animationskillsalexilieva

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Yuri Norstein

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[animationskillsalexilieva]

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Walt Disney

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Timing

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Oskar Fischinger

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Secondary action

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Jan Svankmajer

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Ark

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Max & Dave Fleischer

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Slow in and Slow out

This principle refers to the way pretty much all movement starts slowly, build speed and finishes slowly

This is one of the most important principles to achieving lifelike motion without slow out, things feel mechanical

That's because robots are one of the only things that actually move their parts at a constant speed

To use this principle in 2D animation, you take your extreme poses draw a single in-between and then draw in between those

Then only in between the drawings closest to the extremes

With 3D animation and motion graphics

Adding slow in and slow out as a matter of changing the motion curves from linear to spline by adjusting the bezier handles

As time progresses the object starts slow, gets fast, and then slowly

For example you wouldn't add a slow out to a bouncing ball as it's colliding with the ground

But you would add it as it's bouncing back up

You wouldn't add it to a bullet coming out of a gun

But you would add it as the gun comes up due to whiplash

Using this principle can allow you to only have to draw one in between if the motion is quick enough

Draw one is between and then add another frame on either end with the drawing slightly skewed in the correct direction and then it's done

Sometimes you don't even have to add the one in between

This kind of motion can be achieved in 3D with very extreme curves

Many people starting out with animation get impatient and draw the next frame very far away from the beginning

It's very unrealistic for a character to go from completely still to super fast so adding a few drawings to ease into it will fix the problem

A good way to fix a choppy animation is to analyse the space between the drawings

They should be evenly spaced with drawings closer together at the action and at the end of the action and drawings farther apart in the middle

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Len Lye

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Through and Overlapping Action

This is a technique of having body parts and appendages dragged behind the rest of the body and continue to move when the body stops

Follow through and overlapping actions are often associated with another technique called drag

Follow through refers to the way parts of the body continue to move after the body is stopped

Overlapping actions describes the offset between the timing of the main body and its other parts

Drag describes the technique of delaying the movement of the body parts in relation to the main body

All three of the these are basically describing different aspects of the same thing

Follow through and overlapping action add a great deal of realism to a character

Basically when the main body moves, the tip of the appendage should be the last to catch up. And when the body stops, the tip should follow through the farthest before settling back

This is true of not just appendages, but the whole body as well

When coming to a stop often the body will follow through and then come back

Just as the character needs to anticipate his jump he also needs to follow through his land

Sometimes the extra skin on the character can be treated as a separate entity with Drag and follow through

Similar to squash and stretch

The amount of drag that you give something says something about its mass

It's usually easier to add the appendages after the animation of the main body is finished

When adding hair for example

Use the previous frame as an indicator of where the hair should be stretches towards

Since it has drag it should be dragging from where wasn't the last frame

In addition, make sure to let the hair follow through when the body comes to a stop

Arms are a good place to insert follow through and overlapping action

Have the elbows lead the arms actions, the elbow comes first followed by the forearm, and then the hand

This is true even when walking, the forearms drag slightly behind the elbows and the hands slightly behind the forearms

Overlapping action helps break up an animation to make it more interesting

If we offset the movement of the arms and legs

The animation appears more graceful

If a character is standing up from the ground we could offset the top half from the bottom half to make it look less easy and more realistic

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Lotte Reiniger

Lotte Reiniger was born in the Charlottenburg district of Berlin on 2 June 1899.

She worked included:

Notes

screenplays

story boards

music

opera films

poet

ink

watercolour

She designed costumes and set for the theatre and opera, staged puppet shows and shadow plays illustration books, newspapers and magazines.

Reiniger worked mostly with silhouette films in which paper and cardboard cut-outs that are moved to create a stop motion animation.

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Straight Ahead and Pose to Pose

This term describes two methods used to animate drawings

The first method straight ahead is where you draw the first drawing and then you draw the second drawing and then the third drawing and so on ( It's basically animating as you go)

The second method post a pose is where you draw the beginning and end of each main pose and go back later to fill in the drawing in between

There are benefits to both methods

Pose to pose is generally better for most actions because it gives you the most control. You have a good idea of what the action is going to look like very early in the process. So instead of worrying if the character is going to end up in the right place.

You decide where they end up from the beginning and work backwards

Using straight ahead animation can lead to the character changing size or being on a different level from beginning to end

Pose to pose can save you a lot of work

If you were to animate a whole sequence straight ahead and then realize that one pose is off. You would have to change several drawings to fix that one pose

But with pose to pose you do the main pose to see if it feels right and you can catch problems early on

Straight ahead animation on the other hand is good for animation that is unpredictable

Some examples of this include:

fire

water particles

clouds of dust

explosions

The reason why straight ahead works well is because there are laws of physics that work at a constant rate and it's hard to predict how it will work post a pose

So where animating fire for example you just go with the flow based on what you know about fire and let the fire kind of create itself

If we were to look at the beginning and end we wouldn't even know how in between it

However, you can still use pose to pose to make the general shapes and fill it in between to make it smoother.

Another example of unpredictable animation is overlapping action

Let's say that a character has floppy ears

You could draw the figure with his ears for each pose adjust draw the in-betweens accordingly

But another method is to animate the figure using post to pose without the ears and then going through and adding the years using straight ahead

This is good because you can focused on the figures movements without the distraction of having to do his ears without the distraction of his body's movement

This also applies to hair, tails and other appendages

When you work pose to pose, there's some vocabulary that goes into it

There are main poses called keys

Secondary pose called extremes

And further broken-down poses called breakdowns

Make the key first- perfect them

Then the farthest the character will go in each direction using extremes and then decide how you want the extremes to connect using extremes.

At this point you can start in-btweening

Working with this sort of hierarchy will give you the most control as opposed to doing your post to pose, straight ahead

This is like pose with in pose to pose

Because you are perfecting the poses at each level before moving down to the next level