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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.

Animation.insomnio THE ART OF GLEN KEANE. Welcome to The Computer Graphics Society 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-

angry animator | animation, tutorials, & assorted topics. Flash FX Animation Art of Jung Park 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!

Story Shots Questions Answered OK: how to get in touch with me, things about storyboarding, internships, and drawing style Read More My linkedin - because tumblr is terrible with correspondence and facebook is creeping me out. If you want to connect like pros hit me up there. Some samples of basic basic basic character exploration. Next-five-shots exercise based off this photo. Obviously this photo is from a film about fantastically tragic sadness. Other takes: @lbtreiman - Fish whisperer @jtbozz - Beanstalk @khfr - Mermaids @santiagocasares - Starfish Drawing from films Drawing from films is a ridiculously useful exercise. The way this works: you draw tons of tiny little panels, tiny enough that you won’t be tempted to fuss about drawing details. Hit play. Note on movies: Spielberg is great for this because he’s both evocative and efficient. What to look for: Foreground, middle ground, background: where is the character? This seems like a lot to keep in mind, and honestly, don’t worry about any of that.

Chainsaw Art JohnsBlog 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: Index

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