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 first function length animated films; they remained with the studio appropriate up until the 1980s. Two of the old men, Ollie Johnston and Frank Thomas, delighted in mentoring younger animators; after 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 commonly known as "Squash and Stretch." When animating a figure in motion, it's crucial to give the figure the appearance of obtaining concrete weight; squashing anything horizontally or stretching it vertically gives the illusion of redistribution of that volume. Inside a basic animation of a bouncing ball, it makes the motion seem far more dynamic; subtle uses of squash and stretch are essential for realistic constructions, creating them look much more life-like. But it's constantly essential to help keep the volume in the object consistent; if a ball stretches out when hitting the floor, it need to also squash down correspondingly.
Anticipation
One of one of the most outstanding elements on the human mind is its ability to see and interpret tiny visual cues and movements subconsciously. It really is some thing that we seldom notice till it really is gone; even if the distinct concern cannot be identified, we know something is off. This consists of things like a basketball player bending his knees before a jump, or a character hunting towards the object they're about to interact with. The principle of anticipation comes in at this point: animators need to don't forget to incorporate these anticipatory movements when working on their characters, because it assists to produce almost everything appear more realistic. Obviously, anticipation could be omitted without having warning for any comedic surprise gag.
Staging
The principle of staging is just as essential in animation since it is in live-action films. Animators appropriate the visual language that we've got turn into utilized to due to conventional film work, and even though they use no camera, they nonetheless develop convincing narratives. Ollie Johnston and Frank Thomas emphasized that staging should be employed to present an thought in an unmistakably clear way, and define what's important inside the scene and ought to be focused on. This means more than just putting the characters inside the frame; animators can perform with light and shadow, with angles in the "camera", and adjust movements to be able to convey what is critical.
Straight Ahead Action vs Pose to Pose
If you've by no means animated a sequence within your life, how would you go about undertaking it? Maybe begin with the 1st drawing, and after that move sequentially frame by frame? Or would you instead draw out the huge and important components, and fill within the rest later?
Each methods have drawbacks, but they are each very useful. Drawing a sequence start to finish, or 'Straight Ahead Action', benefits inside a quite fluid illusion of movement, but it is difficult to preserve the best proportions on the characters. Sketching out the desired higher points of a scene and after that filling inside the rest solves the proportional issue, and is much better for dramatic scenes. Animators usually use a combination of 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 first function length animated films; they remained with the studio appropriate up until the 1980s. Two of the old men, Ollie Johnston and Frank Thomas, delighted in mentoring younger animators; after 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 commonly known as "Squash and Stretch." When animating a figure in motion, it's crucial to give the figure the appearance of obtaining concrete weight; squashing anything horizontally or stretching it vertically gives the illusion of redistribution of that volume. Inside a basic animation of a bouncing ball, it makes the motion seem far more dynamic; subtle uses of squash and stretch are essential for realistic constructions, creating them look much more life-like. But it's constantly essential to help keep the volume in the object consistent; if a ball stretches out when hitting the floor, it need to also squash down correspondingly.
Anticipation
One of one of the most outstanding elements on the human mind is its ability to see and interpret tiny visual cues and movements subconsciously. It really is some thing that we seldom notice till it really is gone; even if the distinct concern cannot be identified, we know something is off. This consists of things like a basketball player bending his knees before a jump, or a character hunting towards the object they're about to interact with. The principle of anticipation comes in at this point: animators need to don't forget to incorporate these anticipatory movements when working on their characters, because it assists to produce almost everything appear more realistic. Obviously, anticipation could be omitted without having warning for any comedic surprise gag.
Staging
The principle of staging is just as essential in animation since it is in live-action films. Animators appropriate the visual language that we've got turn into utilized to due to conventional film work, and even though they use no camera, they nonetheless develop convincing narratives. Ollie Johnston and Frank Thomas emphasized that staging should be employed to present an thought in an unmistakably clear way, and define what's important inside the scene and ought to be focused on. This means more than just putting the characters inside the frame; animators can perform with light and shadow, with angles in the "camera", and adjust movements to be able to convey what is critical.
Straight Ahead Action vs Pose to Pose
If you've by no means animated a sequence within your life, how would you go about undertaking it? Maybe begin with the 1st drawing, and after that move sequentially frame by frame? Or would you instead draw out the huge and important components, and fill within the rest later?
Each methods have drawbacks, but they are each very useful. Drawing a sequence start to finish, or 'Straight Ahead Action', benefits inside a quite fluid illusion of movement, but it is difficult to preserve the best proportions on the characters. Sketching out the desired higher points of a scene and after that filling inside the rest solves the proportional issue, and is much better for dramatic scenes. Animators usually use a combination of the two.
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