Young Reaper Book ()()()

Content
Page 2-3 Concept
Page 4-8 Original Idea
Page 9-11 Research
Page 12-14 Starting The Project
Page 15-17 Storyboard
Page 18-19 Toon Boom
Page 20-21 Premier Pro
Page 22 Audition
Page 23-35 Process
Page 36-38 Character Design - Young Reaper
Page 39-40 Character Design - Scythe
Page 41-42 Character Design - Fox
Page 43-45 Script
Page 46-47 Poster Design
Page 48-50 Overall Review
Page 51 Credits

concept animation for itself the film travels Young through Reaper diverse is a story types about of the
otions t day of both a child from Reaper the character who is excited reactions to and follow music, in the to
tsteps efully of invoke his father different the reactions grim reaper, or emotions only to realize from the
e ience. and responsibility I created this is animation much harder because and I grander wanted than to make he
t ething perceived. that was emotional but doesn’t force the audience
e story emotional itself is inorganically, about a young which child will reaper result wanting the to
ow mation in his being father’s memorable footsteps and but viewable not really by everyone knowing what
is age, getting I also into. wanted The underlining to express and thread show of off the all story the is skills how
ave ldren accumulated perceive their over parents the years jobs being without at university understanding
algamate hard work them and all dedication into this it animation has taken to them best to get of to my
lity, t point, to which but when I am they quite are confident faced with I have the achieved. reality of the
what they are doing it seems to rapidly lose its alluring
rk because of how either physical or mentally demanding
s, especially if they are jumping in at the deep end of
ething well established, This is until some slight
ssurance from a family member can rekindle the reason
y they are doing what they are doing.

The concept animation for itself the film travels Young through Reaper diverse is a story types about of the
first emotions day of both a child from Reaper the character who is excited reactions to and follow music, in the to
footsteps hopefully of invoke his father different the reactions grim reaper, or emotions only to realize from the
role audience. and responsibility I created this is animation much harder because and I grander wanted than to make he
first something perceived. that was emotional but doesn’t force the audience
The to be story emotional itself is inorganically, about a young which child will reaper result wanting the to
follow animation in his being father’s memorable footsteps and but viewable not really by everyone knowing what
he any is age, getting I also into. wanted The underlining to express and thread show of off the all story the is skills how
children I have accumulated perceive their over parents the years jobs being without at university understanding
the amalgamate hard work them and all dedication into this it animation has taken to them best to get of to my
that ability, point, to which but when I am they quite are confident faced with I have the achieved. reality of the
job, what they are doing it seems to rapidly lose its alluring
spark because of how either physical or mentally demanding
it is, especially if they are jumping in at the deep end of
something well established, This is until some slight
reassurance from a family member can rekindle the reason
why they are doing what they are doing.

after much delegation I decided that the Young Reaper
iginally had a different idea for this animation, the plot for
mation would be a lot more impactful if it was turned into an
story was about mother mountain lion and her cub
mation than my previous idea. Another reason I switched the
elling through a deadly blizzard. In the animation the mum is
to the Young Reaper was because I felt the story didn’t have
ed by a bear and the cub eventually succumbs to the elements
ch foundation and I felt like I was forcing the audience to feel
snow blizzard and is found by death (grim reaper).One day
tional; because I was showing gruesome and sorrowful scenes
niversity we had a professional who currently works in the
t would ultimately make some feel emotional, the major issue
ustry of animation to come and give us constructive criticism
g that if I didn’t hit the narrative correctly It would cause my
our project ideas, the person I met was Sara Mullock who is a
mation to be a flop, so it was far too risky. I also do not want
ducer at MacKinnon & Saunders, after showing her my Lion
animation to be remembered as a one hit wonder that can
her cub animation idea I told her that I didn’t like the idea,
ily be forgotten, because all it did was make the audience feel
here was no substance to the plot and the characters are not
ry for a little cub no one knows anything about. Plus, I also
y captivating (not enough backstory or character
it had too much of a Lion King feel to the story as well.
shadowing to commit emotionally to them).
as at this point I pitched my Young Reaper idea to her and
instantly asked me why I wasn’t doing that animation, I told
that I was advised by my tutor that it has been done too
ny times and isn’t very original for a story idea, but to me
only means I have to work harder to ensure mine didn’t look
eel anything like any other animation that might be similar
having a grim reaper character.

So, after much delegation I decided that the Young Reaper
I originally had a different idea for this animation, the plot for
animation would be a lot more impactful if it was turned into an
the story was about mother mountain lion and her cub
animation than my previous idea. Another reason I switched the
travelling through a deadly blizzard. In the animation the mum is
idea to the Young Reaper was because I felt the story didn’t have
killed by a bear and the cub eventually succumbs to the elements
much foundation and I felt like I was forcing the audience to feel
of a snow blizzard and is found by death (grim reaper).One day
emotional; because I was showing gruesome and sorrowful scenes
at university we had a professional who currently works in the
that would ultimately make some feel emotional, the major issue
industry of animation to come and give us constructive criticism
being that if I didn’t hit the narrative correctly It would cause my
on our project ideas, the person I met was Sara Mullock who is a
animation to be a flop, so it was far too risky. I also do not want
producer at MacKinnon & Saunders, after showing her my Lion
my animation to be remembered as a one hit wonder that can
and her cub animation idea I told her that I didn’t like the idea,
easily be forgotten, because all it did was make the audience feel
as there was no substance to the plot and the characters are not
sorry for a little cub no one knows anything about. Plus, I also
very captivating (not enough backstory or character
felt it had too much of a Lion King feel to the story as well.
foreshadowing to commit emotionally to them).
It was at this point I pitched my Young Reaper idea to her and
she instantly asked me why I wasn’t doing that animation, I told
her that I was advised by my tutor that it has been done too
many times and isn’t very original for a story idea, but to me
this only means I have to work harder to ensure mine didn’t look
or feel anything like any other animation that might be similar
by having a grim reaper character.

t ted initial to set character myself a challenge, design this project really made me
as e out for of the my mother comfort zone; my passion and skills are in
untain hropomorphic lion and animal her cub, characters, as although the fox’s
earance can see is from in a way the somewhat anthropomorphized to make it
tches,
ear more
I played
visually
with
appealing,
what
it is very much feral in
earance. Whereas the Young Reaper character is a little more
mother might look like if
plex; I decided to create the character without a lower jaw,
was another species of
is because I wanted to convey and express the character's
cat.
tions without the use of a voice. This meant that instead of
ing on the voice to express emotion or intention, the body
ements and facial features are the conduits to the character’s
tions, which meant I could not just simply skimp on
mating because I could rely on a voice actor dialog, but there
ld also be limits of the features because the character is quite
letal which would prove to have its own challenges when
mating.

wanted first initial to set character myself a challenge, design this project really made me
come ideas out for of the my mother comfort zone; my passion and skills are in
anthropomorphic mountain lion and animal her cub, characters, as although the fox’s
appearance you can see is from in a way the somewhat anthropomorphized to make it
appear
sketches,
more
I played
visually
with
appealing,
what
it is very much feral in
appearance. Whereas the Young Reaper character is a little more
the mother might look like if
complex; I decided to create the character without a lower jaw,
she was another species of
this is because I wanted to convey and express the character's
big cat.
emotions without the use of a voice. This meant that instead of
relying on the voice to express emotion or intention, the body
movements and facial features are the conduits to the character’s
emotions, which meant I could not just simply skimp on
animating because I could rely on a voice actor dialog, but there
would also be limits of the features because the character is quite
skeletal which would prove to have its own challenges when
animating.

se inspiration three sketches for my are animation came from a German
e character design ideas
ine comic artist named Jenny Hefczyc also know online
the antagonist, the first
Jenny Jinya. This artist has created very emotional
ge is the bear character
t
ine
will
comics
have a
about
fight with
the
the
grim reaper and his job of helping
her dead and (usually mortally animals) injures come to peace then cross over,
er . reading many comics I wanted to take inspiration from
second way the sketch narrative shows elicits that emotion and incorporate it
so ehow had an into idea my that animation, the this is because I feel that the
r ics antagonist are very could effective be a at making the reader emotionally
f nected instead, to but what I felt they that are a reading; by anthropomorphizing
r characters is more brutish and and relating to the stories as they address
cabre
e believable
current
to easily
and real topics.
tally wound a mountain
for the style of the animation I have decided to create my
.
n
final
style
sketch
using
is
my
a sketch
current
of
skills developed over university.
tilized young cub images beingof a basic bald character and then
fronted eloped by the the character bear for based on the parameters I
first isioned time. for his appearance.

These My inspiration three sketches for my are animation came from a German
some character design ideas
online comic artist named Jenny Hefczyc also know online
for the antagonist, the first
as Jenny Jinya. This artist has created very emotional
image is the bear character
that
online
will
comics
have a
about
fight with
the
the
grim reaper and his job of helping
mother the dead and (usually mortally animals) injures come to peace then cross over,
her. after reading many comics I wanted to take inspiration from
The the second way the sketch narrative shows elicits that emotion and incorporate it
I somehow also had an into idea my that animation, the this is because I feel that the
bear comics antagonist are very could effective be a at making the reader emotionally
wolf connected instead, to but what I felt they that are a reading; by anthropomorphizing
bear the characters is more brutish and and relating to the stories as they address
more
macabre
believable
current
to easily
and real topics.
mortally wound a mountain
As for the style of the animation I have decided to create my
lion.
The
own
final
style
sketch
using
is
my
a sketch
current
of
skills developed over university.
the I utilized young cub images beingof a basic bald character and then
confronted developed by the the character bear for based on the parameters I
the envisioned first time. for his appearance.

s and objects that have a somewhat deeper meaning to
story or myself, some are more obvious than others, like
sand-timer alarm clock and the guillotine bed, but things
the tree that the character travels through in the portal
he park is a yew tree which have been associated for
dreds of years with death and are often found growing in
veyards, but the real easter egg in the animation is the
e posts in the park contain the Woodward family coat of
s which Is my family coat of arms.

items and objects that have a somewhat deeper meaning to
the story or myself, some are more obvious than others, like
the sand-timer alarm clock and the guillotine bed, but things
like the tree that the character travels through in the portal
at the park is a yew tree which have been associated for
hundreds of years with death and are often found growing in
graveyards, but the real easter egg in the animation is the
gate posts in the park contain the Woodward family coat of
arms which Is my family coat of arms.

he the start project of the project I was it asked had been to quite produce difficult a calendar but also quite that will
p resng, me to the understand main reason for what this the is I had different not done things as much I preucon
as I my would projects have liked in (or time, to be in honest the timetable what was needed I was to to create
need to do
omplete
lude animaon things if I was like, in what the industry), time I this wake is because and what In truth time I had I let ammyself
ome e to tunnel spend visioned the on projects, a previous compared assignment, to but time even spent with a brief on me
and er things the work like I social managed life, to get jobs the or missing rest and pre-producon recuperation. work I
s hed also (not to to incorporate a level I would what have liked order but I it would will do), plan plus I to now work saw this on
gnment projects more for like example, how I would I could imagine plan it might to complete be in the industry, scenes fast 3
ed, 4 confusing by the first and stressful weekend so in or truth to I have genuinely all line looked work forward for to the the
llenge.
racters scythe in the next few days. My problem with
tart
ing
the
to work
project,
out
I started
this
by
aspect
lining up
of
my
the
background
timetable
first.
is that
The reason
I
I
ted
not
with
gauge
the main
how
backgrounds
long it will
first
take
is that
me
usually.
to complete
in my previous
a task,
gnments I leave the backgrounds ll one of the last things I finish, I
s incorporating my home life with my work life is
ays le these towards the end because not only am I usually on a ght
ething that I find quite difficult, my problem is that If I
schedule, but also in the past I would quite oen skimp quality to meet
myself micro tasks throughout the day, if I do not
deadline, so this me because of how quickly I can get this task achieved
plete the tasks at the time they are meant to be
d chosen to start with the background line ups first, then I would move
pleted it will cause me great stress, not to mention that I
o animang the character in the environment, this is because it allows
’t complete my tasks like other people, I work
to ground the character in the scene.
radically, working and hopping from various tasks at the
e time so it's hard to say this will be done by this date

At For the the start project of the project I was it asked had been to quite produce difficult a calendar but also quite that will
interesng, help me to the understand main reason for what this the is I had different not done things as much I preproducon
to complete as I my would projects have liked in (or time, to be in honest the timetable what was needed I was to to create
need to do
the include animaon things if I was like, in what the industry), time I this wake is because and what In truth time I had I let ammyself
become able to tunnel spend visioned the on projects, a previous compared assignment, to but time even spent with a brief on me
to other hand things the work like I social managed life, to get jobs the or missing rest and pre-producon recuperation. work I
finished was also (not to to incorporate a level I would what have liked order but I it would will do), plan plus I to now work saw this on
assignment the projects more for like example, how I would I could imagine plan it might to complete be in the industry, scenes fast 3
paced, and 4 confusing by the first and stressful weekend so in or truth to I have genuinely all line looked work forward for to the the
challenge.
characters scythe in the next few days. My problem with
To
trying
start the
to work
project,
out
I started
this
by
aspect
lining up
of
my
the
background
timetable
first.
is that
The reason
I
I
started
cannot
with
gauge
the main
how
backgrounds
long it will
first
take
is that
me
usually.
to complete
in my previous
a task,
assignments I leave the backgrounds ll one of the last things I finish, I
plus incorporating my home life with my work life is
always le these towards the end because not only am I usually on a ght
something that I find quite difficult, my problem is that If I
me schedule, but also in the past I would quite oen skimp quality to meet
set myself micro tasks throughout the day, if I do not
the deadline, so this me because of how quickly I can get this task achieved
complete the tasks at the time they are meant to be
I had chosen to start with the background line ups first, then I would move
completed it will cause me great stress, not to mention that I
on to animang the character in the environment, this is because it allows
don’t complete my tasks like other people, I work
me to ground the character in the scene.
sporadically, working and hopping from various tasks at the
same time so it's hard to say this will be done by this date

er myself and another peer in my class who is also
rodivergent as well spoke to our tutor Mario about our
uggles in working out the calendar, the tutor and I came
n agreement that I would write a list of tasks that need
e completed and give a date when they will be completed
and that would be my guide for what needs to be done
when, without all the trivia of the micro scheduling,
ich I personally think was more successful at allowing me
ime manage.
ryboard
en I first created the storyboard for the preproduction
rk, I was quite panicked and rushed which resulted in me
y really getting down the bare fundamentals for the plot
t I had envisioned, but once I had submitted the first
ft for the deadline set, it allowed me to redraw the story
rd and animatic and to re-thing the plot which as a result
duced a much better story, one I was a lot happier with.

After myself and another peer in my class who is also
neurodivergent as well spoke to our tutor Mario about our
struggles in working out the calendar, the tutor and I came
to an agreement that I would write a list of tasks that need
to be completed and give a date when they will be completed
by, and that would be my guide for what needs to be done
and when, without all the trivia of the micro scheduling,
which I personally think was more successful at allowing me
to time manage.
Storyboard
When I first created the storyboard for the preproduction
work, I was quite panicked and rushed which resulted in me
only really getting down the bare fundamentals for the plot
that I had envisioned, but once I had submitted the first
draft for the deadline set, it allowed me to redraw the story
board and animatic and to re-thing the plot which as a result
produced a much better story, one I was a lot happier with.

the assignment I used an animation software to create
animation, as you can see the two images on the
vious page 18, the top image is what the animation looks
in its initial stages as just line art, the second image is
h all the colours added to the colour layer. The final
ge below shows a little of my process when working out
gs in a scene, usually will inset images around the main
e of the animation to help me to remember things to add
just for reference.

For the assignment I used an animation software to create
the animation, as you can see the two images on the
previous page 18, the top image is what the animation looks
like in its initial stages as just line art, the second image is
with all the colours added to the colour layer. The final
image below shows a little of my process when working out
things in a scene, usually will inset images around the main
page of the animation to help me to remember things to add
or just for reference.

composite my animation when the animating side was
finished, I used the software Adobe Premier Pro. In this
tware I am not only able to add the animation clips, but
n also add soundtracks and manipulate the volume and
ease ins and outs to the soundtracks individually plus,
ecessary, I can also add transitions and other effects to
animation clips too.

To composite my animation when the animating side was
all finished, I used the software Adobe Premier Pro. In this
software I am not only able to add the animation clips, but
I can also add soundtracks and manipulate the volume and
add ease ins and outs to the soundtracks individually plus,
if necessary, I can also add transitions and other effects to
the animation clips too.

en it came to adding tracks to the animation, I used
be Audition to distort and convert audio clips and tracks
wnload royalty free from the sites freesound.org and
liyanstudios.com, with in the software I can manipulate
tracks much easier than in just Premier pro which is
y I really enjoy using this software.

After talking to Mario my tutor and listening to his feedback
he advised me on how I should layout scenes better for my
backgrounds, this was extremely helpful because I was able
to create the scene much better than if I had done it by
myself alone, I would quite often crosscheck my work with
my tutors and peers to see how they thought my project was
coming along, which not only provided me with possible
advice on something I might not have notice or thought of
but their opinion is coming from a “fresh pair of eyes” so to
say, meaning that not only are they not tied to the project
like I am, but they might envision a shot or motion in a way
I wouldn’t , plus when I have been staring at the same
scenes over and over mistakes are very easily made. Within
the first week I had managed to complete all the background
line-ups for most of the scenes. For one of the scenes which
involved the fox character walking across the road before
being struck by the car, I was stuck on finding a good
perspective camera shot for the shot, after I talked to my
tutor Jud Walton, I was advised on a possible shot I could
use, which at the time seemed like it would work well.

erstanding the continuity of the of the perspective opening scene, layout. I I wanted created to a animate basic
model character of the waking scene up (which in bed I have and then done stretching, previously I for had an
a other in my projects). head but Once I had the to scene find a was reference, created, I had I was found ablea
lly creenshot good reference the scene from then a import shot of it the into character Toonboom of Tom as a
erence. m the cartoon I then used Tom the and scene Jerry, to in understand which he stretches the and
spective es into a and comfortable placement bed. for Taking the object this in reference, the scene. I then After
cussing rched the with internet my peers for images and tutors, videos I decided of people this shot
s diculating; not in the to correct better perspective help to understand was the unnecessary, motion of so a
son as dropped stretching from when my they project, wake which up. I did feel find was it the difficult to
rect videos decision of people to make. waking up and stretching in the
ition I was looking for, there are only mostly stretching
yoga tutorial videos. However, I did find there were
ltiple images of people stretching when they are waking
in bed which I could take reference from.

understanding out the continuity of the of the perspective opening scene, layout. I I wanted created to a animate basic
3D the model character of the waking scene up (which in bed I have and then done stretching, previously I for had an
my idea other in my projects). head but Once I had the to scene find a was reference, created, I had I was found ablea
to really screenshot good reference the scene from then a import shot of it the into character Toonboom of Tom as a
reference. from the cartoon I then used Tom the and scene Jerry, to in understand which he stretches the and
perspective slides into a and comfortable placement bed. for Taking the object this in reference, the scene. I then After
discussing searched the with internet my peers for images and tutors, videos I decided of people this shot
was pandiculating; not in the to correct better perspective help to understand was the unnecessary, motion of so a
it person was dropped stretching from when my they project, wake which up. I did feel find was it the difficult to
correct find videos decision of people to make. waking up and stretching in the
position I was looking for, there are only mostly stretching
or yoga tutorial videos. However, I did find there were
multiple images of people stretching when they are waking
up in bed which I could take reference from.

s gination advised to by create my tutor the Mark scenes, that I did it would not use be any good other if the
erences. de came For out like the shot a utility where blade the from reaper a pocketknife, characters clothes I
tantly nged to loved his reaping the idea attire so I animated I was hit the with shot a slight how he
gested undrum, and I really it worked would awesomely, have liked I to added animate somethe
icipation racter getting and bounce changed to from the blade his nightwear as it fully into opens his and new
ping end result clothes is but as with you can the see. time restraints I had realised
t this might be an overly ambitious task to achieve, I
embered back to my first year at university I had to
ate a morph animation, this is where an object or
ature morphs from one thing to another in one smooth
mation, using this technique was how I then changed the
hes without having to create a difficult animation.
some of the backgrounds for the bedroom shots it was
essary that I added a blur node to the background layer
ive the illusion of camera perspective, this is something I
rned early in year two and it is highly effective at
wing perspective for your shots.

imagination was advised to by create my tutor the Mark scenes, that I did it would not use be any good other if the
references. blade came For out like the shot a utility where blade the from reaper a pocketknife, characters clothes I
changed instantly to loved his reaping the idea attire so I animated I was hit the with shot a slight how he
conundrum, suggested and I really it worked would awesomely, have liked I to added animate somethe
character anticipation getting and bounce changed to from the blade his nightwear as it fully into opens his and new
reaping the end result clothes is but as with you can the see. time restraints I had realised
that this might be an overly ambitious task to achieve, I
remembered back to my first year at university I had to
create a morph animation, this is where an object or
creature morphs from one thing to another in one smooth
animation, using this technique was how I then changed the
clothes without having to create a difficult animation.
In some of the backgrounds for the bedroom shots it was
necessary that I added a blur node to the background layer
to give the illusion of camera perspective, this is something I
learned early in year two and it is highly effective at
showing perspective for your shots.

per I need traveled to find to something for the first that time, would I had not to only think be of a
ievable resting shot, to look one at that visually, was close but also to a a road, species for that example already
a preexisting park entrance symbolism and showed / association a tree for with the reaper’s death. After
ng tal some to come research through, I found although out that the portal yew trees originally are very just
ch eared associated next to with the tree death in as my they first quite idea often but I felt will this grow was in
boring eteries, and I came unimaginative, across the image after looking of Estry over Yew the tree internet
various mandy which park entrances is said to be I found 1,600 one years of the old, some I loved posts theI
lly pe and liked its that gnarly were looking the one wood, of the plus entrances there is toalso an
stonbury ning in the park. middle that I could envision my character
lking out of, so I decided to draw the tree and add it to
animation. Previously I mentioned I had decided to
nge the idea of the reaper’s portal appearing next to the
e, now I had this image of the tree with its opening I
ided to have the portal appear inside the tree off shot, to
e myself the task of creating the portal and the character
ting it on scene in full view, which wouldn’t have been
icult but I felt this method was not only more effective
more cinematically effective.

reaper off I need traveled to find to something for the first that time, would I had not to only think be of a
believable interesting shot, to look one at that visually, was close but also to a a road, species for that example already
like has a preexisting park entrance symbolism and showed / association a tree for with the reaper’s death. After
portal doing some to come research through, I found although out that the portal yew trees originally are very just
appeared much associated next to with the tree death in as my they first quite idea often but I felt will this grow was in
too cemeteries, boring and I came unimaginative, across the image after looking of Estry over Yew the tree internet
for Normandy various which park entrances is said to be I found 1,600 one years of the old, some I loved posts theI
really shape and liked its that gnarly were looking the one wood, of the plus entrances there is toalso an
Glastonbury opening in the park. middle that I could envision my character
walking out of, so I decided to draw the tree and add it to
my animation. Previously I mentioned I had decided to
change the idea of the reaper’s portal appearing next to the
tree, now I had this image of the tree with its opening I
decided to have the portal appear inside the tree off shot, to
save myself the task of creating the portal and the character
exiting it on scene in full view, which wouldn’t have been
difficult but I felt this method was not only more effective
but more cinematically effective.

eme for the park, my original idea for the scene was that
anted it to be quite dark, this is because I wanted to show
character's progression by the sun rising and setting
in, plus I also wanted the lights from the car to be more
ible, but because I had changed the story this was no
ger applicable. So what I did now is to look at a sunrise
ur scheme, after waking up a few very early mornings
looking at the colours that the sky created, as well as I
o looked at various photographic images of sunsets
und the UK to best choose the right colours for the scene,
only did I need to think about the colour of the of the
rise I also needed to match the tree and the far
kground to match the colours of something that would be
ouetted at that time by the rising sun. When choosing the
urs, I needed to make sure they were compatible with
colours I had already used for the reaper character and
fox, after a few tweaks of the fox's original orange
ur everything worked. Although it may go unnoticed, I
o added a slight layer of mist that I animated on a peg to
e the illusion of an early morning mist.

scheme for the park, my original idea for the scene was that
I wanted it to be quite dark, this is because I wanted to show
the character's progression by the sun rising and setting
again, plus I also wanted the lights from the car to be more
visible, but because I had changed the story this was no
longer applicable. So what I did now is to look at a sunrise
colour scheme, after waking up a few very early mornings
and looking at the colours that the sky created, as well as I
also looked at various photographic images of sunsets
around the UK to best choose the right colours for the scene,
not only did I need to think about the colour of the of the
sunrise I also needed to match the tree and the far
background to match the colours of something that would be
silhouetted at that time by the rising sun. When choosing the
colours, I needed to make sure they were compatible with
the colours I had already used for the reaper character and
the fox, after a few tweaks of the fox's original orange
colour everything worked. Although it may go unnoticed, I
also added a slight layer of mist that I animated on a peg to
give the illusion of an early morning mist.

animation the reaper’s the scythe alarm moves clock slowly wakes and him gently, at 5:30am this is so
ause ied to I mirror wanted the type connection of light to and the colours scythe that and are the soul
raction sent at to that be time emotionally during a delicate; summer. in The appearance reason I the mention
the mer looks is because sharp and I looked dangerous at the diverse but its motions types of speaks sunrises
erwise, t appear which at 5:30 I feel in the gives morning character at different to not only periods the scythe of
year says in a lot various about parts the role of the of the UK Reaper, and found that that it's Inot as
m ferred as everyone a summer perceives sunrise it as to they be, which are the is most what colourful I am
ing evocative. to convey. I would also like to note that when I
wed the animation of the scythe touching the fox to my
or Mark Mason, I originally had the movement of the
the to move in a constant motion but my tutor advised
, that when you go to pick up something small off a
face you don’t just bumble your hand full speed toward
item but you naturally have a hesitation and a
ondary motion towards the thing you are going to pick
using this information I then animated the scythe to
e a slight pause before moving to the head as it shows a
re thought out and delicate approach.

the animation the reaper’s the scythe alarm moves clock slowly wakes and him gently, at 5:30am this is so
I because tried to I mirror wanted the type connection of light to and the colours scythe that and are the soul
present extraction at to that be time emotionally during a delicate; summer. in The appearance reason I the mention
summer scythe looks is because sharp and I looked dangerous at the diverse but its motions types of speaks sunrises
that otherwise, appear which at 5:30 I feel in the gives morning character at different to not only periods the scythe of
the but year says in a lot various about parts the role of the of the UK Reaper, and found that that it's Inot as
preferred Grim as everyone a summer perceives sunrise it as to they be, which are the is most what colourful I am
and trying evocative. to convey. I would also like to note that when I
showed the animation of the scythe touching the fox to my
tutor Mark Mason, I originally had the movement of the
scythe to move in a constant motion but my tutor advised
me, that when you go to pick up something small off a
surface you don’t just bumble your hand full speed toward
the item but you naturally have a hesitation and a
secondary motion towards the thing you are going to pick
up, using this information I then animated the scythe to
have a slight pause before moving to the head as it shows a
more thought out and delicate approach.

yfish ne where which the comes Reaper after grabs the the shark soul, animation and the fox which appears I
w is myself eyes. The I rotoscoped action of moving the animals them from to the YouTube other animal videos
nimals was extremely in motion, challenging. for the shark This I rotoscoped scene was a 3D model
mendously shark that difficult was off because a site called I had Sketchfab to lay the and different added it
ers peg, in to the achieve scene so the that glow transition of the souls of the I created fox inside 2 layers, the
per's layer eyes was happened a solid colour seamlessly, white and by beneath matching I added the colours, a
w e colour, and transparency both layers nodes had an in attached Toonboom glow so node that when but the the
er t moves beneath to had the next, a gaussian after a blur few node mistakes which and blurred restarting the
e tain to make layers, it I appear managed like to its pull glowing. it off and it looks amazing.
er the scene of the different animal souls, the shot
nsitions to a shot of the soul in a chest full of souls and
Young Reaper, who is looking tired and fatigued as he is
ibbling into a tally in his notebook. I reused a background
ew for a previous assignment called The Postman and
Lion. The reason I chose to use an original backdrop I
d in a previous animation as not only do I think it was
ctive and highly detailed, but I allowed me to concentrate
more difficult parts of my animation by getting this out
he way as soon as possible.

scene jellyfish where which the comes Reaper after grabs the the shark soul, animation and the fox which appears I
in drew his myself eyes. The I rotoscoped action of moving the animals them from to the YouTube other animal videos
souls of animals was extremely in motion, challenging. for the shark This I rotoscoped scene was a 3D model
tremendously of a shark that difficult was off because a site called I had Sketchfab to lay the and different added it
layers to a peg, in to the achieve scene so the that glow transition of the souls of the I created fox inside 2 layers, the
reaper's one layer eyes was happened a solid colour seamlessly, white and by beneath matching I added the colours, a
glow blue colour, and transparency both layers nodes had an in attached Toonboom glow so node that when but the the
shot layer moves beneath to had the next, a gaussian after a blur few node mistakes which and blurred restarting the
certain blue to make layers, it I appear managed like to its pull glowing. it off and it looks amazing.
After the scene of the different animal souls, the shot
transitions to a shot of the soul in a chest full of souls and
the Young Reaper, who is looking tired and fatigued as he is
scribbling into a tally in his notebook. I reused a background
I drew for a previous assignment called The Postman and
the Lion. The reason I chose to use an original backdrop I
used in a previous animation as not only do I think it was
effective and highly detailed, but I allowed me to concentrate
on more difficult parts of my animation by getting this out
of the way as soon as possible.

ng Reaper
the character of The Young Reaper, I wanted to keep the
ign simple but effective, utilizing the fact that large heads
large eyes make cute characters and keeping his attire
ple, modern but in a way could be a type of clothing a
ng reaper would wear, I tried a few different design
les and took influence from things like Secret life of Billy
Mandy, which has a Grim Reaper character called Grim
Sir Daniel Fortesque from the 1998 PlayStation One
e Medievil, I also took inspiration from a character
led Puro from an online game called Changed, he is a
fy skull character whose design i really found inspiring.
ally love the idea of the character having no lower jaw
t like the Sir Daniel Fortesque from Medievil. This is
ause it means that I can focus on the character's motion
expressions to convey his emotions rather than relying
the dialog to be the bulk of an animation. A final thing to
ntion is i saw an online animation about a death
racter who follows a deer which i also found inspiring.

Young Reaper
For the character of The Young Reaper, I wanted to keep the
design simple but effective, utilizing the fact that large heads
and large eyes make cute characters and keeping his attire
simple, modern but in a way could be a type of clothing a
young reaper would wear, I tried a few different design
styles and took influence from things like Secret life of Billy
and Mandy, which has a Grim Reaper character called Grim
and Sir Daniel Fortesque from the 1998 PlayStation One
game Medievil, I also took inspiration from a character
called Puro from an online game called Changed, he is a
fluffy skull character whose design i really found inspiring.
I really love the idea of the character having no lower jaw
just like the Sir Daniel Fortesque from Medievil. This is
because it means that I can focus on the character's motion
and expressions to convey his emotions rather than relying
on the dialog to be the bulk of an animation. A final thing to
mention is i saw an online animation about a death
character who follows a deer which i also found inspiring.

erstijn the character of the Young Reaper’s scythe, I kept the
ign simple because I wanted to do turns and different
vements easily, this is because I wanted the character to
semi-sentient. My tutor asked me where my inspiration
e from for the motion and design of the scythe. My
piration came from Disney's The Sorcerer's Apprentice in
ich there were semi sentient broomsticks that would
ve with purpose, this is the sort of thing I wanted for my
the character, I wanted it to float and glide magically./
original idea was to have the scythe fully sentient with
eye to show expression but I decided not to follow with
idea as it might have distracted from the animation of
Reaper character.

Onderstijn For the character of the Young Reaper’s scythe, I kept the
design simple because I wanted to do turns and different
movements easily, this is because I wanted the character to
be semi-sentient. My tutor asked me where my inspiration
came from for the motion and design of the scythe. My
inspiration came from Disney's The Sorcerer's Apprentice in
which there were semi sentient broomsticks that would
move with purpose, this is the sort of thing I wanted for my
scythe character, I wanted it to float and glide magically./
My original idea was to have the scythe fully sentient with
an eye to show expression but I decided not to follow with
this idea as it might have distracted from the animation of
the Reaper character.

original idea I had for the animal that was going to be
down by the car was a cat, but I decided to change it to
x as not only do I have more experience drawing and
erstanding fox anatomy than a cats and I also wanted to
ose an animal that would most likely be around early in
awn. I usually I like to challenge myself constantly
oughout all my projects I decided that because of the time
traints I would lean on a previous skill, which I am very
d I decided to choose this switch because it allowed me to
only achieve the task confidently but it also allowed me
ocus on other areas that were more difficult meaning I
ld give them more attention than I would have done
ently.

The original idea I had for the animal that was going to be
ran down by the car was a cat, but I decided to change it to
a fox as not only do I have more experience drawing and
understanding fox anatomy than a cats and I also wanted to
choose an animal that would most likely be around early in
at dawn. I usually I like to challenge myself constantly
throughout all my projects I decided that because of the time
restraints I would lean on a previous skill, which I am very
glad I decided to choose this switch because it allowed me to
not only achieve the task confidently but it also allowed me
to focus on other areas that were more difficult meaning I
could give them more attention than I would have done
recently.

you can see from the original script the plot has changed
te considerably as the project develops, I used the script
more like a guideline, to make sure I kept to the same
rative, but the story changed heavily from the original
a and the same thing can be said about the storyboard
.
G REAPER BY OLIVER WOODWARD
ORNING BEDROOM OF YOUNG REAPER
E 1
ene starts within a small bedroom of a young grim reaper lying asleep in bed
d timer alarm clock goes off waking him, he wakes up excited and looks at a calendar on the wall next to his bed,
calendar all the days are crossed off up to today where it says 'Day I become a reaper'
ung reaper sees a large scythe shaped present wrapped up with a note attached to it propped up at the end of
d
es over and reads the note attached to the present, it says 'Son, good luck on your reaper day, sorry I will miss it
ad.
d and franticly the young reaper rips off the wrapping to see a wooden trainee scythe
ed and dismayed the young reaper touches the scythe and he and the scythe glow together as a bond is made
another.

As you can see from the original script the plot has changed
quite considerably as the project develops, I used the script
as more like a guideline, to make sure I kept to the same
narrative, but the story changed heavily from the original
idea and the same thing can be said about the storyboard
too.
YOUNG REAPER BY OLIVER WOODWARD
INT. MORNING BEDROOM OF YOUNG REAPER
SCENE 1
the scene starts within a small bedroom of a young grim reaper lying asleep in bed
a sand timer alarm clock goes off waking him, he wakes up excited and looks at a calendar on the wall next to his bed,
on the calendar all the days are crossed off up to today where it says 'Day I become a reaper'
the young reaper sees a large scythe shaped present wrapped up with a note attached to it propped up at the end of
his bed
He goes over and reads the note attached to the present, it says 'Son, good luck on your reaper day, sorry I will miss it
love dad.
excited and franticly the young reaper rips off the wrapping to see a wooden trainee scythe
annoyed and dismayed the young reaper touches the scythe and he and the scythe glow together as a bond is made
to one another.

nother.
ung reaper places the orb in the middle and the tube sucks the orb upward away then the portal disappears
econd a portal appears next to the young reaper from the scythe and he walks through
ung reaper has a look of achievement but feels like he is being watched and looks around
DAYTIME SMALL OPEN PARK WITH A ROAD ADJACENT
distance of the park his dad the grim reaper is stood watching before disappearing
E 2
al shot is of the young reaper smiling with a small tear running down his cheek
oung reaper appears through the portal and is in a small dog walkers park by a tree
noyed at the wooden scythe the young reaper kicks a tuft of grass looking around at his surrounding confused to
e is there
reen sound of car slightly breaking and hitting something then continuing driving)
ung reaper looks toward the sound and walks towards it
is a scene of the road next to the park and in the middle there is the body of a dead cat just been hit
ung reaper walks toward the body and goes to poke it with the end of his scythe
scythe gets closer it stars to glow
the young reaper touches the body of the cat a blue spirit orb of the cat floats up from the body
atically the young reaper gently puts his hand under the floating orb guiding it closer to his face
he scythe starts to glow again and a small portal appears

one another.
the young reaper places the orb in the middle and the tube sucks the orb upward away then the portal disappears
in a second a portal appears next to the young reaper from the scythe and he walks through
the young reaper has a look of achievement but feels like he is being watched and looks around
EXT. DAYTIME SMALL OPEN PARK WITH A ROAD ADJACENT
In the distance of the park his dad the grim reaper is stood watching before disappearing
SCENE 2
the final shot is of the young reaper smiling with a small tear running down his cheek
The young reaper appears through the portal and is in a small dog walkers park by a tree
still annoyed at the wooden scythe the young reaper kicks a tuft of grass looking around at his surrounding confused to
why he is there
(off screen sound of car slightly breaking and hitting something then continuing driving)
the young reaper looks toward the sound and walks towards it
there is a scene of the road next to the park and in the middle there is the body of a dead cat just been hit
the young reaper walks toward the body and goes to poke it with the end of his scythe
as the scythe gets closer it stars to glow
when the young reaper touches the body of the cat a blue spirit orb of the cat floats up from the body
automatically the young reaper gently puts his hand under the floating orb guiding it closer to his face
next the scythe starts to glow again and a small portal appears

poster
ign
might look like.

design
the poster might look like.

he this jellyfish Project souls I feel that move the animation out of shot was to a the complete top of the
een, cess but for after a multitude 4 days of of reasons, drawing first and I animating feel the storyline them rked ious well design to styles, convey shapes the plot and I was sizes, trying colours to get and across, opacities
ad s I to do put feel the that idea it is to subtly the side emotional and if I which had time comes at the end
ould urally retry and to isn’t make forced, it work, I really but like sadly how I did when not using had the
e be to Audition emend this and issue, Premier had Pro I known I took how royalty difficult free this music bit
animation I blended would one of have them been to create I would a completely have tried new to work piece
the usic issue that sooner fit my animation but it is hard perfectly, to gauge I especially how difficult love
ething I was able like this to get might the score be, especially points within seeing the as music it to
ginally cide with seemed actions like that quite happen a simple in the thing animation. to amend, I really I also
l d this the would design have of the been character a lengthy as task I felt to that achieve he was thesimple
lity very I would evocative have from liked, his however eye movements my time and was body better
tions nt working and I feel on other colour shots schemes that advanced for the the backgrounds storyline. I
ond, d were had very I had expressive a little more and time completed I would the have scenes, liked to tonot
y e solidify added more what surface the time detail of day to the is but backgrounds, also to the but this
s racter’s not a necessity personal it preferences was just a and “if I demeanor had time left, too. I would had
this” er fun issue. making this whole animation.

For to the this jellyfish Project souls I feel that move the animation out of shot was to a the complete top of the
success screen, but for after a multitude 4 days of of reasons, drawing first and I animating feel the storyline them worked various well design to styles, convey shapes the plot and I was sizes, trying colours to get and across, opacities
plus I had I to do put feel the that idea it is to subtly the side emotional and if I which had time comes at the end
naturally I would retry and to isn’t make forced, it work, I really but like sadly how I did when not using had the
time dobe to Audition emend this and issue, Premier had Pro I known I took how royalty difficult free this music bit
and off animation I blended would one of have them been to create I would a completely have tried new to work piece
of out music the issue that sooner fit my animation but it is hard perfectly, to gauge I especially how difficult love
how something I was able like this to get might the score be, especially points within seeing the as music it to
coincide originally with seemed actions like that quite happen a simple in the thing animation. to amend, I really I also
liked feel this the would design have of the been character a lengthy as task I felt to that achieve he was thesimple
but quality very I would evocative have from liked, his however eye movements my time and was body better
motions spent working and I feel on other colour shots schemes that advanced for the the backgrounds storyline. I
used Second, were had very I had expressive a little more and time completed I would the have scenes, liked to tonot
only have solidify added more what surface the time detail of day to the is but backgrounds, also to the but this
character’s was not a necessity personal it preferences was just a and “if I demeanor had time left, too. I would had
super fix this” fun issue. making this whole animation.

plete this animation, the undeveloped story board and
matic, es without and saying serious that I personal cannot thank issues and praise outside my tutors of University, and my I
rs e from managed my animaon to achieve course an enough animation and of course that my even thanks If it are is also not
y into parents any who festivals have supported does me not from go day further one, Without than all my of you I
ld Tube never page, be where I am I am still today; extremely at the end proud of one journey of it and myself, the start of
ther. completing I also wish my to thank whole Sara journey Mullock through who without my their university suggeson i
ld erience not have this even successfully. made this animaon. It has So allowed it is with me my whole to not heart, onlyI
to lore you new all thank topics you so and much. subjects X I had never even heard
ut before, but it has also allowed me to develop as a
son as well by giving me a new purpose.

complete this animation, the undeveloped story board and
animatic, It goes without and saying serious that I personal cannot thank issues and praise outside my tutors of University, and my I
have peers from managed my animaon to achieve course an enough animation and of course that my even thanks If it are is also not
put to my into parents any who festivals have supported does me not from go day further one, Without than all my of you I
would ouTube never page, be where I am I am still today; extremely at the end proud of one journey of it and myself, the start of
for another. completing I also wish my to thank whole Sara journey Mullock through who without my their university suggeson i
experience would not have this even successfully. made this animaon. It has So allowed it is with me my whole to not heart, onlyI
explore say to you new all thank topics you so and much. subjects X I had never even heard
about before, but it has also allowed me to develop as a
person as well by giving me a new purpose.