Animation Foundation PDF

ANIMATION FOUNDATION ==================== Character Design (ToonBoom, n.d.) --------------------------------- 1. **Showcasing Unique Personality --** Characters should demonstrate unique personalities and be visually appealing. For instance, Pete Docter, the director of \"Inside Out,\" ex...

ANIMATION FOUNDATION ==================== Character Design (ToonBoom, n.d.) --------------------------------- 1. **Showcasing Unique Personality --** Characters should demonstrate unique personalities and be visually appealing. For instance, Pete Docter, the director of \"Inside Out,\" explains that Joy\'s character is inspired by a star, Sadness resembles a teardrop, Anger is depicted as a fire brick, Fear represents a raw nerve, and Disgust is modeled after broccoli. Each character was carefully designed to depict their core emotion visually and emotionally. 2. **Expressing Emotions --** It is crucial for characters to convey a range of emotions, such as happiness, sadness, disgust, fear, surprise, and anger. Character concept sheets should present the character in various emotional situations and viewpoints (for example, facing forward, sideways, running, sitting, and hiding). 3. **Cohesive Personality --** A successful character design is not just about the actual appearance but also how they showcase a cohesive personality. Therefore, it is required that the artist has a deep understanding of the character\'s personality inside and out. For example, Woody's character is designed as a cowboy with a sheriff's badge, reflecting his leadership role and Old West roots. His confident expressions and upright posture convey his loyalty and determination when protecting his friends like Andy. However, when faced with uncertainty, such as meeting Buzz Lightyear, his expressions show doubt, and his posture may slump, highlighting his caring but sometimes jealous personality. These visual cues ensure Woody's character design reflects his complex traits effectively. 1. **Research** -- It is crucial to include research as part of your process. Seek character inspiration, including pictures and references, which will help you in designing your character. 2. **Sketching** -- After researching, you may craft rough sketches of your own design. You may begin with shapes as suggested by Bill Plympton and come up with new, unique ideas. To produce a good character, it is highly recommended to sketch as many different designs and variations as possible. 3. **Construction** -- This is the process of ensuring that the character proportions and shape are strong. This is also considered as the very basis of your character. 4. **Tracing** -- This is considered to be the refining process as it lets you establish the final look, line of style, and features.  1. **Character Nature and Visible Characteristics --** Consider the nature of the character and think about how their characteristics will be made visible through their shape. For example, Sadness from Inside Out. Her nature symbolizes feelings of sorrow and melancholy. She has a slumped, drooping posture and a downcast expression. Her shape is rounded and slouched, reflecting a sense of heaviness. Her color is blue, which represents gloom and unhappiness. 2. **Character Size and Proportion --** A character's size is usually measured in units of "heads." Here are some guidelines to keep the character in proportion: A standard *Images retrieved from* 3. **Understanding Proportion --** It is important to understand the basics of proportion correctly before executing your own style or breaking the rules. ### Character Sheets 1. The character should be demonstrated in multiple different angles such as front, side, back, ¾ view, and others. This is crucial to illustrate their full form. 2. A variety of posed shots depicting the character in different stances and movements. 3. Expression sheets should be included as well. It is the character's face displaying a range of emotions. This will help with defining the character's personality.  ### Character Design Preparation A. ### The Script - The script provides essential details about the characters, their personalities, the props they use, the environment they are in, and the overall story world. - Carefully reading the script is important as it serves as the primary reference for understanding the characters you need to model. B. ### Storyboard - While not the final version, the storyboard visually lays out the character's actions, movements, and which props or environment need to be designed. - Reviewing the storyboard will help you identify what the characters will be doing in different scenes, informing how the model should be built to accommodate those actions. ### Expressions  1. **Eyes --** It is the most crucial element, as it is often referred to as "the window to the soul." We naturally look into each other's eyes for communication and emotion. 2. **Eyebrows --** It is almost as important as the eyes as it adds clarity to what the eyes express -- acting like "curtains" to the "windows" of the eyes. 3. **Mouth --** It adds definition and refinements to the expression, functioning as the punctuation in a "sentence" made by the face. 4. **Neck --** Although it is not part of the face, the tilt and movement of the neck can significantly enhance expressions. 5. **Nose --** The least used for emoting, but it can add some refinement to a certain expression. A. ### Eyes - It consists of various shapes such as circular, almond, and teardrop. These shapes are essential when showing different personalities and ethnicities. - Eyes are mostly round, with muscles and skin giving them their unique shape. - The common problems when crafting eyes are "zombie eyes," also known as blank stares; "walled eyes," or pupils looking in different directions; and "crossed eyes," or pupils turned inward. You may resolve these problems with slight adjustments and try considering the eyeball's roundness. B. ### Eyebrows - It should have a strong connection with the eyes to convey the emotions effectively. - A "mask" around the eyes can help position the eyebrows correctly. - Eyebrows react to what the eyes are portraying; it technically enhances the overall expression. C. ### Mouth - It works with the eyes and eyebrows to define emotions; It acts as the punctuation. - Experimenting with different mouth shapes is recommended as it can convey a range of subtle emotions. - The mouth and jaw work together, and opening the jaw changes the face's shape.  D. ### Neck - It adds dynamism and clarity to expression through head tilts. - The head tilts can significantly enhance the overall expression and poses.  E. ### Nose - It is rarely used for emoting, but it can accentuate certain expressions. - It is used for realistic characters more frequently. ### Pose (Bancroft, 2012) 1. **Offset Poses --** Slightly alter the position of the limbs or features to break symmetry. For example, in a "Ta-da!" pose, tilt the head, raise one arm slightly higher, and shift weight to one leg. 2. **Refined Adjustments --** Small changes can add interest. One example is in even poses where symmetry is common, like a shrug. For example, tilt the head or adjust the arms slightly in an "I don't know" shrug. Adding perspective gives depth and dynamism to your poses, making them more engaging and lifelike. - **Avoid Twinning --** Perspective automatically breaks symmetry by creating size differences in shape, making the poses less symmetrical. - **Dynamic Poses --** It adds drama and energy to a scene. - **Clear Silhouettes --** It helps create clear, recognizable silhouettes. - **Strengthened Expressions and Emotions --** Perspective enhances the clarity of expressions and body language. *Image retrieved from https://[www.21-draw.com/how-to-make-a-character-design-sheet/](http://www.21-draw.com/how-to-make-a-character-design-sheet/)* 1. **Quick Sketch** -- Create a quick sketch using a red, erasable pencil. This sketch captures the basic line of action and simple shapes to show the anatomy. The goal is to convey the overall feeling and movement. 2. **Add details** -- Refine the sketch by adding more details like ovals for the eyes and nose, shapes for the mouth, and indications of hair and clothing movement. 3. **Refine the Expression and Clothing** -- Add details to refine the facial expression and clothing, considering the sense of movement and drag. 4. **Flip and Correct** -- Flip the drawing over and create a new sketch on the back of the paper. This helps identify and fix any problems, such as foot placement, chest tilt, hand positions, and head tilt. 5. **Transfer Corrections** -- Flip the drawing back to the original side and redraw it, transferring the corrections made on the back. These minor tweaks help improve the overall drawing. 6. **Final Line Drawing** -- Using a kneaded eraser, lighten the red underdrawing. Then, create a final, slightly loose, black line drawing with a graphite pencil, adding details like hair strands and eye highlights. 7. **Scan and Color** -- Scan the drawing into the computer. Select the Red channel to remove the red underdrawing, leaving only the tight black line. Adjust levels and contrast as needed. The drawing is now ready for coloring. STORYBOARD ========== ### Drawing Shortcuts ### Simplify ### Characters and Star People ### Poses ### Hands ### Heads  ### Eyes ### Types of Storyboard ### Beat Boards ### Live Action Boards ### Feature Animation Boards ### Advertising Storyboard or Pitch Boards ### TV Animation Boards ### Video Game Storyboards ### Previs  The Storyboard Process ---------------------- 1. ### Gather Technical Details: a. **Aspect Ratio** -- Determine the aspect ratio of the project. For example, discuss the project with the client and ask if you will be working in a 16:9 aspect ratio. b. **Reference Materials** -- Collect character and background designs and any other relevant materials. These should be provided by the producer or head of the project. c. **Research** -- If there are no reference materials provided, you may find your own through the internet or in your library. 2. **Final Image Delivery Format --** Find out the final image delivery format, whether it is scanned images on paper or digital files like JPEGs. 3. **Script or Outline --** Most projects have an outline and script as the basis for creating images. If a script is not provided, the direction will likely be given verbally by the director or producer. Ask relevant questions to clarify any uncertainties or unclear instructions. 1. **Read the script thoroughly** -- It is crucial to understand the sequence of events, character emotions, and overall themes of the story. Therefore, reading the entire script should be the first priority when crafting the storyboard. 2. **Break Down the Script** -- Once you are done reading the script, you may divide it into sections, identifying key moments and actions. Get your reference materials for everything you have to draw, such as all the characters, locations, and props. 3. **Script Notes and Thumbnails --** Expound the script with additional notes to be more effective. You may also draw thumbnail sketches if you like. Plan your shots -- decide on close-ups, wide shots, angles, and reaction shots. A plan or overhead view of the scene can help visualize character positions and movements. If you remember Disney's technique for creating their characters, you may try it by depicting the character's expressions, movements, etc., in front of the mirror. 4. **Interpret the Script --** Make sure to highlight key actions and dialogue. For example, the script mentioned a scene a night scene at the top of the mountains planned to show street lights or a dark sky. Consider necessary establishing shots and reaction shots for characters. 1. **Identify the Story Point** -- It is crucial to understand and emphasize the main story point of each scene. Ensure every image you draw supports this story point. 2. **Consider Subtext** -- Look for deeper meanings behind the dialogue to add emotional depth to your scenes. For example, if a character's words suggest hidden feelings, it should be reflected in their body language and staging. 3. **Creating Thumbnails** -- Rough sketch your ideas. Draw small, rough sketches for your scene to plan compositions, camera angles, and staging. These should be quick and simple, focusing on storytelling rather than detailed drawing. 4. **Explore Ideas** -- Use thumbnails to explore different ways to convey emotions and actions. This phase is about finding the best way to tell the story, not about detailed artwork. 5. **Review and Refine** -- Once your thumbnails are complete, review them to ensure clarity and coherence. Make sure that it showcases the message of the story effectively. Check for any composition issues, if any. 6. **Draw Finished Panels** -- Create clean and detailed storyboard panels based on your thumbnails. Focus on having clear and understandable drawings that convey the story point and emotional beats. Remember to use solid poses, simple tones, and minimal color. ### Reference: