Character animation crash course

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ATTITUDE POSES 15 Limited Animation Attitude poses can be even more important in TV ca rtoons, since they rarely have the budgets and schedules for niceties like overlap and slow cushions. While it's true that much of television <strong>animation</strong> rests on the quality of the writing and voice work, the best exa mples utilize the visual as well as the verbal. John Kricfalusi's Ren & Stimpy is one of the best modern usages of strong posing for limited <strong>animation</strong>; also check out the wonderful U PA cartoons to see how it was done by the masters, especially John Hubley's Rooty Toot Toot and Babe Cannon's Gerald McBoing-Boing. A Word about Thumbnails I'm sad to report that I very rarely use thumbnail sketches to help determine my poses, since I prefer to work full-size. For me, this is the most comfortable method, beca use I can better explore using the entire body to be expressive. However, there are many staunch supporters of the thumbnail, some world-class animators among them, so who am I to disagree? If you find them useful, go for it.
Acting in Animation - Part 1: Getting Started What Is 11 Good Acting" in Animation? Simply, "good acting" is that which convinces an audience that the character exists. He should look as if he is in control, not a pile of drawings pushed around by an unseen artist. If he is reacting to stimulus, physical or emotional, he should be animated in a way that tells an audience that it is he who is reacting (his particular personality and facial expressions and his ground rules of weight and mass) and not another character. Or hers. • Get inside your characters! They won't be alive unless you invest them with a personal, intuitive set of feelings. If the cha racter is doing something physical, feel out the action for yourself (or act it out even!). Recall similar incidents you have experienced to that which your characters must undergo. Don't just settle for cornball cliches found in cartoons - base your drawin gs on a knowledge of cartooning and caricature, but also on observation of people around you and an awareness of personal experience. I'm going to concentrate primarily on pantomime here, but as you read farther, you will see that some fundamentals rely on the consideration of dialogue and plot content, even at the earliest point of character conception. 16
Page 1 and 2: y Eric Goldberg
Page 4 and 5: HarAceR tliftla iON CRAsh by Eric G
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Page 10 and 11: Introduction How do you create an a
Page 12: INTRODUCTION XIII are: And now some
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Page 63 and 64: Character Construction and Design M
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Page 75 and 76: Drawing in Animation Finding the po
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The Exposure Sheet Th e traditional
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THE EXPOSURE SHEET 69 It is normall
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THE EXPOSURE SHEET 71 The Dialogue
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THE EXPOSURE SHEET 73 Now here's th
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Layout and Staging Ani mators need
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LAYOUT AND STAG I NG 77 Layout The
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.. LAYOUT AND STAGING 79 Example 1:
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LAYOUT AND STAGING 81 Example 2: He
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LAYOUT AND STAGING 83 ,, I \ I \ I
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LAYOUT AND STAGING 85 Instead of a
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LAYO U T AND STAGING 87 5000 1 :85
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LAY O U T AND STAGING 89 • More e
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LAYOUT AND STAGING 91 to scene of t
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LAYOUT AND STAGING 93 • Don't bre
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LAYOUT AND STAGING 95 Plan your cha
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LAYO UT AND STAGING 97 • Does the
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TIMING 99 stronger if you have the
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TIMING I 01 As well as varying the
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SPACING 103 • The closer together
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SPACING 105 You might also encounte
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SPACING 107 • The gap between the
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SPACING 109 Spacing in CG Animation
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HAVING A BREAKDOWN! Ill Example: ~
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HAVING A BREAKDOWN! Ill Basically,
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HAVING A BREAKDOWN! 115 Breakdowns
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Squash and Stretch One of the most
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SQUASH AND STRETCH 119 ,, B ----00
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SQUASH AND STRETCH 121 force! Of co
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OVERLAPP ING ACTION 113 Granted, no
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OVERLAPPING ACTION 125 • Drag on
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OVERLAPPING ACTION 127 • 16 Mini-
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m Weight, Balance, Mass and Volume
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WEIGHT , BALANCE, MASS AND VOLUME I
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WEIGHT, BALANCE, MASS AND VOLUME IU
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WEIGHT. BALANCE , MASS AND VOLUME 1
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PROPERTIES OF MATTER 137 meet air r
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PROPERTIES OF MATTER 139 When anima
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PROPERTIES OF MATTER 141 The same p
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PROPERTIES OF MATTER 141 Paper woul
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PROPERTIES OF MATTER 145 Drapery ca
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FACIAL EXPRESSIONS 147 ~ r 00IJ)l.S
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FACIAL EXPRESSIONS 149 Utilize elem
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Lip-Sync Lip-sync is a particularly
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LIP-SYNC 153 • The 40's Guys In t
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LIP-SYNC 155 Often one pose with an
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LIP-SYNC 157 • The Nitty-Gritty
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LIP-SYNC 159 ''DR- - 0 - ------ p!
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LIP -SYN C 161 • Learn ways to hi
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LIP - SYNC 163 • Don't be afraid
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IDI Animating Shapes Successful and
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ANIMATING SHAPES 167 © Disney Ente
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ANIMATING SHAPES 169 The most disto
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Flexible Drawing for Graphic Charac
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FLEXIBLE DRAWING FOR GRAPHIC CHARAC
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FLEXIBLE DRAWING FOR GRAPHIC CHARAC
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In this example X-sheet, the keys a
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ANIMATING TO MUSIC 179 Magic Carpet
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ANIMATING TO MUSIC 181 Kent showed
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GIMMICKS! 183 ''Blur" or ''swish''
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GIMMICKS! 185 ~~wiggle" lines when
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GIMMICKS! 187 Step 2: Go back and p
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GIMMICKS! 189 Dust clouds after a z
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GIMMICKS! 191 Method =#=2 : Draw a
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GIMMICKS! 193 All of these methods
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GIMMICKS! 195 ~·· 12f hold 1 f 1f
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GIMMICKS! 197 There's a great scene
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GIMMICKS! 199 Throwing a punch: Art
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GIMMICKS! 201 Camera shakes: If you
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Purr;Ng lT Jill TogeTheR
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206 CHARACTER ANIMATION CRASH COURS
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2 10 CH A RACTER ANIMATION CR ASH C
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Is That All, Folks? That's intended
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About the Author Eric Goldberg is a
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liB CHARACTER AN I MATION CRASH COU
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Character animation crash course

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