation. Although Bangladesh
is a suitable ground for producing international quality animation products but there are very limited
initiatives for development of this sector or to identify the barriers to improve qualities. As a result,
concept artists remain beyond the advance level. This study conducted a thorough investigation of the
limitations of concept art in Bangladesh context and identified solutions to the problems for
improvement.
819 © IJTICS
 International Journal of Trends in Computer Science                         ISSN: 7462 – 8452
Volume 2, Issue 11, 2013    © Shamsuddin, Islam & Islam 

II. LITERATURE REVIEW


Art history is the history of any movement or creation prepared by human being in an illustration form
for communicative purposes, expressing thoughts, emotions or making sense to others. There are so
many different answers of this question as- art is an object in different times and places and in different
culture. Arts in medieval Latin, like ‘art’ in the early modern English which borrowed both work and
sense, meant any special form of book-learning, such as grammar or logic, my art says Prospero,
putting his magic grown. But the Renaissance, first in Italy and then elsewhere, re-established the old
meaning; and Renaissance artist, like those of the ancient world, did actually think of themselves
craftsmen. Standing Transfixed before Giorgione’s Tempest or Rothko’s Green and Maroon, or on
hearing Stravinsky’s Rite of Spring we find our conviction that art has meaning deepened. Art is a
language to express anyone’s thought; as ancient people paint on cave wall to make plane of hunt or
communicate with others. The creation of a work of art has little in common with what we usually
mean by ‘making’. It is a strange risky business in which the maker never quite knows what they are
making until they have actually made it. To put it another way, making art is like a game of hide-and
seek in which the seekers are not sure what they are looking for until they have found it. The essential
part for the concept artist is to have broad knowledge on elements of art, principles of art, color theory,
aesthetic sense etc. For example, a character designer/concept artist should have proper knowledge on
figure drawing, structure and expression of figure. It is very tough to create a believable distance
concept on flat surface without perspective sense, even in portrait. There are a few rules and techniques
to learn the way to create any visual of any ones imaginary thought. This is not something that only the
artistically gifted can achieve; it is possible for anybody. When an artist is describe as ‘gifted’,
‘talented’, ‘creative’ or ‘original’, it is usually implied that his or her ability is very rare and somehow
magically endowed at birth. This is very significant to adapt the techniques of art relevance to express
artist’s thought for striking visualization. Creative knowledge helps to think something extra ordinary
but without technical skill it is impossible to express that concept as visual. At the same time as
inspiration of creators they communicate the visualization in its truest form, before passing it on to the
artist that enlarge it and present a final creation. In the direction of visualize the imaginary thought as
concept it is important for there to be strong communication between knowledge and skill.

© IJTICS 820

 
 International Journal of Trends in Computer Science                         ISSN: 7462 – 8452
Volume 2, Issue 11, 2013    © Shamsuddin, Islam & Islam 

The concept artist used various kinds of medium; however normally in this generation it would seem
that computer software is the average. It could be in used a tablet pen and software such as Adobe
Photoshop or Coral Painter to create digital paintings. This kind of art piece can also be produced using
3D software for a potentially more sensible and possibly less significant approach. For the greatest
effect both techniques are combined usually. When pre-production is moving towards the concept artist
generally works directly with the Art Director, who will give a common guideline for the future feel of
the final creation. They will be changes their artworks sometimes where necessary after reviewed and
discussed by the director or producer. As a designer it is very common for the concept artist to take the
role of develop the further ideas. Some of the essential aspects are given below.

A. Resources
Concept art has embraced application of digital technology in current time. Photoshop and Corel
Painter have become more straightforwardly software, and graphics tablets become common hardware,
facilitate more efficient functioning methods. Former to this, any number of predictable mediums such
as water color paints; oil paints, acrylic paints, pencils, charcoal etc. were used. Remaining to this,
many contemporary paint parcels are planned to create the blending of color in the similar way paint
would mix together on a canvas; ability with established media is often dominant to a concept artist's
capability to make use of painting software. Science fiction and fantasy are the two most broadly
enclosed themes in concept art. Conceptual thought has forever and a day had to cover up countless
topics, being the most important medium in international film poster design near the beginning days of ,
however, since the modern increase of concept art used in video game construction concept art has
extended to cover up genres from football to the Mafia and outside.
B. Develop Conceptual Thought and Concept Art
Brainstorming explores in depth of brain’s healthy philosophy information-processing system. Through
the brainstorming exercise, anyone can determine the huge potential of own and other people’s
exclusivity as individuals. In particular, anybody can gain a deeper perceptive of communication and
how we can keep away from misinterpretation each other. A few practices if we keep as regular
practice before start any creative work for brainstorming like mind mapping it will be effective for
innovative creation. A diagram used to visually outline in sequence is called mind map. A mind map is
frequently formed around a particular word or content, located in the middle, to which connected

821 © IJTICS
 International Journal of Trends in Computer Science                         ISSN: 7462 – 8452
Volume 2, Issue 11, 2013    © Shamsuddin, Islam & Islam 

thoughts, terms and concepts are added. Most important categories give out from a central knot, and
minor categories are sub-branches of larger branches. The full power of the Mind Map is realized by
having a central image instead of a central word, and by using images wherever appropriate rather than
words. Combining the two cortical skills of words and images multiplies your intellectual power,
especially when you create your own images. This kind of practices help a lot to create better output of
artist’s thought as well. The Mind Map harnesses the full range of cortical skill- word, image, number,
logic, rhythm, color and spatial awareness – in a single, uniquely powerful technique. In so doing, it
gives you the freedom to roam the infinite expense of your brain. The same as with other diagramming
tackle, mind maps can be generate to used - visualize the structural accumulation to classify thoughts,
and as an support to studying and organizing in order, solving problems, making decisions, and
inscription.
C. Elements of Art
The elements of art are the building blocks used by artists to create a work of art. Line is a mark with
greater length than width. The concept of line is a basic foundation in 2D design. In the common
knowledge, a line is the shortest distance between two points [10]. Lines can be horizontal, vertical, or
diagonal; straight or curved; thick or thin. Shape is a closed line. Shapes can be geometric, like squares
and circles; or organic, like free-form or natural shapes. Shapes are flat and can express length and
width. Forms are three-dimensional shapes expressing length, width, and depth. Balls, cylinders, boxes,
and pyramids are forms. Space is the area between and around objects. The space around objects is
often called negative space; negative space has shape. Space can also refer to the feeling of depth. Real
space is three-dimensional; in visual art, when we create the feeling or illusion of depth, we call it
space. Color is light reflected off of objects. Color has three main characteristics: hue (the name of the
color, such as red, green, blue, etc.), value (how light or dark it is), and intensity (how bright or dull it
is). The color wheel is a guide to organizing palette of pigment. Texture is the surface quality that can
be seen and felt. Textures can be rough or smooth, soft or hard. Textures do not always feel the way
they look; for example, a drawing of a porcupine may look prickly, but if you touch the drawing, the
paper is still smooth.

© IJTICS 822

 
 International Journal of Trends in Computer Science                         ISSN: 7462 – 8452
Volume 2, Issue 11, 2013    © Shamsuddin, Islam & Islam 

D. Principles of Arts
The principles of design describe the ways that artists use the elements of art in a work of art.
Balance is the distribution of the visual weight of objects, colors, texture, and space. If the design was a
scale, these elements should be balanced to make a design feel stable. In symmetrical balance, the
elements used on one side of the design are similar to those on the other side; in asymmetrical balance,
the sides are different but still look balanced. In radial balance, the elements are arranged around a
central point and may be similar. Emphasis is the part of the design that catches the viewer’s attention.
Usually the artist will make one area stand out by contrasting it with other areas. The area could be
different in size, color, texture, shape, etc. Movement is the path the viewer’s eye takes through the
work of art, often to focal areas. Such movement can be directed along lines, edges, shape, and color
within the work of art. Pattern is the repeating of an object or symbol all over the work of art.
Repetition works with pattern to make the work of art seem active. The repetition of elements of design
creates unity within the work of art. Proportion is the feeling of unity created when all parts (sizes,
amounts, or number) relate well with each other. When drawing the human figure, proportion can refer
to the size of the head compared to the rest of the body. Rhythm is created when one or more elements
of design are used repeatedly to create a feeling of organized movement. Rhythm creates a mood like
music or dancing. To keep rhythm exciting and active, variety is essential. Variety is the use of several
elements of design to hold the viewer’s attention and to guide the viewer’s eye through and around the
work of art. Make Horizontal, diagonal, and vertical lines. Add thickness to some of the lines for
variety. Unity is the feeling of harmony between all parts of the work of art, which creates a sense of
completeness.

III. METHODS AND STRATEGIES


The main objectives of this study were to analyze the context of concept art in Bangladesh and identify
limitations and solutions to improve the sector in Bangladesh.
All the animation studios are located in the capital city Dhaka. We visited 15 studios to have a broader
understanding of the facilities and staff working in the studios, and then collected data from animation
artists and animation experts of four leading animation studios. Data were collected from 39 animation
artists (aged 20 to 40 years) through administering questionnaire. The data included their demographic
information, working experience, relevant academic degree and training, problems faced to perform
823 © IJTICS
 International Journal of Trends in Computer Science                         ISSN: 7462 – 8452
Volume 2, Issue 11, 2013    © Shamsuddin, Islam & Islam 

their professional tasks, their opinion for further improvement of the animation sector in Bangladesh
etc. Interviews were conducted with six animation experts to understand the overall situation of
animation sector, limitations, and anticipated solutions to the problems. The data were analyzed
qualitatively and quantitatively.

IV. RESULTS AND DISCUSSIONS


The results are summarized in two sections: present context of animation studios and limitations of
animation studios. The solutions to the problems are also discussed.

A. Context of Concept Art


It has been found that most of the animation studios have inadequate physical and technical facilities to
create quality products. Additionally, there was lack of trained staff in the relevant field. Most of the
artists have a graduate and postgraduate degree and very few had higher secondary certificate (HSC)
(Figure 1). However, no one had a professional degree, although most of them attended workshop,
seminar or short training which was not enough to perform their professional duties properly. Besides,
most of the artists acknowledged that they have no academic knowledge on specific area on which they
are working (Figure 2).

Fig. 1 The educational qualification of respondents

© IJTICS 824

 
 International Journal of Trends in Computer Science                         ISSN: 7462 – 8452
Volume 2, Issue 11, 2013    © Shamsuddin, Islam & Islam 

Fig. 2 Academic knowledge of respondents

The artists had several years working experience varies from 1 to 20 years. Figure 3 shows experience
of more than 50% respondents fall under one to five years and rest of them had 6 to 10 and more than
ten years. The data may indicate that the experience of the artists helped them to perform their
professional activities to some extent although they had no or few professional trainings. It can be
pointed out as very few studios have some quality products and they are taking challenges to create
products related to several areas of multimedia technology such as architectural visualization, character
animation, interior decoration and so on.

Fig. 3 working experience of respondents

825 © IJTICS
 International Journal of Trends in Computer Science                         ISSN: 7462 – 8452
Volume 2, Issue 11, 2013    © Shamsuddin, Islam & Islam 

At this situation, all artists are highly motivated to attend relevant workshop, training, and seminar if
opportunities are available to meet their professional demand and the requirement for doing better in
their job. It is perceived that lot of scopes may be created to expand and improve the existing situation
of animation sector having support from the government, education institutes and the multimedia
industries.

B. Develop Art Education


To improve the general sense of any kind of creative work this is very important to have a great idea
first. This is mandatory to think very quick and uncommon ideas for the creative person. So before start
to work any kind of business concept is first prior. In Bangladesh we have fine arts degree in many
public and privet university but we did not find any subject as conceptual thought or brain storming or
mind mapping as well. The most common problem among new artist’s is that they are so eager to
move beyond the basics that they never really master them.For developing this area we need sufficient
logistic support as practice lab, equipments, elements, environment and expertise to training. The
syllabus needs to ad such kind of concept developing courses. The goal here is to master the mechanics
in order to do new things.

C. Workshop
Foundation through the Industrial Revolution age, workshop could be a track or platform which
provides both the region and elements (or tools) that may be essential for the produce or patch up
of manufactured products. Workshops were the only spaces of production awaiting the advent of
industrialization and the enlargement of better industries. In Bangladesh there are a few organizations
they do believe that workshop is one of the best ways to get better quality in any region. GRAFA is one
of them that had arranged a few workshops to develop the conceptual and aesthetical sense for new
comers in animation field. GRAFA (Graphics and Animation Association) is a non-profit association
and a web-community paying attention on uniting Digital artists of Bangladesh to split their
acquaintance and proficiency. This association also endorses the Computer Graphics and Animation
business in Bangladesh. Their aspiration is to put together a compilation of all the brilliant artists or
anyone who is concerned and give them a raised area to express themselves. Their goal is also to
© IJTICS 826

 
 International Journal of Trends in Computer Science                         ISSN: 7462 – 8452
Volume 2, Issue 11, 2013    © Shamsuddin, Islam & Islam 

instruct people about this attractive world and motivate the new invention. They arranged workshop, it
had designed to introduce students to the fascinating world of animation and guide them to create their
own short animated film. Internationally awarded artist Zubuyer Kaolin had shared his experiences
about how to tell great stories using the animation media. Other way the Concept Artist of “GRAFA”
Sabyashachi Mistry had shared his knowledge and expertise on Concept Art in that workshop. This was
a beginner-intermediate level workshop that will take you through the basics of drawing to using
Digital Tools like Photoshop to create compelling Concept Art. The participants got great advantage
after attaining this kind of fruitful workshop. So, that Bangladeshi government could arrange this kind
of effective workshop; and invite some expertise from foreign. It could be helpful for animation
industry in this country and the way of communication to foreign animation industry.
D. eminar
A seminar is, usually, an appearance of academic guidance, moreover, at an academic institution or
offered by a professional organization. It has the purpose of bringing jointly small groups for returning
meetings, focusing each time on some meticulous area under discussion, in which everybody present is
requested to dynamically contribute. CG (computer graphics) and Animation are very new-fangled
words in Bangladesh. Very few people are aware of this and even smaller amount people are effective
on it. Who would have consideration that a town likes Rajshahi would have so many who are involved
and concerned in CG and Animation. Lack of appropriate instruction and guidance, attention among
this group was ever so on the way out, until expect emerged from the prospect. GRAFA members lead
by organized a Concept Art Exhibition, a Seminar on 3D Animation and an Animation Film show in
the department of Fine Arts at Rajshahi university. It was a model seminar for concept artist and
encouraging also for interested new comer.
E. Limitations
Coding and categorizing of the data collected from the animation artists, experts and through
observation were done to discern the limitations of the animation sector. Triangulation of the data
received from all sources was done. The following limitations have been identified.
• Lack of adequate facilities in the animation studios both infrastructure and technical
• Insufficient academic institutions and programs in the relevant area
• Lack of attitude and commitment among the artists
• Week Institutional management
827 © IJTICS
 International Journal of Trends in Computer Science                         ISSN: 7462 – 8452
Volume 2, Issue 11, 2013    © Shamsuddin, Islam & Islam 

• Lack of leadership to promote the animation sector


• Lack of opportunities for professional development
• Lack of experts or trainer
• Cost of professional training is expensive
• Irrelevant background of the artists
• Lack of proper initiative
• Lack of government support and policies

It is obvious from the above list of limitations that there is knowledge gap among the concept artists
which is a key barrier for performing their activities in an appropriate manner. Institutional facilities are
also crucial for creating quality products. In addition, professional training, appropriate working
environment, internal management, and leadership are crucial development of the animation sector in
Bangladesh.

V. CONCLUSIONS
Main purpose of this study was to understand the existing situation of animation sector in Bangladesh
and identify major limitations. Most the animation studios were visited to see the existing situation and
data were collected from artists and multimedia experts.The results revealed that the artists have
academic qualifications but not in the relevant area and some of them received professional trainings at
their own costs which is very expensive. It may consider as an effort to meet the demand of their
professional work. Obviously, this kind of training, seminar, and workshop is not sufficient for them.
Consequently, the development of concept of animation including aesthetic sense, commitment, and
attitude has not been developed among the artists; instead they work on the ideas and framework given
by a third party. There are several limitations exist in the animation sector which is sustained for years
as no proper initiatives were taken by the multimedia industries, experts in this area, and the
government. These limitations include lack of technical facilities, experts, professional body, and
leadership, weak institutional management, and insufficient support from the government. Lot of
scopes can be created to expand and improve this sector if the government of Bangladesh, multimedia

© IJTICS 828

 
 International Journal of Trends in Computer Science                         ISSN: 7462 – 8452
Volume 2, Issue 11, 2013    © Shamsuddin, Islam & Islam 

industry experts, and university teachers come forward and take proper initiatives. That will lead to
create quality products and contribute in national and international arena.

ACKNOWLEDGEMENT
We are glad to give thanks to all animation industries particularly Dreamer Donkey, Toon Bangla,
Ogniroth, AAVA 3D and the students of Daffodil International University for giving their important
time to make available information. Lastly, I offer my regards and blessing to all of those who
supported me in any respect during the completion of this research.

REFERENCES
[1] Scott Robertson, “How to design: Concept Design Process, Styling, Inspiration, and
Methodology”, Titan Books Ltd, November 22, 2013.
[2] Bill Stoneham, “How to Create Fantasy Art for Video Games: A Complete Guide to Creating
Concepts, Characters, and Worlds”, Barron's Educational Series, October 1, 2010
[3] M. B. Islam, A. K. Shamsuddin and M. R. Choudhury, “Prospects and Challenges for Animation
Industries in Bangladesh”, International Journal of Computer Graphics & Animation (IJCGA),
vol. 3, no.3, July 2013.
[4] Daniel P. Wade, “D'artiste: Concept Art”, Ballistic Media, August 8, 2006
[5] R. G. Collingwood, The Principles of Art, Case Press, April 2, 2013
[6] G.L. Hagberg, Art as Language: Wittgenstein, Meaning, and Aesthetic Theory, Cornell University
Press, April 30, 1998
[7] H.W.Janson, Anthony F. Joanson, “History of Art”, Sixth edition, published by Harry N. Abrams,
Incorporated, New York, 2001
[8] R. Tiner, “Figure Drawing Without A Model”, 3rd ed., David & Charles, Brunel House, Newton
Abbot, Devon, 2001.
[9] T. Buzan and B. Buzan, “The Mind Map Book”, BBC Worldwide Ltd, Woodland, 80 wood Lance,
London W120TT, 1997
[10] A. Almasude, J. A. Almasude, “Principles of Visual Communication in Web design”, Proceedings
of the 2002 ASCUE Conference, Myrtle Beach, June 9-13, 2002

829 © IJTICS
 International Journal of Trends in Computer Science                         ISSN: 7462 – 8452
Volume 2, Issue 11, 2013    © Shamsuddin, Islam & Islam 

[11] J. Paul, “Art & Science: A Curriculum for K-12 Teachers from the J. Paul Getty Museu m”, J
Paul Getty Museum Publications, First edition, 2013
[12] C. Pitcher, “Watercolor Painting For Dummies”, First edition, For Dummies, February 5, 2008
[13] C. Hart, “How to Draw Great-Looking Comic Book Women”, Watson-Guptill, April 1, 2000
[14] R. Williams, “The Animator's Survival Kit--Revised Edition: A Manual of Methods, Principles and
Formulas for Classical, Computer, Games, Stop Motion and Intern”, Faber & Faber, Second
Edition, September 25, 2012

© IJTICS 830

S-ar putea să vă placă și