Friday, 12 April 2013

10 Ways to Beat the Brief

http://www.computerarts.co.uk/features/10-client-winning-ways-beat-brief


1 Does the brief fit your abilities?

Receiving a new brief can be exciting, confusing or even worrying. Evaluating it to see if it fits with your organisation’s skills or desires is key to determining whether you take the piece of work on, or let it pass to another. Understanding the implications early on is critical to financial and creative success, for both the client and yourself.

2 Make an action plan

Sit down and discuss the brief. What is the challenge and scope? Is the client new or ongoing? What does the client actually need? What are the long-term goals? Does the brief offer the chance to gain experience in a new sector? Is it a rebranding? Is it a refresh or is it simply something executional? Understand what you’re getting into, and then think about how to take the conversation further.
Do your research

3 Do your research

With most briefs of a reasonable size and scope, you’ll need exercises such as client Q&A sessions, stakeholder workshops, desk research and internal interviews to understand the many levels of information and complexity behind the brief. From this research, you can then make strategic recommendations that will form the foundation of the creative process.

4 Check you’ve got the essential details

A good brief should be a one-stop-shop of all the essential practical information required to deliver on the project’s demands. Make sure that you’re clear about the challenge, the background, the objectives, the deliverables, target, audience, scope, consumer insights and any mandatories, plus timings for each phase of the project and any critical dates or key milestones.
Anticipate any obstacles ahead

5 Anticipate any obstacles ahead

Extra information that will help you work effectively includes your client’s business strategy and top line, plus any potential roadblocks to watch out for along the way. Make sure that you smooth the workflow by identifying who the key decision-makers are and their intended process for signing-off the project.

6 Consider briefing the client back

A reverse brief from a freelancer, studio or agency back to the client can often help clarify things on a larger project. It not only demonstrates to the client that you’ve understood the brief or opportunity through the lens of your own insights, but that you can build greater depth and breadth into the brief.
Make everything as clear as possible

7 Make everything as clear as possible

Assumption is the master of many problems, so assume nothing and be sure to clarify everything. If you feel that the brief needs decoding in order to reveal its more intangible aspects, carrying out an audit of your client and its competitors can help build a bigger picture of what the client may need, but might not have clearly expressed.

8 Don’t overdo it on the details

On the other hand, it’s quite possible for a brief to be too detailed. Distil it down to one or two pages for the creative work, as anything longer becomes difficult to refer to. Keep additional documents, such as those containing research, available as background reading, with all the critical points from these put in the brief.

9 Keep on track

Keep on track
It’s not uncommon for people to skip reading the brief, or to deviate too far from it and go off on tangents. To avoid getting things very, very wrong, it’s critical to set internal deadlines and have regular client catch-ups. Knowing when to stop thinking and start doing can make all the difference to the successful delivery of an idea.

10 Take clients with you, and talk to them

The easiest way to achieve great creative work is to keep a dialogue flowing with your client. As well as keeping the client up-to-date with timings and any potential issues that might arise, discuss ambitions and break down any fears the client might have. In doing so you’ll reduce the margin for error and improve your relationship.


Thursday, 28 March 2013

2D talk continues

http://www.bbc.co.uk/news/technology-21947086

2D v's 3D



http://www.escapestudios.com/when-the-pencil-is-mightier-than-the-pixel-quietly-questioning-the-croods-production-choices/

http://cartoonconceptdesign.blogspot.co.uk/2013/01/chris-sanders-croods-storyboards.html

I love seeing storyboards, how the drawings flow with such beautiful lines and bring the characters and scenes to life in just one drawing. I am currently doing a 2D flip book animation all with my own drawings so it will be interesting to see how it turns out for me and whether personally I prefer to do 3D models. 



Thursday, 21 February 2013

Life Drawing

 I went to a Life Drawing class the other day. It wasn't a taught one, it was just turn up and do what you like. It has been quite a long time since I have been to a life drawing class and a while since I have done this sort of drawing. It was really nice and enjoyable to do it again. Whilst I was there I was thinking about my artefact on having an artistic eye, to me from going to this class made me think about what it actually is to have an artistic eye, my thoughts are its about understanding shape, form, line, composition, light etc, all different sorts of things. It was interesting looking around at what everyone was producing and all the different styles and techniques that were being used, from using an Ipad to painting to quick sketching. Everyone's picture looked different and everyone saw the subject in a different way. 

From my interviews that I have had on artistic eye have all been different. One says an artistic eye is attention to detail, looking at everyday objects, people, lighting and soaking up every detail. They also said it was similar to having a keen eye for detail, so this being interested in the world around you, visual research and looking closer at detail. 

One said an artistic eye is all about style, clolour, line, social placement and visual understanding. It is about how other people see things, to understand your audience. A keen eye is just picking up on things, a hair out of place, a goal that was scored. 

The other said it was difficult to say what it is, said it was formal composition of the image. looking at it from the viewer. 

The conclusion of this research is that there is no real definition of what an artistic eye is because it all depends on the viewer and how they perceive it. Though being able to understand line, colour, detail, shape and composition is important in having an artistic eye. 




Storyboard

So I have done a storyboard for my Client project. Sent it to get approved by Simon so it might be completely changed if he doesn't like it. 
Firstly done a small Picture one for ideas and then a hand drawn one of how I want it to look if it makes sense. 





The Hobbit-VFX Breakdown