#1 SQUASH AND STRETCH
This state gives the illusion of weight and intensity to a case as it moves. Also squash and stretch is useful in invigorating dialogue and doing facial expressions. How extremity the ingest of squash and stretch is, depends on what is required in invigorating the scene. Usually it's broader in a short call of represent and subtler in a feature. It is used in all forms of case animation from a bouncing ball to the embody weight of a person walking. This is the most important element you will be required to master and will be used often.
#2 ANTICIPATION
This shitting prepares the audience for a field state the character is about to perform, much as, play to run, jump or modify expression. A dancer does not just leap off the floor. A backwards change occurs before the forward state is executed. The backward change is the anticipation. A comic effect can be done by not using anticipation after a series of gags that used anticipation. Almost all real state has field or secondary anticipation much as a pitcher's wind-up or a golfers' back swing. Feature animation is ofttimes less panoptic than brief animation unless a scene requires it to develop a characters personality.
#3 STAGING
A pose or state should clearly communicate to the conference the attitude, mood, reaction or intent of the character as it relates to the news and continuity of the news line. The trenchant use of long, medium, or close up shots, as well as camera angles also helps in informing the story. There is a restricted turn of time in a film, so apiece sequence, environs and frame of film must relate to the coverall story. Do not confuse the conference with too many actions at once. Use one state clearly stated to get the intent across, unless you are animating a environs that is to depict clutter and confusion. Staging directs the audience's attention to the news or intent existence told. Care must be taken in scenery organisation so it isn't obscuring the aliveness or competing with it due to immoderateness discourse behind the animation. Background and aliveness should work unitedly as a pictorial organisation in a scene.
#4 STRAIGHT AHEAD AND POSE TO POSE ANIMATION
Straight ahead animation starts at the first art and works art to art to the end of a scene. You crapper retrograde size, volume, and proportions with this method, but it does hit spontaneity and freshness. Fast, wild state scenes are done this way. Pose to Pose is more designed out and charted with key drawings done at intervals throughout the scene. Size, volumes, and proportions are controlled meliorate this way, as is the action. The lead animator module turn charting and keys over to his assistant. An assistant crapper be meliorate used with this method so that the animator doesn't hit to entertainer every art in a scene. An animator crapper do more scenes this artefact and concentrate on the thinking of the animation. Many scenes use a taste of both methods of animation.
#5 FOLLOW THROUGH AND OVERLAPPING ACTION
When the important embody of the character stops all other parts continue to catch up to the important accumulation of the character, much as arms, daylong hair, clothing, coat tails or a dress, disc ears or a daylong cut (these study the path of action). Nothing stops all at once. This is study through. Overlapping action is when the character changes content while his clothes or material continues forward. The character is going in a newborn direction, to be followed, a number of frames later, by his clothes in the newborn direction. \"DRAG,\" in animation, for example, would be when Goofy starts to run, but his head, ears, upper body, and clothes do not keep up with his legs. In features, this type of action is done more subtly. Example: When Snow White starts to dance, her coiffe does not begin to advise with her immediately but catches up a few frames later. Long material and birdlike cut module also be handled in the same manner. Timing becomes critical to the power of drag and the overlapping action.
#6 SLOW-OUT AND SLOW-IN
As state starts, we hit more drawings near the play pose, one or two in the middle, and more drawings near the incoming pose. Fewer drawings attain the state faster and more drawings attain the state slower. Slow-ins and slow-outs soften the action, making it more life-like. For a gag action, we haw omit some slow-out or slow-ins for shock appeal or the assail element. This module give more snap to the scene.
#7 ARCS
All actions, with some exceptions (such as the aliveness of a mechanical device), follow an arc or slightly circular path. This is especially genuine of the human figure and the action of animals. Arcs give aliveness a more natural action and better flow. Think of natural movements in the terms of a pendulum swinging. All arm movement, head turns and even receptor movements are executed on an arcs.
#8 SECONDARY ACTION
This state adds to and enriches the important state and adds more dimension to the character animation, supplementing and/or re-enforcing the important action. Example: A character is angrily walking toward added character. The achievement is forceful, aggressive, and nervy leaning. The leg state is just short of a stomping walk. The alternative state is a some strong gestures of the blazonry working with the walk. Also, the possibility of dialogue being delivered at the same time with tilts and turns of the nous to accentuate the achievement and dialogue, but not so such as to distract from the achievement action. All of these actions should work together in hold of one another. Think of the achievement as the primary state and arm swings, nous snap and every other actions of the body as alternative or supporting action.
#9 TIMING
Expertise in timing comes prizewinning with undergo and personal experimentation, using the trial and nonachievement method in refining technique. The basics are: more drawings between poses slow and smooth the action. Fewer drawings attain the state faster and crisper. A difference of slow and fast timing within a scene adds texture and interest to the movement. Most aliveness is finished on twos (one art photographed on two frames of film) or on ones (one art photographed on apiece frame of film). Twos are used most of the time, and ones are used during camera moves such as trucks, pans and occasionally for subtle and quick dialogue animation. Also, there is timing in the acting of a character to found mood, emotion, and reaction to added character or to a situation. Studying shitting of actors and performers on stage and in films is useful when invigorating manlike or animal characters. This frame by frame examination of flick footage will aid you in discernment timing for animation. This is a great way to see from the others.
#10 EXAGGERATION
Exaggeration is not extreme distortion of a drawing or extremely broad, ferocious action every the time. It¹s same a impersonation of facial features, expressions, poses, attitudes and actions. Action traced from live action flick crapper be accurate, but stiff and mechanical. In feature animation, a character must move more broadly to countenance natural. The same is genuine of facial expressions, but the action should not be as panoptic as in a short humor style. Exaggeration in a walk or an eye shitting or even a head turn will give your flick more appeal. Use good taste and ordinary sense to keep from decent too melodramatic and excessively animated
#11 SOLID DRAWING
The base principles of drawing form, weight, volume solidity and the deceit of three magnitude apply to animation as it does to academic drawing. The way you draw cartoons, you draw in the classical sense, using pencil sketches and drawings for reproduction of life. You transform these into colouration and shitting giving the characters the deceit of three-and four-dimensional life. Three dimensional is shitting in space. The fourth magnitude is shitting in time.
#12 APPEAL
A springy entertainer has charisma. An animated character has appeal. Appealing animation does not mean meet being artful and cuddly. All characters hit to hit attractiveness whether they are heroic, villainous, comic or cute. Appeal, as you will use it, includes an easy to read design, clear drawing, and personality development that will getting and involve the audience¹s interest. Early cartoons were basically a series of gags strung unitedly on a main theme. Over the years, the artists hit scholarly that to display a feature there was a need for news continuity, character development and a higher calibre of graphics throughout the whole production. Like all forms of news telling, the feature has to attractiveness to the mind as well as to the eye.
Beginner should be knowing basics of key frames, break downs and inbetweens, basic knowledge most principles and their covering and an eye for poses... for these guys, after working really hard, their animations look acceptable.. and a copule of principles are applied well, altho some of the others are goofed up.. these guys requirement to think most every thing at every initiate and they are commonly confused....
Intermediate would be doing the same things listed above with meliorate covering of principles but their characters dont yet come alive.. except occassionaly.... To these guys, their impact needs just that extra to make it look awsome.. they have to strive to get the principles into their work... but they atleast know where they fall and they try not to... with the guidance of experts, they can pull soured enthusiastic shorts pretty quickly... these represent most of the people.. the intermediate is a wide arrange of people, commonly consisting of feature animators and broad end mettlesome animators, to top quality students... The elite of this group are animators in places same Pixar and blue sky and ILM.. grouping same Rick O Conor, bobby beck, choreographer kelly, and the prizewinning here, would alter the line between intermediate and expert... this arrange covers the play feature animators and lowly animators to senior Game animators and feature animators... The alter between intermediate and expert is filled up by grouping same the Animation Supervisors or Character supervisors in the bounteous studios...
Expert is some digit the stature of Eric cartoonist or Glen Keane, where they dont *think* most principles at all.. they have them coming naturally, and every they think of is the action of the character...these guys struggle with clog same acting choices, case portrayal and stuff..
This is not a enthusiastic way to categorize but, Im pretty bright with it.. im still a originator at this.. and wish to impact another 2 to 3 years to accomplish the originator intermediate stage.. no digit knows when you become an expert, it suddenly happens and every digit notices... there are just a handful of experts..
Now, lets impact our asses soured to get out of the stinkin originator stage...
