Disney's Twelve Basic Principles of Animation were introduced by the Disney animators Ollie Johnston and Frank Thomas in their 1981 book The Illusion of Life: Disney Animation.
The animation doesn't have to be realistic but should be believable Squash and Stretch Squash and Stretch is what gives flexibility to objects. There's a lot of squash and stretch happening in real life that you may not notice; in animation this can be exaggerated. For instance, there's a lot of squash and stretch that occur in the face when someone speaks, because the face is a very flexible area. Squash and stretch can be implemented in many different areas of animation, like the eyes during a blink or when someone gets surprised or scared, their face squashes down, and stretches. Squash and stretch is a great principle to utilize to exaggerate animations and add more appeal to a movement. Anticipation Anticipation is used in animation to set the audience up for an action that is about to happen. An easy way to think about this is that if a person needs to move forward, they first must move back. For example, if a character is about to walk forward, they might move back slightly, this not only gets their momentum up, but it also lets the audience know this person is about to move. Helps it be believable. Staging Staging is how you go about setting up your scene, from the placement of the characters to the background and foreground elements and how the camera angle is set up. The purpose of staging is to make the purpose of the animation unmistakably clear to the viewer. This could be ensuring the camera is set up in a way to communicate the characters expression clearly, or setting up two different characters so that both of them are easily viewed from the specific angle. You want to keep focus on the purpose of the shot and what you want to communicate so the audience doesn't become confused. Straight Ahead and Pose to Pose Straight ahead and pose to pose refers to the two different techniques for how you go about animating. With straight ahead it's a very spontaneous and more of a linear approach. You'll create each pose or drawing of the animation one after the other. For example, if you're animating a character jumping in the air you would create the pose where he's standing, the next where he is beginning to kneel down, the next would be him completely crouched, and so on. You're really working through the animation as you're going. With pose to pose it's much more methodical and planned out, with just the most important poses required to properly tell the action. For example, you could approach the exact same action with four poses, the character standing, crouched, in the air, and back on the ground. It allows you to work much simpler, and ensure the posing and timing is correct before adding more detail. Follow Through and Overlapping Action Follow through and overlapping action can be considered two different principles, but they're still closely related. Follow through is the idea that separate parts of the body will continue moving after the character has come to a stop. For example, as a character comes to a stop from a walk, every part of the body won't stop at the exact same time, instead, the arms may continue forward before coming to a settle. This could also be articles of clothing that continue to move as the character comes to a stop. Overlapping action is very similar in that it means different parts of the body will move at different times. For example, if a character raises their arm up to wave, the shoulder will move first, and then the arm, and the elbow and hand may lag behind a few frames. You may have also heard this referred to as "drag" or "lead and follow" You can even see an example of overlapping action in something like a blade of grass, the base moves first, and the rest of the grass follows behind at different rates, giving you that waving motion. In real life, everything moves at different speeds and at different moments in time, and that is why follow through and overlapping action is so important for capturing realistic and fluid movement. Ease in Ease Out As any object or person moves or comes to a stop there needs to be a time for acceleration and deceleration. Without ease in and ease out (or slow in slow out), movements become very unnatural and robotic. For example, as a car starts from a stop, it doesn't just reach full speed in an instant, it first must accelerate and gain speed. As it comes to a stop it doesn't go from sixty to zero in the blink of an eye, if it did, it would be extremely uncomfortable. Instead, it slowly decelerates until it reaches a complete stop. The same must be accomplished in an animation, and the easiest way to accomplish ease in and ease out is to utilize the principle of spacing. As a character stands up from a sitting position the spacing will be closer together at the start, so they ease into the movement, and as they stand up, they will ease out of the movement. Without this acceleration and deceleration of actions everything would be very abrupt and jerky.
Solid Drawing In 2D Animation, solid drawing is about creating an accurate drawing with volume and weight, and thinking about balance, and the anatomy in a pose. With 3D animation, animators are less likely to rely on their drawings, but the idea of solid drawing is just as important. With solid drawing you need to think about how you pose out your 3D character rig, ensuring there is correct balance and weight in the pose, as well as a clear silhouette. You also want to avoid what is called "twinning," which basically means the pose you have created is mirrored across to the other side. For example, the character may have both arms on their hips or both hands in their pockets. This creates a rather boring and unappealing pose. Making sure you implement the principle of solid drawing into your posing will ensure you avoid this issue. Appeal This principle can really come down to adding more appeal in many different areas of your animation, such as appeal in posing. However, the most obvious example is appeal in the character design, you want to have a character that the audience can connect to or relate to. A complicated or confusing character design can lack appeal. You can find areas on the character to push and exaggerate to create a more unique character design that will stick out in the audience's memory. For example, simply exaggerating the jaw of the character or pushing the youthfulness in the eyes can help create more appeal. References
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