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    Juan Carlos CT
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    Advanced_Animation - Preston Blair

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    13 views38 pages

    Advanced - Animation - Preston Blair

    Uploaded by

    Juan Carlos CT

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    of 38
    ADVANCED zee TOs) Pee ellie LEARN HOW TO DEYN g ANIMATED CARTOONS CONSTRUCTION OF THE HEAD ees SOE THE HEAD AS A ROUNDED MAGS, EITHER BALL SHAPED, PEAR SHAPED OR EGG SHAPED AS THE CASE MAY BE.— IN ANIMATION THIS HEAD SHAPE MAY CHANGE PEPSPECTIVE AND FORM. ACREAT NUMBER. OF TIMES DURING A SCENE —TO SIMPLIFY MATTERS A CORRECT PERSPI ECTIVE FRAMEWORK SHOULD FIRST BE DRAWN ,THEN THE DETAILS CONSTRUCTED R THIS FORM. Cr Ly ) & & OO (a TAKE AN CGG-DRAW THE GUIDE CIRCLES AROUND IT-THEN PUT IN THE FACE— K NOW TURN THIS EGG IN EVERY GONGEVABLE POSITION AND DRAW IT (MATION Be Ba S@ ¢ D) G Se \ WY HERE IS THE BASIS OF A GREAT MANY CARTOON I» ME HEADS.— DRAW UP AN £GG LIKE THIS AND STUDY @) IT FROM ALL ANGLES-BELOW ARE VARIATIONS 7 OD QT? (ex ‘A NOTE ABOUT THE AUTHOR Preston Blair, Cartoon Director, is one of the fine artists of Animation. Associated with the Disney Organization, he animated in “Pinocchio,” “Bambi,” and "Fantasia, imby, shorts Producer at Metro- Goldwyn-Mayer, he designed and animated the highly successful, "Red Hot Riding Hood,” directed "Barney Bear” shorts, and animated in “Anchors Aweigh.” Blair is active in magazine illustration and fine arts, and is a member of the California and ‘American Watercolor Societies. Recently when he won first prize in our Notional Print Exhibition at the Laguna Beach Art Gallery, I'met him and suggested he make this book for you. | am sure it will prove interesting and helpful to all those studying this popular cartoon medium. Ae) eS 2 Rea te “) MORE HEADS CONSTRUCTE! START WITH ADD NOSE CON- AN OVAL AND STRUCTIONCSEE NOW SUTIN OVALS RSPECT! THA IS FITS FORTHE EYES ~~~ ¥Y VIDE LINES. SOLIDLY ON, "WATCH PERSPECTIVE AND CONSTRUCT THE REMAINING DETAILS ALL ANIMATED CARTOON CHARACTERS CAN BE REDUC MN ED TOA BASIC FORMULAE: | \ THIS MAKES THEM BASY AND | Cr AFL FE UReS Grurcaetry mudur Wel FONTS | \ STUDY THE BASIC FORMUL "ARTISTS WORK ON THE SAME: | / Oe Ay tN . ‘ ab i We are gratetl to Fred Quinby, Shorts Producer, at Metro-Goldwym-Moyer, for his permission to allow some GP™A.GMs, excellent cartoon choracters fo appeur in this book, among them Tom and Jerry thet rtously fumy team of cat ond seme, that have captured the hearts of all of us, including the Motion Picure Academy judging from ine Oscars the two have recewed, Wwith Fred Quimby. Yes, our hats are off fo these fellows and M.G.M., creators of the most entertaining and amusing cartoon: in recent years! kK STRETCH AND SQUASH ON HEADS A CARTOON HEAD CAN BE STRETCHED OR \| I SQUASHED TO STRENGHTEN AN DURESION: ¢ “YOU WILL NOTICE THAT THE OVAL _——~ — CONTAINING THEE EVES EA DOES NET CHNGE a) = p— GREATLY-MOST VARIABLE IS MOUTH AREA-- ae ~ SMALL DETAILS ALSO RE-ACT LIKE THE LARGE FORM IN WHICH THEY ARE IN. Boby BUILT FROM ROUNDED OR CIRCULAR FORMS - ye Pca: SS TC ANIMATED CAETOON CHARAC: ( i a cc IS BASED ON THE CIRCLE AND Kaa O C\ ROUNDED FORM--As SEVERAL PEOPLE Ht & \Q Sa acne SRAWING IN Be TI) 71 | ‘STUD fi Vi ny \ { \ THUS EACIER: sa CIRCULAR. FORMS, ! | | u Li} | ( \ THEse ea FONE Aho zee <})} f= 4 ae ak < i WICUALIZE ALL FORMS. AS EB NekSee6 Winks DINENSIONS. THE SKELETON FOUNDATION ILD THE CARTOON UP FROM A ROUGH SKELETON -- DON'T EXPECT TO GET THE RIGHT SeeLErON rie Finer TRY ALWAYS NO ONE CAN DO THAT EXPERIMENT: PISCARD-MAKE SEVERAL ONE -- HERE ARE THE ACADEMY AWARD WINNERS “TOMTJERRY” APPEAR IN MGM, PICTURES) TO GIVE YOu AN IDEA HOW IT'S DONE,--WORK LOOSE ON. CONSTRUCTION. THEN PICK THE BEST oe wy 7 g a € So Boar = LINE OF ACTION AN IMAGINARY LINE EXTENDING THRU THE MAIN ACTION OFTHE FIGURE |S THE LINE OF ACTION” -- 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 IS THE LINE OF ACTION-‘THEN BUILD OVER THAT. WRONG/LINES OF ACTION UNFIT =-+ RIGHT/ LINES OF ACnON FITAND ARE ACCENTUATED ( 4 rm’ QE These are progressive steps taken by an animator in drawing « cartoon character 1 Draw in "Line of Action” to establish general stance of figure. 2 Rounded masses for head and body are put in. 3. Perspective lines around these masses are put in to establish front, side, til ele. of body and head. 4 Now arms, legs and eyes are constructed or “anchored on” in their definite position to perspective lines. 5. Details are now fitted in or hinged into their position. 6 Character is cleaned up cround these construction lines, i Pea Ys Sa, HN A fs?) Ye g . es Ss 6 Se we e Ws ws HERE ARE SOME IDEAS FOR, DRAWING A SQUIRREL-AS IN CUTE CHARACTERS, HEA Is TARGE = MPORTANTEARE THE TWOFRONT TEETH, 2 LE a. OR ae ~ THIS LITTLE FELLOW APPEARED é ~) a a INAN M.GM, CARTOON WITH Cer, } ) Ror-eeLon eHow He = Ae | \ COMPARED IN SIZE TO BARNEY se VL Ak, EXAGGERATED “ “ THE SCREWBALL TYPE --~ «kacceRaTep __ IN THIS FORMULAE ELONGATED HEAD —»// g @ iz YOU WILL RECOGNIZE NOT TOO Blo PEAR. oo SOME FEATURES A SKINNY NECK~__\/ sHApED THAT ALL THESE | \ \ \ poRy COcKY- WISE GUYS ae HAVE IN COMMON KZ \ BIG \ Z KG =i ee. fee 3 : es ‘ — ae fo ec _ THE ANTICS OF Es “: > THESE BAD Boys 2 HAVE BEEN SOME: 3 a OF THE FUNNIEST ) | , ‘ON THE SCREEN a Se s GOOFY CHARACTERS 42 -SMALL HEAD -HELD FORWARD Au — HAIR HANGS OVER EYES HERE IS THE BASIC FORMULAE FOR, Wpecaey HALF-AWAKE EYES GOOFY TYPES THAT ACT LIKE A se SIMPLE SIMON CLOD-HOPPER: BIG BEAK OR NOSE LONG SKINNY NEC een = BUCK TEETH HUMP BACK STOOP SHOULDERED—>/, \\ ‘ABSOLUTELY NO CHIN /-THIS LONG DROOPY ARMS.———>/ "\, \ 1S VERY IMPORTANT. WITH BIG HANDS. il \Qgonsiine ADAMS APPLE OVER-HANGING FANNY. S\N sunken CHEST PANTS LOW AND ] | BiG STOMACH PORTRUDES PR oie ee SS | —— Low CROTCH IN PANTS aA NECOE “Y) --TRY DESIGNING A # CHARACTER OF YOUR = OWN USING THESE POINTS. HEAD LARGE IN RELATION TO THE BODY. HIGH FOREHEAD |S ja—— VERY IMPORTANT. a EYES SPACED LOW ON /_— HEAD + USUALLY LARGE a AND WIDE APART. <——— NOSE + MOUTH ARE ALWAYS SMALL. y-ARMS ARE SHORT AND NEVER SKINNY AND TAPER DOWN TO THE HAND AND TINY FINGERS TUMMY BULGES — LOOKS WELL-FED. eels LEGS - SHORT AND TAPERING DOWN INTO SMALL FEET FOR TYPE. THE CUTE CHARACTER CUTENESS is BASED ON THE BASIC PROPORTIONS. OF A BABY + EXPRESSIONS OF SHYNESS OR COYNESS. EARS ARE SMALL IN RELATION TO ADULT SIZE. NO NECK-HEAD JOINS ON TO Boby DIRECTLY. BODY PEAR SHAPED J AND ELONGATED. SWAY BACK-WITH THIS LINE CONTINUING UP BACK OF HEAD AND DOWN INTO FANNY. FANNY PORTRUDES-NEVER BULGES-BUT FITS INTO LEG LINES AND BASE OF BODY, NOTICE HOW ABOVE POINTS ARE USED IN THESE ANIMALS HANDS TO DRAW THE HAND FIRST START AS IF IT WERE A MITTEN AND @) — THEN PUT THE TWO MIDDLE FINGERS IN FOLLOWIN THIS SHAPE ©— THE LITTLE FINGER IS THEN PUT IN, VARVING IT IN ANY FASHION TO PREVENT MONOTONY (0) —IT IS OFTEN A GOOD IDEA TO EXAGGERATE THE BASE OF THE THUMB. x, ( te \ A ©) © CARTOON HANDS ARE TRICKY — SO BELOW I'VE DRAWN AN AVERAGE HAND IN ALLIKINDS OF POSITIONS TO GIVE YOU SOME |DEAS, —— NOTICE THAT THE FINGERS SHOULD BE UNEVENLY PLACED TO PRE- VENT A MONOTONOUS QUALITY. PSE Ldf FACIAL EXPRESSIONS ANIMATORS JOB IS THE Ne AS AN ACTOR'S JOB IN LIVE ACTION oictees ort SHOULD BE MASTERS. a RoR eee. SU YOUR OWN GRIMACES IN A MIRROR IS A MUST—- PICK A CHARACT KNO\ GO THRU THE EXPRESSIONS WITH Ti, ie THAVE HERE WITH FERRY MOLE 3 y ae Se SEVERE ChE, THE FLIGHT OF BIRDS _ a ian Sie Y, ee a i UNS UAW RS ZB fi, 2%, SS THE BASIC BOUNCING BALL ACTION AS BALL FALLS-ITS SPEED INCREASES: --DRAWINGS ARE SPACED FURTHER APART. -- Ree AT. Shane POINT -- SLOWS U AS BALL HITS ON 5+-7-12-14¢ NOTICE 7 DRAWINGS: SPACED T RECOILS BALL STRETCHES IN CLOSER -- RESUMES COMES FALLING -+ TAKING OFF, NATURAL SHAPE, SQUASHED NOMCE BALL FOLLOWS A DEFINITE PATH OF ACTION --STUDY CLOSELY THE Ae OF BALL ALONG THIS PATH -- NOTICE THE BASIC SIMILARITY OF THIS. BALL ACTION TO THE HOP AND JUMP BELOW:ALSO TO THE WALK-RUN-LEAP-SKIP-ETC. oo @ Ww AY) Kerk, 353 NOTICE A-C-E ARE F. LUKE 5-7-12-14 ABOVE WHEN CHARACTER STRETCHES-- 3 IS URE RECOIL ON 6-13 AND D IS LIKE THE NORMAL 2-10-17 MOVEMENT OF BODY MASSES HERE ARE SOMME SIMPLIFIED FIGURES IN ACTION 10 SHOW ‘IR THEAN SOoy Masses Ne OGRE ANTES BULDING THE FIGURE IN SOLIDS MAKES ANIMATION EASIER TO FEELOUT 3 MOVEMENTS OF THE TWO LEGGED FIGURE HERE IS A COMPARISON OF THE VARIOUS TWO LEGGED FORWARD MOVEMENT CYCLES -T HAVE DRAWN ONE-HALF OF EACH CYCLE, BELOW--REVERSE HANDS +FEET FOR THE OTHER HALE-- “THESE CYCLES CAN BE USED AS 'REPEATS"-CTHAT IS THE DRAWINGS MAY BE REPEATED OVER +OVER IF THE FIGURE REMAINS CENTERED ON THE SCREEN AND THE BACKGROUND MOVES. MOVEMENTS OF THE FOUR LEGGED FIGURE HERG IS A COMPARICON OF THE MAIN CYCLES OF FOUR LEGGED MOVEMENT. SOME OF THESE CYGLES ARE COMPLETE —-OTHERS ARE ONE-HALF OF THE CYCLE — ON THESE REVERCE FEET Pon THE OTHER HALE. —-CiUBY THE DIFFERENCES IN THESE DIFFERENCE BETWEEN WALK ¥ RUN @wak RUN © FAsT RUN contoe drawings from (A) The Waik(B) The Rin ©) The Ft Rin: The contoct drawing is the: deswing on which SS phn See terse ech io cree cha ee case peed size of choroctr, etc ofthe action. Then the res cf le octon is bull cround them, The position of the back foot on the contact drawing determines the speed more than any other single factor. Notice on (A) ‘the back foot is down stil contacting the ground. On(B) the back foot hos left the ground. On(G) the position of the back foot is il higher. ier eit fot ltd oti fother on tha -welk contort postin, tho bode wore unifhlydencing foal gpeedl/On tho ron drewing the body leans forward, and the front foc! Is beck further. ‘On te fast rn drawing the bedy leans away forward denoting speed, and the front foot ls back now under the body. The cm swing conversely with the legs. The left arm swings wih the right log and vice versa. Also the arms swing more ‘iolenily in the fun nthe fast un the Sting onthe arms would be too violent. thos been found they are more efledve when Held sigh out In 6 reoch position Compare the action of the walk with the run, and you will note that in the walk, the drawir ich the arms and legs ore stretched out further is the contact drawing. On the run, bowever, the stretch comes when the figure is up in mid-air ct the high point in the action. THE WALK @ ert Foor contacts SINKS. INTO RIGHT FOOT LIFTS HIGH POINT INSTER- THE GROUNI EOE POSIION. “STARTS COMING THRU: “RIGHT, FOOT RAISED. TER, = @)RIGHT LEG 53 FEN: © @ T UPA TH iS oe POSITION’ "RABBIT UP F I SI BEND. LEGS Lets. = ey GS) kigH Po: wer INTO CONTACT POSITIONS LOWS THIS, THE RUN | ee IGT FOOT DOWN RIGHT FOOT TAKES. RIGHT FOOT, Bopy AT HIGHEST © RES Fern RRN QReer Se Eaay @ Bob oer SHES @.gort 8 WGN s @LEET Foor REACHES @) RECOIL-RIGHT FOOT @) LEFT ROOT STRETCHES Warns LEGS STRETCH FOR GROUND COMING THROUGH THE FAST RUN cause eee Usenet gH OTH I Ie ees THE SKIP HERS ARE THE EXTREMES OF A 24 DRAWING SKIP CYCLE: THE MISSING DRAWINGS ARE "NBETWEENS’ (DRAWINGS: SPACED EVENLY BETWEEN THESE DRAWINGS)-THS IS WITH THE EXCEPTION OF i2+24--AOTICE THE CHARTS EXPLAINING THE UNEVEN SPACING ON THESE DRAWINGS -- 12. INSTEAD OF BENG EVENLY INGETWEEN II+13 IS Ys OF THE WAY ~ AND CLOSER TO Il == THE SAME HAPPENS WITH 24 WHICH IS OF THE WAY BETWEEN 23-41 -- DRAWING 2% THUS COMPLETES THE CYCLE-- THE SKIP IS THE SAME AS THE RUN ON THE BODY AND HANDS “ (a5 ‘oe ee? THe Wont Wig Be QUAY S1OCEN / 2 ee a TH UTH PATTERN, (a HOLD DOWN OR MODIFY INDIVIDUAL. Fano S @ € SYLLABLES NOT IMPORTANT TOTHE WHOLE, (SOMETIMES LIKE 0 ORTH) ee hey" se . m ie tic Look over this action and study the animation points | have previously outlined as: Squash and stretch on heads, overlappir Here are the cleaned up "key" drawings from a Scene | animated in a M.G.M. cartoon to give you some ideas how diclogue : a Brovionty: a sy pping on be enimated. Mining numbers ore inbelween drawings putin by asisont cris. Fst drawing leo twelve draving "Rok ction, follow thru the use of the entcipation drawing, and the diclogue vowels and consonants from page 35 — also notice he scone is a beseball grondstond. This fille heckler is yelling, "Kl'de Umpire--gel 'im cut o! dere--kil de Unplro—till general phrasing of the dialogve here, How the hecker assumes o general position for @ whole sentence—then changes to de Ump.” At this time an offstage shot signifies the umpires execution. Heckler goes into a surprise “take.” Then he rises, removes ‘another position for the next sentence—instead of changing positions on every word. his derby, and sadly watches the dead official carried off—as a trumpet plays “taps.” A Ry KG Ga SO « Se ar : } Sy Wy ih 18 Sra

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