DOPIEEDLEL ODDO 2 DD SIMPLIFIED DRAWING FOR PLANNING ANIMATION By Wayne Gilbert‘ for inion on cnn snnato ing eras ae it pewter Ema wayoetaram com Spa ofr Pann erason pbs by Arie ‘stertarcten etiam ths Sing rani fo Pog Artin may be "Spas tout xyes wrion erin Fr ear £8 Cle He i, COCONOOTCODODDDDDDDDDDDDDDNDDD [My heartfelt thanks and respect goto my special teachers, “Jim Macaulay, Zach Schwartz, Louis Krawagna, ‘and Challe Boniface,QOODDDDOD DOC ODD DDD DDN D NE ‘Simplified Drawing for Planning Animation: Whatever medium you animate in, computer, perl and paper, ‘stop motion or cut outs, the fastest wey Yo plan your animation Is with simple, informative sketches. 3) 9) POSING your cuapactER 1) PLANNING. ANEMATEON 2) 4) SINPLIFTED HUMAN ANATOMY 1) CARTOONED OR CARICATURED HUMAN ANATOMY 1) 9) GEOWETAIC sHAPES AND PERSPECTIVE ) wan Us ‘yu to: the ection are notin el ere, You shed say then Spence st 1-2. 3. yausre probs fred ren oon havc ern bt pleming anata ul ip oe npr ‘yn Ree shah ne ermaton es ie attr yu hove fae youre wth lo he wrmaton te wh ewe er awe [ronerse suas n povpotin. co” tla se bays spite ‘apes te alone for at an Than an Hoare nd Pete yur had wat youer shut te son. “Tinea the coment ing nt the drag gl Wh you ‘Thora nora et he AHONVACTING rman Las a sfy thar yt Str eat yu coat comming tee in he ‘Fay ond he oe Skid theo octet en heir you ahve Jt tat ‘nme congChapter 3 a) POSING YOUR CHARACTER b) PLANNING ANIMATION CUDDDODDDDDDDDDODDDN ODDO DDhen ining see nin ine hrs mavens ermal, ncn ath ea fat haere ke RETIN So ete bay shad etic he ema apache of he eearer, Research, Research, Research, Research. Ary ye refuel et pnd act tat er rec Ini tope psi Tht yo cs andi Lan or he “Spend half ef your tie plaming your scone end ‘the ather half animoing it” Fronk Thon end Oke Jaan othr f The Hatin fife, “mpi Orwing Fer Perry Aint a cprech 7 shh ge me pore yr eatin duct make ester te sh of cone fe om atar. Ahough hs infomaton Fsbuo angie nds fortcd on choi fr pawig onan ol tebe yori sl fr Pre Dro, Coie Ato hrtan Yas ‘nce Sly wat yo therapy roe “Theta te ern toate infra int your aan rains od Sve Str cli Soke eter en anmcon soni of ogee SES per ge eta sck tei o went fe mpetart aoe “ih yur chang nd we Gase you persvadl rk of pened enter, read tresh the nfrnatin at After youve freind cits of he mramanan seg nth heuer a oT | lonemi sate npespestue arm Ye Waneas The ooys spies ‘Depur on tar eons foe winrar The row arora an ° UODDDOOUDDD 00D EEE “DESIGN THE ESSENCE OF THE CHARACTER [STAB WITH 3 LINES = 2 SIDES, SHOULDERS AND A HEAD SHAE, ALTER THESE LUNES AND MAKE SMALL ANCES TO THE DESTON Gaim You Have THe cHARACTER Tet YOU WANT SoeaNeT wT = Te VISA EPA aaron sumtin Shows yen USE BULL SOFT LAD, eee cneneaston | Grence rene, rou —«fopsquas ma nae ea ie a ' 3 i 08 ato \Waoex stance KEEP IT AS SIMPLE AS POSSIBLE = °What makes a good pase? DESIGN THE ESSENCE OF THE CHARACTER Leas 70 one se Lanse HEAD NVI) aCWER STANCE BROAD SH RELAXED SHOULDERS 10 cee ataiht = on o QUUUDOODDDDD00D 20000000Posing your character before planning your animation. smu reach Yu ov Lak sgh ae, ech ib eso eth Iroc een arr of tora on fo doa maton f oucan he {our coner eo sera od Sater ba in hem) Bost a Fhe Ter era one “pecseniy thet yo wllenmate:Stort with te press exec oF Sesion, ‘cn hee of nt on si Sei ctr Np ot DO 2 Of 3 PAGES OF THIS TYPE OF SIMPLE DESIEN ‘SKETCHES FOR BASEBALL, GOLF, HOCKEY, BASKETBALL DOVUDDDDDDDD0D 0000000 POSING YOUR POSES MUST CONTAIN BOTH ACTION AND ACTING 1S PavSTeAL MOVEMENT, [ACTING 15 THE EMOTIONAL EAUSES THE ACTION.POSING [DRAW POSES TO SHOW AS MUCH ACTING AND AS MANY POSING ‘SIOOSE ANY SPORT O8 SETTER STZ. FEW DIFFERENT croRTS, THE THOUGHTS THAT 6O ON IN A BOXERS HEAD ARE THE FORCES OR REASONS FOR THE ACTIONS AND POSES, CAPTURE THE REASON FOR THE POSES WHEN YOU DRAW. ‘CAPTURE IN YOUR DRAWINGS AND ANIMATION, THE REASON BEHIND THE ACTION, WHAT IS THE PITCHER ‘THINKING BEFORE THE PITCH? WHAT IS THE BATTER THINKING BEFORE THE PITCH? LET THESE THOUGHTS CREATE THE Poses, ° RODDDDODDDDDPDDDDDDDDD DEPOSING SUBTLE RE-ALZONMENT OF THESE BODY PARTS CAN DRASTICALLY CHANGE YOUR CHARACTERS VESUAL ATTETUDE oe SUED) ee HHREERHEHHEHHE- |‘In 1937 at the Walt Disney Studio, a series of professional development sessions began. These sessions were head by Don Graham. Zt has been said by many that he was responsible for advancing the art of animation more than ory other person, ‘The most important session recorded was “ANEMATING FORCE ws, ANIMATING FORM: It is difficult to distill the tiscussion into a few words. The information in this workbook is a presentation of drawing clea, simplified Form that is, easy to move and captures the intargible 4th dimension of FORCE. It is an understanding of FORCE thot wil allow you 40 show in your drawings and erimation, anather element of the 4th dimension which is weight. Force ard weight in turn dictate path of ection arcs, squash, siretch and delayed ‘ction or drag, ano on ino al of the principles of ‘animation. Remember, two principle Forces for you to study and incorperate into al of your work are ‘ACTION and ACTING: Since you will find action much easier to learn, that is whece most onimation training begins. ‘When planning your drawings ond animation concentrate on clear content nat clean details, Get the movement of the farm before the detell of the drowirg, A simple, clear line ‘drain from krouvledge of the forms all that you need. When ‘that is correct then you edd the detail, = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = POSING - FORCE coxstoer FORCE THE NoST IWPORTANT ELEMENT T0 SHOW IN YOUR DRAWINGS AND 0 une oF Fone maT oe geen Ororostaretont > The ras in Ne ware Te peavINE\FORCE é AW NAY URES AAD ARSOWS THAT DESCRIBE THE Foace Sua YOU WANT IN THE POSE AND THEN POSE THE POSING — FORCE aL iJ TeMORTa ‘ SEND THe BOAWING SF. GOP st BATE DRAW A SERIES OF ACTION POSES AND START WETH ONLY ‘shows SHOWING FORCE" PUSH, RL, JUMP, PUNCH. DRAW YOUR CHARACTER PUSHING » PLILING « GLUNBING OF JUST PICK A SPORT AND START DRAWING BE SURE TO RESEARCH WHAT YOU DRAW. ea eo Ean'8E PLANNED PROM THESE STAPLE CLEAR LES, DODDDDDODDDDDDNDDNDDD DIDOOPPOSING FORCES << WHEN THE BODY 15 DRIVEN, DOWN BY WeLEHT o FORCE, ‘THE LESS ACT AS SPRINGS TO ‘isoR@ THE SHOCK ~ STRIVE TO ‘SHOW THIS IN YOUR DRAWINGS {AND ANEMATION, GRAVITY AND THE WEIGHT OF THE Rock Lowe Back ‘COMPRESSES DRIVE DOWN To. PUSH THE BODY UP. - ‘TAKE THE TIME TO UNDERSTAND THE FORCES THAT YOU PLAN TO ANIMATE. PLAN YOUR SIMPLE DRAWINGS WITH ARROWS OF FORCE. e TUDDDD DODD EHO) HEHEHE BEFORE YOU BEGIN TO ANIMATE, MAKE SURE THAT YOU HAVE FOUND THE MOST ENTERTAINING WAY TO SHOW THE TASK AT HAND.PLANNING WHAT TO ANIMATE [ENOW WHAT VOU ARE] Fro ANIMATE, ‘YOU WILL LEARN MORE ABOUT ANEIMATING DURING THE PLANNING OF SCENES THAN YOU WILL ANERATING BY ‘TRIAL AND ERROR, THUMBNAIL YOUR ANIMATION WITH SIMPLE AND PRECISE INFORMATION - SKETCHES CS CUOUDD CHEE DODD 200 GHD DDD DOOEPLANNING WHAT TO ANIMATE WATH His BACK TO THE BOX. HE LOOKS, TAKES 1 OR 2 STEPS BACK AND SITS DOWN, eRe 15 anor EXAMPLE Fey cis ANIMATION PLANNING ANEW ANIMATION BIERCISE FoR THE WEIGHT SHIFT/LEAD AND FOLLOW peeer aan FCG sear V0 HS CONTINUE TO CONTIRUE THE TOP SOWA! AND Compacss THe ROL TY OAcx EARE ARE THE YOLUME SOWN (Ast TO Oho® - TEMINE cal Dictate ormetwraeBox STEP HERE TS AN EXAMPLE OF A SEEMINGLY SIMPLE EXERCISE. A CHARACTER STEPS UP ONTO A BOX THAT IS APPROXIMATELY KNEE HIGH. “THE NEXT FEW PAGES SHOW THE PLANNING (OF THE EXERCISE. THERE ARE MANY MORE OPTIONS TO EXPLORE AND YOU WILL SEE THAT NOT EVERYTHING RESEARCHED WILL 8 useD. PLANNING IS WHERE CREATIVITY COMES IN TO PLAY - THE MORE OPTIONS THAT YOU EXPLORE THE GREATER THE POTENTIAL FOR AMAZING ANIMATION. THIS SIMPLE EXERCISE WHEN DONE WELL 15 A VERY IMPRESSIVE PORTFOLTO/DEMO REEL PIECE. [ALL PRINCIPLES OF ANIMATION MUST BE TAKEN INTO CONSIDERATION. “WHAT FORCE INITIATES THE MOVEMENT, WETHT [SHIFT (CENTER OF GRAVITY), LEAD AND FOLLOW, PATH (OF ACTION (ARCS), SQUASH AND STRETCH, TIMING, ‘SILHOUETTE, 0 HHH EEE e me ‘ANIMATION PLANNING STP a —-O~ © mee REVERSALS - SOME ARE MORE DRAMATIC THAN orvensBOX STEP a AN MAZOR BODY MOVENENTS SUCH AS WEIGHT Sarr rast stow wane Wien Wer ME | Reehen to sumrosr'nce novenent ox Ar SaLaice ne Pose. bo NOT OVERLOOK THE | Feateuac oF 1 Atm MOVEENTS BerORE YOU | Seen o axcaare eh ee sms. er Pom MAE RPE CHAE PRN,‘SIMPLE THOUGHTS FOR PLANNING HOW TO SHOW WEIGHT HEAVY SUITCASE PULL = _ ANIMATION PLANNING DODDDO0D DD DDDDDDDDDDD ODDO DO | | q |WALK - FORCES AT WORK Heap TITS AND EVE DIRECTION ‘GAN BE WORD OUT IN THESE Plane seErenes HEAD / SHOULDER RELATIONS? x SCENE PLANNING + MAKING DECISIONS BEFORE YOU START ‘TO ANIMATE HELPS TO KEEP COMMUNICATION CLEAR DIRECTOR - LEAD ANDIAATOR - ANIMATOR - ASSISTANT (COMPUTER). CONCENTRATE ON DEFINING THE FORCES AT WORK IN ‘YOUR DRAWINGS. BALANCE -WEIGHT - FORCE "HIS EXERCISE TS TO PLAN THE ANIALATEON OF & CLUBACTER LIFTING A VERY HEAVY BALL ONTO A LEDGE ete {Orr alin: We, ab FORE YOUR SETS BORE Co Q \ OF AY\ THE Bo0y Lean aace fl WHAT So0y AB Tocounren ealance / Nest cesctabes THe Wega OF THE WHAT YOU Wan HON NEAT STS, Bal yo show.Hes ne nl \ whl eics i : SHAH i i PE i Pi i gPlanning your animation with simplified drawing Decide nha ction yu re gos tanita dette he forces hat 1 ya you hv acid toate ochre gmp on 1928 SelStchof he be Reta guy ole areonsenen eer, or were SEES Shyesuno it net ag tase ey hee re sme gens {seks beer sti, The ehracersgpecanc,streath, emt see ‘een for ining on he 2 The bom: tle stay, iste Fam hater ste dun your prs elig a the satin and Ye characters in Ihesare Typecfsoten ae, eof he sare tomar each ther SSHILG sbi Thum sear ta rein ine ith hata thet you Fro Texan lie Jon 2 eu hn erony to ge Fer the peta, i ot more bert, {hetgiese sno ha art he foment fre from how te ‘rethng int ples far oer hot ycon 4 wih ese before you ‘Sirah sac ellng ele of ii. Any shi ha poveri rons or werk il ner csc he ated one erent et Tha {hay tbe ts pony anceted covets oon Repetition of a task is the way to master it. UOUDEODDDD DEED EEE JUMP » LAND + RECOVER ‘ry Tas stWLE aH saa Benen {June UP = 0nP DOWN PLN Bveiy COMPCRIENT (of ie exenctse WITH 15 Mu obras AS YOU Gan THaN oFANIMATION PLANNING RUFF STORYBOARDS NOTE PANELS Sa an SB. THESE WERE ADDED ASTER THE ORIGINAL THUMBNAL, BOARDS: WERE. DONE. PLANNING PAGES SHouLD BE UERY ROUGH, USWALLY OUT OF ORDER.-ONCE YOU HAVE ALL OF THE NECESSARY INFORMATION: ORGANIZE IT THE WAY YOU LOANT IT. tall ouboecds cease -meraen ye Dd ndclts. G2 & ees 28 Era a cele. Au Cabedcree. Gath Suesrure Duce Hour Puannd Is ComPLeED .! e UE EEEcuauaueneancagnananngn innit Chapter 2 a) SIMPLIFIED HUMAN ANATOMY b) CARTOONED OR CARICATURED HUMAN ANATOMYShe section you wl sno aprach slid suc te hana Endy ccs one gamete supe (Section 1th rt ncn that Seclstteran age) Te farther yur ern of ha haar Frm far Soh muna and ony om hls of Pace “Yuny sed havea ber fk an ning eit carn that Ipod Boks en thease ent te sare foment the ‘Mretin clined ny thrash ruin oo mien et or ‘ny deopher. tr tre garth Soat ne super The wel cer ‘rth ancegy clear Trt Oya Pare Brame Bare Hes the ‘est gy commend oa for cer nore ht wil po at ex enn fom nal can gy, ‘aan Fig eager Pos aban scar 2 oc (et Hum cam fa a tsk cog gman Lage en Feat «hp, tweet ene emi Hae Dring oe pet, 08 5416 Feet pee 37240 tars Pepe ss Soest hes Sone = ® : : : aminuts, © Hozrth Faget 95, 50,91- 98 ies 95 3 ges 0-20, lady - tree empties versie of han fem, aman gua dwn Hoh po #4.51,95, Sndgmate teens Seaomon “ps 3! ‘ada an dna Ea te St Peck p35 RALANEE center of sroty tag Hs nee Ea the Att pp. 207-21 Endenatelte Oras. bncgren pe 20-33 Fer each of th hve ection of feat tke sey of ented (rtoer choclate has apis srr aftr fe ‘etch wr ho ver prose ‘There ay be bts tat usr mre centre fiir with bic {ite rfrmstin dat Saget your hoe of efererce (ree iar Sonn yur Hegerth pb We “The Neral Way Grav, non ese How To bro the Mal Come Way nates do at ave he ay of dni ay wh ty ee They mt Stow rom tsueage na reySIMPLIFIED HUMAN ANATOMY Sone faa sous" ‘THIS IS WHAT YOU MUST KNOW TO. CONFIDENTLY SIMPLIFY YOUR DRAWINGS. FOR PLANNING ANIMATION EEE EEEEEEEEBHEHHEH THE TORSO THE ANGLES OF THE RIB CAGE AND HIPS ARE CREATED 2Y THE ANGLES OF { t $i roawano ibs tft backward ‘SPINE WHERE THEY ‘ARE CONNECTED, AS IS THE ANGLE OF “THE NECK, ps ti FosTURE BODY SECTIONS ARE NOT [STACKED STRAIGHT OVER [ONE ANOTHER. POSTURE 25 CREATED BY ‘THE CURVATURE OF THE ‘PINE, BENDING OF LESS, HOW SHOULDERS ARE HELD, ‘THE ANGLE OF THE NECK.The Térso in SD: AROS AS SUIS REE ¥ CONMECT COU O 0000 HED 0 HD 2 HHAHAHH-Sor Oo S&S Bes Qe NAA e SIMPLIFIED LEGSSIMPLIFIED FOOT Spb Reeeesane we Boor Hem HEELS BG TOE ae ae ae Se dh SHOULDERS HAVE @ HUGE RANGE OF MOTION. USE TT IN YOUR DRAWINGS AND ANIMATION, foe, sieve. 1s me Bsr ‘male sited feu, RAS Your. OER SOIR EAD TRY iT, Toi DER SIA (7 PBIECT GR THE Emor ern tli? OF SAbiIESS Smet ote Torishowes Re axes i Bebe hie KNOW WHY AND HOW THE SHOULDERS MOVE. DECIDE ON THE PHYSICAL AND EMOTTONAL REASONS FOR THE MOVEMENT OF THE SHOULDERS, UDO HD ED HEH"SIMPLIFIED ARM CURVI Rigo) & faobe 5 eee CHE HERR a a i ase sf “AWHAT WOULD 4 BOXER'S FACE LOOK LIKE? AHHH Eee ‘THE HEAD SIMPLIFIED‘TAKE THE TIME AND STUDY WHAT HAPPENS TO THE _— CENTER OF GRAVITY [BODY WHILE UNDER DIFFERENT STRESSES, BALANCE AND BODY SECTIONS + UF | / You must couNrER BALANCE THE CHARACTER 8y ADJUSTING BODY PARTS 50 THAT 50% OF Bane Bog weir On EACH SOE oe eerd rau Sheer WEIGHT TS ON EACH SIDE (OF THE CENTER OF GRAVITY ‘THEN PUT THAT KNOWLEDGE TO WORK IN YOUR ANIMATION AND DRAWING GOOD ODD DODD EDD DODD DDDCENTER OF GRAVITY fe RS THE GREATEST WEIGHT STRESS IS ON THE HANDS ‘SPINE CURVE RELAXES AS GRAVITY PULLS INSTEAD OF COMPRESSES AS WHEN STANDING: HIPS, KNEES AND [ANKLES RELAX. STUDY THE FORCES AT PLAY IN YOUR DRAWINGS AND ANIMATION e enn eenTeneneetrtenenre SIMPLIFIED ANATOMY WHEN You KNow WHAT YOU ARE DRAWING IT VS mucn EASIER To SKETCH OUT ROUGH AND ‘PRECISE THUMBNAILS THAT CAN BE TRANSLATED, INTD DETALED DRAWINGS.Chapter 1 a) GEOMETRIC SHAPES AND PERSPECTIVE b) WARM UPS‘rey tedhw ect sachs ons, lok. tll cre nd. Tf ou er fsa fe tes spe, dr nyse hs ba 2a ge eh Iti So et O€SIE PRINGILES OF enn Won ty Get wnt tig vil reference SES eps th ge ‘Jar pele tha Ine op pss ep yr Ee sieht by aig a ee yarow non ‘ ‘is ged te dhs he eset ot yu ght zane for ha cori of te open! yucrs dopey by oaing pst he ego cana eee ‘yar intone ming nthe ge aectin The cuss ost taush hc she th neh ae corsa iyi wth ou Ine. (ior right‘noke he oct of the we esos Sar Use or 68 “TAKE THE Yee To PRECISE WITH YOURLINES. START LIGHT AND FES WORN THELINE UNTIL YOU HAVE WHAT YOU WANT. Use igo fe nate te centre of abe, This mathe lomo 1 trove Foard the vrtng yo. Srax na rm corm teres oh where ‘yes ee comar of he sae o OUP HHHEH DHEA DD GEOMETERIC SHAPES@ ‘GEOMETRIC SHAPES DISSECTING CUBES: castes are peca r= Draw fist the ground plane and build up from there. t x‘Simplified ellipse - eyeball it 2) DRAW 4 SQUARE. 8 BRAN ZoRR eA Scaconats 2) Baa eBrets Byegalt 173 OF ace quaRreR SBkaW tcuer THe 108 FON GEOMETRIC SHAPES Be Curtin ans RENDYING EE EQUA SEEFIONS OF A CUBE | " abed ¢ ea. AC 3 x GET USED TO DRAWING WHAT YOU CANT SEE ~ THE BACK OF OBJECTS. DRAW SEE THROUGH STRUCTURAL LINES, e HET ED EE‘Simplified ellipse 2) DRAW 4 SQUARE IN FeRsPECTIVE i A Suacous ELLIPSES Bea Bea ns Pyepalie 1/3 OF EACH QuaRTeR He 73 toms ) bRaW THROUSH directional axis of, i epinder. the center of the elias in erection te 50° te > Greetnl oe ae AEE &SULtennnneenseseareeeaneeeenaees 8 | |Diagonal practice: 1) bo ahora eeprom 1/3 fren te top ef he pe 2 Sa tne ae te page hare he nae da ene oF rdesing gat 1) othe Soe fron the epee sof the pe en ne mestig pr. SUD OD DOTTED TTD HA [Now start here and werk your way to the front of the bookSIMPLIFIED DRAWING FOR PLANNING ANIMATION