differentflowergladiator

[differentflowergladiator]

Animation skills

Week 1

This week we where introduced to maya. We learnt how to manipulate shapes which was hard to wrap my head around at first, but with practice over the weekend I got the hang of it. I learnt that if you smooth out a a shape it creates more faces and corners theirfore you are able to make more intakate shapes. I found this out when experimenting too try and make my church, however I smothed it out to much at first but I was able to g o back.

Week 2

The beginnings of our design where due this week, so I just practiced using a reference whilst building my church model, which helped with building the different forms and shapes of the church. However one thing I did struggle with was creating holes in shapes, this is something I should improve on in the coming weeks.

We where meant to have our final shape however mine got deleted, I was struggling to create a church anyway so this was my opportunity to try something els. I felt a space ship would be a good way to create different shapes.

Week 3

I we where using uv mapping on our objects since mine was a space ship I chose an electrical surface image which I then uv mapped on to the s[ace ship the problem was that because their where so many faces on the space ship with varying shapes and sizes, the lengths and surface areas of the faces varied a lot, so sometimes the texture showed up slightly pixelated, so when I went onto uv mapping I managed to make the texture look proportionate to each face.

Week 4

This week we provided lighting and rendered our objects, we learnt the different types of lights we could use, and that we could make them different colours.

I had to be particular in where I positioned my light as to not drought half of my space ship, but to evenly light it whilst highlighting the many crevasse and shapes in the surfaces. I opted for I blue and a pink as I felt they worked best with the silver texture of my space ship.

When rendering the ship it turned out darker than expected, so I had to go back ad use stronger lights.

Week 5

This week we began out walk cycles. We began by first observing other people walking whilst observing the way the legs moved then the arms, and how they moved together. The teacher got us to some life drawing studies of people walking, although we where drawing frames.

We started off with a basic stick walk and where shown some examples.

We where then set a task of creating a character that walked in a Sertain emotion.i wanted my character to walk in a gruff of moody way. When drawing him he slowly became a skin head. I didn’t want to work with thin limbs so I designed him with baggy clothes, I wanted to try and animate creases in the clothes as he walked.

Week 6

This week we started to animate simple stick men. I didn’t realise that I would also have to think about zoom in and zoom out and also the height of the person when walking. First I focused on the legs having the back leg black and the front leg white so that I could differentiate them. Then I worked on the arms which moved along accordingly with the legs I took into account that my characters arms may move different as he is holding a different emotion after I had finished both the arms and the legs in the lesson I went onto plan what my character would look like, I decided that he would have his hands in his pocket and have his head low and peering forward to make him appear gruff and moody. I would have his legs stride forward to also bring in a sense of obnoxiousness.

Week seven

This week I began to start my main character walk. I wanted him to look like my character turn around so I traced an image of my character turnaround and imported it into Adobe animate as the starting frame. This made my character look more illustrative when animating I kept his face the same focused on his, arms and shoulders as I wanted that to be a big swing in them I mainly focused on this week.

Week 8

This week I’m falling behind as I need to complete this animation however I am not finished. I think this is due to my lack of time control this week I’m focusing and reviewing his whole body as he moves and once swift walk. i’ve made a bigger dip in his stride. He moves further down in his walk and up again quickly to give off that sense of stride and Gruffness. i’m yet to add colour or finish the animation completely so that it is walking in the same place. This is something I’ll have to catch up on in later weeks.

Week 9

This week we learnt how to use after effects which I have used before but needed more of a reminder of how to use it give them templates to use and learn how to move them different directions. I got the hang of this fairly quickly and began to sketch up, my background.

Week 10

I have been ill a lot this week, so I haven’t managed to get that much done on my background so this lesson I have mainly been sketching my background. I like the idea of an alien setting. I’ve looked back in my sketchbook. Some of my old world building references took a number of elements from each and was able to divide something on my iPad at first I put in the big shells, however because of how detailed they are it would’ve taken a long time to draw them and I wanted there to be a gift in the after effects animation so I wanted to keep this simple simple so I drew a black stick cat walking like a human without a tail and began animating that.

Week 11

This week I started my final Adobe effects animation. The teacher had to help me a lot with the software in the end as I didn’t know as much as I thought I did however I wanted to keep the animation simple in it so I didn’t need to do anything to complex as the setting of my background Didn’t need it. I had trouble at first with the speed of all the components moving together. I wanted my cat to move at a normal and natural pace so I needed to make sure that the ground wasn’t moving too fast because at first I’m move the ground too quickly and the cat was walking at a slow pace so it made it look like the cat was gliding across the floor, which I didn’t want move slower and slightly quicker at 13 frames per second as were as before it was working at 11 frames per second.

The cacti were moving at the same place as the ground as they were connected to the ground. I’m not only use them to create depth but also create any patches in the background as the background had to be doubled and flipped. It created a deep line in the middle but looked very off and unnatural so I use the cacti to cover this line as to make it look more natural. The clouds were something I wanted to emphasise in this animation so I made them move very quickly in the opposite direction of the way the cat was walking. I use this to my advantage by adding wind sound effects which created an experience of a storm which is something I wanted to achieve.

Week 12

I am on a tight schedule and last time I checked I couldn’t find my finalised video of my cat walking on the ground. This may be because it was on the original computer. It’s just something I’ll have to check tomorrow otherwise I’ll have to do the same animation again tomorrow.

[differentflowergladiator]

BLOG - SEQUENTIAL PRACTICE

Week 1

Week 2

This lesson we where applying 2d animation to videoed spaces, in which we would hade to apply the animation principle squash and stretch.

I fist laid out a story board of a few short giffed narratives that could apply squash and stretch to them. I decided to go with a grave yard scene, however after I had taken the video and tried to apply the animation to it I realised that it would take twice the amount of time. This is because I would have to animate the figure moving whilst getting smaller in each frame, as the camera is getting further away from the figure. So I opted to use a different pice of footage that I took. I also made a new character and sequence. I decided to do a fairy jumping along a tree, this made it easier to focus on the squash and stretch aspect of the animation as I wasn’t shore at first how to implement squash and stretch into the graveyard scene.

The final product was success, there where a few trial and errors in terms of the animation and making it smooth and not lagged.

Week 3

This lesson we did pixelation. One of the tasks for this lesson was to animate something that could not be done in real life. It was a team effort so we all needed to create to story board togeather. To develop the narrative we based it of any props we had, for instance we had a shark jumpsuit that we wanted to make the main senterpice of out narrative. We first thought about doing a floor is lave type narrative, however we realised that we couldn’t take tinctures of people jumping.

For out magic trick we showed lea, slowly stanforming into a shark. We achieved this by slowly adding her costume on with each frame, with the head of the shark going up her body, also making it appear although the shark was slowly eating her.

It was a fairly quick process, however we may of failed to take pacing into account. Jeff saying that their could have been more of a build up before the shark starts eating lea. We could have done this by a few extra frames befor this of the shark creeping up on her.

Week 4

Live launch of the 9 trees graphic project started today. In this lesson we had a talk given by a women who worked their. ( choose a tree, a day of the year ) I began my reaserch. At first I chose word bat day since bats depend on oak trees, however I chose ecology day instead as I felt it was more of an interesting that linked to more socially relevant issues that everybody faces such as biodiversity and its link with the development of medicine. From here I looked at images associated with biodiversity and oak trees.

Week 5

I began properly developing my graphic designs through a number of thumbnails, I mainly used, oak leaves, wood mice, acorns and bats. It was hard to develop an image that would include lots of animals that depend on the oak tree, in such a small thumbnail, so I made some thumbnails with a lot of animals and some with only a few, to narrow down my options.

My feedback from Jeff was to creep it more simplistic so the message was obvious as in some of the thumbnails their where to many things to understand the message.

Week 6

I made my final design by semi merging two of my thumbnails. I wanted to make it obvious that it was world ecology day so I made the acorn into a globe, which was being nibbled in by a wood mouse, with other insects in the oak tree, and a bat hanging in the distance.

Overall the feedback was good, and she said that it was very atmospheric, but to just change the position of the nine trees logo.

Week 7

This week we started our puppet project.

The sketches should give you information about:

• How they personify their qualities (how they could look) - what materials will you use to build the puppet? For now, try different textures and colours.

• How do they move about in the world? (do they need legs, more than 2 arms? )

• What stimulates them?

• Do they have an emblem or an object they own? Any unique, non-human, body features?

• How do they interact with their emblem/object?

• What material properties you need for making the puppet: hard soft, bendy, rough, smooth, colours, type of materials (metal-like, wool-like...)?

• To what and how do they

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• I made sketches of both ted hughes and arias he has been in his life. I wanted his character design to be a crow, as influenced by his collection of poems called crow. In the poetry book the crow is often depicted as menacing and mischeviouse, and arrogant, and I wanted to try and depict this through his character design. I chose to give the crow a human body as inspired by part of hughes life where a fox with a human body came to him in a dream. I chose to have the crow wearing a suit, similar to how ted wore his.

• I also wanted his back to be hunched over to make him look more animalistic.

As I was developing his character design I felt that the anatomy of the crows head was not quite atamoically correct. So on procreate I made a number of studies of crows, their anatomy and how to simplify them down into an illustrated character.

After I had drawn the final design, I made a list of his different colour schemes, and textures the clothes should have I want his head to have freshers coming of of it however I am not quite sure how I’m going to achieve this.

As for gathering clothes I want to void any shiny fabric as I want there to be a rustic feel to the design.

I managed to get fabric simular to the final colour scheme I had chosen that being ( red, brown and green) which work with the colour scheme of the designed set.

Today I had a meeting with my interior design partner and discussed what I was wanting for the set.

I decide that I wanted the cholour scheme to be simular shades to the characters clothes, I liked the idea of there being a desk outside surrounded by grass and trees, where my character would write poems. Ted hughes was said to be a very messy character, and have unfinished poems scattered all over his desc.

To and some whimsy, I had an idea to have a turning bookcase that revealed the inside of a house, that my character could pass through.

Week 8

I began building my puppet. My main struggle was the beak of the head as it took a while to get straight, and not wonky, however I was able to make it straight as I could using sculpting tools.

I also struggled with making the body as when I twisted it the wire broke, so I had to learn how to make the coil fairly tight without snapping it.

Week 9

After I has used the milieu to hold the joints together, I realised that I hadn’t done the hands and feet yet so would have to make them secretly them attach them with an extra bit of wire, as I would have to hardens the clay in the oven and this would burn the already baked head., however I realised how flimsy this could be so I used miliput to sculpt the bands and feet directly onto the wire.

In the begging of the lesson on Thursday we began making the foam body, after I had glued it and began to cut I realised that I should have used thinner foam if I anted to make a lanky body, this meant it was just more time consuming to cut closer the the wire and more risky as the foam kept ripping at the ire so I would have to glue foam back on it, however my tutor explained seeing wire wouldn’t effect the final puppets mobility in any was, as it is just to create padding nd it would eventually be covered by the clothes.

Week 10

I began making the clothes this week, I searched up suit fabric layouts, and they where all very intricate and needed a number of different shapes to pull the clothing together.

So I glad to simplify the shapes.

Sewing the clothing was fiddly and I was learning as I went. I found it looked neater if I sowed it from the inside, then turned it inside out.

The trousers where the easiest as well as the shirt however it was the blaster that took the longest, it was also a struhggle to try keep it looking simular to the character design so I had to constantly check it.

Week 11

This week I have other modules to finish off, and the set got complete of Thursday. However my set designer wasn’t able to make all of the set I needed so I am cutting out leases of paper, and making ink pots and quill pens out of miliput.

I started animating at the end of this week, I faced multiple problems when animating. The first problem I faced was lighting. I did some practice run throughs to try and find the best lighting which I managed to find ( coloured lights from media services ) however part of this light was naturally sorted coming in through the window so as the day went on the pictures got gradually darker it wasn’t that noticeable but because of this I hanged rooms-into 044 as I can get a completely dark room. The puppet itself does not have any magnets in and the ground is very bumpy, so it was hard to balance the puppet. So I have to find things around it to perch it on.

When animating I also swiped some of my stoary board ideas.

Week 12

I continued with my animation the main problem I had during this week was the lights again, the problem was that even if I charged them they would run out of charge every 15-20 mins and take 20 mins to charge back up again. This dragged on the animation presses for two extra days in which I was also balancing other work on top of this.

Unfortunately I wasn’t able to do one of the shots I wanted as I couldn’t always make my board stand up and I as running out of time ( rubbing his blood on his trousers, I anted to get a full image of his body when doing this as I elt I had a lot of close ups in the film so far)

I am now editing my final animation, and there is more wrong with it than not. Because I wasn’t able to use dragon frame as the woman from media services gave me a faulty one, and I animated over the weekend so I wasn’t ble to get a cable that worked if I had my animation would be a lot smoother.

The animation doesn’t have enough frames so it loses likes its sped up as well as being jaggered also the transitions aren’t the best due to a number of reasons. One being the different lighting in each scene. And the fact that a lot of the stuff in the frame kept moving around like the tables, chairs and paper on the table as thy kept falling over and I wanted to use them so I didn’t want to glue them down. In retrospect I could have clued the table and the chair down.

I am currently tying to find a way to slow the animation down without making it lag to much.

I was able to combat this by turning the spreed down and slowing in and out to keep a decent pace.

Then I cut some scenes that didn’t transition well. And just kept the important ones.

I am adding some bird noises in the back with some door noises and scratching sounds. I want the blood to drip with a weird water sound to make it gory.

[differentflowergladiator]

timing and motion

timing and motion gives characters or objects the illusion that they are moving in the laws of physics to appear more realistic. The more drawings there are between the two main poses the slower the action, the more spaced apart the frames are however the quicker the action will be. The speed in which something moves at can indicate what has happened if someone is being hit by a rock in the face their head will fling back quickly but if they are being hit by a pillow their head will only move slightly. Drawing on twos cuts the amount of work I half and makes slow actions look smoother as one frame animation can look jittery due to the amount of in between drawings. But fast actions require drawing on ones.

Yuri norstein

A soviet and Russian animator, best known for his short, animated film Hedgehog in the Fog, where his distinctive and innovate animation style really shines through. He used multiple glass planes to give the animation a sense of three-dimensional space for the viewer. Each of the glass planes can move horizontally or away from the camera, to make it look although the character is moving the way the glass is taken. Each of the characters is a paper cut out, almost like an artificial paper puppet, if the character turned around Yuri would have to create several new cut outs of the head hog turning, this posed to be especially time consuming due to the number of spikes the hedgehog has. Different parts of the paper puppet are placed on several glass layers above the background image. His animation style slowly progressed to look more sophisticated, to look more like smooth moving paintings rather that flat cut outs this can be seen in Tale of Tales a short film depicting what it was like to grow up in a post war soviet world.

[differentflowergladiator]

Michel duduk de wit

A London based animator, illustrator and director, best known for his films The red Turtle ( 2016 ) with studio Ghibli.

He initially planned to animate The Red Turtle on paper however decided to switch to digital 2d instead. It was drawn in TV paint. Although it was done digitally it still had a hand drawn style that draws you in to the purpose of the film ecological awareness. 3d was used in it but only for the turtle and the raft, where the 3d and 2d interact the 3d and the 2d animator would have to work together. His earlier works where the likes of munk and the fish and Farther and daughter these where all hand painted and drawn frame by frame. What struck me most was that he maintained an illustrative line when animates, resembling a brush pen. Light, shadow and colour are all largely emphasised to create a seanse of atmosphere.He captures wide landscapes with the characters in showing lively movements as they walk (monk and the fish).

exaggeration exaggeration is a movement that emphasises a part of the character to exaggerate their movement. For instance if a character is angry don’t just show a frown show the wrinkles in his eyebrows his face scrunching up and his hair standing on end.it doesn’t mean more distorted but more convincing. Quick motion requires more exaggeration to be more noticeable to the viewer.

[differentflowergladiator]

Squash and stretch

Squash and stretch is to apply contrasting change of shape to an object or character in an animation to give it a sense of flexibility. The objects may get longer or flatter, this indicates their speed, momentum, weight and perhaps their material ( cant animate something that is physically impossible. For instance, a bouncing ball when first dropped will have move momentum and speed when in the air so it will elongate, the ball will them squish flatter because it was moving at a higher speed. As the ball continues to bounce the momentum and speed will decrease causing the ball to bounce less high and to stretch and squish less. Keeping the volume in mind when animating squash and stretch is important as an object can mistakenly get bigger or smaller when it squashes or starches.

Walt Disney

Walt Disney is one of the most well known animators, he was not only an animator but a film producer and entrepreneur. He is the founder of Disney which he set up with his brother and it could be argued that animation would be nowhere Nere advanced today if it weren’t for him, as the Disney company would go on to own Pixar, the biggest animation studios today. . In his early career at Disney he created cartoon characters such as mickey mouse and Donald duck, in which he exaggerated their movements to give them character and brought his cartoons to life. In his later animations his art style would turn into what is known as “storybook realism” seen in snow white and Cinderella, a naturalistic style inspired by European storybook illustrations.

In the 1930s artists drew on celluloid sheets with ink and then placed these sheets over painted background, this transformed the look of animated films and made production more efficient.

He also invented the multiplane camera, inspired by stage design, flat cut outs of props are placed on individual layers of sheets above the background. The multiplane camera was designed to film through several layers of drawings.

[differentflowergladiator]

Jan syankmajer

Czech film maker and artist well known for his stop motion films. Early on his career he was heavily influenced by puppetry, which may of influenced his storytelling through his animations and film. He was best known for his pixilation and Claymation technique used in food and conspirators of pleasure. This technique of pixelation are when humans are intended to be the puppets in animation, in which individual photos are edited together instead of filming, this creates a jagged movement, Claymation was then used on the humans to exaggerate their expressions such as a wide opening mouth or an abnormally large tongue. These films are quite surrealist and metaphorical, through his bizarre story lines and exaggerated expressions in Food, the use of surrealism is used to comic effect in food as a political critique of the Czech government and society by emphasising the class difference through the use of food. He not only created a uneque form of animation that allows surrealist exaggerated movement, but also used it politically. Animation was seen as more of an unserious form of film making during this time, so svankmager stood out.

Arc

Arcs are a circular path taken by an object or action. This is done as humans and most things do not move in one staright direction, instead they move in circular motions, otherwise known as arcs. This can be seen when animating a bouncing ball, the ball does not move in a straight line to the midpoint, but instead curves as it moves upwards and then downwards.

Arcs are also physically accurate to hoe things move, for instance a hand and a clock when moving around the center point will move along the edge of the round clock, if it were to move in a straight line the hand would shrink when going along the line then get bigger again.

Arks can also add more emotion and character to a character’s movement or gestures, for instance a head turn is more expressive if the character arcs his head down in his midpoint, then up again.

When a character is about to punch, they may swerve their arm and fist back in an ark motion before punching in another arc motion.

[differentflowergladiator]

Appeal

Appeal in animation refers to the appeal of a character design, or perhaps an aspect that makes them stand out. Using a variety of shapes in a character can make them look individual. This also goes for their proportions, whether they have a large head or nose or long legs. Simplifying the character can make them more distinct and easier to notice, to much detail can take away from this, it is also harder to animate.

Caroline leaf

Caroline leaf is a Canadian American filmmaker, director and animator. She is well known for her short, animated films.

She started off working at the NFB from 172 to 1991, where she created the paint on glass animation and the sand animation technique. The paint on glass animation technique included oil paints and glass, one manipulates slowly drying oil paints on a sheet of glass, whilst a camera is positioned over the top of the glass and takes a picture every frame. this creates a unique painterly movement where brushstrokes are emphasised.

Whilst sand is simply moved and shifted round a light box, she used sand animation to create one of her first animations Sand, in which she was awarded a scholarship to Harvard university for.

She then created her second animation in Italy called Orfeo, a paint on glass animation.

Later down the line she created one of her more well-known works the Street. This paint on glass animation gives of a old rustic feel with the use of the deep monochromatic brown black colours giving of a dark atmosphere to the film. Paint animation can come out quite smudgy giving a very raw and messy movement.

[differentflowergladiator]

Oskar Wilhelm Fischinger German- American abstract animator, film maker and painter. He is known for his unique visualisation of sound using computer graphics and animation, in which he plays with s pimple shapes and colours and moves them accordingly to the notes and pitch of the music (optical poem) He is known in the industry for his work on Fantasia, Woman in the moon. In his early life he got a diploma in engineering, which his technical abilities and mechanical shapes may stem from in his work. He was later introduced to Walter Rettmann a pioneer in abstract film. During this time Fichinger was experimenting with coloured liquids and three dimensional modelling materials, wax and clay.for this he used a wax slicing machine which synchronised a vertical slider with a movie camera. He wrote to ruttmann about this, who then used it to make backgrounds for Lottie ringers the adventures of Prince Ahmed. He collaborated with Louis Seel to make satirical cartoons. Which he then took this in handed knowledge of animation to become more experimental in his files making.

Secondary action

Gestures that support the main action to add more dimension to the character animation. A angrily waliking characters primary action would be the legs moving, but the secondary action is the arms, that would move in a very rhombus manner, with grinding teeth that would indicate to the audience that the character is angry. Or if a character moves with relaxed arms with a peaceful face, this would indicate calmness in the character The secondary action however should not dominate the primary action, for instance if a character is sad the hands shouldn’t cover the entire face, instead whipping away a tear would be a more subtle and lest domination action. Staging can also come into play on secondary actions, as to when the secondary action should come into play to give the audience time to digest how the character is feeling.

[differentflowergladiator]

Follow through and Overlapping action.

Body parts and appendages drag behind the rest of the body, and continues to move when the body stop. This is also known as drag. Follow through refers to how parts of the body or clothing continues to move after the body has stopped Overlapping action refers to the offset of the body attachment in its movement in comparison the the main parts Drag refers to the delay of the object in relation to the main body. All there elements add realism to a character to make it more believable to the viewer causing them to get more emersed into this animated world. The amount of drag you give and object or a character often correlates to its mass. As an animation technique the movement looks more fluent if one first animates the main body then theobjects attached to the body to see the relationship between the two more clearly.

Lotte Reiniger A German film director and animator best known for her work on the adventures of prince achmed. This film used paper animation, paper animation focused on hole body physical movements to display emotion, as facial expressions would have been too fiddly to animate with paper. The bodies themselves where not detailed but where more like silhouettes. The paper and cardboard cut-out figures that were weighed with led and hinged at the joints, and the more significant the character the larger the range of movements are (more hinged at the joints) A camera was placed over the paper cut out scene which was placed over a light box, and the figures where hand manipulated frame by frame. To show things getting further away in the frames, the objects would be thicker when closer to the frame and thinner when further away from the frame, of sometimes even slightly opaque.

[differentflowergladiator]

Slow in and slow out animation.

Slow in and slow out animation refers to how most to all movements begin slowly, pick up speed and then finish slowly, this helps achieve a more realistic motion, which would otherwise appear mechanical to the viewer if it was not used. However, it must be used on objects that would move in that way, for instance one would not slow down a ball ass it landed only when it bounces up again would you use it. Neither would it happen to a bullet being fired. This technique can add speed to an object or character as the sped-up part, can be achieved with only one or two frames.

Max and Dave Fleischer

An American animation studio founded in 1929 by max and Dave Fleischer. It was the pioneer for animated cartoons put into theatres. some very well-known characters emerged from this such as betty boop, Koko the clown and Popeye the sailor. Their content in animation consisted of dark humour, adult psychological elements and sexuality, often set in gritty surroundings (reflecting German expressionism and the great depression) which was quite a stark difference from its competitor, Disney. Their animation style was quite realistic as it used rotoscope animation. This is achieved when animators trace over motion picture footage frame by frame. This more realistic animation outcome would have added to the gritty dark humour it was trying to produce.

[differentflowergladiator]

Staging Staging in animation is how you go about setting up your scene for the placement of the characters this includes backgrounds and foreground elements as well as the camera angle, timing, acting and setting. The way all these things are positioned will make the purpose of the animation unmistakably clear to the viewer. For instance, bad staging would have all things going on at once on screen, good staging would use timing and camera angle to emphasise what part the viewer should be focusing on. Certain camera angles are good for different things. For instance, far away camera shots are good for big actions and close up camera shots are good for honing in on expressions. Main actions should always be presented in one of the thirds of the screen, so the viewers eyes are drawn to that specific action. Pauses are used when something on screen needs to be processed by the viewer. it can also be used to convey ideas such as emotions, for instance if a character is sad this emotion is reinforced if a rainy cloud in put over the characters head.

Norman Mclauren A Scottish Canadian animator director and producer a pioneer for hand drawn animation, as well as draw on film animation. He also explored in visual music, abstract film, pixilation and graphic sound. He strived to make animations that where personal and experimental, he often liked to be diverse in technique. For instance he was known for directly animating straight onto film where he used pen ink or paint to make the key frameds on film he sometimes even etched into black emulsion coated film.

[differentflowergladiator]

In this writing I will investigate how anticipation is used why it is used and its reason for its discovery and development.

Animation in the oxford dictionary means the expectation that something is going to happen, however, according to frank Thomas and ollie Johnson in the illusion of life (the 12 principles of animation) animation signals to the audience to prepare for the next movement, even before the movement is made. This gives the audience a better and more obvious idea of what is going to happen or is happening. For instance, before puncing the figure would lean its body back before swinging its fist. This not only makes the audience anticipate what is going to happen next but also makes the movement truer to life. Another example would be a character leaning down before jumping.

Anticipation is not concept in which animators made up on their own but is one they implanted into their movement by observing the actual movements of reality. Before there is rapid movement the object will have anticipatory motion as a preparation step, the anticipation step stores energy to simulate movement. We use this method not only to indicate to the audience what the next movement will be and to make it more true to life but to also make it more enjoyable to watch.

Emile Cohl (1857-1938) A French cartoonist and caricaturist who is widely known as the father of animated cartoons. He was the creator of the first animated cartoon, using his comic strips as a storyboard. He made the first cartoon animation named Fntasmagorie, the animation consists of a character made up of shapes. The film was created by drawing each frame on illuminated glass plate and then traced the next drawing he then shot each frame on negative film, which is what gives the picture a blackboard look. The film is comprised of 700 drawings each of which is exposed twice leading to a longer running time.