The beauty of the medium is that the everyday laws of physics can be applied in comic or magical ways, as in the character who doesn’t fall until he realises that he’s in mid-air. Same instructors. Facial expressions can also be exaggerated! They can be stick figures or crude: The more complex the action, the more important it is to thumbnail. UPDATE #1: Placing ‘Appeal‘ as #12 creates the impression that it is a natural consequence of mastering  #1-11. Notice how the belly drags, moves behind the main character, and only settles into the final rest about eight frames after the main body. so why do you need another? A classic performance test is to draw a sack of flour or simple object in various emotions and actions. I’ve also titled my list the ‘Foundations’ of animation to reduce confusion. �-��a"E��"I�Ђ�?�r�+��P ��Ф�~�)�΅�Sb:_�M� CV Any pose can be pushed further. (Images from my Lynda / Linkedin course ‘Storyboarding’). Find out how to take a pose or expression that is adequate, and push it further. A character’s pose should be easy to interpret based on silhouette alone. One common technique is to draw an imaginary line between the characters, and to stage the sequence on one side of that line. function() { This is a great technique for loosening an action and giving it that classic, loose limbed feeling. Please reload the CAPTCHA. You can pick up where you left off, or start over. Enter Dermot O’ Connor’s 21 foundations of animation: universal principles that can be used to create high-quality animation in any style or medium, including hand-drawn and digital animation. var notice = document.getElementById("cptch_time_limit_notice_19"); I have re-ordered the list accordingly. The degree of squash and stretch can help determine how natural or cartoony the character is. Buster Keaton, Harold Lloyd and Chaplin are great references. Correct staging communicates character and story elements, and is visually interesting. Spacing refers to the position of the breakdown and inbetweens between those keys. timeout I’m adding them, in italics.  ×  Develop in-demand skills with access to thousands of expert-led courses on business, tech and creative topics. In Pose to Pose, the first key is drawn, then the last. At the bottom of my list we find principles that determine more subtle aspects of animation (e.g., overlap/follow-through). In other words, is there anything you can do to squeeze a little more out of it. To create a natural or cartoony character, we squash and stretch them. This will not affect your course history, your reports, or your certificates of completion for this course. Before animating, it is wise to sketch thumbnails. Although I work in traditional hand-drawn animation, the foundations that you'll learn in this course, will help you in puppet systems like Flash. Build strong poses around a simple line of action – usually a C or an S curve. Many children have produced appealing drawings without any knowledge of technical principles, and many skilled works have no appeal. Time limit is exhausted. The Fundamental Principles of Animation It all started after the 30s when Walt Disney noticed that the level of animation was inadequate for some new story lines. This is an opposing action but taken to another degree (or rotated). Time limit is exhausted. Before those classes, the animations were made with little or no reference to nature. - [Instructor] There are many great animation books In the classic example above we see a whip or tail cycle from one C curve into an S curve, then into the reverse. Exaggeration is left to last for a reason. Please reload the CAPTCHA. an animated sequence, the animator would draw more in-betweens around these poses to draw the audiences attention to the key pose. Times have changed. Animators do have to satisfy basic physical expectations. setTimeout( Obviously, this is something that you should really do BEFORE you animate your scene! But push the pose or expression too far and it breaks! If a part of the body moves in one direction, there is usually a part of the body that moves in the opposite direction. al ma’arri, the great poet of 11th century Syria. The more squash and stretch, the cartoonier. The foundations are universal in any style or medium, x��]ɒ���W �SD�ݾI�d�a�=_t�f�ላ��2��?���YY/�@���t-Y�/��MQ�6ÿ�����.=iV7? 6 0 obj By adding interesting actions to the breakdowns, your animation will be looser and more interesting. nine Appeal does not merely mean ‘cute’ – though cute characters do tend to have instant appeal – especially those with large eyes or button eyes (making them a bit like teddy bears): Of course cute characters have appeal, but villains can also have appeal, and ugly or villainous characters can have appeal: (Images from my Lynda / Linkedin course ‘Drawing Cartoon Characters’). If a part of the body moves in one direction, there is usually a part of the body that moves in the opposite direction, twisting or ‘torqueing’ the body. The most extreme form of exaggeration is the world of ‘cartoon physics’, which reached its extreme in the ‘Looney Tunes’ series of the 1940s and 50s. The foundations are universal in any style or medium. ]�[��WΎ׫/.�_���Z]>���(W][l�v�+7ŦlW��/\~v��Ůh��f����Ń�᣶ص}���>��z�����Gۢ��_� 5Ŧ��o������iක�_M���yŞ5N1?��ú����e]l����Ӛv���g��������}^�����5}�����ǰ��F��������!~��Ӓ3��E���� ��ֱ,��S���4o��Ʇ�e�3�m���W�j����1���.����Z�KL��t������|]?O\�߯�#�ҵ��>?F@�,� '�&��#���%�>����4�p��r�hH����,�,|�b��%!


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