I was also able to jump on board Mike Schneider's incredibly ambitious flicker-frame concept in which a different illustrator tackles each individual frame of his allocated shot.Mine simply resorted to the fabric-texture-with-relief-shadow look I've been pulling out a lot lately, most notably with the Channel 4 project last spring. It's kind of practice for the ever-growing Struwwelpeter music video I'm still working on. Here are some other, more visually adventurous takes on it by some of the other illustrators:
As it was only two seconds I decided to do it on ones (24 frames-per-second as opposed to 12, which is what I usually stick with). The fluidity of movement is really appealing, almost to the point where I'm considering having my next film be an entirely on-ones affair. Composition-wise, the shot combines full animation (the lips) with tweened animation (the teeth), the throat being the background. Here's a quick vid of the various stages, beginning with the original shot as animated by Plympton, then the line test, coloured mouth animation, teeth animation and finally the fully composited shot:
"Throat", the next progress update for which I'll save another entry, however for similarities sake I thought I'd throw up the finalised cover design:
The main artwork has been posted before, but the added bandage/subtitle came from smearing an Ace bandage with hot chocolate mix, blending/warping/blurring the typography to match it and then tweaking the colour to make it look like blood (trust me, it's a far more distressing visual when it's smeared brown). Hopefully it represents the story well, sort of a mix of goofy and grim.
Back to "Guard Dog", I'll leave you with an animatic (consisting of concepts and the odd finished shot) that was recently uploaded to give a preview of the wide range of styles used: