Drawing Magic Animation Hints From Disney Greats
For animation buffs, the words 'Nine Old Men' are music to their ears. This moniker refers to the original group of Disney animators who helped to make some of the extremely 1st function length animated films; they remained with the studio correct up until the 1980s. Two on the old males, 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 initial principle is generally recognized as "Squash and Stretch." When animating a figure in motion, it really is crucial to give the figure the look of having concrete weight; squashing something horizontally or stretching it vertically provides the illusion of redistribution of that volume. In a simple animation of a bouncing ball, it tends to make the motion appear much more dynamic; subtle uses of squash and stretch are vital for realistic constructions, making them seem much more life-like. But it really is constantly critical to keep the volume in the object constant; if a ball stretches out when hitting the floor, it have to also squash down correspondingly.
Anticipation
Among one of the most outstanding elements in the human mind is its ability to see and interpret tiny visual cues and movements subconsciously. It's something that we rarely notice until it is gone; even if the certain situation can not be identified, we know something is off. This consists of issues like a basketball player bending his knees just before a jump, or a character hunting towards the object they are about to interact with. The principle of anticipation comes in at this point: animators should remember to include these anticipatory movements when operating on their characters, because it assists to make every little thing seem much more realistic. Obviously, anticipation may be omitted without having warning for any comedic surprise gag.
Staging
The principle of staging is just as crucial in animation since it is in live-action films. Animators suitable the visual language that we've got grow to be used to on account of conventional film perform, and despite the fact that they use no camera, they still create convincing narratives. Ollie Johnston and Frank Thomas emphasized that staging must be utilised to present an concept in an unmistakably clear way, and define what is essential in the scene and should be focused on. This means greater than just placing the characters inside the frame; animators can operate with light and shadow, with angles in the "camera", and adjust movements in an effort to convey what is essential.
Straight Ahead Action vs Pose to Pose
If you've in no way animated a sequence within your life, how would you go about doing it? Probably begin together with the very first drawing, after which move sequentially frame by frame? Or would you rather draw out the massive and crucial components, and fill within the rest later?
Both strategies have drawbacks, but they're both really useful. Drawing a sequence begin to finish, or 'Straight Ahead Action', results within a very fluid illusion of movement, but it's difficult to sustain the best proportions of the characters. Sketching out the preferred higher points of a scene and after that filling in the rest solves the proportional problem, and is much better for dramatic scenes. Animators normally use a combination from the two.
For animation buffs, the words 'Nine Old Men' are music to their ears. This moniker refers to the original group of Disney animators who helped to make some of the extremely 1st function length animated films; they remained with the studio correct up until the 1980s. Two on the old males, 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 initial principle is generally recognized as "Squash and Stretch." When animating a figure in motion, it really is crucial to give the figure the look of having concrete weight; squashing something horizontally or stretching it vertically provides the illusion of redistribution of that volume. In a simple animation of a bouncing ball, it tends to make the motion appear much more dynamic; subtle uses of squash and stretch are vital for realistic constructions, making them seem much more life-like. But it really is constantly critical to keep the volume in the object constant; if a ball stretches out when hitting the floor, it have to also squash down correspondingly.
Anticipation
Among one of the most outstanding elements in the human mind is its ability to see and interpret tiny visual cues and movements subconsciously. It's something that we rarely notice until it is gone; even if the certain situation can not be identified, we know something is off. This consists of issues like a basketball player bending his knees just before a jump, or a character hunting towards the object they are about to interact with. The principle of anticipation comes in at this point: animators should remember to include these anticipatory movements when operating on their characters, because it assists to make every little thing seem much more realistic. Obviously, anticipation may be omitted without having warning for any comedic surprise gag.
Staging
The principle of staging is just as crucial in animation since it is in live-action films. Animators suitable the visual language that we've got grow to be used to on account of conventional film perform, and despite the fact that they use no camera, they still create convincing narratives. Ollie Johnston and Frank Thomas emphasized that staging must be utilised to present an concept in an unmistakably clear way, and define what is essential in the scene and should be focused on. This means greater than just placing the characters inside the frame; animators can operate with light and shadow, with angles in the "camera", and adjust movements in an effort to convey what is essential.
Straight Ahead Action vs Pose to Pose
If you've in no way animated a sequence within your life, how would you go about doing it? Probably begin together with the very first drawing, after which move sequentially frame by frame? Or would you rather draw out the massive and crucial components, and fill within the rest later?
Both strategies have drawbacks, but they're both really useful. Drawing a sequence begin to finish, or 'Straight Ahead Action', results within a very fluid illusion of movement, but it's difficult to sustain the best proportions of the characters. Sketching out the preferred higher points of a scene and after that filling in the rest solves the proportional problem, and is much better for dramatic scenes. Animators normally use a combination from the two.
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