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 2 Below are the principles that make Disney animation different from everyone else’s. Disney movements are believable because things have weight and the characters appear to be thinking, The main purpose of these Animation Principles (*) is to give an illusion of reality by producing character movements that adhere to the basic laws of physics such as gravity and inertia. ®, 3 Ways to Animate 1) POSE to POSE* (the planned way) ~ Used in scenes that involve repeated cycles such as walk and run. It starts with drawing a few key frames, then adding the inbetweens later. There is clarity and control, but sometimes, the action can be a bit stiff and unnatural 2) STRAIGHT AHEAD* (the natural way) — Itis simply drawing one move directly after another in an evolving sequence of growth from beginning to end. Straight ahead animation creates a natural flow of fluid, spontaneous action, but the characters tend to grow and shrink because it’s hard to maintain proportions. It’s also expensive and hard to assist. £3” stop motion animation such as claymation is done straight ahead. 3) COMBINATION (the best way) - Combines the structured planning of working pose to pose with the natural free flow of the straight ahead approach. A balance between planning and spontaneity.®& Fundamentals of Movement 1) SQUASH and STRETCH* - Its purpose is to give a sense of weight and flexibility to drawn objects. The most important rule to this principle is that an object's volume should not change when squashed or stretched. f NORMAL S125 orpetou » DISTORTION <-RECOIL-SQUASH BOUNCING BALL ACTION 2) ANTICIPATION* ~ A preliminary movement (usually in the opposite direction) made before the main movement. Anticipation is used to prepare the audience for an action; this ensures that they will see that action when it comes. For example, a dancer has to bend his knees first before jumping off the floor.ES 4 Take is nearly always preceded by a good anticipation drawing. A STAS IVE HOUND AT @)SEES UGLY DANE, @STAS ScRINGES INTO ANTICIPATION OFUES UP INTO WILD TAKE. ©" Transfer of Weight - Before standing up, there must be a weight shift by leaning forward first, and then the character may stand up naturally. GePTG WP MM A Ca, WE AORN EATER GO eRD Ad oH {hy BRCRE WE GO UP. we eto aan SR enc ‘e Seraed SP StS 3) ARCS* (Path of Action) — Most natural action tends to follow an arched trajectory, and animation should adhere to this principle by following implied arcs for fluidity of movement.4) DELAYED SECONDARY ACTIONS — These closely related techniques help render the impression that characters follow the laws of physics such as momentum and inertia. Delayed secondary actions are also effective in putting life into poses and holds. a) Overlapping Action* - The tendency for different parts of the body to start and end movements at different times, thereby requiring variable timings. 1H b) Follow Through* - Objects move to some extent independently of the character to which they are attached. This means that separate parts or extremities of a body will continue moving after the character has stopped. Example is the dog's ears below. A—B T z = = Trace a woLeywoap mus pas Tues, Fie SRCUND es Gms Conmewinee prs . the action of the character . the extremity’s own weight . the extremity’s degree of flexibility air resistance 1 2 3, 4,¢) Drag - A character starts to move and parts of her take a few frames to catch up. 5) MOVING HOLD A character not in movement can be rendered absolutely still; this gave a flat and lifeless result, and should be avoided. The solution is, while on hold, make the character drift on further to a stronger pose; this will add life to the scene. Suet cece 45 won MiseTWEE 1S ou HEED Rae, THE RET SEEN. ES” goil - The use of random doping on one or two more tracings of the same pose to create an illusion of continuous movement during a hold ~ “Bure” in Japanese. Boil®&, Timing* - This refers to the number of drawings or frames for a given action, which translates to the speed of the action on film. Correct timing makes objects appear to abide to the laws of physics such as gravity and momentum 1) WEIGHT - The timing of a character's action has a great deal to do with its weight or the lack of it. registered in animation by: 1 Heavy weight is registered in animation by: "Light weight 1, the visual struggle to move 1, the spring-up with no resistance 2. the visual struggle to stop 2. the elimination of recoil process see a y wt a er SME ssl Yr Yo Y show y A eH YEAST SPRING-UP SS veo Unaovsen omew“AfP wocweor W-neran ron 2) SPEED DISTRIBUTION / SLOW IN & SLOW OUT* / CUSHIONING - The movement of most objects, need time to accelerate and slow down. Animation looks more realistic if it has more drawings near the beginning and end of an action, emphasizing the extreme poses, and fewer in the middle. o 2 SLOW OUT ‘SLOW IN EASE OUT EASE IN or CUSHIONING IN Speed distribution of a car ca a As the car's motion contin- It gradually gets faster, reach- When the car starts to move Uues, it will slow down gradu- ing its highest speed from a rest position, it will ally (due to inertia), finally accelerate gradually (due to coming to a stop. Inertia).3) STAGGER THe SIMPLEST FORM OF SYAGGER VIBEATION (§ THIS - ‘SAY We WANT A LEAF ON ATREE To FLUTTER IN The WIND. (F-REN FY 20d #9 ARE the 2 EXTREMES dud WE JuSt MAKE 7 EQUAL IN BETHEENS te te igTe? THEN WHEN WE BIRRE Z- - WeSKPOtemdGo -{- — ORSMR ITON OUR X- SHEETS FORWARD od THEN = -Z-—AROUND INSTEAD OF the USUAL” COME RACK e&.— GORA ore = = Vou = =z veges nso eT pee a ances, = = i a “ AD wee rerum = = “TO JUST THAT, FOR VARY = as art —— HOLD Some FOR Z ORZ — Sze 7 FRAMES wud OMERS FORO, =a ITS AN ERRATIC EXPOSE - = -S— = ANY COMBINATION CAN WORK. I Derebe HOW WiC = a = THIS. 1S the PRINCIPLE WeWanT IT Be. = = OF STAGGERED EXPOSURE ae ANOTHER Way- TARE A DIG BRED VIBRATING APTER. The DIVERS LET IT — We mare %) 1,9, 90 17 1 Wn EVEN iar * £ @ Het "7 q is 7 In SURPRISING HOW MUCH You CAN REPEAT EACH END, #1 TOMTT ex. AND WHEN IT SLOWS To A STOP. HE H i lo in} sift can nee a ay OF Coupe WEECAN Ake MORE FLECIBLE PASSING POSITIONS WITHIN The BXTREMES o 3mm WILE WORK WELL. EITHER Way. THESE ARE The. VIBRATIONS HOST ANINATOBS. USE — FOR LACKOF A NAME | CALL IT the UP 0d DOMN OR "BACK a¥d FORTH’ VIBRATION. OR SHINERING WITH CoLd: SIMPLY BECAUSE The, Wiad EXTREMES ARE CLOge Toaeriee 26d he OES FAL APART WSGET A YAPITY OF SPACING WB ACTON.‘he SIDE To SIDE VIBRATION FORMULA WE WANT "B HAVE HEAD WOBRLE FROM BK i SIDE TO SIDE - zi WE MAKE A SERIES rn OF DRAWINGS FROM ee I te Say, 33- 44 5A é 6A THEN We MaKe A CAREFUL = AND WE GET TTRAONG OF | 24d #33 = A SIDED SIDE JUST SHGHTLY OFFSET= WOBBLE BY od WE MAKE A NEW SERIES ay 4AVING 2. STRIPS OF DRAWINES A To 324 e OF ACTION. GONG UP The OTMER BIDE. y Coes INTERLEMVING TWO SERIES OF DRAWINGS INTERLEAVED- GIVES US ALL KINDS. OF POSSIBILITIES FOR VIBRATING ACTION. 4) DELAY - This technique will prevent the movement from appearing too mechanical. Delay Delay 5) REACTION - When a fast movement suddenly stops, the object goes a little past the original stopping position, due to inertia, and then returns Reaction,& Fast Action - When an action is so fast or wild, you need to use special effects such as MULTIPLE IMAGES, SPEED LINES and BLUR to help the audience's eye follow along. REACTION wey SPEED ACTION CHART co maar 8 cere - = : QS SS] SE GO] BACK TO STRETCH — MULTIPLE-IMAGE - BLURR — ANTICIPATION ‘SHAPE 4®& Takes - An exaggerated action made by a character upon being surprised or frightened. Almost anything can happen in a take; the figure may stagger or fly thru the air, eyes may pop out, hair and tails etc, all fly up and contribute to the surprise effect. ®&, expressions - Every expression is based on four factors: the eyebrows, the eyes, the eyelids, and the mouth-cheek area. All of these affect the expression, and you have to get each, and all of them working together. Many expressions are not symmetrical, and they don’t have to be. PEAS lal (A 43. 4S 10ES uring a dramatic movement, a change of expression will often go unnoticed. In these cases it is better to include them at the beginning or at the end of the movement, rather than during. ‘ DONT CHANGE “the EXPRESSION DURING A BEOAD MOVE. SAY WE HAVE A PERSON READING A BOOK- \ x G ( Bur WE PONT WANT 7D CHANGE HIS EXPRESSION DURING te MOVE WHERE WE CAIT SEE IT- SO WE INSERT A POSITION WHERE WE SHE the CHANGE BEFORE Tue MOVE. AS ¥% ae THA MorE—r HAVE HIM MOVE 30d CHANGE the EXPRESSION AT The END OF HR MOVE: WHERE WE CAN SEE IT \\ ‘9 3 EITHER WAY 18 MUCH . I MORE EFFECTIVE The IDEA ISTO Put the CHANGE WHERE YOU CAN SEEIT- NOT DURING Tle BROAD MOVE - ulBS FLEXIBILITY in the FACE - A cartoon face can be stretched or squashed to strengthen an expression. Notice that the “skull” containing the eyes does not change greatly ~ most variable is the mouth area (see page 2). TAKE CHEWING , FoR EXAMPLE COS cee, FACE, WE CouLd GO FROM ANY OF THESE POSITIONS TO ANY OTHER IN ANY SEQUINCE, VARYING IT. SHOHOO The CHEW CAN PULL “The NOSE AGAIN, WITH SQUASH ‘nd STRETOH, WE TRY To KEEP The SAME AMOUNT OF MEAT. IF YOU TOOK Ir OUT ud WEIGHED IT- IT WOULD WEIGH The SAME. AN UNCOUTH FELLOW - S0, AGAIN, ITS WHO IS CHEWING ? FAT, SMALL, OLD, CRABY, INHIBITED? ‘A SOPHISTICATED PERSON CHEWNG VERSUS A TRAMP WHO HASNT EMTEN FOE & WEES? 2®& Dialogue “the (EI) 7 UP SING ISGETTNG Ye FEELING OF tle WORD ad NOT the INDIVIDUAL LETTERS “The IDEA IS NOT TO BE 700 ACTIVE - GET The SHAPE OF the WORD tw MAKE SURE We SEE (T- SELECT WHATS IMPORTANT a AVOID FLAPPNG tle MOU AROUND ANIMATING EVERY LIME THING. INBTUN TE The wor 'roRruNe- ° ° 6 DoNr DO THIS - ete Tes = DONT OPEN IT TWRKE. TUNE Do THis: JUST USE 2 POSITIONS. Corn BOIL IT DOWN SO in SIMPLE CHOON Lets take “weno? ie WM SAME THING - 2 = L 3 O = Dour OFAN Ir Twice. 4 GO STRNGKT FROM 5 : + ONE 7 The OTHER So HE_* O. We CAT BE LITERAL IN READING Cue. SOUND TRACK. "MEMORY IS NOT 2 OPIS IT ONE te 0 0 0 6 one’ ; Mem OW REE WE beN'r UNLESS THEY RE SWAIN : he a PMEM- OH- REESE Pe ENeie , furs case ae ins “MEM-REE oe |b Chose The Mou EN ROUTE 40 BEE&, solid Drawing* — This means taking into account forms in three-dimensional space, giving them volume and weight. This requires substantial skill in figure drawing which necessitates taking up art classes and doing sketches from life. Grou tioes nanination anactist will endeavor... AL Polen ertop of Cherri NATURALISTIC MOVEMENT claeicteR 6 LINE ACTION REFERENCE, CuLeD Fron wee \wen-rare , Viewey FRAME BY FRAME, ip DRANN. AMhie tech can be used by Anwane, wilo HAS A Solio nee! Meee Qusreuctin OF THE Flouee. So LETS SARL GRASPING / 2 a RAIVEYS8S Twins — characters whose left and right sides mirrored each other, and looked lifeless. fig 6 wars caved A" WOODEN compacta, BOA EAE JE, AON, FINGER. , LE COL, A WAY TAKE the CORSE OFF TWINNIG IS JUSTTO DELAY ONE CF te HANDS ORARNC BY 4 0@ 6 rears ASRS \he LIKE A DANCER WOULD DO- OR TILT ANOTHER PART = nusnanbne WN ®&, Flexibility of Joints — successive breaking of joints enables us to get the effect of curved action by using straight lines. We're freed forever from the tyranny of having to animate rubbery arms and legs. We can now have bones and ‘straights’ in our figures and still have fluid, flowing movements. “he Hano Wits KERP ON GONG Bur he FLEOW Jom BENDS oP BPEAKS’ GONE BACK INThe OPROBITE DIRECTION = SIAETING- ON ITS WAY BAGK DOWN. a D 1s®, staging* - Its purpose is to direct the audience's attention, and make it clear what is of greatest importance in a scene. This can be done by various means, such as the placement of a character in the frame, and the angle and position of the camera (practically the Layout man's job). The essence of this principle is keeping focus on what is relevant, and avoiding unnecessary detail BS Appreciate the value of a good silhouette in your key drawings. A good drawing should be able to be blacked-in solid, & the resulting silhouette still register the meaning & attitude of the pose. yg WANT CUR. AUDIENCE TO READ AN ACTION FAST SHOW IT IN PROFILE. Ae eur* VE TA, LY DONT HAVE ANY TROUE) hited®&, Exaggeration* - An effect especially useful for animation, as perfect imitation of reality can look static and dull in cartoons. The classical definition of exaggeration, employed by Disney, was to remain true to reality, just presenting it in a wilder, more extreme form. carton character ee > No Cartoon on Deen har be Actor: vO rs ane Bacira tio : Se (leo. eh atte For urate He Be | WAL 6 4ov wn! Bun) THE GAMUT oF EMOTIONS Tf B42 29 ae &, Appeal* - A character that is appealing is not necessarily sympathetic; villains & monsters can also be appealing. The important thing is that the viewer feels the character is real & interesting. ) towuke. adkarocter a¢pealing, Youve si male Him As Cute aS possible, cht? § SORR ME bral used rental WS et, Sc eaLeD ~. BY SAY.& secondary Action* - This is entirely different from section (4) of the topic “Fundamentals of Movement” on page 4. Secondary Actions are gestures that support the main action to add more dimension to the character animation. That is, when you got something going on, secondary to the main action. Example 1: Main Action - Medusa talking to girl Penny Secondary Action ~ Medusa taking off her false eyelashes Example 2: Main Action ~ Shere Khan talking to the snake Kaa Secondary Action - Shere Khan uncoils his claws ®&, Performance - The most important thing: Our animation work MUST be able to entertain. 18$B 0p animators’ advise to animation students: “"t’s not possible to be a top notch animator without being an excellent draftsman.” ~ Milt Kab “if you can’t draw — forget it. You're an actor without arms and legs.” ~ Art Babbitt “First ofall, learn to draw. You can always do the animation stuff later.” ~ Richard Kelsey “Figure drawing has a lot to do with animation.” ~ Doug Compton “If an animator’s drawing foundation is strong, he will have the versatility to go in all the different possible directions. He'll be able to draw anything — from the most difficult, realistic characters, to ‘the most wild and wacky.” ~ Richard Williams ONE THils 1S CERTAIN: The higher youre level AD becic drow SENG =the more suited qou will be fo classical animation, as O; ye. E QD sources: BLAIR, PRESTON. Animation, Foster Art Services, Inc c. 1979, Tustin, CA How To Animate Fi Cartoons, Faster Art Services, Inc. ¢ 1980, Tustin, CA HALAS, JOHN. Timing For Animation. Focal Press. c. 1981, London JOHNSTON, 0. / THOMAS, F. * The Illusion of Life: Disney Animation. Abbeville Press. c. 1981, N.Y. COMPTON, DOUG. Drawing for Classical Animation, Karmatoons Inc. c. 1997 WILLIAMS, RICHARD. The Animator’s Survival Kit, Faber and Faber Inc. c. 2001, New York ‘TEZUKA PRODUCTIONS. Tezuka School of Animation, Digital Manga Publishing, c. 2003, Carson, CA WEBSTER, CHRIS. Animation: The Mechanics of Motion, Elsevier Ltd. c. 2005, Oxford, UK Williams, A (alexander williams}. (2013, March 3). The 12 Principles of Animation - Part 1 and Part 2 [video file) Retrieved from: Part 1 - httpsi//www.youtube.com/watch?v=vGsSHvtelkQ Part 2 ~https://www.youtube.com/watch?v=6FTU6i-ORTI Prepared by: Ruben S. Abelardo »