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Advanced Animation

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42 views38 pages

Advanced Animation

Uploaded by

mfrxd6nssf
Copyright
© All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
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ADVANCED cet TOs) ie Valhita CONSTRUCTION OF THE HEAD THINK OFTHE HEAD AS A ROUNDED oes SG ale sae SHAPED, Bae SHAPED OR EGG SHAPED AS THE CASE MAY BE.— IN ANIMATION THIS HI HAPE MA\ EPSPECTIVE AND FORM A GREAT NUMBER OF TIMES DURING A SCENE “1 IM DLIEY Ms MATTER A CORRECT PERCPECTIVE FRAMEWORK SHOULD FIRST BE DRAWN,THEN THE DETAILS CONSTRUCTED OVER THIS FORM. TAKE AN CGG- DRAW THE GUIDE CIRCLES AROUND IT=THEN PUT IN THE FACE- NOW TURN THIS EGG IN EVERY OSE POSITION AND DRAW IT- ZX a HERE IS THE BASIS OF A GREAT MANY CARTOON HEADS.- DRAW UP AN GG LIKE THIS AND STUDY H IT FROM ALL ANGLES-BELOW ARE VARIATIONS A NOTE ABOUT THE AUTHOR ir, Cartoon Director, is one of the fine artists of Animation, Associated with the Disney Organization, he animated in ia,” in the later he designed the hippos. Later for Fred Quimby, shorts Producer at Metro- Gels ‘Mayer, he designed ond animated the highly successful, "Red Hot Riding Hood," directed "Barney Beor” shorts, and animated in “Anchors Aweigh.” Blair is active in magazine illustration and fine arts, and is a member of the California. and ‘American Watercolor Societies. Recently when he won first prize in our National Print Exhibition at the Laguna Beach Art Gallery, I'met him and suggested he make this book for you. | am sure it will prove interesting and helpful to all those studying this popular cartoon medium. MORE HEADS CONSTRUCTE! Suen ahd WITH ADD NOSE CON- Baa Ne Teen wvannans p UIDE LINES. SOLIDLY ON, WATCH PERSPECTIVE AND CONSTRUCT THE REMAINING. DETAILS ALL ANIMATED CARTOON CHARACTERS ss STUDY THE BASIC CAN BE REDUCED TO A BASIC FORMULAE / \ FORMULAE T HAVE: TiSugeS tartan pmuder MELAS | /\.\ SV ReEAS SBIERAL ARTISTS WOR ON THE SAME CHARACTER, }/ ( \ Qh NomieR Fosmions \ HERE ARE SOMEMORE TO PRACTICE ON ad, Y BST CGM i ry J A hd} | bw | Sy > We are gretetul to Fred Quim excellent cartcon characters to that have captured the hearts of a « STRETCH AND SQUASH ON HEADS i 4 be GS ACARTOON HEAD CAN BE STRETCHED OR \| SQUASHED TO STRENGHTEN AN EXPRESSION. YOu a NOTICE THAT THE OVAL BODY BUILT FROM ROUNDED OR CIRCULAR FORMS == Lm, eee A = “THE ANIMATED CARTOON CHARACTER ¢ we os THE CIRCLE AND. THE SKELETON FOUNDATION BUILD THE CARTOON UP FROM A ROUGH ISIGELETON =~ DONT EXPECT TO GET Ane RIGHT. SKELETON THE FIRST TRY AAS NOON DO THAT-- EXPERIMENT- DISCARD-MAKE SEVERAL FUEN PICK THE Best ONE <> NERS ARE THE ACADEMY AWARD WINNERS “TOM PIERBY™ (WHO APPEAR IN MGM. PICTURES): TO GIVE YOU AN IDEA HOW IT'S DONE,--WORK LOOSE ON CONSTRUCTION, LINE OF ACTION AN IMAGINARY LINE EXTENDING THRU THE MAIN ACTION OFTHE FIGURE |S THE LINE OFACTION”-- PLAN YOUR FIGURE AND IT’S DETAILS TO ACCENTUATE THIS LINE —BY SO DOING YOU STRENGHTEN D HEN_ CON- THE DRAMATIC EFFECT --THE FIRST THING TO STRUCTING A FIGURE IS THE LINE OF ACTION: ‘THEN BUILD OVER THAT. These are progressive steps taken by an animator in drawing @ cartoon character 1 Draw in "Line of Action” to establish general stance of figure. 2 Rounded masses for head and body are put in. 4 Now arms, legs and eyes are constructed or “anchored on” in their definite position to perspective lines. 5. Details are now fitted in or hinged into their position. 6 Character is cleaned up around these construction lines, HERE ARE SOME IDEAS FOR, DRAWING A eee . LARGE sBOSTANTE ARE “THis LITTLE FELLOW APPEARED IN AN M.G.M, CARTOON WITH C IEY BEAR AND HE ie A RIOT-- BELOW IS HOW. BE COMPARED S een TO BARNEY £ “ “ —~ THE “SCREWBALL’ TYPE — =xacorrareo Stow _ 1 at FEATURES ~~ FORE IN THIS FORMULAE . ELONGATED HEAD —»// HEAD YOU WILLRECOGNIZE = NOT TOO BIG PEAR, SOME FEATURES SKINNY NECK~—__\/ SHAPED THAT ALL THESE COCKY- WISE GUYS HAVE IN COMMON ar i =z 4 2. re ~ THE ANTICS OF sor “- > THESE BAD Boys ~7~_ HAVE BEEN SOME fe OF THE FUNNIEST ) } ‘ON THE SCREEN zs ez SS ee % \ GOOFY CHARACTERS <-Sti literate HERE IS THE BASIC FORMULAE FOR Vw DROOPY HALF-AWAKE EYES. GOOFY TYPES THAT ACT LIKE A s SIMPLE SIMON CLOD-HOPPER: R ~~ BIG BEAK OR NOSE LONG SKINNY NECK eee E BUCK TEETH HUMP BACK-STOOP SHOULDERED—/, \\ ‘ABSOLUTELY NO CHIN /-THIS LONG DROOPY ARMs.—————¥/ |} ‘S$ VERY IMPORTANT. WBE CANES (| \\BOBBLING ADAMS APPLE OVER-HANGING FANNY. PANTS LOW AND LOOSE + BAGGY. ENORMOUS + CLUMSY FEET. Wy \ SUNKEN CHEST ] | BiG STOMACH PORTRUDES || ——— Low cROTCH IN PANTS ee ov --TRY DESIGNING A ad _# CHARACTER OF YOUR OWN USING THESE POINTS. HEAVY EYEBROWS EYES CLOSE AND Ji, BEADY COMPARATIVELY HUGE CHIN SMALL CRANIUM ~~ AND JOWLS LITTLE EARS HEAVY THICK NECK WHEN IT oS BIG BARREL LUKE CHEST Ny BiG LOWER a, YAP sticks our ip } DOG ON THE NEXT PAGE. cy ~ HEAD LARGE IN RELATION < 2 TO THE BOby. = \ HIGH FOREHEAD |S ja—— VERY IMPORTANT. a EYES SPACED LOW ON aM /_— HEAD + USUALLY LARGE THE CUTE CHARACTER CUTENESS IS BASED ON THE BASIC PROPORTIONS. OF A BABY + EXPRESSIONS OF SHYNESS OR COYNESS. EARS ARE SMALL IN RELATION TO ADULT SIZE. NO NECK-HEAD JOINS ON TO Boby DIRECTLY. BODY PEAR SHAPED J AND ELONGATED. SWAY BACK-WITH THIS LINE CONTINUING UP BACK OF HEAD AND DOWN INTO FANNY. FANNY PORTRUDES-NEVER BULGES-BUT FITS INTO LEG LINES AND AND WIDE APART. A <——— NOSE + MOUTH ARE ALWAYS SMALL. yS-ARMS ARE SHORT AND NEVER SKINNY AND TAPER DOWN TO THE HAND AND TINY FINGERS TUMMY BULGES — LOOKS WELL-FED. ~~ FAT LEGS - SHORT AND TAPERING DOWN INTO SMALL FEET FOR TYPE. NOTICE HOW ABOVE POINTS, ARE USED IN THESE ANIMALS HANDS TO DRAW THE HAND FIRST START AS IF IT WERE A MITTEN AND @) — THEN PUT THE TWO MIDDLE FINGERS IN FOLLOWIN THIS SHAPE ©— THE LITTLE FINGER IS THEN PUT IN, VARVING IT IN_ANY FASHION TO PREVENT MONOTONY —IT IS OFTEN A GOOD IDEA TO EXAGGERATE THE BASE OF THE THUMB. iploip © CARTOON HANDS ARE TRICKY — SO BELOW I'VE DRAWN AN AVERAGE HAND IN ALLIKINDS OF POSITIONS TO GIVE YOU SOME IDEAS, —— NOTICE THAT THE FINGERS SHOULD BE UNEVENLY PLACED TO PRE- VENT A MONOTONOUS QUALITY. FACIAL EXPRESSIONS AN ANIMATORS JOB IS THE ae AS AN ACTOR'S JOB IN LIVE ACTION PICTURES=-BOTH SHOULD BE MASTERS OF PORTRAYING SNe a ~STUDYING: YOUR OWN GRIMACES IN A MIRROR IS. vit IST—~PICK_A CHARACTER. YOU KNO' GO THRU THE EXPRESSIONS WITH HIM,AS IT HAVE HERE WITH SERey MOUSE, ) ecpcmcreaces PE THE BASIC BOUNCING BALL ACTION AS BALL FALLS-ITS SPEED INCREASES: ~-DRAWINGS ARE SPACED FURTHER APART. -- BALL AT HIGHEST Pol INT -- SLOWS UP-- AS BALL HITS ON 5-7-12-14¢ NoTICE 7 DRAWINGS SPACED IT RECOILS~ BALL STRETCHES IN LOSER -- RESUMES. i BECOMES FALLING -+ TAKING OFF, NATURAL SHAPE, SQUASHED NOMCE BALL FOLLOWS A DEFINITE PATH OF ACTION --STUDY CLOSELY THE SPACING OF BALL ALONG THIS PATH -- NOTICE THE BASIC SIMILARITY OF THIS BALL ACTION TO THE HOP AND JUMP BELOW:ALSO TO THE WALK-RUN-LEAP-SKIP-ETC. Or a NOTICE A-C-E ARE UKE ele: AEOUE AEN \ : [Link] PILGRING GARACTER SIRE Teo B. f GIT-PLAVER“IS UNDER, IS LIKE RECOIL ON G-(3 AND CONTRACT WITH MEM, D 1S LIKE THE NORMAL 2-10-17 t MOVEMENT OF BODY MASSES HERE ARE SOME SIMPLIFIED FIGURES IN ACTION TO SHOW {I THEMAN SOoy Wastes 1S LOGRE ANTES SULDING THE FIGURE IN SOLIDS MAKES ANIMATION EASIER TO FEELOUT MOVEMENTS OF THE TWO LEGGED FIGURE HERE IS A COMPARISON OF THE VARIOUS TWO LEGGED FORWARD MOVEMENT CYCLES --T HAVE DPA ONE ees CYCLE ,BELOW--REVERSE HANDS +FEET FOR THE OTHER HALE -THESE CYCLES CAN BE USED AS ‘REPEATS"-CTHAT IS THE DRAWINGS MAY BE REPEATED OVER +OVER IF THE FIGURE REMAINS CENTERED ON THE SCREEN AND THE BACKGROUND MOVES. MOVEMENTS OF THE FOUR LEGGED FIGURE HERE IS A COMPARISON OF THE MAIN CYCLES OF FOUR, LEGGED MOVEMENT.—- SOME OF THESE CYGLES ARE COMPLETE —-OTHERS ARE CYCLE ON THESE REVERSE FEET FoR THE OTHER HALE. AUDY THE DIFFERENCES IN THESE DIFFERENCE BETWEEN WALK ¥ RUN @warc RUN, © Fast RUN contact drawings from (A) The Walk(B) The Run ©)The Fas! Run. The contact drawing isthe drawing on which ing ied, nee ey reste oe oer act oe a homeo ead peed, size of chorocter, et. ofthe action. Then theres of te octon is bull around them, The poson ofthe back foot onthe contact drawing determines the speed more thon anyother single factor. Notice on (A) tho back foots dv still entacting he ground. On(B) the back foot hes lft the ground. On(@)tho peston ofthe back feat ssl higher. The\front foot bishresched oil futher on the walk contac! [pelin, the body ls ore Upright, denoting less sped” On the rua drawing the body leans forword, ond the front foot b beck firher. On the fast nindcwing the kedy letns away forward Plemctbog secre front fost back mow ander ine bey The cm swing conversely with the logs. The left arm swings wih the righ leg and vice verse, Also the arms swing more violently in the run, In the fast run the swing on the arms would be too violent. It has been found they are more effective when held straight out in a reach position, Compare the action of the walk with the run, and you will note that in the walk, the drawing in which the arms and legs are stretched out further is the contact drawing. On the run, however, the stretch comes when the figure is up in mid-air at the high point in the action. THE WALK = 3 Q@ LEFT FooT CONTACTS @ SINKS INTO RIGHT FOOT LIFTS HIGH POINT INSTER. THE GROUND. ECOIL POSITION. TARTS. COMING THRU “RIGHT FOOT RAISED. TER anes a= ©)RGHT LEG STIEFENS RECOIL POSITION’ @"RABBIT UPAS LEF r SITION INTO CONTACT POSITIONS. LEGS BEND. CEs ers. es a BEOnOWe hs, = { = f IGT. FOOT DOWN RIGHT FOOT TAKES. RIGHT FOOT, Bopy AT HIGHEST © RE Fern RAN QqReer eens @ Bob oer SHES aN ON a Lert Foor pescues @RECOML-ReKT FOOT @Lect coor OVER ERIN © Bees MASIQPT OSE RESO OM EO THE SKIP HERE ARE THE EXTREMES OF A 24 DRAWING SKIP CYCLE: THE MISSING DRAWINGS ARE "NBETWEENS” (DRAWINGS: SPACED EVENLY BETWEEN THESE DRAWINGS)-THS IS WITH THE EXCEPTION OF i2+24--AOTICE THE CHARTS EXPLAINING: THE UNEVEN SPACING ON THESE DRAWINGS -- 12. INSTEAD OF BENG EVENLY INGETWEEN I1+13 1S Ys OF THE WAY AND CLOSER TO Il == THE SAME HAPPENS WITH 24 WHICH IS OF THE WAY BETWEEN 23-41-- DRAWING 24 THUS COMPLETES THE CYCLE-- THE SKIP IS THE SAME AS THE RUN ON THE BODY AND HANDS “

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