TRACK YOUR ARCS – PART IIWell, guess what time it is?It's time to celebrate!! That's right, this is the one year anniversary of our famously rambling tips & tricks article!A year ago I thought this was going to be a three part article about planning your scenes... Knowing my tendency to ramble, oneof the fellas at work said he doubted that I could keep my "planning article" to a mere three parts. Well, here I am a year later, stillrambling on and on about all things animation, so I guess he was right!Anyway, I've been having a lot of fun writing it, and even more fun hearing back from you guys (hit me at: tipsandtricks@animationmentor.com), so it's time to sit back, reflect on a year of tips, and most of all - to celebrate! I warned you that I'd be mowingdown on fried chicken and drinking a celebratory Bacardi Anejo y coca (that's aged Bacardi, which tastes approximately 1000 timesbetter than regular Bacardi, and Coke), so that's exactly what I'm doing!In light of that, I should probably try to write fast, because if I start to get tipsy, there's no telling how long this article might get, orwhat bizarre tangency we might find ourselves pulled down... I can only guarantee true animation talk for 2 drinks, at most. If I hitdrink #3 and we're still all sitting here, there's a very real danger that we'll start talking about a lot less about animation and a lotmore about fried chicken, why I hate moths, and the dream I had last week where undercover agents were attacking me with angryattack chickens...Anyway, if you're of drinking age and want to join in with me for my One Year Anniversary celebration, you'll need the following:A glass.5 pieces of ice.1/2 can of Pepsi (or Coke, if you think Coke tastes better than Pepsi, but you're wrong)1 1/2 shots of Bacardi Anejo (or a little more, if you're feeling especially macho)Mix all of those things together, and prepare for some tasty goodness!So... First off, I want to address a few comments I got in the email last month:I heard some great tips about removing permanent maker ink from your monitor (where were you guys when I needed you!?!), sowhile I have no idea if these ideas actually work, if you find yourself with ink on your monitor (as I did), you could take Yudhatama'sadvice and try paint thinner to remove it... Or you could listen to Chad T, who found that going over his permanent marker mistakewith a dry erase marker made the ink erasable! (Great tips! Thanks!)Someone also pointed out that I should have elaborated more about using dry-erase markers on an LCD monitor. If you don't wantto draw directly on your monitor (which isn't the greatest thing for your LCD monitor, potentially), some people get a hold of a pieceof plastic, or Mylar, or a clear animation cell and attach it to their monitor with tape. When they want to draw, the simply flip thecell down in front of their monitor, track their arcs, fix their work, and then flip the cell back over their monitor. (Thanks to Jeff G forthis great idea!)And since we're in reader-feedback mode, I had a request from Jessica Duenke to send out a visual example of my bell-pull descriptionfrom last month (which she kindly neglected to mention was the most confusing description of an animation example in the history37Copyright 2008 by <strong>Animation</strong><strong>Mentor</strong>.com. All rights reserved. This ebook may not be reprinted or distributed in electronic, print, web, or other format withoutexpress written permission.
of animation examples). In case you are a new reader, or (more likely) your horrified brain immediately rejected and erased thememory last month, I was talking about the spiraling motion of the hips generating all of the power in a "bell-pull" example.I dug around through my notebooks, and happened to see an old quickie sketch I had done for some students in a class once whenwe were talking about something really similar, so I went ahead and scanned it in.While this was a very quick drawing done on the spot, it's actually pretty exemplary of the extent of my drawing skills these days, soin case you've been harboring any illusions that you're reading a tips & tricks article written by someone who can draw like JamesBaxter, prepare for immediate and sobering disappointment.Shawn Kelly’s bell-pull example:...Okay, for those of you who didn't immediately close the newsletter in disgust, the blue line is the exaggerated spiraling path ofthe hips I was talking about tracking the arc of, some of which is roughly broken down on the far right as well. Obviously this is onlyone of a gajillion ways to animate a bell-pull, but it was a way to illustrate my point. (James Baxter did an amazing bell-pull at thebeginning of Hunchback of Notre Dame that's worth frame-by-framing, by the way. (Awesome example of force).Anyway, that was a pretty awesome drawing, huh? Check out how when he stretches up onto his toes, he's the exact same heightas when he's standing there hunched over. Talk about volumes being all out of whack... Yikes! And those circles at the top of hisarms are supposed to indicate shoulders, by the way... ugh.Wow. Looking at it now, it's really....embarrassing. I'm so tempted to delete this, but I'm way too lazy to redraw it properly... Hangon a minute, time to refill Mr. Bacardi Anejo before I get too depressed.Okay, I'm back and feeling much better! Mr. Bacardi Anejo was just telling me that it's "okee dokee artichokee" not to redraw theabomination you see above, and is helping me justify my laziness by claiming that I'll have more time to write if I don't spendtime redoing an old drawing... Wow, cool! Thanks, Mr. Bacardi Anejo! You're such a swell Anejo! (even if you do use words like"artichokee...")(uh oh, drink #2 is showing, huh? I'm pretty sure that when you're having a conversation with your drink in front of around 18,000people, you're officially tipsy).Anyway, what I had written last month was the following, and hopefully it might make more sense now, unless the drawing is sohorrible that I've confused you even further. (If so, then I apologize, but respectfully blame the combined efforts of Jessica andBacardi Anejo):38Copyright 2008 by <strong>Animation</strong><strong>Mentor</strong>.com. All rights reserved. This ebook may not be reprinted or distributed in electronic, print, web, or other format withoutexpress written permission.
- Page 2 and 3: Animation Tips & TricksBY: Shawn Ke
- Page 4 and 5: INTRODUCTIONWelcome to the First Ed
- Page 6 and 7: FOUNDERS BIOSBobby BeckBobby was an
- Page 8 and 9: TESTIMONIALS“Three things come to
- Page 10 and 11: PLANNINGBecause this is the first a
- Page 12 and 13: REFERENCE MATERIALSWe've been talki
- Page 14 and 15: THUMBNAILSWelcome back!This month w
- Page 16 and 17: BLINKS HAVE MEANINGTip 1: Blinks Ha
- Page 18 and 19: Then a thought occurs to him: “is
- Page 20 and 21: has his shovel in hand. His eyes ar
- Page 22 and 23: THE FACEHey there animators! Welcom
- Page 24 and 25: OPERATIVE WORDSHello Animators!Welc
- Page 26 and 27: So, to make a long story short - ch
- Page 28 and 29: Well, for one thing, you want to sp
- Page 30 and 31: KEEP SECONDARY CHARACTERS SECONDARY
- Page 32 and 33: might glance at him to gauge his re
- Page 34 and 35: ACTINGHello Animators!Welcome back!
- Page 36 and 37: If you ignore the principles of act
- Page 38 and 39: Anyway, if the whole point of exagg
- Page 40 and 41: FORGET ABOUT THE LEGSHello animator
- Page 42 and 43: TRACK YOUR ARCSOkay, before I get s
- Page 44 and 45: it...Anyway, the hips move in a clo
- Page 48 and 49: "Let's say my character is going to
- Page 50 and 51: But what's a love story without fir
- Page 52 and 53: cycle (say, a blink, or one hand ha
- Page 54 and 55: Step...Step...Punch. I had a big pr
- Page 56 and 57: after it. Once you choose your mome
- Page 58 and 59: incredibly easy to get so caught up
- Page 60 and 61: that's a toughie, but maybe you can
- Page 62 and 63: That's 40 years of inspiration. 40
- Page 64 and 65: TWINNINGHello!Last month, we were s
- Page 66 and 67: more organic, and far more interest
- Page 68 and 69: The end result, of course, is a far
- Page 70 and 71: BLACK OUT YOUR CHARACTEROk, so it's
- Page 72 and 73: performance (particularly the eye a
- Page 74 and 75: RISE ABOVE THE SNOBBERYOkay, here's
- Page 76 and 77: Animation students live and work in
- Page 78 and 79: MOVING FROM TRANFORMERS TO CARTOONS
- Page 80 and 81: stylistically. Too fast here, dead
- Page 82 and 83: HOW TO IMPRESS RECRUITERSHello ther
- Page 84 and 85: ecruiter has no idea of your true a
- Page 86 and 87: 23TIPREVERSALSWell hello there!Last
- Page 88 and 89: From #1 to #2, all you really need
- Page 90 and 91: else we can decide that no, we don'
- Page 92 and 93: IT AIN’T OVER TILL THE CHARACTERS
- Page 94 and 95: project where the deadlines are too
- Page 96 and 97:
then. The first one will be next mo
- Page 98 and 99:
The computer will help you try to s