© ANIMBTION IT WOULD BE NEXT TO IMPOSSIBLE TO ILLUSTRATE ALL ABOUT ANIMATION FOR CARTOON PICTURES. IT-TAKES YEARS OF STUDY OF ACTION, STAGING, TIMING, ETC... HOWEVER T WILL MENTION A FEW POINTS HERE THAT MAS” YOU IN DRAWING I Ta INK IN | TERMS OF ACTION, EX TION. —— = —\ \ 7 te = t FIG.I-NOTE LEG STRETCH FIG. IT-Nore Fy LEG FIG.IENOTE LES 1G.IZ ANDY NOTE FOR LEG REACHING = TAKING WEIGHT OF QVERLAPPING BODY STRETCHING INTAKE OE LEGS: ACTION N \ Re! - HEAD NORMAL. |. NOTE DRAG OF JOWLS: FIG. @) JOWLS SWING AROUND pS o SNAPS INTO POSITION = JOWLS NOW NOR? AS ACTION ENDS - _ \ TAKE” FIG. I- ANTICIPATION FOR TAKE- (NOTE: IED. BUNCHED UP POSE ELONGATED POSE OF Fis. IANIMATION (cont: ) 5 SP? FORELEGS REACH- FORELEGS HIND LEGS HINO LEGS GATHERING ING FOr GROUND. TAKING WEIGHT, STRETCHING FOR PUSH-OFF LEGS: FOR LANDING GOMINGTFEOUGH “FORE LEGS. PUSHING OFF. —,_ >a 2X . af SE le _ — NSS BODY STRETCHING BODY AT HIGHEST FORE LEGS REACH- FOR TAKE-OFF POINT IN JUMP ING FOR GROUND AS: IN FIRST SKETCH BOUNCING RUBBER BALL — — (A SIMPLE ILLUSTRATION TO y — SHOW SQUASH AND STRETCH ) BALL ASSUMES NORMAL POSITION pS SLOW POINT OF ITS ARC/ \ Sant “a yy xy | Nore. Soyssa Ss IS aaSQUASH AND STRETCH APPLY TO COMIC STRIPS roc DONT. BE AFRAID WITH ATAKE, CHIP! ISAT Ss a ~\ net BND HOW BASS AGE PULLED ~ \\ MN BACK TO ACCENTUATE. THE EXTREME \ POSE. a j \ i~WEIGHT 4 OPPOSE A HORIZONTAL LINE WITH A CURVED LINE LINDE! IDETRNEATH ~ AS IN FIG. T FIG. NOTE LUNE OF ACCENT sh LISING FIG.I AS EXAMPLE- NOTE HOW IT APPLIES IN FIGS. IL Dl anole FIG.IL 7 —=— Mon poe ° FIGIE FOR SOME PRACTICE Yd EXERCRES DRAWA HEAVY SACK AND PUT IT IN SEV- ERAL POSES." WEIGHT (ConT.) uisstegre WANT TO DEMON:- ANIMALS (con) PHOTOGRAPHS. BOXING IN yOuR. CHARACTER WILL [ELP IN OPORTITRY OPPOSITION AS IN THE DRAWING . X= BELOW SUCH AS _LINE OF ACTION OF PANTHER. OPPOSED E> THE -LINE OF ACTION — OF THE DIPULL and TENSION ‘ IN TAKING LPTHIS SUBJECT, LETS TAKE A PIECE OF CLOTH AS. IN FiG. TAS AN EXAMPLE. AiG. T NOTE REACTION OF CLOTH WEEN TWO OF ITS CORNERS ULLED (AS IN FIG.) 4+#—\— Put ——__» ANOTHER SIMPLE EXAMPLE TO ILLUSTRATE PULL AND TENSION IN A MORE SOLID MATERIAL . Sees | I ROPE IN NORMAL POSITION - _— zar (ll ROPE ELONGATES IN PULL. ‘ FIG-IZSHOWS CLOTH WHEN ALL Fou ERS ARE Ree uO”n PULL and TENSION (cont) Here ARE SOME J? s SCE —— ARROWS DENOTE SIMBLE ILLUSTRATIONS = DIRECTION OF PLLC we FIGURES, LIEGRAB HOLD, CHIP~T WANT. TO DEMON! TE PULL AND TENSION!CARICATURE a? st CARICNURE 8 IS AN AN EXAGGERATED | DESIGN OF TH 4 UBIECT WING = BS I RNONG ; FEM URES "RD = = ee SEM, is NSOue BEAWNG BY EMPHASIZING TH FOLLOWING PAIRS -A Snow ROE = WENT FURTHER TO EXAGGERATE~ ANALYZE Your SUBJECT AND LET YOURSELF GO.. BIRDS Belg 3 BIRD KEEP EM - EACH TYPE OF EARARITRSENT , Co GRACEFLLY SUGGESTIONS Foe SOME TYPES - t ES iE BREE DRAWINGS.BIRDS Cconr) a See PHOTOGRAPHS F BIRDS~THENTRY TO BREAK . THEM DOWN TO SIMPLE FORMS2 IMPORTANCE of LINE IE GGEST WEIGHT, FORM, MATERIAL AND OTHER TENS Neo STONGNEROUS TO MENTION. BELOW ARE A ae THE ae | GN LNDESSDE TES oientEe INJBND | USEBTOACCENTUE =, A THE EXAMPLE ABOVE ILLUSTRATES THE USE OF LINE TO EMPHASice LINE LSD INTHE ESS AND STRAL INTHE FORE- RELAXATION OF MATERIAL. ROLIND AND THE BRANCH IN THE / BACKGFORESHORTENING THINK OF YOURSELF AS A CAMERA WITR Oe LENS NEAR THE OBJECT IN FRONT OF YOU. WHEE THE REST OF THE OBJECT RECEDES Eee LGNE YOUA DiAMATIC FEELING AND DEPTH! a (@ _ VERE ARE A FEW EXAMPLES ~ ) 4 TREES ARE AN EXCELLENT SUBTECT TO WORK ON. THY SOME WITH THE BRANCHES RUNNING INTO CAMERA WHILE GTHERS DIMINISH. FOR. THAT FEELING OF DISTANCE USE FOREGROUND PROPS AGAINST BACKGROUND, eePERSPECTIVE~ TO KEEP YOUR, CHARACTERS TO THE GROUND DRAW. IN YOUR PERSPECTNE LINES. CTI T FIRST DRAW IN YOUR HORIZON LINE. r DEN IN THE CHARACTER YOU WISH TO Be TALLEST IN YOUR PCTU T ESTABLISH YOUR VANISHING POINTS ON THE (THE PLACEMENT OF THE VANISHING POINTS: DEPENDS ON THE PEI DESIRED) TZ DRAW LINES FROM your VANISHING | BONIS TO INE TOR TALLEST FIGURE (MERE ES HORIZON HORIZON LINE. $ “ Bi ckPERSPECTIVEcost) *FEMININE FIGURE (APPROACH) e \ WHEN. a j FEMININE Be EGUBE Fier INTHE MAIN LINES AS OE THE Rose IAUIeERST To INA IN THE MAIN IN THE FIGURE.FEMININE FIGURE No FOR. ACTION N YOUR POSE BY ESTABLISHING A DEFINITE LINE OF AVOID DRAWING YOUR ACTION. FIGURE IN A STRAIGHT, STIFF POSE. I NOTE THEFEMININE FIGURE HEADS: Wigd= NOTE Bae SRORORTIONS = KEEP Your We GIRLS GRACEFUL. Te> SHIFT- ING TSE WEIGHT FROM ONE LEG TO ANOTHER. ITLL GIVE MOVEMENT TO Your DRAWING— TRY FOR VARIETY INTHE POSITION OF THE ARMS, EGS, ETC. y NOTE TAPERING LEGS AND THIN ANKLES"ae irae (CONT)FEMININE HEAD USING A CIRCLE FOR ASTART.ANIMAL COMICS _ | | { EE nae WATCH THE PULL AND TENSION ON DRAPERY~ IT "4 GIVES WEIGHT TO MATERIAL / NOTE DRAG OF CN ~ MO EYES ARE OUT OF FOCUS. MY CLOTHES APE ASKEW. NOTE DIZZY MARKS STARS al AND SO FORTH/INCONGRUITY THe MORE INCONGRUOUS THE CHARACTER, THE SILLIER WiLL BE. THE EFFECT. DISTORTION (PpRoPs) DisTORTION | iS RES USED. th AOE THE EXAMPLES THAT PARAI STRIPS. Ni PINES ARE SE ELDOKA USED. START A FORM ONE WAY, THEN REVERSE IT. GET VERIEID Te youreLAYOUT ACE Mpgeuesomes VARIET>“ MOVE AROUND IN your , PICTURES —ALL MEDIUM SHOTS WOULD BE ONCTON MEDIUM, MEDIUM SHOT . LONG SHor THERE'S NO SET RULE IN PLANNING SOUR PANELS IN COMIC STRIPS, BUT YOUR READER Likes VARIETY. GN iTBRUSH TREATMENT FOR PROPS weer Stucco oScerNs eR NOTE gust POLE ESE TAT Roun GaN BE BE USED. WATER. WATER CAN BE SUCCESSFULLY SUGGESTED By PeAWNS THE waves rea Sy LAR COME CLOSER TO your EYES NOTE SEE-SAW PATTERN AS WAVES ROCKS COME CLOSER TO yO ROCKS ae] IN SHAPES AND PATTERNS Grass = COBBLESTONE =>PROPS s TO GIVE YOUR DRAWING LOCAL Cl PROPS PLAY AN IMPORTANT i PART. IN MOST CASES YOU CAN | SUGGEST BACKGROUND I | t 7) BY VIGNETTES:TEXTURE SILK NOTE US UNPRESSED OF I=L NOTE THAT” HIFUGHT STERIL HERE IS = V AN (IRREGULAR PATTERN cur. WOOL 7] 2 ( OR COARSE MATERIAL) + YOU CAN SUGGEST 5 THIS BY BREAKING UP YOurR LINE. CURTAIN CLIGHT WEIGHT meer MATERIAL ) KEEP LINES LIGHT AND LOOSEUSE OF BLACK BLACe SHOULD ALWAYS BE LISED IN CONTRAST TO WHITE. BELOW ARE EXAMPLES USING BLACK IN A PATTERN. Meee’S A SIMPLE | ILLUSTRSTON SHOWING HOW CALE EMRE BASE |S USED TO HOLD Fate SECTUNG FIGURES TOGETEe. 4 HERE THE BLACK PATTERN IS USED WITH SAMENESS- IT BECOMES MONGTONOUS.* USE of BLACK (CONT) = ~ RO My peawing ar LerT 1S USED HERE TO SLOW How Backs = \ USED IN CONTRAST : TO WHINE. DIRECTION of LIGHT BERNE A URE WHERE IS SHADOWS: SAUDE BANE USED. x Nore How SHADOWS, WAley AS LIGHT POINT IS FARTHER Away’ FROM UBJECT.CHILDREN T DRAW My KIDS FROM 2% 70 5 HEADS IN HEIGHT. FOe A VERY SIMPLE CONSTRUCTION, T START WITH CIRCLE FOR THE HEAD AND A PEAR SHAPE FOR THE USING OVAL SHAPES. YOU CAN CONSTRUCT A HEAD AT ANY ANGLE. A Bop’CHILDREN (cont)CHILDREN (contr) WL mm Ki HAVE A GENERAL LACS OF CO-ORDINATION— ' dN | ~ -” BRE BOAO. SET DOGS SIMPLIFIED ANATOMD” Bees ALL DOGS VARY IN BUT E IS A SIMILAR THEIR STRUCTU IRE. I START. N EGS (NOTE DRAWING) Ss AND BUILD MY PROPORTIONS 4DOGS (cont)DOGS (conr)a Second American Edition, Revised and Enlarged ‘A concise, practical handbook for artist and student, Contents include « comparative survey of all the best processes of water color and oil painting and the selection and care of tools and materials. There are chapters oa Supports, Grounds, Varnishes, Wax Painting and Murals, ales an instractive discourse con Pigments with = table showing their principal ingredients, qualities snd chacacteristcs “The back sould be a he ret spice Added Features of this New Edition: (2) The new Universal Seven Color Pallets, pattie yee cafe ©=DATE DUE ira refraction of white Light, but obser Book treats of color ia ithe science of Light, but hae asserts, “is a psycho: This item is Due on 4 juced lin pure artist's colors, mounted on a be color combinations may bef ‘A handsome, large-type Ipege color ipl, SV vous local deaics cannot =p the above, smd your ender sith check or posal nosey order to the adie below.