ANIMATION FUNDAMENTALS // Lectures & Exercises
Week 1 - Week 10 (23/08/2021 - 25/11/2021)
Fann Man Ling - 0344623 (BDCM)
Animation Fundamentals // Ms. Jennifer Teh
Lectures & Exercises
LECTURES
WEEK 1 // 23.08.2021
INTRODUCTION
In our first class, Ms. Jennifer briefed us about the module and the assignments for this module. She then started introducing some basic information about animation such as its history and types.
Lecture 1
WEEK 2 // 30.08.2021
SQUASH & STRETCH, TIMING/ SPACING, ARCS, SLOW IN/ SLOW OUT
Lecture 2
SQUASH & STRETCH
This principle refers to animated objects that will get longer/ flatter to emphasize their speed, momentum, weight, and mass.
- the less squash and stretch, the stiffer the object = the more s&s, the softer the object.
- stretching from the speed.
- can use to exaggerate facial expressions.
đAware:
keep the volume of the object consistent (not too big / too small).
FURTHER READING:
TIMING/ SPACING
The personality and nature of an animation is greatly affected by the number of frames inserted between each main action.
If many drawings are very close together in between the 2 main poses, the action will be very slow.
- less drawing = fast
- more drawings = slow
1 simple action with different numbers of frames tells different stories.
The standard frame rate for movies is 24 frames per second (fps).
- 1 drawing is made for each frame = on ones.
- 2 drawing is made for each frame = on twos.
* and so on
FURTHER READING:
ARCS OF MOTION
Most living creatures will move in a circular path (Arc). (not too mechanical)
Add Slow In and Out to make an action more realistic.
FURTHER READING:
SLOW IN / SLOW OUT
Refer to the way pretty much all movement starts slowly, builds speed, and finishes slowly.
Achieve lifelike motion. (only robot moves at constant speed)
Use it wisely on the parts that Slow in/ Slow out can be applied.
FURTHER READING:
WEEK 3 // 06.09.2021
STAGING, APPEAL, EXAGGERATION, SOLID DRAWING
Lecture 3
STAGING
Plan a scene for animation
Always stage an action so that it's unambiguous
3 Principles Involved: Staging, Clarity, Readability
all these are striving for: clear, appealing shots that direct the audience's attention to what you want them to see.
Applies to all aspects of the shot:
- camera position
- focal length
- character placement
- prop placement
- silhouette
- posing
- acting
- lighting
- color grading
- composition
GUIDES:
1. Understand the purpose of the shot
e.g: showing off big action (wide shot) , emotion (close-up)
* the wider the camera angle, the broader the action has to be.
2. Rule of thirds, the golden ratio (pleasing arc to the eyes)
3. Camera angle
❌ having the edge of camera land on a character's joints (neck), elbows, knees (amputated)
✅ keep the camera halfway between joints or one of the thirds ^
SILHOUETTE (important in staging process)
Determine how clear is your posing, avoid overlapped, ensure the readability of the scene, ensure the focus of the shot is visible.
* the clarity of the shot's purpose is more important than realism.
* always pose in favor of the camera
* clear line of action visible in your camera
* the more dynamic the line of action is in the posing, the more appeal the shot will have
CLARITY
Straight line and curve line. instead of a bumpy line
Have one main action at a time, and have other additional actions be complementary. (not taking the attention away from the main action).
TIMING
Shots should be at least three frames long for the audience to be able to read it
* Not too many details on the background (distract eye view)
* Thumbnails always help in staging
FURTHER READING:
APPEAL
Characters that animate should be somewhat pleasing to look at. (should have some kind of charismatic aspect to like about them)
DYNAMIC DESIGN (the way to achieve appeal)
1. Variety of Shapes
- use a variety of shapes for every character. (start with clear shapes)
2. Play with Proportions
- magnify the things that audiences find interesting.
- shrink the things that audiences might find ugly/ boring.
- find the aspect of a character that defines his or her personality, and blow it up.
- hunched over = witch-like
- big head and relatively small body = cute
- intimidating = serious
3. Keep it simple
- too much information can overcomplicate the character
- make animation process harder
FURTHER READING:
EXAGGERATION
Every action, pose, and expression can be taken to the next level, to increase the amount of impact.
❌ make drawing more realistic ≠ make proportions more consistent with reality.
✅ make the idea or essence of the action more apparent and real. (eg. Disney's Mickey Mouse)
❌ more distorted
✅ more convincing
When motions are quick, the exaggeration needs to be bigger, in order to be noticed.
Push the exaggeration level until it actually becomes too much, then winds it back until satisfied with it.
FURTHER READING:
SOLID DRAWING
Ensuring that forms look like they're in 3D space, with volume, weight, and balance.
Rough Pass:
- use basic solid shapes (eg. spheres, cubes, cylinders) to construct the character.
- perspective lines can be drawn on the ground to keep track of their distance from the camera. (so know should draw bigger / smaller).
Clean Line version:
- overlap: include it whenever possible. (can define where surfaces come out and where they recede).
- try to pair a straight line with a curved line / offset 2 curved lines (so it looks more natural).
Avoid Twinning (arms and legs doing the exact same thing)
FURTHER READING:
WEEK 4 // 13.09.2021
STRAIGHT-AHEAD / POSE-TO-POSE (2 methods used to animate drawings)
Lecture 4
STRAIGHT-AHEAD
Animating as you go.
Might lead to the character changing the size.
Is good for animation that is unpredictable (eg. fire, water particles, explosions, cloud of dust)
Consists of laws of physics that work at a constant rate.
POSE-TO-POSE
Draw the beginning and end of each main pose, and go back later to fill the drawings in between.
Give the most control
*Can use Pose-To-Pose for body movement, then going through and adding in the (eg. ears) using Straight-Ahead.
* It is good as you can focus on the figures' movements without the distraction of having to do the parts.
FURTHER READING:
WEEK 5 // 20.09.2021
ANTICIPATION, SECONDARY ACTION
Lecture 5
ANTICIPATION
This is when a character prepares for an action to give the audience a clue as to what is happening next.
Helps communicate actions to the audience by preparing them for the next action.
- e.g: before jumping into the air, the character has to be ready for the action by crouching down.
FURTHER READING:
SECONDARY ACTION
Describes gestures that support the main action to add more dimension to the character animation.
Will add more dimensions to the action.
- e.g: Walking: Primary action- leg ; Secondary action- everything else (arms, head, facial movements)
- e.g: Eating burger: Primary action- bite ; Secondary action- shaking the head, closing eyes, chewing.
FURTHER READING:
WEEK 6 // 27.09.2021
FOLLOW THROUGH & OVERLAPPING ACTION
Lecture 6
FOLLOW-THROUGH & OVERLAPPING ACTION
The technique of having body parts and appendages drag behind the rest of the body, and continue to move when the body stops.
Often associated with another technique called Drag.
The amount of Drag given indicates its mass.
FOLLOW-THROUGH
Refers to the way parts of the body continue to move after the body has stopped.
OVERLAPPING ACTION
Describes the offset between the timing of the main body and its other parts.
DRAG
Describes the technique of delaying the movement of body parts in relation to the main body.
-e.g: arms when walking
WEEK 7 // 04.10.2021
CHARACTER ACTING, LIP-SYNC, EXPRESSIONS
Lecture 7
WEEK 8 // 11.10.2021
No class. (ILW)
WEEK 9 // 18.10.2021
BACKGROUND DESIGN
Lecture 8
WEEK 10 // 25.10.2021
STORYBOARDING IN ANIMATION
Lecture 9
FURTHER READING
INSTRUCTION
Module Information Booklet
EXERCISES // PRACTICAL
WEEK 1 // 23.08.2021
EXERCISE 1: Character Gestures & Poses
In our first class, we were tasked to create poses for characters based on the given shapes. This is a warm-up exercise for us to study the character's dynamic gestures and poses. Ms. Jennifer suggested us to refer to images of movie characters, celebrities, or animated characters as a reference or inspiration in doing the exercise. We were advised to avoid drawing default poses.
Fig 1.1: Basic Shapes given
IDEATION
I would say that one of the senior's works that showed by Ms. Jennifer in the class inspired me on creating 3D shapes for the characters. It leads me to have a better idea of the results that I wanted to make.
PROGRESS
Before jumping into digitalization, I looked for references from Pinterest in the hopes of study the character postures so that I can create characters that carry appealing movements. At first, I observed the movie characters and musicians' images, but the results are not that appealing enough as their gestures and proportion seem weird. Then, I tried to study animated characters instead and it really gives me a better idea of creating a more dynamic and interesting movement in the characters.
Fig 1.2: Moodboard_references (Source of images: Pinterest)
After going through the references and brainstorming, I've decided to do with the theme of Skateboarding and Naruto kind of Ninja.
Fig 1.3: Rough Sketch (25/08/2021)
Fig 1.4: Refined Outline Sketch (25/08/2021)
Feedback received from Ms. Jennifer during practical class:
- Ms. Jeniffer commented that I have good drawing skills.
- The perspective of the cylinder character is a bit confusing, may need to pay more attention to this.
- The hand proportion of the cylinder needs to make some amendments too.
- The hand of the sphere should be clearly sketched to show if the knuckle is facing in front or backward.
- Overall, they are all good :D
Fig 1.5: Advice received from Ms. Jennifer through annotating (the red one)
After getting the feedback, I amended and finalized it.
FINAL WORK
Fig 1.6: Final Work_Character Gestures (26/08/2021)
WEEK 2 // 30.08.2021
EXERCISE 2: Character Gestures & Poses
We were tasked to animate 2 types of Bouncing Ball exercises, using Adobe Animate:
1. Linear Bouncing Ball
2. Action Bouncing Ball
PROGRESS
Linear Bouncing Ball
Fig 2.1: Before Feedback
Feedback received from Ms. Jennifer:
Fig 2.2: Feedback Received
FINAL WORK:
Fig 2.3: Final_After Feedback (31/08/2021)
Action Bouncing Ball
Fig 2.4: Before Feedback
Feedback received from Ms. Jennifer:
Fig 2.5: Feedback received
FINAL WORK:
Fig 2.6: Final_After Feedback (04/09/2021)
WEEK 3 // 06.09.2021
EXERCISE 3: Character Turnaround
We were required to animate a 360-degree view model exercise, using Adobe Animate. The character turnaround should consist of front, three-quarter front, side, three-quarter back, and back.
CHARACTER DESIGN
Attempt #1
Fig 3.1: Attempt 1_Rough Sketch
Fig 3.2: Attempt 1_Clean-up sketch
Feedback received from Ms. Jennifer:
Ms. Jen mentioned that the character in Turnaround is advised to be straight.
Attempt #2
Fig 3.3: Attempt 2_Sketch
Feedback received from Ms. Jennifer:
Fig 3.4: Feedback given
Attempt #3
Fig 3.5: Attempt 3_Sketch
Fig 3.6: Final_Character Design
TURNAROUND
Attempt #1
Fig 3.7: Attempt 1_Turnaround
Feedback received from Ms. Jennifer:
Fig 3.8: Feedback given
FINAL WORK
I then improvised the turnaround based on the feedback given.
Fig 3.9: Final Work_Turnaround .mp4 (29/09/2021)
Fig 3.10: Final Work_Turnaround .gif (29/09/2021)
FEEDBACK
*Details of feedbacks have been mentioned in the content.
REFLECTION
Week 1 // EXERCISE 1: Character Gesture & Poses
This exercise is so fun! This exercise taught me a lot, especially about sketching character motions (creating more attractive and dynamic characters) and the significance of perspective (have a better visual result to audiences).
I was initially concerned that choosing animation might be a mistake, but after attending the class, I am convinced that this is what I want to study.
Week 2 // EXERCISE 2: Bouncing Balls
After doing these exercises, I was able to better comprehend the animation principles.
Week 3 // EXERCISE 3: Character Design, Turnaround
I actually struggle to design a character for this in the early stage. Glad that somehow I get to come up with a presentable character design. I felt satisfied when I saw the end result of the character's turnaround.
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