Drawing Magic Animation Hints From Disney Greats
For animation buffs, the words 'Nine Old Men' are music to their ears. This moniker refers for the original group of Disney animators who helped to create a number of the very initial function length animated films; they remained using the studio appropriate up till the 1980s. Two of the old guys, Ollie Johnston and Frank Thomas, delighted in mentoring younger animators; when they retired, they publicly released their list of animation principles. Here's a breakdown of 4 of them.
Squash and Stretch
The very first principle is typically identified as "Squash and Stretch." When animating a figure in motion, it's critical to offer the figure the appearance of getting concrete weight; squashing something horizontally or stretching it vertically gives the illusion of redistribution of that volume. Within a easy animation of a bouncing ball, it makes the motion seem far more dynamic; subtle uses of squash and stretch are crucial for realistic constructions, generating them appear a lot more life-like. But it is constantly critical to help keep the volume of the object constant; if a ball stretches out when hitting the floor, it have to also squash down correspondingly.
Anticipation
One of essentially the most amazing elements in the human thoughts is its capability to see and interpret tiny visual cues and movements subconsciously. It's one thing that we seldom notice until it's gone; even though the particular situation can't be identified, we know something is off. This involves things like a basketball player bending his knees prior to a jump, or a character looking towards the object they're about to interact with. The principle of anticipation comes in at this point: animators have to remember to incorporate these anticipatory movements when functioning on their characters, since it helps to create every little thing look far more realistic. Needless to say, anticipation can be omitted with no warning for any comedic surprise gag.
Staging
The principle of staging is just as important in animation because it is in live-action films. Animators suitable the visual language that we've turn out to be used to due to conventional film function, and though they use no camera, they nonetheless produce convincing narratives. Ollie Johnston and Frank Thomas emphasized that staging has to be employed to present an idea in an unmistakably clear way, and define what exactly is critical in the scene and must be focused on. This signifies more than just putting the characters inside the frame; animators can function with light and shadow, with angles in the "camera", and adjust movements in order to convey what is important.
Straight Ahead Action vs Pose to Pose
If you have in no way animated a sequence inside your life, how would you go about undertaking it? Perhaps begin together with the very first drawing, then move sequentially frame by frame? Or would you rather draw out the big and important components, and fill in the rest later?
Both tactics have drawbacks, but they're each very helpful. Drawing a sequence begin to finish, or 'Straight Ahead Action', final results inside a quite fluid illusion of movement, but it is tough to sustain the proper proportions in the characters. Sketching out the desired high points of a scene and then filling within the rest solves the proportional dilemma, and is much better for dramatic scenes. Animators normally use a mixture from the two.
For animation buffs, the words 'Nine Old Men' are music to their ears. This moniker refers for the original group of Disney animators who helped to create a number of the very initial function length animated films; they remained using the studio appropriate up till the 1980s. Two of the old guys, Ollie Johnston and Frank Thomas, delighted in mentoring younger animators; when they retired, they publicly released their list of animation principles. Here's a breakdown of 4 of them.
Squash and Stretch
The very first principle is typically identified as "Squash and Stretch." When animating a figure in motion, it's critical to offer the figure the appearance of getting concrete weight; squashing something horizontally or stretching it vertically gives the illusion of redistribution of that volume. Within a easy animation of a bouncing ball, it makes the motion seem far more dynamic; subtle uses of squash and stretch are crucial for realistic constructions, generating them appear a lot more life-like. But it is constantly critical to help keep the volume of the object constant; if a ball stretches out when hitting the floor, it have to also squash down correspondingly.
Anticipation
One of essentially the most amazing elements in the human thoughts is its capability to see and interpret tiny visual cues and movements subconsciously. It's one thing that we seldom notice until it's gone; even though the particular situation can't be identified, we know something is off. This involves things like a basketball player bending his knees prior to a jump, or a character looking towards the object they're about to interact with. The principle of anticipation comes in at this point: animators have to remember to incorporate these anticipatory movements when functioning on their characters, since it helps to create every little thing look far more realistic. Needless to say, anticipation can be omitted with no warning for any comedic surprise gag.
Staging
The principle of staging is just as important in animation because it is in live-action films. Animators suitable the visual language that we've turn out to be used to due to conventional film function, and though they use no camera, they nonetheless produce convincing narratives. Ollie Johnston and Frank Thomas emphasized that staging has to be employed to present an idea in an unmistakably clear way, and define what exactly is critical in the scene and must be focused on. This signifies more than just putting the characters inside the frame; animators can function with light and shadow, with angles in the "camera", and adjust movements in order to convey what is important.
Straight Ahead Action vs Pose to Pose
If you have in no way animated a sequence inside your life, how would you go about undertaking it? Perhaps begin together with the very first drawing, then move sequentially frame by frame? Or would you rather draw out the big and important components, and fill in the rest later?
Both tactics have drawbacks, but they're each very helpful. Drawing a sequence begin to finish, or 'Straight Ahead Action', final results inside a quite fluid illusion of movement, but it is tough to sustain the proper proportions in the characters. Sketching out the desired high points of a scene and then filling within the rest solves the proportional dilemma, and is much better for dramatic scenes. Animators normally use a mixture from the two.
Subscribe to:
Post Comments (Atom)
0 comments:
Post a Comment