=. = ee r= 7 ‘4 ¥ (ASA 7% sy F4 (=) (=) Bs & Fl iz) aayee by Preston Blair WALTER FOSTER PUILISHING INCCONTENTS Chapter | «CHARACTER DEVELOPMENT ..... Chapter 2» CHARACTER MOVEMENT Chapter 3+ANIMATION .. Chapter 4- DIALOGUE .... Chapter 5+ TECHNICAL .... INTRODUCTION This book ix dedicated to Hope and lan, my se ant my som. Preston Bla frtist-—the animator. Axo tnesican artform, animation is the Process of drawing and photographing tharaeter—a person, an anima, or an fname objct—in successive poston to ereate Meike moverent._ Animation is both ar tnd craft: sa process im which the cartoon ilsteaor te ast, sereemrter, musitan, camera operator, a motion pleture director Cambie ther kil to ereate a new breed of ‘think anc! have feehngs. ‘The ar of animators i unique. Animators bring Me wo thelr drawings, ereating an illusion of spirit and vigor, They caricature the gestures And expressions in the drawings give ther fantasti array of charaeter and personally And make us helieve thatthe drawing actly ‘Tus book was wnt by an animator to help yo learn how anise hows to make a seses of drawings dat exeatea sesaon of mocement ‘when viewed in sequence. ‘The ploiers ofthe at bfanimatin eared many lessons, nest Hoh ‘eal and erro ani his bey of noe haat has established the fundamentals of anit. Thisbook al tech you these Ranlamentas, Animators must first now how to draw: good drawing i the carnerstone of thelr success,“They mast beable to dramatize and earieatre Iie wile they ume and stage their characters factions and reactions. The value of animators! ‘work 8 determined by the abihty of tear characters wo sway Uie emotions of the laidienee—in other words, the characters! eting” sells. Animators must know how tnentertain an audience: how to present gai ‘comedy and how to portray an interesting or ‘unusual happenin of hfe. To do this, they scythe great flim comedians snd rene eeognized texts on acting. This knowledge Doelps them to grip thetr viewers with suspense ‘emake them smile ana laugh with mar in the theater of animation, ‘The anamation process, however. voles mich ‘more than just good drawing. Animtore mas, hhave knowlege ofthe elements af seen walling: plot seting, premise. character confit, erisis, climax. exposition, disloge. and faction. “These factors determine the types of Personalities. expressions. and actions they wall eed to create. Moreover. the animation Ieludes a character moving her mith speech or song, animators need anole: of Dhoneties: i fests 9 character responding Form musieal soundtrack, they must have 2 Knowledge of musie and rhythm. Animators Ist also nen how an aniston eames works and how ti Fit the sperd ofthe fl, The ist goes om anc on {he animators jolts immessirable Animation isa vast and virally unexplored art form. Its, perhaps, more poplar ledey than ever before. and new techies and methods of !animating—imehuding computer anton —ave being developed all the Gime. ‘There are many characters tyes, and backgronnd desis, however that remain to be dlacovesed—0 pick ‘up your penell and yet stared! ‘The curtains part as you turn the pages. The Journey wil bean excing and adventurous Visti: ClieCHARACTER DEVELOPMENT Ti can be an exciting experience to create and develop an original cartoon character. Constructing and developing a character is not merely a matter of drawing the figure: each character also has its own shape, personality, Features, and mannerisms. ‘The animator has to take these qualities snto consideration to take the characters seem lifelike and believable. For example, there are various personality types such as “goofy,” “eute.” and “screwball.” Think about the type Ofcharacter you wish to design; then tse the diagrams and guides shown in this chapter to begin your drawing. When creating a ebaracter. you should begin by Gawing rough “dea” sketches. These will give you a direction forthe type and nature of the character you wish to ereate, Develop the basie shape of the figure: then add the features and other details, ‘This procedure should be followed ‘whether the character you are developing is « human, an animal, or an {inanimate object you wish to bring t0 life (for example. drawing a face ‘on a computer anid making it dance) ‘After you have developed the character and the proportions are to your liking, develop the movement expressions of the body, head, and hands. Hands can tell a complete story with just a simple pose, Study and practice drawing the hancis shawn on page 29) then create some hand positions of your own. Also, the "line of ction” section is a big help in creating attitucies in posture and ‘movement, This chapler is the starting point to a world of ‘exeiting cartoon animation CARTOON CONSTRUCTION PROPORTION 9 oe oF me Most Mec rece wamanetwnancowrmeme » (| (Ger nuno me Reve Su OF Me or Tram ctr rece orotate Tariocemeonccnnrna ror Yh Remewenonsecunceics [Rant ten nce near oracm at eww ath a0 LES8 AND ear A ‘Geis sue one morornone oF kar Ventas tao npeononron ne stavnveretcan ox cree es (Serato nromnann Ox CUACTER hres Sons nae Sy ‘CARTOON STUDIOS OFTEN USE HEAD SUE 10 MEASURE THE HEIGHT OF A GHARACTER FOR SHE ANMEATOR TO REEP THE PROPORTIONS AND {e CHARACTINS ON TH FADE, AND MEASURE EADHONEIN HEADS iN ABWATIG, YOULL ALGO FO HELP FUL TO MAKE A REPERENGE DRAWNG OFTHE CHARACTER ON A SEPARATE PEE OF PAPER PROPORTION GUIDELINES MEN ORANING TE CHARACTER PFERENT POSES AND ACTIONS. {HE PROPER USE OF CARTOON FROPOENONS Mans A CHARACTER, 00 ANALYZE He PROPOR “TONS. YOUR ANMATED ACTOR BEFORE He O8 10 Sie coes On STAGE “UPON THE SOREN.STANCE (soup masses) DRAW A "UNE ACTON" TOGETHER THE PARIS OF A PUPPET AT THE JON “TekOUGN Te mitee-omsenstons, PARTS O Ieconone to Acuteacree rors "3,OUR TINO Ber te armvubE ox ACTION Granacter becones SELB, MD wen He onsrricr YOUR ORANG ASF WERE PTO 6S, THE AUDENCE EwOMIONALLY RESPONDS BODY BUILT FROM CIRCULAR AND ROUNDED FORMS ‘THE ANIMATED CARTOON CHARACTER IS BASED ON THE CIRCULAR, ROUNDED FORM. IN A CARTOON STUDIO SEVERAL PEOPLE MAY WORK ON THE SAME ORAW- ING AND THE ROUNDED FORM IS USED [BECAUSE OF ITS SIMPLICTY—IT MAKES ANIMATION EASIER, ALSO, CIRCULAR FORMS "FOLLOW THROUGH" BETTER ON THE SCREEN,UDY THESE ‘ WINGS; MsuALIZe =<) HLFoRMS As Soup SSSES WITH THREE DIMENSIONS, MORE CIRCULAR AND ROUNDED FORMS ‘THE PARTS OF THE CHARACTER FIT TOGETHER AT SOCKET POINTS, THESE EXAMPLES DEMONSTRATE THE EFFECTIVENESS OF COMBINING CIRCULAR AND ROUNDED FORMS. THE ROUNDED, PEAR-SHAPED ‘BODIES SUPPORT THE CIRCULAR HEADS AND ADD INTEREST TO THE OVERALL CHARACTER,LOCATE SocKETs ACCORDING 70 PERSPECTIVE GUIDELINES. 15 THE SKELETON FOUNDATION BUILD THE CARTOON FROM A ROUGH SKELETON, BUT DON'T EXPECT 10 ALWAYS GET THE SKELETON RIGHT ‘ON THE FIRST TRY—NOBODY CAN DO THAT! EXPERIMENT .. DISCARD .. MAKE SEVERAL DRAWINGS: THEN FICK THE BEST ONE. BE SURE TO WORK LOOSELY WHEN CONSTRUCTING THE CHARACTER.CONSTRUCTION OF THE HEAD THINK OF THE HEAD AS A ROUNDED MASS: ITS EITHER BALL-SHAPED, PEAR-SHAPED, OR EGG-SHAPED, IN ANIMATION THE HEAD SHAPE MAY CHANGE PERSPECTIVE AND FORM MANY TIMES DURING A SCENE. ‘TO SIMPLIFY MATTERS, A FRAMEWORK IN PROPER PERSPECTIVE MUST BE DRAWN FIRE: THEN THE DETAILS ARE CONSTRUCTED OVER THIS FORM. ‘START WITH AN EGG SHAPE, DRAW GUIDE- LINES AROUND IT, AND THEN DRAW THE FACE. TURN THE EGG IN VARIOUS POSITIONS AND DRAW THE SAME FACE, ANIMATION Ke PRESENTS THE SAME CHALLENGE!00 EGGHEAD MODEL METHOD THE EGG IS THE BASIS OF A GREAT MANY CARTOON HEADS, DRAW AN EGG LIKE THIS AND STUDY IT FROM ALL ANGLES. ADD DETAILS AND DESIGN ‘SOME ORIGINAL HEADS OF YOUR OWN. WATCH THE PERSPECTIVE CHANGE AS YOU TIP OR TLT THE EGG MODEL, FOLLOWING THE CENTER AND MIDDLE GUIDE- LINES WILL HELP YOU CONSTRUCT HEADS,Sey ( (2d np xe, ( 5 5 3S € OS) ~ - oe WD SY — ee, Ae 4 MORE HEAD CONSTRUCTION AL ANIMATED GARTOON CHARACTERS GAN BE REDUCED TO A BASIC FORMULA. THIS FORMULA MAKES THEM EASIER TO MASTER AND ENSURES UNIFORMITY THROUGHOUT AFL, EEN IF RK ON THE SAME CHARACTER, \ TOA Ly / C ) i / \ pay SAA vq : DRAWAN ADD NOSE SUS OVAL WITH CONSTRUCTION; NOWORAW BE AWARE OF “\I PERSPECTIVE MAKESURE OVALS FOR THE PERSPECTIVE WHEN. GUIDELINES. ITFITS SOLIDLY, THE EYES, CONSTRUGTING THE REMAINING DETAILS, STUDY THIS BASIE FORMULA: THEN 22 DRAW THE DOG IN DIFFERENT POSITIONS,= ASEEMBLE THESE HEADS AS THOUGH THEY WERE SOLID [AND HINGED TOGETHER, THE JOB OF AN ANIMATOR IS THE SAME AS THE JOS OF AN ACTOR IN LVE ACTION PICTURES, BOTH SHOULD BE MASTERS OF PORTRAYING EMOTIONS. STUDYING YOUR OWN GRIMACES IN A MIRROR I© A MUST. PICK A (CHARACTER YOU KNOW AND GO THROUGH THE EXPRESSIONS WITH HIM, AS IHAVE HERE WITH THIS LITTLE PUR, Tracie mHougat FreiZ aH * ee, e Ri) 7, Cus ACARTOON HEAD CAN BE STRETCHED OR SQUASHED TO STRENGTHEN AN EXPRESSION. NOTICE THAT THE OVAL CONTAINING THE EYES DOES NOT CHANGE MUCH, BUT THE MOUTH AREA VARIES GREATLY. ‘SMALL DETAILS REACT ALONG WITH THE LARGER. FORM IN WHICH THEY ARE CONTAINED.{THE WIDE VARIETY OF EXPRESSIONS SHOWN HERE I6 THE RESULT OF STRETCHING AND S@UASHING. ‘SELECTED AREAS OF THE FACE. NOTICE THAT THE [EYES REFLECT THE EXPRESSION OF EACH STRETCH AND SQUASH Ran A SURPRISED Ws SS” cress HANDS CARTOON HANDS ARE TRICKY TO DRAW. STUDY THE HANDS SHOWN BELOW AND AT THE RIGHT, THE FINGERS SHOULD BE PLAGED UNEVENLY TO PREYENT A MONOTONOUS QUALITY. © 10 DRAW THE HAND, BEGIN AS IF IT WERE A MITTEN (A AND B)) ‘THEN ADD THE TWO MIDDLE FINGERS BY FOLLOWING THIS SHAPE (C). BAGGERATE sy NOW PUT IN THE LITTLE FINGER, RVING ITS POSITION 10 PREVENT MONOTONY (0), ‘50 GOOD IDEA 10 EXAGGERATE THE BASE OF THE THUMB,are sd CB BAC MORE HANDSDRAW YOUR OWN HANDS (SIMPLIFIED) FROM A MIRROR, THIS WAY THEY APPEAR AS THEY DON A DRAWING. a THE CUTE CHARACTER CUTENESS" IS BASED ON THE BASIC PROPORTIONS OF A BABY AND THE EXPRESSIONS OF SHYNESS OR. COWNESS. THE HEAD IS LARGE IN RELAT Ta THE B00y. AHIGH FOREHEAD IS e-—7 VERY IMPORTANT. THE EARS ARE SMALLIN THE EYES ARE SPACED LOW! RELATION 10 ADULT SE, 7 (F<—~ tHe Heap; THEY ARE su & LARGE AND WIDE-SET. THERE I NONECK:THEHEAD | 7” ee ITACHES BRET 10 THE BOOT XG THE NOSE AND THE MOUTH A ‘ALWAYS SMALL THE BODY 16 PEAR-SHAPED AND ELONGATED. THE BACK IS SWAYED; THE LINE Pf ‘CONTINUES UP THE BACK OF THE HEAD ‘AND DOWN INTO THE FANNY. SN. THe anws are HRN ‘SKINNY—AND TAPER DOWN, THE HAND AND TINY FINGES YN THE TUMMY BULGES; THE. ~~ CHARACTER SHOULD LOOK WELL-FED. f — THE LEGS ARE SHORT AND FAI, AND THEY TAPER DOWN INTO SMALL FEET FOR THE TYPE, ‘THE FANNY PROTRUDES; Ir NEVER 7 BULGES, BUT FITS INTO THE LEG LINES AND BASE OF THE BODY.NoTice HOW THE POINTS AT LEFT ARE USED IN THESE ANIMALS, CUTE KITTEN 1. DEVELOP THE KITTEN'S BODY WITH A CIRCLE AND AN OVAL 2. ADD PERSPECTIVE GUIDELINES, 5. PLACE THE EVES ANO THE NOSE {4 BUILD THE EARS AND THE LEGS. 8, ADD THE DETAILS TO COMPLETE THE KITTEN @ NOTICE THE LARGE PAWS THAT ADD TO THE GUTE LOOKCOMPLEX THE POSE, THE MORE STEPS IT TAKES TO DEYELOF. & 38 CUTE PUP 220i A exsic constuction oF cxcLES AND OvALs THEN DRAW PERSPECTIVE GUIDELINES TO PLACE THE FEATURES, NOTICE THAT THE TONGUE ACCENTUATES THE HAPPY EXPRESSION OF THE MOUTH, ‘AND THE CHEEKS OVERLAP THE EYES, ACCENTING THE EXPRESSION. Fy [A SIDEWAYS GLANCE LIKE THIS 18 A CUTE” EXPRESSION.DEVELOP THIS FUP \ winters | seme on ® ee. . feiaison me > 4 pt maces. 4 ADD SHADING wouome A) RO, GOOSE sess ate te PROORESENE STEP9 THAT ARE TAKEN BY AN ANIMATOR. GANDER 4. DRAW ALINE OF AGTION" TO ESTABLISH THE GENERAL STANCE OF THE FIGURE. 2, ADD ROUNDED MASSES FOR THE HEAD AND THE BODY. ‘3. DRAW PERSPECTIVE LINES AROUND THESE MASSES T0 ESTABLIEH THE FRONT, SIDE, AND aa TILT OF THE BODY AND HEAD.{CONSTRUCT AND DRAW A CARTOON CHARACTER. CoNeTRCT THE ARMs, PRIME PERSrecrie une, Clean ANGE” THE DETALS ivT0 THEI FOSITIONS. THE CHARACTER AROUND THE CONSTRUCTION LINES, (ORED TO") THEIR PROPER PLACES. ROWDY DRAW ROWDY RABEITFROM EVERY ANGLE RABBIT WHEN CONSTRUCTING AN ANIMATED CHARACTER, VISUALIZE IT A6 A-THREE-DIMENSIONAL PUPPET THAT YOU ARE JOINING TOGETHER WITH SOLID MASSES, 0 EACH PART HAS A DEFINITE PLACE ACCORDING 70 THE FORMULAPERSPECTIVE GUIDELINES TO ASSEMBLE THE SOLID PARTS. ~~ / BUILD *PuPrET PARTS" WHEN CONSTRUCTING A CHARACTER FOR ANIMATION, THE PARTS JOIN ACCORDING TO A FORMULA PLAN 1 LITTLE WOLF-HUNTER PIG FOLLOW THE FIVE STEPS TO DRAW THIS LITTLE WOLF-HUNTER FIG. 1. DRAW A LINE OF ACTION, AND THEN BUILD THE OVAL BODY AND THE ROUND HEAD OVER I 2. ADD PERSPECTIVE GUIDELINES AND PLACE THE EYES. 42 _3. GET THE SHOULDER, ARM, HAND, AND EAR SOCKETS, DRAW THE NOSE.ow Ise CNLANIMATION BOARD TO MAKE A "CLEANUP" DRAWING BY PLACING A CLEAN PEE OF SOVER STEP 4. AND TRACING. BUILD THE FEATURES —EARS, CHEEKS, MOUTH, ETC. FIT ON THE COAT AND THE GUN, ® DRAW A CIRCLE FOR THE HEAD AND APEAR SHAPE “ FOR THE BODY. CUTE RABBIT [ANIMATORS USUALLY DRAW WITH A ‘SCRIPTO PENCIL WITH ANNO. 2 LEAD. THEN A KNEADED ERASER IS LIGHTLY IIA @ ADD PERSPECTIVE GUIDELINES ‘AROUND THE HEAD, @ THE EYES ARE PLACED ABOVE THE HORIZONTAL GUIDELINE. “THE NOSE STARTS WHERE ‘THE GUIDELINES CROSS,JOVER THE ENTIRE DRAWING @ FINIGH THE DETAILS, AND THEN ERASE THE CONSTRUCTION GUIDELINES, 6 = Herease rcnonioeas ron il ean acaumeet micris (UI vevevore veme ROUNDED anpcicutan Spe FORMS. LIKE OTHER CUTE CHARAGTERS (SEE £4 (AGE 32), THE HEAD LARGE I RELATON TO FRONT EET ARE IMPORT i SINE BODY. THEN [AND ADD EXPRESSION TO THIS CHARACTER.NG 1, RABBIT, OR CHIPMUNK BY SIMPLY CHANGING THE TAIL, EARS, AND FEET.THE SCREWBALL TYPE - ELONGATED HEAD —7| IN THIS FORMULA You i WU REGOGNIZE SOME (NOTTOO BIG) EXAGGERATED FEATURES THAT ALL 7\(_ FEaTurEs THESE cocky mist } regia UY6 HAVE IN . 2B couMon is Boor Bye ey UTTLE OR a: oe = THE ANTS )) oF THESE LoONY W7 cranacr TERS HAVE @ BEEN SOME OF “THE FUNNIEST ON A THE SCREEN.FY CHARACTERS \/- SMALL HEAD HELD FORWARD ° NE in HANGS over eves Berens atone A All aS Se oar tr MTACTEKEA'SINPLE SINGH” COOMORTER, 7 & BALE AWARE EYES Bcc corner CETL ecnarertocon OVERHANGING ANY (Tis 18 PORTANT) ~ a APPLE PANTS LOW, LO08e. AND BAGOY > [| ) a enoruous, Yee? {{ > 816 stomach rxoruoes CLUMSY FEET _ 2) $5 ow crores in rans vy fa ‘TRY USING THESE POINTS TO DESIGN A CHARACTER OF YOUR OWN. THE HEAVY, PUGNACIOUS CHARACTER HEAWY EYEBROWS conranarwety CiOGE BEADY EVES SuAlL Cea bce oan AND JOMS B vce wo. oN ure eaes Me MARGE anne ie crest J wero Vy said Obi, eo a ss Tee HEAWY Ee lessSTUDY THE FORMULA (AT LEFT) SUCH AS THE BEAR BELOW AND THE BULLDOG SAILOR ON PAGES 72 AND 73, } s 1) \ > © TD FOR THESE BAD 80"5. IT ALSO SS APPLIES 70 FOUR-LEGGED TYPES, ‘THE NEXT FOUR PAGES @ VARIETY OF ANIMAL @ WITH DIFFERENT EXPRESSMUSICAL WOLF nnn Re NE Gis el [ROUGH IN THE BASIC CONSTRUCTION FIT ON THE DETAILS CAREFULLY,JG CAN HAPPEN WHEN WOLFY SEES A PRETTY GIRL... _ CONTINUE BUILDING THE WOLF CLEAN UP FROM CONSTRUCTION, WOLF HEADS “2211 beanine theo wour Hans; THEY WiLL HELP YOU TO DRAW MANY OTHER TYPES OF HEADS. WITH VARIOUS EXPRESSIONS. [AM ANIMATOR MUST BE ABLE TO DRAW FROM ALL ANGLES.LIONS AND TIGERS —Pn Owls Sr AX Ow 0 SHOW YOU HOWUt Ke Zs Be THESE CHARACTERS DIFFER GREATLY IN PERSONALITY AND SHAPE DUE TO THEIR PROPORTIONS. NOTICE THE DIFFERENCES IN BEAKS, LEGS, NECKS, AND WING SIZES. FOR XAMPLE, THE BABY CHICK HAS NO NECK (THE HEAD SHAPE OVERLAPS THE BODY SHAPE). WHILE THE OSTRICH'S NECK IS EXAGGERATED. ALL OF THE CHARACTERS ON THESE THO. PAGES HAVE BEEN DEVELOPED USING THE CIRCLE AND ROUNDED FORM METHOD.THE BELLIGERENT BULLDOG SPIKE THE BULLDOG HAS A BARREL-LIKE CHEST, SMALL BOTTOM, HEAVY ARMS AND LEGS, NO NECK, PIGEON FRONT TOES, AND BOWED LEGS. USE CONSTRUCTION GUIDELINES TO HELP YOU DRAW THIS [BULLDOG IN SEVERAL DIFFERENT FOSES AND ACTION VIEWS.CYCLE OF BULLDOG. oN DRAWING AT RIGHT Oe Ps at POSMON One « + s cauoen |G remwewoor SPN WE A . ‘THE FOUR-LEGGED ten 8) 102 FOR A GUIDE, [Sa No () AB BUILD THE HEAD CONTINUE ‘STEP-BY-STER og DEVELOPING a (\ mmo : { >. ‘Aono f- f \ Fa % \ANIMATION FORMULA IN ANIMATION THE BULLDOG JOWLS FLOP AROUND LIKE CCOATTAILS IN AN OVERLAPPING SECONDARY ACTION (GEE CHAPTER 3). THAT IS A VALUABLE TECHNIQUE FOR KEEPING POSES ALIVE, THE BULLDOG HAS A Ly DOUBLE JAW WITH JOMLS. Yh} DRAW THE CIRCULAR jo man ceena > THEN DETERMINE 4 THE PERSPECTIVE LUNES 70 BILD THE HEAD AND ASSEMBLE THE BOD%. USING THIS FORMULA, YOU CAN DRAW THE CHARACTER IN ANY POSITION AND LEARN resorecne oles ANMATED Denice IME DIMGNGION OF DEPT rsa vAN SHANG FORTS WP), FORESHORTENING EN AN OBJECT Ve) TE MORON UNE RELATES | THe beanme wu APreag INES ARE PROJECTED FROM THEGNOMES ARE USUALLY HAPPY BUT SHY CHARACTERS.FIs BEST 10 DEVELOP THESE LITTLE FELLOWS WnDWARFS ON oc NI AST SY ‘A MOTLEY CREW OF LITTLE MEN ASSEMBLES 10 PLAY NINEPINE, (ON AN ANIMATION LAYOUT DRAWING (IN PENCIL).PERSONALITY CAN BE PROJECTED THROUGH HAND EXPRESSION—YOU DONT NEED TO SEE THE WIICH'S FACE TO KNOW THAT SHE 15 "WICKED." ot KIDS COME IN ALL SHAPES AND SIZES, YOUNG CHILOREN HAVE LARGE HEADS [AND SHORT LEGS, AND THEIR BODIES ARE SLIGHTLY PEAR-SHAPED WITH A. PROTKUDING TUMMY (LIKE "THE CUTE CHARACTER": SEE PAGE 32).‘AS KIDS GROW OLDER, “THE PROPORTIONS (CHANGE: THEY ARE MORE LANKY AND ‘AWKWARD LOOK: ING. THE HEAD FOR THIS TYPE REMAINS A BIT YOUNG HEROINE THE PROPORTIONS OF THIS CHARACTER ARE DIFFERENT THAN THOSE OF THE CHILOREN ON PAGES, USE THE CHART BELOW AS A GUIDE TO DRAW THIS YOUNG GIRL. THE CHART SHOWS: FIGURE PROPORTIONS BASED ON A HEIGHT OF FIVE HEAD LENGTHS. THE LEGS ARE HALF OF TH (2-12 HEADS), THE WAIST IS TWO HEADS FROM THE TOF, AND THE ARIE AND HANDS ARE ALL ‘TWO HEADS LONG. USE THIS SCALE TO DRAW THE YOUNG GIRL ACCURATELY IN ANY PO: "T First Do THE ROUGH ‘CONSTRUCTION DRAWINGS.MOVE WITH! THE HEAD: UP AND DOWN AND SIDEWAYS. THE POSITION AND ANGLE OF IGE WITH THE HEAD MOVEMENT; THEY MUST BE DRAWN TO LOOK IN THE DIRECTION HEAD POSITION. HERE THE CHANGE IS FROM A 3/4 FRONT VIEW TO A 3/4 BACK VIEW ARE NOT SEEN AT ALL. USE THE RULES OF PERSPECTIVE AND FORESHORTENING TO OMPLISH THESE TRANSITIONS ACCURATELY (SEE PAGES 74 AND 76),DRAW THE BASIC FIGURE BY USING THE CHART FROM PAGE Be. THEN ORAW THE CLOTHES OVER THE FIGURE,jaracter has been developed, the animator must consider the types of Fare appropriate for it. A character's basic design should contain a 3 -y a message to the viewer about the character's actions actions. One way (0 accomplish this is to use the “line of action’ that thythm, simplicity. and directness. Includes chythm charts for creating movements of both humans and ese charts demonstrate that not only must the head, legs, arms, and in proper relation to one another, but also the body mass must follow. ‘on pages 100-101 that demonstrate the mavements of a man diving dof a bouncing ball are excellent examples of accurate follow-through thin the figure such as “squashing,” “twisting,” and “stretching” are ‘movements studied in this chapter. An animation cycle is a series take a character through a complete movement (for instance, a Complete cycles for continuous animated movement and the ‘body atiltudes for sich movements as running, walking @. and much more are also included. Another subject this chapter is adapting a character to a background, Covered in detail in the “Technical” chapter starting, but this introduction is an excellent stepping-stone AN IMAGINARY LINE EXTENDING THROUGH THE MAIN ACTION OF THE FIGURE IS THE “LINE OF, PLAN YOUR FIGURE AND ITS DETAILS TO ACCENTUATE THIS LINE. BY DOING $0, YOU WILL STRES THE DRAMATIC EFFECT. THE FIRST THING TO DRAW WHEN CONSTRUCTING A FIGURE IS THE UNE OeSTUDY THESE DRAWINGS IN WHICH FVE INDICATED THE LINE OF ACTION. LINE OF ACTION IN ANIMATION THE LINE OF ACTION |S THE BASIE FOR RHYTHM, SIMPLICITY, AND DIRECTNEES IN AN START YOUR ANIMATION WITH A LINE OF ACTION. THEN DRAW THE SKELETON AND THE:|ATE ALL THE DETAILS. RHYTHM AND DESIGN IN CARTOON A\ RHYTHM AND DESIGN ARE THE GEGRET FORMULAS BEHIND THE APPEAL AND CHAR GREAT CARTOON ART. ARTISTS HAVE INSTINCTS THAT TELL THEM THESE THINGS. TH FOLLOWING ABSTRACT DESIGN BASIS SHOULD HELP YOU. 026 [OKIE ‘THE BASIC "S” CURVE OF RHYTHM AND THE OPPOSING ARCS (SECOND FROM LEFT) ‘GREAT VALUE FOR YOUR DRAWINGS, LEARN THEIR VALUES, SUCH AS THE NALUE OF A STRAIGHT LINE” MANY ORAWINGS FAIL WITHOUT ITNANDGHARACTER SEFTON MOVEMENT OF BODY MASSES HERE ARE SOME SIMPLIFIED FIGURES IN ACTION TO SHOW YOU THE TWIST AND TURW, VARIATION OF PERSFECTIE IN THE MAIN BODY MASSES, BUILDING THE FIGURE Wy MAKES ANIMATION EASIER TO “FEEL OUT”(HALE-CYCLE, HALF OF THE ACTION (ONE STEP) GAN BE DRAWN, AND THEN THE HANDS, ARMS, IG@, AND FEET CAN BE SWITCHED FROM SIDE 10 SIDE, ESSENTIALLY CREATING A COMPLETE [ACTION WITHOUT REDRAWING ALL OF THE BODY AND HEAD POSITIONS, so epAraus.s “agen woneent AG "SEN ALN An ARNO OFF Norra en ta a ‘THE BALL FOLLOWS A DEFINITE PATH OF ACTION. STUDY THE SPACING OF THE BALL ALONG THIS PATH. NOTICE THE SIMILARITY OF THE BALL ACTION 10 THE HOP ‘AND JUMP BELOW.MOVEMENTS OF THE FOUR-LEGGED FIG HERE I9 A COMPARISON OF THE MAIN CYCLES OF FOUR-LEGGED MOVEMENT. SOME OF: CCOMPLETE—OTHERS ARE HALF-CYCLES (YOU CAN DRAW THEM ON THE OPPOSITE FEET FOR THE| THE CYCLE). STUDY THE DIFFERENCES IN THE EXAMPLES. THE WALK, TROT, SNEAK, STRUT, AND HALF-CYCLES. THE GALLOR, CANTER, AND SNIFF ARE COMPLETE CYCLES,gANINGS ARE MADE BETWEEN THE KEY DRAWINGS AS TRANSITIONS 10 CREATE A SMOOTH ll FIGURE. YOU MUST DRAW ENOUGH IN-BETWEENS TO MAKE THE ACTION SMOOTH FOR ‘THE SPECIFIC SPEED OF THE ACTION AND THE TIMING IN FILMING. FRONT AND REAR VIEWS OF FIGURE MOVEMENTS [ALL ACTIONS TAKE ON DIFFERENT CHARACTERISTICS. HERE 15 A WALK AND RUN FROM FRONT AND REAR VIEWS. ANIMATING FROM THESE ANGLES IS LIKE WATCHING Aas fee ye PE QRS THE DIFFERENCE BETWEEN WALK ANDTHE WALK SIMS INTO —-SLRIGHTFOOTLIFTS. 4, HGH POINT NSrEP: cou POSITION. STARTS COMING” “Ror rouT RAISED. ikoyeisron oe _——WRoug 2 Se i =G6e 55 aes 4 J ECOILPOEMTION, © 7.RABBITRIGES ASB. HIGH POSITION, LEG BENDS. LEFT LEG Lier. #i FOLLOWS THIS, LeGstiFreNS 6.R Postion 1. RIGHT FOOTOOWN 2 RIGHT FOOTTMKES ——_S. RIGHT FOOT IN CONTACT FOSITION. WEIGHT OF BODY, PUSHES BODY OFF. VEY 6. LEFTFOOTREACHES 6, REGOILWITH RIGHT 7. LEFTFOOTSTRETCHES ©. ARMS AND FORGROUND. FOOT COMING THROUGH, FOR RECOM. #1 FOLDTHE FAST RUN16 AWALK IN WHICH THE RECOIL (AFTER THE FOOT GONTACTS THE GROUND) IS EXAGGERATED #GPEED OF THE FOOT COMING DOWN INTO THE CONTACT FOSITION IS SLOWED. THiS CREATES THE [OF STEALTH—THAT THE FEET ARE CAREFULLY PLACED TO PREVENT NOISE AND EVADE DETECTION, NOT ALL SNEAKS ARE AS VIOLENT. [AS THIS ONE, BUT THEY ARE BASED (ON THE SAME PRINCIPLE. THIS 16 4 SLOW SNEAK; FEWER IN-BETWEENS WILL SPEED IT UR, THE SKIP HERE ARE THE EXTREMES OF A 24-DRAWING SKIP CYCLE. THE MISSING DRAWINGS ARE IN-BETWEENS (ORAWINGS SPACED EVENLY BETWEEN THE EXTREMES), "THE EXCEPTIONS ARE STEPS 12 AND 24, NOTICE THE (CHARTS (CALLOUTS AND NUMBERS) EXPLAINING THE UNEVEN [SPACING ON THESE DRAWINGS. INSTEAD OF BEING SPACED [EVENLY BETWEEN STEPS 11 AND 13, 1216 1/3 OF THE WAY (CLOSER TOM), THE SAME THING HAPPENS WITH 24, WHICH 16113 OF THE WAY BETWEEN STEPS 23 AND 1, DRAWING 24 COMPLETES THE CYCLE, {THE BODY AND THE HANDS IN THE SKIP ARE THE SAME AS INTHE RUN, THE DIFFERENG IB IN THE ACTION OF THE FOOT THAT PUSHES THE BODY OFF THE GROUND AND THEN RAISES IN AN ARG AND CONTACTS THE GROUND FIRST.INS gUARKS ABOVE AND BELOW EACH DRAWING ARE REGISTRATION MARKS. TRACE A SEPARATE SHEET OF PAPER—MAKING SURE THE CROSSES OVERLAP—AND THEN FLIP THE DRAWINGS AND STUDY THE ACTION. “ THE STRUT BEGINNING WITH A POSE ON STEP 1, THE STRUT STEP STARTS ON 8, AND ENDS ON, ‘THE CHARACTER GOES INTO ANOTHER POSE ON 42. THE ACTION IS COMPLETE AS IS AND ‘BE HOOKED UP INTO A CYCLE, THE WALK I6 SIMILAR 10 THE STRUT, EXEPT IN THE STRUT HIGH POINT IN THE ACTION I WHEN THE FOOT CONTACTS THE GROUND, AND THE LOWESmT IS WHEN THE FOOT IS LIFTED. (IN THE WALK THIS IS REVERSED.) MISSING NUMEERS ITH, ARE RY BETWEEN; SOME ARE UNEVENLY SPACED. WHEN AN IN-BETWEEN 15 UNEVENLY (CHART IS MADE NEXT TO THE EXTREME SHOWING THE IN-BETWEEN'S FOSITION. ALL OF DRAWINGS ARE EXTREMES. BELOW ARE THE IN-BETWEEN CHARTS THAT WERE PUT ON THEA re ee fee Te TY TB ee # 230 +d 42 47{4S SAMPLED SKELETON DMDES THE ANIMALS BOY HO ‘ae SECTIONS: ME FOREGUAETERS THE BELY AND THE REAR aUAKTERS, NOTE THAT THE JONCS OF THE SHOULDER ‘SUGCESTED IN YOUR DRAMINGE, AFTER LOCKING THESE PUOT AFTER ESTABLSHING THE BODY oHAPE AND ow eT rerio AxOONE WEN AGE OF TET rons sin EAPC ME PO DCE DS THESODY RATIFIS. "HE LEGS roxp ur or sreewe our wnt meCONSTRUCTION AND MOVEMENT [AWALK CYCLE I6 TWO STEPS. IN ANIMAL WALKS THE BACK LEGS ARE USUALLY 12 STEP AHEAD OF THE FRONT LEGS (AS WITHTHE HORGE TO THE LEFT). ABOVE, THE DOG'S BACK FEET [ARE 5/4 STEP AHEAD, BUT THEY COULD BE 1/2 STEP AHEAD.THE FLIGHT OF BIRDS HERE IS A CYCLE OF A BIRD FLYING FROM BOTH THE FRONT AND THE SIDE VIEWS. DRAWING, FOLLOWED BY DRAWING I. DRAWING 1 HERE IS THE GAME WING POSITION AS ORAWING 10N, NOTICE HOW THE WINGS FOLD UP AS THEY RISE IN DRAWINGS 2, 3, AND 4. THIS PART OF THE ag SLOWER SO THERE ARE MORE DRAWINGS TO IT. CONSEGUENTLY, YOU WILL SEE IT LONGER. IN B 5, 6, AND, THE WINGS ENLARGE TO CATCH MORE AIR. THEN IN ORAWING 8 THEY QUICKLY 69 DOWN WDE OPEN (ONE DRAWING) TO GIVE THE BIRD THE PUSH THAT CARRIES IT THROUGH Tior must consider a number of things when planning and ereating ani- Furst, he or she must devise a plan for te action the character is, jperform. Once the plan ts set, the actual movements of the character signed and rough sketches of the movements drawn. (At this stage, the hould be well acquainted with the character so the movements will ap~ ral) Next, key (or “extreme") character poses are drawn: then the key clas guides (o draw the in-between movements, includes excellent practice exercises to help develop an understanding the animated sequences, The poses and extcemes shown on pases 138. ple. but excellent, examples. actions, holding poses, and other movements, as shown in the olving the sheriff, the dancing girls, the hippo, and the alligator, ‘examples of the highest-quality professional animation. ‘included in this chapter are the “take” sion), straight-ahead and rhythm nee and tilt in movement, and ares, of action. The movement of legs, arms, the anticipated movement or actions the section entitled “The Wave Principle.” eellent methods for “waving” the animated m the proper directions. The chain reaction. tions is extremely important to character anging the speed of the animated move- ‘expressing attitudes, emotions, gestures, an all be combined and fitted to Your character. SKETCHING BASICS—A SHORTHAND AR ANIMATORS WARE A SERIES OF ROUGH OUTLINE SKETOHES THAT SUGGEST THE MOVEMENT OF a (CHARACTER. TI5 URE HANDMRUTING WORDS WITH NO THOUGHT AECUT FORMING INOM DUAL LETTERS WHAT YOURE SAYING (OR ACTING), TO DRAW A OSE, MAKE SCRIBBLES OF WHAT YOU SEE IN YOURI THEN STUDY THE SCRIBBLES FOR SUGGESTIONS. FORGET DRAWING —SCRIBBLE} ABCC CN NY BECOME A ATOR TRUS MARY EVES YOUR SHED (TAN VERONA MED OURS OF TENE WE ATTEPTS TE EDNISLIE A GENDERS Hf AREAL XAG MO RESRM OFS-FOUGK ACLEANEDUR RMGHEDDETNL ScRBBLKS CAN cone MutT ENED KER Sean unde Feow Te YOU SHOND NOW ALL ABOUT Me GETA.sUEstonow or NATYOU wa A ROUGH SeeLEon OU ANMUNORS BOR DRAW THE SKEET. ‘SyBgEOMOW eee grt way oe MANY 90 evecare she cumin APTEWPTS.USt TOUR miCINATION 1 DEVELOHE ACTION, Te > uiE Q bee = He z 22 F ibe o 28 Zz a $ an u 7 z = z a KEY FOSES OF A TIGER ACTION Al FrmBALANCE AND TILT, CONTINUED... RATE IISISANTICIPATION » ACTION * REACTIO: AN ACTION LIKE THE SHING OF A PENDULUM IS A MOVE BETWEEN TWO EXTREME POSTTONS. DRAWING OF THE PENDULUM IN CENTER POSITION HAS LITTLE VISUAL VALUE 10 DEPICT THE ‘THE EXTREME POSITIONS OF THE PENDULUM THAT DEPICT THE ACTION—AND MEASURE I Th [EXTREME 19 ANTICIPATION: GETSET, WIND UF PULL BACK, CONTRACTION-CROUCH OR RISE, OR PU LATTER FOR A DOWN MOVE). THE SECOND EXTREME IS THE REACTION: RECOVERY FROM THE| EITHER A CRASH OR A STRETCH-AND-SETTLE THAT MAY VIBRATE. \@- Pp A B START ATA DRAWBACK, TH A MORE WN THE OPPOSITE DBECTION, NTO AN ION BEFORE THE A. AND THEN A RECOMERY Move | “- so past & BACK INTHE ACTON Ast WE BONT ACTUALY Conta se BULDOG OF Te WOODELTTER onevex, A ROXLRE Te MCAS LE Vacunove ni atmo ce Am Stone on re wa Consus met out ae HEN A ACTON Coneenueo roe astaest ck wef aok Coes mie ee, case reo, AND. OF sa TURTON YOU HREMSTRAIGHT-AHEAD ANIMATIONPOSE-PLANNING DRAMATICS. SOF mie BTEEME orawn PEST WUENG FENCULUN Acton Moker deace ncton Lie mn LD gs DEO taIPLE ACTION PATHS IN BOUNCE-STRUT POUBLE BOUNCE-STRUT AS A GUIDE, TRY ANIMATING THE SAME ACTION AND PATHS USING ROWDY RABBIT FROM PAGES 40 AND 41, (ESS POCLQVSS BEEZDELAYED SECONDARY ACTION MAKE OVERLAPPING ACTION WHENEVER YOU CAN. WHEN ANIMATING A CHARACTER FROM YO ANOTHER, DON'T GO THERE WITH ALL PARTS OF THE CHARACTER AT ONCE. INSTEAB,, \WITH DELAYED SECONDARY AGTIONS, AS ILLUSTRATED ON THIS PAGE, ye rey pace web anelcis ‘re DELAYED SECONDARY ACTIONS, srs oer A a, uee ME Lowes PnDuue DRA ‘eo00 Fo. nH ON LoDSE MON SCONES tala anes nis exo wt SWINE SURGE. ACTON RT ON PoE he Fey AEN 4 iaavesroumeoormenae nn Me Her Srorosesacsze ncaa oF eee ‘Pinu scnowor We OARKCRCIE ROM ATO, FCLLONED ‘om Eaa CaN TRLbopAry ne NOT MO Srimo stconoaty hetons Orbe renouuwe Te Secononsy actos pn ecb Te FPeIcrtrs A'80 APLIED TO THE ACRON OFTHE B08 ‘Neusrn roe ea MEcoiUe ERY CON Gene a Uren to HE PRIMARY ACTON OF HS “i 5 NDT AN ECONOMY ANTON FORMA‘STUDY THE DELAYED ACTION OF THE SGUIRREL'S TAIL FAST ACTION - IMPACT - SPEED 2 SPEED Acton cnaer 9° Oar on C25 Gea ex * STRETCH ~ MULTIPLE -IMAGE - BLUR IFAS ACTION, #5 420¥ (Goes no aBLIRerrecr iacereans MeN RearveAse Ae OBEN. THE UMATED SLUR REPLACES LG ACTON WA THREE OR Four Twit AS SHOWN. ChanecTEKs BOLOPEIMPACT arrce a rasrra,mienacrwrs $StEN cartoons ware asso micHTORATCD PRGLeMION ets he BACCO NO Beta neces rane ap muune rine Otver oneal rncstwre cea nb ck ‘SPEED EFFECTS c10406 0F Dust ANDICR MoxE ARE DOUBLE MES AS SUCH OFEEE GOES THROUGH QE an KE” REGISTERS A CHARACTER'S SUDDEN SURPRISE IN A CARTOON, THE AVERAGE CARTOON IS FULL OF TAKE: [ARE VIOLENT LIKE THE ONE ON THIS PAGE. THE TAKE IS USUALLY PRECEDED BY A.GOOD ANTICIPATION DRAWING, SUCH AS STEP 8, THE CHARACTER SEES HIS DATE FOR THE EVENING IN STEP A, CRINGES INTO ANTICIPATION IN STEP B, ‘AND THEN FLIES UP INTO A WILD TAKE IN STEP. THE CARTOON “TAKE” OME ARE SUBDUED; OTHERSaoe A Ty C\* SURPRISE SX —\) -REACTION A = Kor er” +\ ARN & \ 4. ALMOST ANYTHING CAN HAPPEN IN A TAKE: THE FIGURE MAY STAGGER OR FLY THROUGH THE AIR, THE EYES MAY POP OUT, OR LOOSE HAIR, COATTAILS, ETC, MAY FLY UP AND CONTRIBUTE TO THE SURPRISE EFFECT. EXPRESSING AN ATTITUDE GESTURES, MANNERISMS, ATTITUDES OF POSTURE, AND OUTBURSTS ARE A LANGUAGE OF, ‘THAT SPEAKS EMOTIONS AND REVEALS CHARACTER THROUGH YOUR DRAWINGS. AS THE, ‘THE COMIC CHARACTERS BEGIN TO "THINK" AND ASSUME PREDICTABLE CHARACTE HILARIOUS. HOWEVER, IN LATER DISNEY FEATURES THE ANIMATED ART OFTEN REACHED A MOVING PEOPLE TO TEARS, THE ANIMATOR BECAME A “REAL” ACTOR, ERE A SOUE RULES FOR HEE ACTORS) MRRR OVE SHORT chur pom xara De WT RED Onsen wroUT Wena.) HOLD A SEOTRE ‘hot eNEACS a TORS EA 1% Lows na roasiie rr eearet MND en ‘hee ere cox rou aoe 6 a8 ‘0 (9) DOW OVER-GEDTURE MAKE EVERYTHING WORK FOR BECOMES ERE, IME HAND FOLLOWS THROUGH ‘ou: enna, MAIR E28, FEET, CLOTH@NO, ET FOR {oir (enew conertney. uenes 7EMOTION - GESTURE * REACTING START WITH THE EMOTIONGET INSIDE THE CHARACTER AND ACT IT OUT—AND THEN SKETG AND THE EXPRESSIVE HANDS. CROUCH CONTEACTON, AND THEN INT LOOTHE BODY LANGUAGE ACTOR MAKE A COLLECTION OF BODY GESTURE CARTOONS AND PHOTOS. WEIGHT—RECOIL EFFECTS “CHARTS 9 “rie BOUNCING BALL ACTION WEIGHT GREGOTERED WANBiAIDNSY UGK WEIGHT Io REGED aye BOUNCING BALL PRINGLE 2. THE ViGUAL EFFECTS OF STOPPING WEIGHT. 2.THE EUMINATION OF RECOIL PROCESSES, GONTEACTON AMDT ‘sutra {ME OFF-CENTER BALANCES see wy oue-ioeD us (. wns maaan (eck STRAINS cREATED NER MO“MING OF A CHARACTER ACTION HAS A GREAT DEAL 10 00 WITH WEIGHT—OR LACK OF IT. AS THE RECOIL PROCESS TAKES TIME FOR AN ELEPHANT, WHILE THE DEER HARDLY TOUCHES THE EARTH, SPRINGS UF, AND FLOATS, UNTOUCHED BY GRAVITY. 155, OVERLAPPING ACTION - FOLLOW-THRO: OVERLAPPING RCTION ore: ALE HOLS TRUE {HE MAJORITY OF ANIMATION ETON) MEN AMIN A CHARACTER FROM OWE Poot 10 ANOiER DONT THERE DIRIME AEENTN SEP 0 GE SANG SAT," CARTAN AMOUNT" FOLLOM-OROUSH ACTON. 2ETON~OF FEACTON-ON THE COPS STOWE COWN A SQUASH AND STRETCH nsen a sano STEP 1. ITRECDUSINTETS 191016, UNC EacKIN TROUGH THEA WL GREE INTHE DRE COMME MORES. A MAIN ACTON BETWEEN STEPS B ao "chit Ou IF WERE AE (ANYHING CO! HAS cals Ax OVERLAPPING LEDGER AION 10 OCCUR ‘cxet00N). OULD Led SUAS PROM PROM STEP OAL THE WAT STEP 2A [ACTONIN WENT SRL TeEo, NOTICE EPO+ M YOU TRACE THIS CHARACTER, REMEMBER THAT THE CROSSES ABOVE AND BELOW EACH DRAWING ARE AT A FIED POINT ON THE SCREEN, 60 THEY SHOULD LINE URRArmnc Anche neENoRvCve TUNA: Sains euaDOLS PORTERS RN YT Gihosmrenrencresmomso%e"” ausurioeatauneminron cine serase SHINDER SIE OF THE BODY (FANNY) EOD (SE unary ~ ALLIGAIUOK BALLEI ELVNG ON A ABSIGIANT 1 FTN TE REMAINING Drawing 6 NOT usEO) Each Wore OF THEA IR aUar A 9 ORK AND ML GROW FROM THE 50. DURING THE ACTON WTA TEN EXTREMES AND THER PRECEDING ORAWIND Ih 1h 1 OF ANIMATION, TH AEMATOR MUST MAKE EVERY DeAie COUNT BECAUSE EACH ONE 19 A SEPREATE IDENT “Mor at we-WEEN, THE USUAL METHOD OF| i p72 LEAENS HOM THE AND SPACE e009 oe nA ees, AND Woche vc norexreromeschdr ‘Yara Owrin You ocr sot one oF se Seca sctons sl omit Auomoe Otome Yu att mieseavENcts WoT ‘0 tas nw ws Des se fRaceseIseoLaMDNORENERORTAL MGpurTIRE, 158 HIPPO AND ALLIGATOR BALLET ts THE HIPPO IN DISNEY'S MOVIE FANTASIA WAS CONCEIVED IN THIS EXPERIMENTAL ANIMATIBUILDING AN ACTION Tie DANEING GIRL. ACTION 1 DEVELOPED UKE STACK ING SULDING BLOKE ONE ON TOP OF ANOTHER. THE eee FIRST DRAWINGS ARE RHYTHM SCRIBELES. ATER EACH See ONE I6 MADE, THE DRAWINGS ARE FLIPPED 0 STUDY . HOW THE ACTION IS PROGRESSING. WHEN THE SKETCHES [ARE ALL ON PEGS (SEE PACE), THE ACTIONS CAN REVISED AND RE-REVISED, IKE CHANGING DOTS IN THE PAGES OF AFLIP BOOK. THIS GIRLS LEG DID NOT SWING HIGH AND WIDE AT FRST; MADE A SERIES (OF ScRIBBLES OVER THE FIRST CRUDE SKETCHES TO REVIEE THE ACTION. THEN THESE ROUGHS WERE MADE OF WHAT IMAGINED SEEING INTHESE FORWS:A DANCE KICK ‘THIS DANCING GIRL RISES FROM A TWIST: PO3E (), STEPS (IS) INTO A DANCE-KICK (23 ‘THROUGH 3), THEN INTO ABACK STEP AND SINKING ACTION (49), AND INTO A REVER (OF POSE 1 (ON 2s—ON ONLY ODD NUMBERS). THUS, DRAWINGS | THROUGH 49 REVERE [ANIMATE THE GIRLIN A KICK TO THE LEFT, AND BACK 10 1 FOR A CYCLE. THIS KIGK HAS, DOUBLE TOP STAGGER IN THAT THE ACTION OF THE ENTIRE FIGURE RAISES THE LEG £23, SINKS TO 28, AND RAISES AGAIN TO PUSH THE LEG OUTIN A KIGK AT 27.COMPOSITION - STAGING » DRAMA \\ Bh? ‘AARACTERS ARE AT AND WOVEN TOGETHER IN A GROUP WT RRYINM NES, STRAIGHT LINES THAT ALD, AND AREAS THAT TIN PATTERNS “TE ALGNWENT OF CHARACTER ABSTRACT LINES CREATES CIRCILAR ANE CURYED RHYTHM LINES AND THE HORIZONTAL (DISOLATED, ANDIT MAY ALS0 BALANCE THE THE IEWE'S EYE LEVELIGINPOHTANT Wt HELOORS AT GrAnotUe OR BIC MONSTERS FROM A WORDS-EYE VEN, OR ‘BOW A SMALL THINGS.1e, mouth movements, body movements, ane! faclal expressions all work her to portray the correct animation of the character. The examples on pages “139 are a great beginning for turning your character Into an actor, Although it Jing when your eartoon character simply walks across the screen, making ‘with the proper month movernents andl adding the gestures that go along them turn the character into an acior with a distincuve personality. This {s the real excitement of animation begins id of professional knowledge fs contained here, ineluding tips on how to keep ‘character's movements lifelike and real. Mouth movements used in dialogue ‘the character seem alive, and the dialogue delivery develops the personality of acter. In addition. the information on scientifie phonetics is invaluable. . Schedule diagrams showing timing and duration of sounds, ‘with explanations of what sounds are nasal, throat, or are covered the charts and the mouth érawings, paving close to the studies of the consonant sounds, the ounds, and the diphthong vowel sounds. By this entire chapter, you ean make your say anything you wish, while creating the ity you had in mind when you first designed it, AN ACORUANIYSOR HAS AKENORMOUS RNG OF FACIAL EVERY DO REBOION Ib BASED ON FOUR TAMIR THE EYEBROWS. THEEYES THE EYEDO, AND VE MN THUCHEER THE AMMATON PRINDPLE OF CONTRACTION TO EXPANSION TO NORMAL OR BPANION TO CONTRACTION 70 NORMAL MAY ACTON. FOR EXAMPLE AMEYE BLN CONTRACTS), (ENS WOE (EXPANDS), AND THEN CES INTO NORMAL FRCORDING OF THe DIALOGUE; THEN PLAY AND STUDY TT WEN ANNATING. MOUTH AD A OUT EAC PASE [MIO SENTENCE MANY MMES BEFORE ORANG THE ACE 1 ADOMION 10-1 FACIAL FEATURES, HE TUT ANGLE AE 'S Loonie, Nb me Moreen OF THe EAD W RELATON OME BaDY au HedP fo CREAT IPRESOON, THE GOMLE Pe OF ve HEAD nto A POSTURE RELATED 10 THE ANGE. FOR EXAMPLE, A HAND PUPPET OPERATES ON A TAT ND BODY TWIST ALON, WAIHOUT THe BENGE OF ACEURA PHONETIC MOLTHING OR NY FACIAL ACTON inaracevee convey remo WAGON A Miao rurreis BcALLENT oALooUE RESEARCH FOR AN AvsahO% 1 EARN HOW A WEE Fi DEGREE CHANGE NEAD TURNS ASE GESTURES THE ACTON, SUCH ABA oO Foe AFFRMATIV DIALOGUE & SHAKE SCEWAPS FOR ‘Egat 8 ACEETAIN JER 1 PONT TOWED ANOTHER CNRACTER I,saw oF EuCTONS, Te ACTING HERE (OF PEOPLE WHO ARE DRAWN. BUT COME TOE WITHTHE ME POTN UPRCAR OF DRAWA TE HEIGHT ARTF INE ACTOR ANMATOK. ME ACTING AND EXTRESSIONS Too GURPRISE THE iEWeR WITH THE De te rae, 8001 LANGLNOE. BODY NTIONEPREEGIONS, DIRESONS (ZOMG TRO OMECRGH TO AND GEDTUHED, AED TO DIALOGUE, AL ADO UPTO THE FONE wat TO THE FKAL CEI INTHE ACS REAIONOF AN ANMATED PERSONALITY DIALOGUE BELOW ARE THE MAIN MOUTH EXPRESSIONS USED IN DIALOGUE. THE FACE IS AN ELASTIC MASS THAT CAN BE SGUASHED OR STRETCHED 10 FIT THE MOUTH EXPRESSIONS, THIS ‘CREATES A GCOD CONTRAST BETWEEN POSITIONS THAT HELPS YOUR ANIMATION. STUDY. YOURSELF IN A MIRROR AS YOU SPEAK THE WORDS YOU ARE ANIMATING. PEONOUNCE THE: WORDS DISTINCTLY AND THE CORRECT MOUTH POSITIONS WILL BE APPARENT. THE VOWELS WHEN ANIMATING A GROUP OF WORDS, STUDY THE WORDS AS THEY ‘SOUND WHEN THEY ARE SPOKEN QUICKLY. 15 BEST 10 FOLLOW THIS OVERALL MOUTH PATTERN AND REPRESS OR MODIFY INDIVIDUAL 106 ‘SYLLABLES THAT ARE NOT IMPORTANT TO THE WHOLE.THE CONSONANTS (Gomermts te © oer) [BELOW, 70 HELP GET YOU STARTED, | HAVE COMBINED A FEW MOUTH POSITIONS TO MAKE WORDS, FINE DAY @2eue ogewo SESS ouunen are mun eer Ce eee ae Siearar SomeeanndEIS ABASUAL CRINOSTIND, OTE NEQERIS Sonn Be eierre-oerarov" Cooke nuuteunaet —Aeuuruse "wets ebuores He sy ow sus “TAKES” INTO SURPRISED LOOK SAD EXPRESSION AS HI . ae) ASA Cs a ‘ Ape. AY ae we Ww Le ans sco HEAD BARED ASHE SLOWLY TURNS AND WATCHES CORPSE CARRIED OUT. (TRUMPETECHNICAL ‘his chapter includes clear explanations of many technical topics: tinting and. acing patterns, background layout drawings, the cartoon storyboard, and the (on of camera, background, characters, sound, and muste. storyboard and seript are the foundations for the rest of the animation. Methods synchronizing dialogue with character actions and gestures and camera positions are shown on a single chart that ties them all together Into smooth, progressive ant ion. Cycles of planned animation and limited animation eutouts that ean save a {t amount of time on certain types of animation are shown on pages 200-203. The use of background pans, overlays, and cels is also explained. ointers on how to set up and build your own animation studio and fa compound are shown and discussed on page 218. You ean make your studio as elaborate as you wish, but a well-unctioning tuidio can also be constructed economically. Of course, the mais the most expensive part of the venture, but the camera ick" Is easy fo construct, ‘The most critical part af this construc- Gon Is that all of the angles between the camera and the filming face (compound top] be accurate so that no distortion occurs, is chapter contains all of the vital Information needed to get underway in your studio to develop and produce your own nimated film cartoons, TIMING AND SPACING PATTERNS NERS _ sous cron a tory the este fet Th ot ee Siac ie tne pr soos trmmiaan Pena fo fe gow ont! eg \ 1a Ogg um scontary aon fo ve 9 beso! wen ay | | sizaho = 26FANES—Slsone arg tbo hott anon he oloung 0-8 vane Nei | YO ‘eruwre-720°+ ” —Samapate cong movement and. nly. ater Sach ante, Sha rz sup 1 ese ote a to ws ds ae nee ‘thn nar owe Sone £m i nt en a Si Ge ce wk a on se end caFaNED RESULT OF SPACED MOYES Ime best nay to mova smgy asvagit ine 2 tet opens may be beer wen ey spamsCYCLES—PLANNED ANIMATION ‘Won te foots aca ono ound ina pan scene, moves Ino ssn thon ain on fag 201 The pa cae Inn lh bacarouns whit eharer @ wakang inte mee The backund tt moved a precise dtnce 8 esured by th ton For ample, te backgtouna would bo moves moe som io a ‘han fra un. Consoquert foot contact onthe backgroud an me Inoyent ius bo res Sooty urate methods shawn a m fang on te next page. There moves te tte 4 sony Cone ‘oy an alo ars raven ps of ston hace ete wel ‘clon can owen ether rection. Asn Me ples have counts RE COO BSS aay atid we ae EGR tom moran tm even ory on onl WAN Sadat ohare NL) ESSE SE See - onsen oe an a LaNTED AMNMATION bast on ir char ‘ma roa we ard don sytem TEpiCh yl chan Si down tnd een Nd ays rome a ‘ frases head Laughs ana gages a inate argent gevse nn, ckounce wi lag. cry Sle, vp. door bates ol cen mega cam ham arc cts opr nb emin met a a [Grumt m mary conoratone Taste pooicton wax fas ca ad fa Ua syle wah on pat rrve-viwape "You mist yore Sern ener ey rce ae a CYCLE AMMATION. so chown n page 201, canbe pt on Heads ean chracm nace ora pr, Thaw Tony cee sw wanes ich sc ite dag) urs en h eughvod n e sma ‘Scharoaercon te eel weed cre wah w ect tbat pep br Suchechaes te ene pots nchgeued Tee ae pet on rg Poe SEAT Pcs siadigenSsare’ Te ANIMATED CUTOUTS cin oe at mo at Srnec an ao woh nga tcgand saycrtres__—_ atc. Ar he cl = pore 0% COM sche tacipround roen and hen nove orate tse ea a on he zor tae fran tps Ge ter ree cat wesw anton oa Fo erp, av ators ie mca Sm Se ee uaton Sanne asa hole sh te walt eopL at e928 4 £ LEE LAE cate eae oa: ¥ Aa RRR Io OP EERIE LIMITED ANIMATION +» CUTOUTS.aed Up animaion drawing & Viansfevred to @ nel (cella 005) by tacng witha pen or Tk (spel nk shat adhves wo acetate roe ‘raving ca ao bo prserled ono he oot. ors ae parte on he Bock ofthe ea with acvic part (cies aie sed because hey wt he Alec hoes cote ple oe! i an phatogtanhed wih he carr (The expand More dat Gh panes 217212), ‘a designing an ogra charac, excormont wih te olration by using vansparont watoesiore on proto ‘copes o oflapomonts eh yeu clearup dregs. Color ‘many cravings unt you pee! the color scheme, then make acrceatred coe sig he waa oot pate fa: gues. You can cho coaras backround fo the cle Usa exh watrcobre arto opaauo seca te way ‘su30s 0) Backeround texte canbe creat wih wet sponge and epee aryl pai ar THE CARTOON STORYBOARD futon he tne nt sors ard tanga a har bryan has oko sa9R ad ara: bo has gg oat he ar teh use 0f solid hanover Suh ea a ora berlouse’ spe Savy ae Se ah ase ih. Sonos may eo cure dove i aor valle ot and he back aurd a ouay dogs he soytoed ee mendtvaly. Far erupt, whe locking 2 laa rd below, storyrvan mht a0d pture panels sre he tats a ase a etng oa rg way Mat re golden hatcet was Oban by eur Pa 7(2) Our eres on ersnsex pare, bat ‘cao. magi goo hace Sppears negro orectine hares [3) An aay wee gas te otha rom ou e's gp. ano ooiner woos ack (@ The secre surge he attest burherocs ard meses, ale oe Sette! to's none (5) heir, he aap It ant Ieee Soum at ee oe n>| crsmanana nse ae BACKGROUND LAYOUT DRAWINGSSTILL BACK- GROUNDs- TRUCKS - AND FIELDSPAN BACKGROUNDS » OVERLAYS > CELS“Th camer operior soot tho goane baton te ps ‘ne shot oem on eet show a eb Te fara peg bar mover A ick ated wih a votes rou neamemn dasoveouliea Vanda desove mn & an Ivana 3 stow Those to Vos se cata fan Kor fort fin on fade-out sce. ang ray Sroiag ar 90 shape ors eaes esos ae papa ‘Comune se9 228 pon mas are ven decals owever pan moves ale aso gun th eat ot moe stove or blo ose an teed re Dace Peo ees See Soatccatate fn opaque shadow, coud. ater ce rinbow ghost imation uacones faneprentW.2sertan degre ‘ang on nm of ss a 30% ooh se Stop then making a second fun wou atmo to 60 "ancpernt ata 80% or ster) shuter ion {he asl fxgonure ofboth ‘Uns Tat be 100%). 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Full of familiar and famous sketches, drawings, and other artwork, enthusiast should be without! twit gace |