Dr. Midori Kitagawa University of Texas at Dallas Arts and Technology Program.
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Transcript of Dr. Midori Kitagawa University of Texas at Dallas Arts and Technology Program.
Created by animators at the Walt Disney Studios in the early 1930’s
Helped to transform animation from a novelty into an art form
Still todayGuide production and creative discussionsTrain young animators better and fasterApplicable to 2D/3D computer animation as
well as traditional hand-drawn animation
Principles of animation
From Illusion of Life: Disney Animation
by Ollie Johnson and Frank Thomas
Squash and stretchAnticipationStagingStraight ahead
action and pose to pose
Follow through and overlapping action
Slow-in and slow-outArcsSecondary actionTimingExaggerationSolid drawingAppeal
Principles of animation
Principles of animation
Squash and stretchFollow throughTimingSlow-in and slow-outSecondary actionArcs
AnticipationStaging
Physics Aesthetics
Presentation of action
Production methodsStraight ahead action
and pose to pose
ExaggerationSolid drawingOverlapping actionAppeal
Physics
Squash and stretchFollow throughTimingSecondary actionSlow in and slow outArcs
Principles of animation
While many real world objects, e.g. a rock, have little or no flexibility most organic objects, e.g. a human body, have some flexibility in their shapes
When an object moves, its movement indicates the rigidity of the object
Squash and stretch
No matter how squashed or stretched out an object gets, its volume should remain constant
Squash and stretch
Termination of actionNothing stops at onceWhen the main body of a character stops all
other parts continue to catch up it, such as arms, long hair, clothing, floppy ears, and a long tail
Follow through
Timing, i.e., the speed of an action, gives meaning to movement, both physical and emotional meaning
Timing affects the perception of mass of an object
Timing
Timing gives meaning to movement
A character looks first over the right shoulder and then over the left shoulder. Varying the number of inbetweens can imply:
0: hit by a strong force and its head almost snapped off1: hit by something substantial, .e.g., frying pan2: has a nervous twitch3: dodging a flying object4: giving a crisp order6: sees something inviting9: thinking about something10: stretching a sore muscle
Timing
Timing affects the perception of mass of an object
The slower the object moves the heavier it looks
Timing
Spacing of inbetweens at extremesSoften the action and make it more life-like
Slow-in and slow-out
Without slow-out
With slow-out
Smaller motions that complement the main action, e.g. hair flows as a character turns its head
Increases the complexity and interest in a scene
Secondary action
All actions, with few exceptions (e.g., motion of a mechanical device), follow an arc or slightly circular path
Especially true of the human figure and the action of animals
Arcs
Arcs give animation a more natural action and better flow
A caricature of facial features, expressions, poses, attitudes, and actions
Makes it more realistic and entertainingNot arbitrary distortion of shapes nor making
an action more violent or unrealistic
Exaggeration
“If a character is sad, make him sadder; if he is bright, make him shine; worried, make him fret; wild, make him frantic.” (Lasseter, 1987)
Exaggeration
Ability to draw weight, volume, and balanceAesthetic sensibility for forms, textures,
lights, and motions
Solid drawing
Animated characters must appeal to the audience.
They don't need to be lovely, cute and nice, but they must be interesting, somehow attractive.
Villains as well as heroes and heroines should have appeals
Appeal
Starting a second action before the first action has completely finished
Keeps the interest of the viewer, since there is no dead time between actions
Overlapping action
"When a character knows what he is going to do he doesn't have to stop before each individual action and think to do it. He has it planned in advance in his mind." Disney
Overlapping action
Preparation for an action, e.g., when a character is about to jump, he first crouches to gain momentum and the takes off
Prepares the viewer for the action that will happen
Longer anticipation is needed for faster actions
Anticipation
Clear presentation of an idea, where the idea can be an action, a personality, an expression, or a mood
An idea should be unmistakably clear to the viewer
Staging
Starts at the first drawing in a scene and then draws all of the subsequent frames until the end of the scene
Creates very spontaneous and zany looking animation
Used for wild, scrambling action
Straight ahead
Planned out and charted with key drawings done at intervals throughout the scene
Action, size, volumes, and proportions are controlled than straight ahead
The lead animator will turn keys over to his assistant
Pose to pose
Another way to look at the principles
Principles of animation
Before action Beginning of action
Middle of action
End of action
Anticipation Slow-in Slow-out
Staging Follow through
Squash and stretch, straight ahead, pose to pose, overlapping action, arcs, secondary action, timing,
exaggeration, solid drawing, appeal
Midori Kitagawa, [email protected]