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Hand Drawn Animation Notes

Hand Drawn Animation Notes
Related:  animation basics and guidelines

The 11 Second Club Blog: getting the basics I had a body mechanics piece planned for this challenge, but its on hold till after xmas. Instead, this fortnight's challenge is written by Cosmicfool. Hoping it helps people who maybe struggling to find a good way to build a pendulum. Hey, this is another back to the basics challenge. So the idea behind this challenge, is to take the pendulum and move it across the screen however you decide. Step 1: Establishing your timing, and moving the board from point a to b. So working in the front view, I'm going to move the board in translate x from a to b. To start, I set a key on frame 1. Now the forward movement begins at frame 16. So here's how you read this chart: (please note, 1 in this case represents Frame 16 on our pendulum) 1 is our point of origin. We need to separate the animation into two halves. Part A Frame number: 1 -- 9 -- 11 -- 12 -- 13 Percentage from frame 1 to 13: 0% 25% 50% 75% 100% Part B Step 2: Rotations I needed a rotation on the big board to sell the anticipation.

Carlos Baena Home News About Contact Animation Feature Work Personal Work Misc Work Live Action Narrative Music Misc Scoring Electronic Artwork 2D Artwork 3D Artwork Photography Resources Animation Material Book Recommendations Tips & Tricks Links Animation Mentor Info Videos Pictures Planning Case Study: The Incredibles A study of the process of planning of one of the sequences from the film The Incredibles that I had to animate in the past, and the importance that planning had for me in preparing for this sequence. Shapes / Lines Composition is one of those really powerful tools as animators/filmmakers. Status / Personal Space While status / personal space and composition in general are very vast areas to talk about, I wanted to pass my two cents as to main points I think about when it comes to these areas. Eyebrows These are a few notes I wanted to bring up on eyebrows based on my own experience. Thought Process The unspoken dialogue. Copyright © Carlos Baena

Welcome to the official home of The Other Brothers! www.keithlango.com- Pose to Pose Organized Keyframe Animation Article So what's the Problem? In my first animation tutorial that I wrote over three years ago, I outlined a fairly common (but under-documented) methodology for managing one's keyframes in CG character animation. The point of that tutorial was never to declare that it was the only path to great animation, but was merely a suggestion for one way to approach your animation in a sensible, organized fashion that hearkened back to our traditional animation roots. The thing that I always felt I never properly addressed was what to do after you hit the end of that lesson? What takes merely functional animation and elevates it to excellent animation? How does one get from good poses with fairly decent timing to a natural flow of performance that just draws the viewer in? Well, Smart Guy, How DO You Go From OK animation to Great animation? OK Sparky, So You Wanna Share Your Fancy-Dan Checklist? Arcs: Check to make sure your motions have good clean arcs. 5. knees- watch for pops and skips 7. ankles-

Curso de dibujo y pintura. Manual de dibujo Hitchcock’s "Rear Window," Recut Into An Amazing Panoramic View Rear Window is, in my book, Hitchcock’s best film. It hooks you in immediately, trapped in the same sense of voyeuristic helplessness as Jimmy Stewart’s wheelchair-bound character who finds himself the witness to a murder in his own backyard. It’s also a film that draws much of its suspense from limited perspective--shots cropped by a telephoto lens, tiny snippets of isolated characters going about their days. So what would happen if someone came in and showed us the whole scene at once? How would the story change? Powered by After Effects and the patience of Job, Jeff Desom recut (and reshaped) Rear Window into one giant panorama. “I was asked by a local (Luxembourg) venue to create a projection that could be looped on a very wide screen,” Desom tells Co.Design. It was a moment of inspiration that would prove punishing to actualize. Once his proof-of-concept was complete, Desom had to map an intersecting storyline for each of Rear Window ’s characters that appeared in the POV clips.

Principles of Animation "Not only do sympathetic characters need appeal in their design, but villians and comics should have just as much. Appeal is the pleasing and fascinating quality that makes a person enjoy looking at any drawing" John K Stuff blog is a really useful blog site for gripping the basics of these principles. I especially liked this quote as it explains the principle of 'appeal' so simply. Appeal is the quality which makes you want to look at something. An obvious example would be to look at the Disney Princesses, as the protagonists of the film, eg. From a brief look at the Disney Princesses, their physical appeal is similar through out - large eyes - heart shaped faces- symmetrical faces are thought to be the most appealing - usually long billowing hair (free loose hair has sexual connotations linking back to the 1800s) - petite waist - further emphasising their femininaty - clothes tailored to exentuate breasts Good night!

DigiCel FlipBook 2D Animation Software The Animated Cartoon Factory's Animation School Welcome to the The Animated Cartoon Factory In this new section of the website you'll be able to access some really neat free learning materials that will assist you in your studies. If you're already enrolled in an animation school somewhere, this information will suppliment the stuff you're getting in class from your instructors. I've been teaching animation now for 23 years at Seneca, Humber and Sheridan College so I know how it works when you're in school. In this section of the website I want to try to give you as much stuff as you can take. Dig right in. (If you have any suggestions about stuff you'd like to see here, let me know with an e-mail to: brianlemay@rogers.com.) Index

Animation Quick Animation Quick-Tip Power Centers & Personality In animation, as in life, p Here's some verbal examples taken from some animated films. And here's some visual pose examples of how moving a power center around on the same model can evoke a very strong impression of personality. Like I said before, the very silhouette and structure of the poses for your characters will tend to illustrate their power centers. the animator has chosen to put the power center for their character, and see how that plays itself out in that character's personality. -k ps: copyright 2002 keith lango animation, all rights reserved. no duplication without permission.

Thinking Animation Blog: 10ThingsToThinkAbout 10 Things to Think About - from the book Thinking Animation by Angie Jones and Jamie Oliff. This is one of the lectures I use at the online school ianimate.net. I created this list for my book Thinking Animation to help animators create a clear and solid message with their work. #9 Eyes: (This particular lecture is much longer when I teach. Basic Notes on animating Eyes: Eyes are windows into the soul and the soul is controlled by the mind.Eye darts and glances tell more than any other gestures in the body when used in the right place in the scene. Overview of Eye Movement: Never animate without a reason! ...eye shape: when the iris moves around the eye the lid cuts across it changing its shape from round to oval. ...lid shape: The lid itself changes shape as the eye line changes and the brow pushes down on it with emotional poses. ...darts: Darts tell us the character is thinking, confused or trying to understand something. ...blinks: Never blink unless there is a reason! Eye Darts:

51 Great Animation Exercises to Master Quickest way to improvement? Practice. It’s a simple bit of advice that rings with absolute truth. Articles, tips, mentors, and study will never get you as far as rolling up your sleeves and getting down to work, be it animation or any other skill. Today we’ve compiled a list of exercises, like animation push-ups, that will get your art skills buff and toned. Maybe you still need convinced of how important the “Art of Doing” is? Some of these exercises you may have done or seen before; some maybe not. Level 1 Exercises (Do not discount their simplicity! Ball Bouncing in place, no decay (loop)Ball Bouncing across the screenBrick falling from a shelf onto the groundSimple character head turnCharacter head turn with anticipationCharacter blinkingCharacter thinking [tougher than it sounds!] Level 2 Exercises Change in Character emotion (happy to sad, sad to angry, etc.)Character jumping over a gapStanding up (from a chair)Walk Cycle [oldie but goodie!] Level 3 Exercises Level 4 Exercises

Recipe for Success | ..::avneriginal::.. Today we are going to cook up a shot, roll up your sleeves, put your apron on, cause we are going to have some fun! A few days ago I was watching Master Chef (which is a cooking show for those of you don’t know) and it got me thinking about the parallels between cooking and animating. When cooking or baking you need to make sure you have all the right utensils and ingredients in order to make sure you can follow a recipe from start to finish. There is an elaborate preparation process also known as planning where the animator needs to figure out what he/ she wants to make and how it fits in the picture. I guess what I am getting at, is that you can’t turn on the computer and expect to create something just like you can’t get into the kitchen and expect something to be baked or cooked. Another one of the common occurrences that came to my attention is the term ‘putting the icing on the cake’. Remembering what you ate saw and how it made you feel inspires you to put your own spin on it.

Hablemos de Animación Nuevos proyectos, nuevas ideas.La industria está cambiando, y con ella todos aquellos en los que día a día nos vemos sumergidos en ese mar de creatividad, deadlines, superaciones... Por ello, en el grupo de Spanish Animators en Facebook voy a realizar una serie de minicharlas ( via Hangout por streaming ) donde hablaremos en profundidad sobre animación y también arrojaremos algo de luz a aquellos espacios mas allá de nuestras pantallas que también conforman parte importante de nuestro proceso de creación.Después de un proceso sugerencias, finalmente el temario y el calendario están listos. Serán 6 minicharlas a lo largo de 3 fines de semanas: Sabado 27 de abrilDomingo 28 de abrilSabado 4 de mayoDomingo 5 de mayo Sabado 11 de mayoDomingo 12 de mayo Todas las charlas serán a las 18 hr de España - para que calculen aquellos que lo hagan desde fuera - y el temario finalmente será el siguiente: 1. 6. jorgevigara@gmail.com Formato .mov ( quicktime ).Numeración de frames.

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