210ANI_WK1_Taylor Read

Team Grimoire Week 1 Research

For the conception of the animation we are developing, we threw around some ideas that would help make a potential 3D and 2D combined project done in a sinister style expressing “Things are not always what they seem” or the core being a discomforting out of place horror. So I went off to get some research on how other artists have gone about creating similar animations.

An idea we discussed was using a silhouette like artstyle for a fantasy fiction narrative and I immediately thought of The Deathly Hallows animation as the first place to find something useful. So to an extreme convenience the fxguide website had an interview with sequence supervisor Dale Newton about how The Deathly Hallows animation was developed. Requiring in this interview is details of attempts to back off from an appearance of simplicity, which is great because we can take some of these ideas from interview to help our project. Like putting paper like layers over the top of the animation to create effects, such as placing dirt textures onto a layer and over the screen.

Abundant information in this interview also shown familiar circumstance as our own project, that being the developers of The Deathly Hallows took note from another silhouette style artist as detailed by Newton. The inspiration they had taken was derived from the works of Lotte Reiniger, a German artist who had gotten inspiration from Chinese Silhouette puppetry. Here are the links for the interview and some information on Reiniger.



I had also looked into a 2D and 3D mixed style that HBO’s Game of Thrones special feature had telling the lore and history of the shows fictional world. The idea being using animatic like method of still images either being replaced by another still image to create narrative or by moving the images around, a simple way to communicate what the animation should look like. What the artists for the Game of Thrones Lore and Histories had done was display 2D pictures with more definition than an animatic would and have the 2D images sit in a 3D programme and pan the camera around over the 2D images. These videos were created by the Game of Thrones storyboard artist, William Simpson.

For ease with details onto dark images I researched some comic art where the characters would be built on black and have the details done by putting in white edges on the faces to create expression. The comics I looked into for this was Frank Miller’s Sin City , Batman, a manga called Berserk, Which was written and illustrated by Kentaro Miura.

Continuing on, it had come to my realisation that I had forgotten one of the best examples for silhouette art that just so happened to have a similar environment in a fantasy genre along with atmospheric  change. Ralph Bakshi’s animated version of John Tolkien’s Lord of the Rings, a film that had multiple examples of the style. One being that they had actors filmed with little light and a red background to create silhouettes, the footage could also be placed around the screen as layers. The film would also have a cloth texture with exaggerated lines over the top, like what they had done previously in the Deathly Hallows animation. Then when they cut to a mythical hafling being dragged under water the art changed up so the silhouette was completely cartoon. What was excellent about stumbling onto this was being able to look into the film history of Ralph Bakshi.


Miller, F.M. (1991). Sin City. Information Recieved from http://sincity.wikia.com/wiki/Sin_City

Miura, K.M. (1989). Berserk. Retrieved from http://www.mangareader.net/96/berserk.html

Game of Thrones Wiki. (n.d.). William Simpson. Retrieved from http://gameofthrones.wikia.com/wiki/William_Simpson

Failes, I.F. (2010). Framestore:Deathly Hallows Animation. Retrieved from http://www.fxguide.com/featured/framestore_deathly_hallows_animation/

JCHAN. (2013). Lotte Reiniger’s Silhouette Animation. Retrieved from http://www.animationschooldaily.com/?p=1644


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