Live Class - ANM5 - LESSON 1.2.pdf

On Stand-by We will start in a few moments  TRAINER: Janice Mae R. Villegas PRAYER RAISE YOU HAND IF YOU HAVE ANY QUESTIONS RESPECT THE PRESENTER, BY PLACING YOUR PHONE ON VIBRATE / SILENT MODE & AVOID UNNECESSARY NOISES  [email protected] CONSULTATION HOURS: FRIDAY...

On Stand-by We will start in a few moments  TRAINER: Janice Mae R. Villegas PRAYER RAISE YOU HAND IF YOU HAVE ANY QUESTIONS RESPECT THE PRESENTER, BY PLACING YOUR PHONE ON VIBRATE / SILENT MODE & AVOID UNNECESSARY NOISES  [email protected] CONSULTATION HOURS: FRIDAY 8:00 AM – 12:00 PM  1.2 INTRODUCTION  This course is designed to give an overview about the basics of Traditional Animation. This module will introduce the students to the history of animation & animation principles which will help them understand the concepts and techniques in Animation.  LESSON 1.2 GOAL Gain a deep understanding of the 12 principles of animation and their application in creating fluid, realistic, and expressive animated sequences.  LESSON 1.2 LEARNING OBJECTIVE 1. By the end of the lesson, you will be able to accurately describe each of the 12 principles of animation and apply at least five of them in a short-animated sequence. 2. You will complete this animation using traditional animation methods demonstrating an understanding of how these principles contribute to the realism and expressiveness of animation. Illusion Life of WHY ? do aspiring animators NEED to know these principles Help create MOVEMENT that: Are more life-like Adheres to the laws of physics WHY ? do aspiring animators NEED to know these principles Capture the ILLUSION OF LIFE  Developed by Walt Disney Studios’ pioneering animators in the 1930 Reflection about their practice To device a way of animating that seemed more real in terms of how things moved 12 ofAnimation Principles  cameos in The Incredibles Developed by Walt Disney Studios’ pioneering animators in the 1930 Reflection about their practice To device a way of animating that seemed more real in terms of how things moved 12 ofAnimation Principles cameos in The Iron Giant  12 ofAnimation Principles 1. Squash & Stretch 7. Arcs 2. Anticipation 8. Secondary Action 3. Staging 9. Timing & Spacing 4. Straight Ahead & Pose to 10. Exaggeration Pose 11. Solid Drawing 5. Follow Through & 12. Appeal Overlapping Action 6. Slow In Slow Out  1 SQUASH & STRETCH Teaches basic mechanics of animation Important in facial animation 12 Principles ofAnimation  1 SQUASH & STRETCH The ball elongates as it falls, flattens on impact with the ground and then return to its normal shape in the slower part of its arc Might SQUASH and STRETCH this way IF it is was a very soft ball with not 12 much air Principles ofAnimation  1 SQUASH & STRETCH Can relieve the disturbing effect of strobing 12 Principles ofAnimation 1 SQUASH & STRETCH 12 Principles ofAnimation 1 SQUASH & STRETCH 12 Principles ofAnimation  12 Principles ofAnimation a preparation for the action few movements in real life occur without some kind of anticipation... Seems to be the natural way to move 2 ANTICIPATION 12 Principles ofAnimation 2 ANTICIPATION 12 Principles ofAnimation 2 ANTICIPATION 12 Principles ofAnimation 2 ANTICIPATION 12 Principles ofAnimation 2 ANTICIPATION  3 STAGING Defined as the presentation of idea, so that it is completely and unmistakably clear. Could apply to the following: Exaggeration & Characterization Action & Timing Composition: Camera Angle and Position Setting 12 Principles ofAnimation  3 STAGING 12 Principles ofAnimation  3 STAGING 12 Principles ofAnimation  3 STAGING 12 Principles ofAnimation  3 STAGING 12 Principles ofAnimation  3 STAGING 12 Principles ofAnimation  3 STAGING 12 Principles ofAnimation  3 STAGING 12 Principles ofAnimation 12 Principles ofAnimation Straight Ahead Pose to Pose Animator start from Animator plans first drawing in the actions, draws a scene and draw all sequence of poses, subsequent frames in between frames until the end of etc. scene 4 STRAIGHT AHEAD & POSE TO POSE STRAIGHT AHEAD  STRAIGHT AHEAD “When I didn’t know what I was doing in an action, I always went straight ahead. I’d just start on ones. Half the time I didn’t know what I was doing. To me, it’s fun. You find something you wouldn’t have found out otherwise.” Woolie Reitherman One of Disney’s Nine Old Men POSE TO POSE  IMPORTANT TERMS The main drawing or extreme positions came to be called extremes and the drawings in between the extremes were called the inbetweens. POSE TO POSE  The middle position is very important. In the 1930s they called this the “breakdown” drawing or the “passing position” between two extremes. POSE TO POSE  So what is a Key drawing? The storytelling drawing. The drawing/s that show what’s happening in the shot Many good animators call all their extremes “keys”. But it is so much easier and clearer if you separate the keys from the extremes. POSE TO POSE 1. Create the keys or storytelling drawings for the shot (man picking up a chalk from the floor, then going over to the blackboard) POSE TO POSE  Create the extreme drawings for the shot make the contact positions on the steps where the feet are just touching the 2. ground There’s no weight on them yet – the heel is just contacting the ground. As with the fingers just contacting the chalk– they haven’t closed on the chalk yet POSE TO POSE  Create the breakdown drawings for the shot make the passing positions or “breakdowns” 3. Make the head and body raise up slightly on the passing positions of the steps – like it does on a normal walk POSE TO POSE  Make straight ahead runs on the different parts – using 4. the extremes and breakdowns Do the in-betweens, make revisions as you go along POSE TO POSE  BAD INBETWEENS will kill the finest animations! Grim Natwick POSE TO POSE  Always get the volume right. Keep the shapes and volume consistent. Even if it is colored, it is the shape that we see--- it’s the shapes that dominates. POSE TO POSE 4 STRAIGHT AHEAD & POSE TO POSE 12 Principles ofAnimation 12 Principles ofAnimation Follow Through is the termination of an action nothing stops all at once 5 FOLLOW THROUGH & OVERLAPPING ACTION 12 Principles ofAnimation 5 FOLLOW THROUGH & OVERLAPPING ACTION 12 Principles ofAnimation Overlapping Action maintains a continual flow between whole phrases of actions makes objects seem more natural 5 FOLLOW THROUGH & OVERLAPPING ACTION 12 Principles ofAnimation 5 FOLLOW THROUGH & OVERLAPPING ACTION 12 Principles ofAnimation 5 FOLLOW THROUGH & OVERLAPPING ACTION  6 SLOW IN & SLOW OUT Deals with the spacing of the inbetween drawings between the extreme poses Slow-ins and slow-outs soften the action, making it more life-like 12 Principles ofAnimation  6 SLOW IN & SLOW OUT 12 There is different movement in figure A and B because of the different 8 spacing of your drawings per frame. EASE IN &ofEASE Principles OUT Animation Both start together, both hit the middle, but the spacing is quite different ---- ACTION IS DIFFERENT  6 SLOW IN & SLOW OUT If we want to make our pendulum ease in and out of the extreme positions, we’ll need a couple more inbetweens 12 Principles ofAnimation  6 SLOW IN & SLOW OUT 12 Principles ofAnimation  6 SLOW IN & SLOW OUT 12 Principles ofAnimation  12 Principles ofAnimation All actions follow an arc or slightly circular path 7 ARCS 12 Principles ofAnimation 7 ARCS 12 Principles ofAnimation 7 ARCS  8 SECONDARY ACTION Action that results directly from another action Enriches the main action and adds more dimension to the character animation 12 Principles ofAnimation 8 SECONDARY ACTION 12 Principles ofAnimation 12 Principles ofAnimation TIMING: defines the speed at which all the actions occur SPACING: more drawings between poses slow and smooth the action, WHILE fewer drawings make the action faster and crisper 9 TIMING & SPACING  GRIM NATWICK original creator of Betty Boop 12 Principles ofAnimation 9 TIMING & SPACING 12 Principles ofAnimation 9 TIMING & SPACING  10 EXAGERRATION Accentuating the essence of an idea via the design and the action 12 Principles ofAnimation  10 EXAGERRATION 12 Principles ofAnimation  10 EXAGERRATION 12 Principles ofAnimation  10 EXAGERRATION 12 Principles ofAnimation  10 EXAGERRATION 12 Principles ofAnimation  12 Principles ofAnimation The basic principles of drawing form, weight, volume solidity into color and movement giving the characters the illusion of three-and four-dimensional life 11 SOLID DRAWING  12 Principles ofAnimation Does your drawing have weight, depth and balance? ---- a reminder of the basics of solid three- dimensional drawing 11 SOLID DRAWING 12 Principles ofAnimation 11 SOLID DRAWING  12 APPEAL includes an easy to read design, clear drawing, and personality development that will capture and involve the audience’s interest 12 Principles ofAnimation  12 APPEAL APPEAL has pleasant design, simplicity, communication & magnetism: – A weak drawing and clumsy action lacks appeal – A drawing that is complicated or hard to read also lacks appeal 12 Principles ofAnimation  12 APPEAL 12 Principles ofAnimation  12 ofAnimation Principles 1. Squash & Stretch 7. Arcs 2. Anticipation 8. Secondary Action 3. Staging 9. Timing & Spacing 4. Straight Ahead & Pose to 10. Exaggeration Pose 11. Solid Drawing 5. Follow Through & 12. Appeal Overlapping Action 6. Slow In Slow Out  END REFERENCES: Richard Willimas, The Animator’s Survival Kit. Faber and Faber Limited, 2001. 12 Principles of Animation: The Complete Series, TipTut https://www.youtube.com/watch?v=d d1goyY3eXg