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TRO Wore, ANIMATION Di Vee Vella png eth ie] i he LEARN HOW TO DRAW NT VG) CARTOONS CONSTRUCTION OF THE HEAD | [THINK OFTHE HEAD As A BOUNDED NAGS. EITHER BALL SHAPED, PEAR \al oe QL 7H, b AD, y \B “THE ANIMATED CARTOON CHARACTER ON THE CIRCLE AND. ROUNDED FORM--AS SEVERAL PEOPLE THE 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. manor ne nee SSS HERE ARE SOME IDEAS FOR DRAWING A cies EADS RGE.-- IMPORTANT. Af AE TWO FRONT TEE IN THIS FORMULAE — ELONGATED HEAD —»// NOT TOO BIG PEAR. SKINNY NECK—_\/ SHAPED THE "SCREWBALL’ TYPE 0) ae ee YOU WILL RECOGNIZE SOME FEATURES {\ THAT ALL THESE / \ , \ roe COCKY- WISE GUYS a AON ee HAVE IN COMMON ) Bio x ~ THE ANTICS OF “- > THESE BAD Bos HAVE BEEN SOME: OF THE FUNNIEST ON THE SCREEN > SMALL HEAD -HELD FORWARD Zo OOFY CHARACTERS xe HAIR HANGS OVER EYES 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. [&— ENORMOUS + =" CLUMSY FEET. Ve =) Ps , 1 BIG STOMACH PORTRUDES. | tow CROTCH IN PANTS , yp ~-TRY DESIGNING A (—T_ quaracrerR OF YouR OWN USING THESE POINTS. HEAVY EYEBROWS EYES CLOSE AND COMPARATIVELY | HUGE CHIN fs Ze, BEADY y Ky SMALL CRANIUM ao AND JOWLS LITTLE EARS HEAVY THICK, NECK WHEN IT 3 (> SHOWS ey BIG BARREL LIKE CHEST Ny BIS LOWER LIP STICKS our ARMS LONG AND HEAVY BIG HANDS THE HEAVY” PUGNACIOUS CHARACTER. ABOVE IS A FORMULAE x FORTHESE BAD BOYS wy 40 WHICH APPLIES ALSO g 7 TO FOUR LEGGED TYPES —— 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 WAY THESE 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. et - ore 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 DETECTION LINE OF ACTION IN ANIMATION IN ANIMATION THE LINE OF ACTION IS THE = ( BASIS FOR RHYTHM-SIMPLICITY + DIRECTNESS / a By. re a Sales START YOUR ANIMATION FIRST WITH A OVERLAPPING ACTION —FOLLOW THRU —SQUASH +STRETCH AYTAKE'REGISTERS ACHARACTERS SUDDEN SURPRISE IN A CARTOON. Fi ee ne ee TARE SOK. == FLIES UP INTO WILD DIALOGUE 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 HELLO CDGKNRSTH YAN; Segs4 w 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. SYLLABLES NOT IMPORTANT TOTHE WHOLE. supe anna) no aati 3ss40> sana WY = ‘1mo7S 3H Sy OB8vE avaH aa i be - 3H sv eras avs. “y ‘ee

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