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The Lozt Boyz: How I Study Animation

The Lozt Boyz: How I Study Animation
If studying in school is essential to getting good grades, couldn't you say the same for creating good animation? If you truly want to have better animation, you need to study. More importantly, do you know HOW TO STUDY? "WHY CAN'T MY STUFF LOOK LIKE THAT?" Then it hit me. "just because this works for me, it doesn't necessarily mean it will work for you."...because I'm dumb. SO LETS START STUDYING!!! In order to study, we need to study something. With every shot or every test I animate, I try to learn something new and get something out of it. For this demonstration I have selected a shot from the movie THE SECRET OF NIMH. My first group of questions are pretty standard. Can you give a brief description of the shot? Its a scene from The Secret of Nimh, in which Miss Brisby soaks her cut arm in a water dish within a birdcage. If not a stand alone, what is the context of the shot? Why Did I pick this shot? As a kid I would rewind my VHS tape and watch this sequence over and over again. ...Why? Related:  animation basics and guidelinesANIMATING & ACTING

Lip Sync and Character Animation The following short descriptions are paraphrased by Nataha Lightfoot and expanded upon by me from the "Illusion Of Life" by Frank Thomas & Ollie Johnston.(pp.47-69) Look these up and read the original version for a more complete and thorough understanding. Click on any of the principles below to go to the definitions 1. Squash and Stretch 2. Anticipation 3. Here are some additional principles that I've added into the list: Back to Animation School Index Home Page Cat Run Cycle Guide by ~Juicyfruitgirly on deviantART James Baxter - Notes on Acting for Animation Performance Animators are the ones that throw the switch; the ones who make an audience forget that they are animated characters. The most important thing is to try and find the truth. But you can’t do this by “method” animating. Best note of the day: You don’t have to do improv classes (Yeah!) When you act out a scene, it’s important to remember that it is your body you are acting with, not your character’s. Bill Tytla was the first animator to take acting in animation seriously. Real Acting Stanislavsky was the one who focused actors more on their preparation rather than on acheiving results. Meisner believed it wasn’t enough to rely on a sense of memory - that your memories were inadequate for the task of acting. Sandy Meisner’s famous quote that great acting is - “the ability to live truthfully under imaginary circumstances.” Approaching a Scene Many things to consider in your preparation for a scene: • The context of the scene in the sequence • Best way to stage a scene. Staging Posing

Speaking of Animation » Archive for year 2011 I had a chance to check out this past weekends animation offerings and I must say that I was thrilled with both. First was the Toy Story short Small Fry that is playing in front of The Muppets. This is the first animation I’ve seen from Pixar’s new studio Pixar Canada. It came out great and for a short the quality was right up there with the film. The story was fun and very entertaining. I then went and saw Arthur Christmas. Let us know if you had a chance to see either of these two this past weekend and tell us what you thought in the comments below. Thanks, -Steve The Power of Posing | ..::avneriginal::.. Head over to Vanity Fair for a great article by the photographer Howerd Schatz. He photographed actors at his studio in a series of roles and dramatic situations to reveal the essence of their characters. My top three are: GEOFFREY RUSHLeft: You’re the cornerman for a winded female boxer, desperately exhorting her: “She’s run away with your boyfriend! She’s kidnapped your kid! Get out there and kill that heifer!” JOHN GOODMANLeft: You’re a geek flirting with a cheerleader, unaware that you don’t stand a chance. IAN McSHANELeft: You’re a politically ambitious prosecutor trying a sensational murder case, and you’ve just realized that the defense’s key witness has given you a huge opening to prove that he’s lying. Here are the rest of the images from the article.

Animation Notes Contents Cut Outs - Straight Ahead Animation The projects below are not required submissions but the notes may be of interest to you. Please refer to Chris Barker for your animation assignments Metamorphosis - Hand Drawn AnimationKey Pose drawingsWalk Cycle - Character AnimationLip Sync - Making a Character TalkClaymation "The Audition"Pixillation Experimental Animation Hoodie Tutorial Requested by ~ReiGodric on deviantART Animation Story Writing | Bramhaa Animation Story Writing Lessons Index 1. Magic formula for best animation movie 2 Basic Story Structure (Setup -conflict -resolution) 3. Logline of story 4. 12. 13.Conflict with Situation 14.Progression of Conflict 15. 16 Progression of Conflict in detail 17. 18. 19. 20.Case Study : How to Train Your Dragon : Character Relationships 1. click here 2 . 3.Logline of story what is Logline ? 4. Set up starts with 5 elements they are 1. 5. what are the Rules ? why knowing and applying , introducing Rules is Important? 6. How to Introduce the Character and their Relationships ? What is the Importance of new tool called “Situation”? How this tool can be implemented in story ? 7. How to introduce the Motivation And Goal ? What is the relationship of Motivation And Goal? What is the outcome of Motivation and Goal? How Motivation And Goal Play together? How they work individually? 8. 9.Introduction to Conflict What is the Conflict ? What is the outcome of Conflict ? How to introduce the Conflict ? 10. 11. 12. 16. 1.

Toon In… to the World of Animation The AniMazing Spotlight website is full of information on this year’s festival, coming up in just 3 weeks, September 4 & 5, at Woodbury University, in Burbank. Visit their web site at, then click the big white panel at the top of the Home page, with Lou Romano’s Juggler, which he designed exclusively for the festival. Clicking this panel takes you to their Festival page. If you scroll down you see all the festival events, one of which we’ll talk about next, screenings of all the shorts nominated in various categoies, advertising opportunities, collectables to purchase, awards presentations, eateries near by, and more. But, the highlight for us is the very first “Toon in to the World of Animation” event, outside of this podcast. We are hosting an event on Sunday, from 12:30 to 1:30, in Section 3, called “I Did it My Way“, which features about two dozen of our Toon In interviews, talking about how they got interested in getting into animation.

Gorilla Resources Page Shawn Kelly on acting. Notes on acting from Doron A. Meir. Victor Navone on exaggeration. Ed Hook's notes on acting for animation from the blog of Carlos Baena. Shawn Kelly on operative words. Notes from Eric Larson. Carlos Baena discusses how to play on an audiences expectations with your acting. Carlos Baena examines some expressions. Victor Navone demonstrates how to animate a facial take. Carlos Baena on internal and external dialogue. Carlos Baena analyses a scene from the Mupet show. Victor Navone has a great new post on animating eyebrows up, I particularly likes the list of common eyebrow behaviours. See how many different animators tackle the same piece of dialogue in the internets biggest animation contest. Some notes and an example from me about the advantages of Acting A Scene Out. This one from Tomas Jech is about giving your character subtext, what I would call gestures with meaning.

How to Draw Clothing - Video Tutorial By Matt Fussell Folds in clothing can create a variety of values, lines, and shapes. All of this complexity can make it seem difficult to draw clothing. It's easy to become overwhelmed with all of this information and become intimidated by drawing clothing. Before I discuss the basics of understanding folds in clothing, I want to point out that there is no substitute to "good ole" fashioned observation. So, what about those folds? Let's first consider a flat piece of fabric. Now, consider the same piece of fabric folded. Pay attention here to what happens to those cross contour lines if the fabric was cupped together. Drawing is about observation, but also about understanding what we are seeing. Now consider the fabric like a series of "hills and valleys". Understanding the cross contours and how to handle the values will go a long way in creating the illusion of folds in clothing that you're after.

rethinking the run cycle While I was looking into options for running again (post hip-arthoscopy), I've started reading a lot about "pose" and "chi" aka, "minimalist" running techniques; essentially landing on the midfoot and keeping a slight bend in the knees as way of lessening impact while running (and preventing more injury) As I looked into it more, I started approaching it all with an animator's eye. One of the things I love the most about animating is researching motion - finding the right movement style for the character, or sometimes just learning how to see deeper into specific types of motion. I'm always used to approaching a run like this: But looking at real life as way to inform your animations: (Examples below (taken from ) This shows the standard footwork in most animated run cycles. Now let's check out the midfoot running style. Another how to by the pose running guru. So what does this mean for animators?

Related:  Animation