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LEARN HOW TO DRAW NT VG) CARTOONSCONSTRUCTION OF THE HEAD |
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ON THE CIRCLE AND.
ROUNDED FORM--AS SEVERAL PEOPLETHE SKELETON FOUNDATION
ILD THE CARTOON UP FROM A ROUGH SKELETON -- DONT EXPECT TO GET THE RIG!
SEELETON Tie FIRST Tey ALWnys- “NO ONE CAN Do TuAT EXPERIMENT: DISCARD- MAKE SBVERAL
THEN PICK THE BEST ONE ~- HERE Aj ACADEMY AWARD WINNERS “TOM+JERBY* (WHO
APPEAR IN MOM. PICTURES) TO GIVE YOU AN TOEA HOW IT'S DONE.” WORE LOOSE ON CONSTRUCTION.LINE OF ACTION
AN IMAGINARY LINE EXTENDING THRU THE MAIN ACTION OF THE
FIGURE IS THE'LINE OFACTION” -- PLAN YOUR FIGURE AND IT’S
DETAILS TO ACCENTUATE THIS LINE--BY SO DOING YOU STRENGHTEN
THE DRAMATIC EFFECT --THE FIRST THING TO DRAW WHEN CON
STRUCTING A FIGURE |S THE LINE OF ACTION--THEN BUILD OVER THAT.jimator in drawing a cartoon character
These are progressive steps token by an ani
Details are now fitted in or hinged ino their position.
CChoracier is deaned up around these construction lines.
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DRAWING A cies EADS
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GOOFY TYPES THAT ACT LIKE A == ee ea
SIMPLE SIMON CLOD-HOPPER: ~N
LONG SKINNY NECK.————_ BUCK TEETH
HUMP BACK-STOOP SHOULDERED—>/ ||. \ “ABSOLUTELY NO CHIN /-THIS
LONG DROOPY ARMS. | 1S VERY IMPORTANT.
TEGAN RS. 18 ae ADAMS APPLE
OVER-HANGING FANNY. : SS SUNKEN cHEST
PANTS LOW AND
{2 LOOSE + BAGGY.
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—— GS THE BEAR
BELOW AND THE BULL-
DOG ON THE NEXT PAGE,~ HEAD LARGE IN RELATION
“TO THE BODY,
y OFF THE GROUND AND THEN. RAISES INCAN
ARC AND CONTACTS THE GROUND lise. FIRST. THe: Ckosses ABOVE
‘AND BELOW EACH DRAWING: ARE REGISTRATION MARKS --TRACE EACH
DRAWING ON A SEPERATE SHEET OF PAPER (MAKING SURE THESE
(CROSSES CVERLAP)THEN FLIP THE DRAWINGS AND STUDY THE ATION THS WAYTHESE ARE THE KEY DRAWINGS IN A G4 DRAWING SNEAK CYCLE,
MISSING NUMBERS ARE INBETWEENS--DRAWING FOLLOWS G3)
-IN TRACING, BE SURE CROSSES ABOVE-BELOW INDAN COINCIDE.
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NOT ALL SNEAKE ARE AS VIOLENT AS THIS ONE, BUT
THEY ALL ARE BASED ON THE SAME PRINCIPLE.
THIS I ALGO ASLOW SNEAKS LES
THE SNEAK IC A WALK IN WHICH THE RECOIL
(AFTER THE FOOT CONTACTS THE GROUND)
HAS BEEN EXAGGERATED AND THE SPEEI
THE FOOT COMES DOWN INTO THE CONTACT
POSTON SLOWEDUP--THIS GIVES THE
ILLUSION OF STEALTH =—THAT THE
FEET ARE CAREFULLY PUT DOWN TO
EVADE NOISE AND DETECTIONLINE OF ACTION IN ANIMATION
IN ANIMATION THE LINE OF ACTION IS THE = (
BASIS FOR RHYTHM-SIMPLICITY + DIRECTNESS /
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START YOUR ANIMATION FIRST WITH AOVERLAPPING ACTION —FOLLOW THRU —SQUASH +STRETCHAYTAKE'REGISTERS ACHARACTERS SUDDEN SURPRISE IN A CARTOON.
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TARE
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FLIES UP INTO WILDDIALOGUE
HERE ARE THE MAIN MOUTH EXPRESSIONS USED IN DIALOGUE... FEEL THAT
THE FACE IS AN ELASTIC MASS THAT CAN BE SQUASHED OR STRETCHED
TO FIT THE MOUTH EXPRESSIONS... THIS GIVES A GOOD CONTRAST
BETWEEN POSITIONS AND THAT HELPS YOUR ANIMATION. STUDY YOURSELF
IN AMIRROR AS YOU SPEAK THE WORDS YOU ARE ANIMATING-- PRONOUNCE THE
WORDS VERY DISTINCILY ANDTHE CORRECT POSITIONS WILL BE APPARENT.
THE VOWELS = THE CONSONANTS joy gciow ro HELP
YOU GET STARTED-I'VE
COMBINED A FEW MOUTH
@ 4 POSITIONS TO MAKE WORDS
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ANOTHER THING To REMEMBER IN
DIALOGUE ey AMET! A
GROUP OF Wor WAY
THE WORDS War be OH (QulCdy 3 SPOKEN
TOGETHER ITS BETTER TO FOLLOW
THIS OVERALL MOUTH PATTERN, AND
HOLD DOWN OR MODIFY INDIVIDUAL.
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