Table of ContentsHistory of the workAnimation workflowAnimation stylesApplication of the principles of animationHistory of the workAnimation workflowAnimation stylesApplication principles of animationHistory of the workAt the request of Eric Homan (the vice president of development of Frederator Studio), Adventure Time was created by Pendleton Ward to participate in Random Cartoon, a short showcase of Nickelodeon, in early 2006 Because it went viral after its first release on the Internet, they decided to bring the concept to Nickelodeon in 2007 but was rejected twice. When Nickelodeon no longer had the production rights to the Adventure Time series, Frederator Studios quickly introduced the concept to other channels. Fortunately, in 2008, Cartoon Network, where Pendleton Ward was working at the time as a screenwriter and writer, showed huge interest in making it into a full series. However, they won't do so until Mr. Ward proves that the Adventure Time short "wasn't a one-hit wonder." “Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Should Not Be Banned"?Get an Original EssayWith the help of Mr. Ward's college friends (Patrick McHale and Adam Muto), they developed ideas to create a rough storyboard and sent it to Cartoon Network. Their first attempt failed, but their subsequent attempt, "The Enchiridion", was approved and became the first to enter the production phase. In April 2010, the first episode of the series "Slumber Party Panic" officially debuted. Pendleton Ward was the showrunner of Adventure Time until he resigned during the fifth season and instead worked as the series' writer and storyboard artist. Therefore, the new role of showrunner was given to Adam Muto.Animation workflowAs an episode of Adventure Time usually takes around nine months to produce, multiple episodes are worked on simultaneously. Most anime series have a writing room where a new idea is developed and written as scripts, but in rare cases, like Adventure Time, it is written as storyboards. In an interview with the AV Club in 2012, Ward said, “We start out by just throwing the breeze and telling weird stories about what happened to us during the week. "Once the basic storyboards or plots are made, a simple two to three page outline is written and given to the storyboard teams, who have two weeks to roughly visualize the outline, write the dialogue as well as the jokes, choose everything. camera shots and edit the outline Then a rough storyboard is given to Kent Osborne (one of the producers), and he will write up a note of what needs to be changed or improved for the storyboard teams. The teams will have two. additional weeks to edit it. This process is repeated until Osborne approves the storyboard. After some preparation, the voice actors then do their work. they correspond to the voice recordings The animatic undergoes some revisions and modifications Then it is handed over to the cleaning artists who redraw each sketchy image into a clean and tidy frame. At the same time, background and layout artists draw and assemble backgrounds. Shortly after, the final animatic comes alive. Although the design and coloring of each episode is done in the United States, animation in South Korea takes three to five months. The fully animated episode is sent back to the United States for revisions andmodifications. During this time, some scenes may need to be reanimated, additional dialogue may be recorded, and some effects will be added. Finally, an episode is released.Animation Styles“Adventure Time pays attention to articulation and quality of animation. Every second of the approximately eleven-minute episodes features smooth animations full of fluid movements, viewpoint changes, and key frame rates that allow your mind to relax and enjoy the show. Adventure Time is fluid and more stylized than the animated TV shows of a few decades ago. “While the backgrounds are usually complex and colorful with tones and shades, the characters are drawn with simple shapes and colored only with basic colors. The purpose of this is to help the animation process go quickly and simply. The series focuses on the attractive principle of animation as its target audience is children. To make it appealing to children, character designs often feature simple, round, and curvy features. Applying Principles of Animation Exaggeration: The scene in Figure 3 is an exaggeration of Finn's face where she clearly exaggerates his mouth and his big round eyes make him look much more frightened by what is happening before his eyes. Similarly, for the scene in Figure 4, the exaggeration of her curved mouth that exposes long, sharp teeth, bright red eyes, furrowed eyebrows, and wind-blown hair undoubtedly makes her furious. Appeal: The emotions of both characters are easy to read and understand. their own personality. With the help of exaggeration, the characters seem more dynamic and attractive to the viewers. Setting the scene: After a wall in Marceline's house opened up in an intimidating new location in Character Scene 2, instead of her usual black eyes, we got to see a reflection of what's happening in her eyes wide open: a silhouette in the middle of a chaotic fire. The purpose of the scene in Figure 3 is to guide the audience's attention to Finn's emotion and why he is afraid. Secondary Action: In Figure 3, the main action is Finn's eyes and mouth wide open when he is afraid. The secondary action is his hands on the sides of his head which show Finn's confusion and ignorance. In Figure 4, the main action is Marceline's intense facial expression when she reminds Finn that his father is stealing his bass guitar. The secondary action is her hair which emphasizes how angry she is. The two secondary actions give the main actions more depth and meaning. Squish and Stretch: The cloud-like character is light and soft, so it bounces when it impacts Finn. Because it is important to maintain the volume of the character, when the force of the movement crushes the character, it becomes a little thinner and longer. When the character bounces, its volume returns to its normal state. Arc: This character floats in a curved line (arc). This brings a real feeling of floating object/action. Timing: The cloud-like figure is timed to mindlessly and steadily float towards Finn, but immediately bounces back when he touches him. The timing of the float gives the illusion of how light the character is, how quickly he moves towards Finn, and how the impact causes him to bounce back. The purpose of timing is to apply the law of physics from the natural world to the world of animation. Solid drawing: From the above five figures, the drawing style is very consistent. Even though there are some exaggerated scenes, they stay in their style without looking elsewhere. Straight ahead and pose after pose:This animation gives the fire a fluid and random movement. This animation has more control over Finn's movement. History of the work At the request of Eric Homan (the vice president of development of Frederator Studio), Adventure Time was created by Pendleton Ward to enter a short showcase of Nickelodeon Random Cartoon in early 2006. Because it went viral after it first aired on the Internet, they decided to introduce the concept on Nickelodeon in 2007, but were rejected twice. When Nickelodeon no longer had the production rights to the Adventure Time series, Frederator Studios quickly introduced the concept to other channels. Fortunately, in 2008, Cartoon Network, where Pendleton Ward was working at the time as a screenwriter and writer, showed huge interest in making it into a full series. However, they would only do so when Mr. Ward could prove the Adventure Time short. “It wasn't a wonder. “With the help of Mr. Ward's college friends (Patrick McHale and Adam Muto), they developed ideas to create a rough storyboard and sent it to Cartoon Network. Their first attempt failed, but their subsequent attempt, "The Enchiridion", was approved and became the first to enter the production phase. In April 2010, the first episode of the series "Slumber Party Panic" officially debuted. Pendleton Ward was the showrunner of Adventure Time until he resigned during the fifth season and instead worked as the series' writer and storyboard artist. Therefore, the new role of showrunner was given to Adam Muto.Animation workflowAs an episode of Adventure Time usually takes around nine months to produce, multiple episodes are worked on simultaneously. Most anime series have a writing room where a new idea is developed and written as scripts, but in rare cases, like Adventure Time, it is written as storyboards. In an interview with the AV Club in 2012, Ward said, “We start out by just throwing the breeze and telling weird stories about what happened to us during the week. "Once the basic storyboards or plots are made, a simple two to three page outline is written and given to the storyboard teams, who have two weeks to roughly visualize the outline, write the dialogue as well as the jokes, choose everything. camera shots and edit the outline Then a rough storyboard is given to Kent Osborne (one of the producers), and he will write up a note of what needs to be changed or improved for the storyboard teams. The teams will have two. additional weeks to edit it. This process is repeated until Osborne approves the storyboard. After some preparation, the voice actors then do their work. they correspond to the voice recordings The animatic undergoes some revisions and modifications Then it is handed over to the cleaning artists who redraw each sketchy image into a clean and tidy frame. At the same time, background and layout artists draw and assemble backgrounds. Shortly after, the final animatic comes alive. Although the design and coloring of each episode is done in the United States, animation in South Korea takes three to five months. The fully animated episode is sent back to the United States for revisions and edits. During this time, some scenes may need to be reanimated, additional dialogue may be recorded, and some effects will be added. Finally, an episode is released.Animation Styles“Adventure Time pays attention to articulation and quality of animation. Every second of episodes about eleven :.