DRAWING FoR CLASSICAL ANIMATION FESR fe] BUTI [aprile g Motion The ltlusion.of Lite ~ Disney Aniniacign, ‘4 Sa bypResion erate ANIMATORS | INBGCRETED SURVIVAL KIT AE ATSEEDLYCEUM of the PHILIPPINES UNIVERSITY 2D ANIMATION _ Information Sheet 1 © DEFINITION: ANIMATION — the process of filming or recording successive drawings or position of models to create an illusion of movement when the film or video is shown in sequence, TRADITIONAL ANIMATION (or classical animation, or cel animation) — is an animation technique where each frame is drawn by hand. This system was the dominant form of animation in cinema until the advent of computer animation. 2 ae 1) Why Assistant Animation? To be a proficient Animator, one must first master the Assistant’s job. In addition, to make it as an Animator, one must be an expert in drawing. So if you're not very skilled in drawing, Assistant Animation is best for you initially. ONE THIN 1S CERTAIN: The higher yous level AY basic rowing SKINS - the more surted you will be. fo classical animation. JR On ae & 2) Why Traditional Paper-and-Pencil? It is a sound advice to start at the bottom of the ladder, then progressively make your way up. Master Inbetweening first in paper and pencil, and then when you sit up in front of your computer, all you will need to learn are which buttons to push! 3) Why use a leveled work desk? The overly-slanted Animator’s table with its swivel disc and fixed pegbar is not appropriate for Clean-up & IB works. The inbetweener’s work desk should be level-flat, otherwise your drawings and tools will repeatedly slide down the floor. © RIGHT ATTITUDE: It is the instructor's job to look for mistakes in your work, so have a positive attitude about this. There’s no need to explain why or how you made the mistake, your instructor understands and expects it. Your faults will be the instructor's opportunity to teach you further.© STAGES of ANIMATION PRODUCTION: I. Pre-production 1) Design — creation of model sheets 2) Storyboard — scenes are illustrated individually in frames; somewhat like a comic strip LT EEE E 3) Soundtrack — dialogue, music and sound effects are recorded 4) Timing - creation of exposure sheets 5) Layout ~ character poses & detailed background settings are established based on the storyboard and model sheets 6) Animatic- pictures of the storyboard and/or layout are synchronized with the soundtrack 7) Animation — rough key frames of the major points of the action are drawn based on the layout 8) Asst. Animation — clean-up & |B of key animation 9) Background - finalized based on the layout and ~ a color style II Post-production 10) Tracing / Xerography — outlines of animation drawings are prepared for painting 11) Painting — cels are painted on the reverse side the outmoded 12) Camera — cels and background are photographed animation based on the exposure sheet camera stand© Clean-up & IB STANDARD PRACTICES: 1) Numbering: a) Numbers for top-pegged drawings are written at the upper-right comer b) Numbers for bottom-pegged drawings are written at the lower-right corner. c) Numbers of key drawings are always encircled. d) Numbers of IB sheets are NOT encircled. eG 2) Labeling: a) All last drawing of every set of IB work is labeled “End” b) Single clean-up drawings are labeled “Held” ©) Whenever an animator provides his breakdown or reference, - the corresponding number should be inside a triangle, hence: 3) Registration: “Reg. to BG” means you have to register a designated part of your drawing (usually in red line) to a designated part of the background (the one that corresponds to the red line). To register means to trace a designated line accurately so that no gap is apparent. This is also applied to drawings of different cel levels. 4) Cel Level & Japanese Western Exposure Sheet: Po 5 =e €5) Proper submission of finished work: a) Level A should be under Level B, B under C, C under D, and so on. b) Number 1 should be under #2, #2 under #3, #3 under #4, and so on. 6) Do not fold your drawings; instead, carry it in a TUBE. Bring home and file your graded work. 7) Don't scrunch up and discard wrong drawings; if possible, reuse your animation paper. © TIMING: The standard recording and playback rate for traditional animation is 24 frames per second (fps). The assistant’s job is to follow the timing grid provided by the animator. © The way an object behaves on the screen, and to depict its weight, depends on the spacing of the animation drawings and not entirely on the drawing itself. spacine GRE “CHARTS NEU there? aie @ Sesvow-un ip ae SF cavyweicer “ARINC stow ezoon ABtlry, “" stl Up, : ioe er, mene gif © ssimenaey — Wasinerse soc \ ES" in these examples of a bowling ball and a balloon, the timing of its movements can make it look heavy orlight on the screen. ® gun uEHAKLU TOTAL ES It takes 9 drawings for the circles to move. All 3 sets start and end at the same time, all 3 hit the middle also at the same time; but their movements all differ in behavior because of the different spacing. OOOOO000O0 tel 1, Tine ras GDO O O@D O re Oo O*s 4 Teer aS TLE 4© CLEAN-UP - As the term implies, the animator's “roughs” are traced and refined as per the model sheet. No instruction markings should be found inside the frame. Any guide markings should be traced on the reverse side. Being “on-model” is the most important quality of a good clean-up. 5S Model Sheet - The set of drawings that illustrate the exact design requirements of a character, set, or prop (e.g. proportion, height relation, color and poses); used as references to enable production workers to achieve and deliver consistent work. ‘A drawing is said to be ON-model if it matches exactly with the model sheet, OFF-model if it does not.© |NBETWEEN - Refers to the creation of successive frames of animation between key frames. The number and precise placing of these drawings give the animation its timing. Accuracy is the most important quality of a good and acceptable inbetween. There is a difference between an |B and a breakdown (the first 1B); an exact inbetween is simply a filler. Sometimes however, a breakdown is not an exact IB, it is necessary in defining the movement, thus becoming a pose (or a key drawing) in itself. 5S compare an IB filler 7 eaiee sa ae vs.a breakdown M1 Factors for Accurate Inbetweens: -gging. This skill is acquired through 1) Precise Unpegging constant practice. 2) Correct Breakdown — jecause if the breakdown is wrong, the other IBs will also be wrong. 3) Volume Control - This is where you apply drawing construction. See to it that the volumes of masses are consistent as they move. We're animating masses, not just lines.©” rawing Construction ~ Mainly done by animators, and though not largely required in IB work, you must have a working knowledge of it which also requires the knowledge of perspective. 4) Arc of Action — Not all action moves in a straight line. Watch the Arc of Action by studying your key drawings and planni IB. om MoUsLY BECMIRE WRONG Tre Aen was hrs 106. on NAM 5) Flipping - Make this a habit because by constantly flipping your drawings, you'll see every mistake, thus making appropriate corrections. Your instructor will demonstrate this. ES" sketching in IB: This is done on the reverse side of your IB sheet. When sketching is finished, it can now be cleaned-up on the front side; then you may now erase your sketch at the back. You now have a fairly accurate and clean IB without sketching on a separate paper. 7© Cycle: A set of animation work that can be used over and over as in a LOOP sevceerrsiecs? aa EP oS Kee ear oe © Mouths: A, D, & F mouths are provided by the animator as key drawings; while B, C, & € mouths are IBs. ES@&Se ES © Perspective:classic 1B Mistakes: é Keep in mind: “A good |B enhances a bad animation, but a bad |B will kill the finest animation.” — Grim Natwick, Animator, Disney Studios © sources: BLAIR, PRESTON. Animation. Foster Art Services, Ince. 1979,Tstin,CA How To Animate Film Cartoons. Foster Art Services, nc. . 1980, Tustin, CA HALAS, JOHN, Timing For Animation, Focal Press. 1983, London COMPTON, DOUG. Drawing for Classical Animation, Karmatoons Inc 1997 WILLIAMS, RICHARD. The Arimator's Survival Kit. Faber an Faber Inc. c.2001, New York ‘TEZUKA PRODUCTIONS. Tezuka School of i WHITE, TONY. Desktop Academy, ¢. May 2003 [MODEL SHEETS from Funtastc Treasure Hunt. Hanna-Barbera Productions Inc. ¢. 1985 Prepared by: Ruben S. Abelardo