COMPETENCY-BASED LEARNING MODULE ON

211 2D ANIMATION

MODULE 1
PRODUCE
KEY DRAWINGS
ANIMATION

By:

RIZZA R. RENOMERON
National Assessor for VG NC III
CA-VGD0313140909003

JOHN P. LOPEZ JR.

National Assessor for 2D & 3D NC III
CA-ANM0313140909021

SHERYL R. MORALES
National Assessor for BKP NC III
CA-BKP0313140911226
MODULE 1

PRODUCE KEY
DRAWINGS
.

Learning Outcome 1. IDENTIFY ANIMATION REQUIREMENTS

Information Sheet 1 Basic Animation Concepts

Information Sheet 2 Principles and Techniques
Information Sheet 3 Process in Animation

Learning Outcome 2. PRODUCE KEY DRAWINGS

Information Sheet 4. Fundamentals of Figure Drawing

Information Sheet 5 Character Construction
Information Sheet 6. Pose-to-Pose Animation

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MODULE TITLE PRODUCE KEY DRAWINGS

Description: This module covers the skills, attitude and knowledge required
to identify animation requirements, edit, revise and produce key drawings

Course Objective: At the end of the course, the student will be able to learn
the basic knowledge in creating animation

CONTENTS:
Information Sheet 1 BASIC ANIMATION CONCEPTS
1.1 W hat is animation
1.2 B rief H istory
1.3 H ow Animation W orks
1.4 Animation and frame rates
1.5 Types of Animation
Self- Check 1
Information Sheet 2 PRINCIPLES AND TECH NIQ UES
2.1 12 B asic Principles
2.2 Animation Techniques
Self- Check 2

Information Sheet 3 ANIMATION PROCESS

3.1 2D Animation Process Chart
3.2 Equipment
3.3 The Story B oard
Self- Check 3

Information Sheet 4 F UNDAMENTALS OF F IGURE DRAWING

4.1 The G esture
4.2 Structure
4.3 Shape Analyz ation
4.4 Values
4.5 Developing Forms
4.6 The H ead
4.7 The Interlocking Forms
Self- Check 4
Information Sheet 5 CH ARACTER CONSTRUCTION
5.1 Steps
5.2 Drawing with B asic Shapes
Self- Check 5
Information Sheet 6 POSE TO POSE ANIMATION
6.1 What is Pose-to-Pose Animation Method
6.2 Developing Key Poses Through Working Rough
6.3 Planning Key Poses
6.4 Expressive Poses
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 MODULE 1
IDENTIFYING/ DETERMINING FUNDAMENTAL CAUSE OF PROBLEMS

LEARNING GUIDE

Learning Steps Resources

1. Read Information Sheet 1 on Basic

Animation Concepts Information Sheet 1
2. Answer Self-Check 1
Self-Check 1
3. Read Information Sheet 2 on Princi- Information Sheet 2
ples and Techniques
4. Answer Self-Check 2 Self-Check 2
5. Read Information Sheet 3 on Pro- Information Sheet 3
cess in Animation
6. Answer Self-Check 3 Self-Check 3
7. Read Information Sheet 4 on Pfun-
damentals of Figure Drawing Information Sheet 4
8. Answer Self-Check 4 Self-Check 4
9. Read Information Sheet 4 on Char-
acter Construction Information Sheet 5
10. Answer Self-Check 5
Self-Check 5

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 INFORMATION SHEET 1
BASIC ANIMATION CONCEPTS

1.1 What is animation?

To animate means to give life to. Animations are created from a sequence of
still images. The images are displayed rapidly in succession so that the eye is
fooled into perceiving continuous motion. This is because of the phenomenon
called Persistence of Vision. This is the tendency of the eye and brain to continue
to perceive an image even after it has disappeared. For example, in the above
shown figure, a sequence of images of a character in various positions gives the il-
lusion of motion when displayed rapidly one after another. Animation generally
deals with hand drawn images in contrast to motion video which deals with actual
photographs of real-world objects taken through a camera, although both uses the
concept of displaying a sequence of images one after another to depict motion.

Uses of Animation

In multimedia, animation is regarded as an important and useful tool for

communicating information. The main application areas of animation include:

Marketing and advertising

Staff And Program Development Training Presentations
Educational Multimedia Programs
Training Programs
Sports
Edutainment Titles
Health-Care Programs
Games
Process Simulation
Cyber Art
Interactive Magazines
The Internet

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1.2 Brief History

Animation is a graphic representation of drawings to show movement within those

drawings. A series of drawings are linked together and usually photographed by a
camera. The drawings have been slightly changed between individualized frames
so when they are played back in rapid succession (24 frames per second) there ap-
pears to be seamless movement within the drawings.

In 1824, Peter Roget published a paper called Persistence of Vision With Regard
to Moving Objects. This paper describes the phenomenon that occurs in human
vision where an image lingers even after the light from the source has ceased. This
phenomenon makes animation possible. This led to numerous philosophical toys
during the 19th century. These include the Zoetrope, and the Flipbook. The first
animated cartoon (in the traditional sense, i.e. on film) was Fantasmagorie by the
French director mile Cohl. Released in 1908.

One of the very first successful animated cartoons was Gertie the Dinosaur by
Winsor McCay. It is considered the first example of true character animation.

In the 1930s to 1960s, theatrical cartoons were produced in huge numbers, and
usually shown before a feature film in a movie theater. MGM, Disney and Warner
Brothers were the largest studios producing these 5 to 10-minute
shorts.Competition from television drew audiences away from movie theaters in
the late 1950s, and the theatrical cartoon began its decline. Today, animated
cartoons are produced mostly for television, however with the advent of personal
computers and the accessibility of the internet and easy animation software such as
Flash, it has now become possible for the average person to create animations
allowing many novice animators to feature their cartoons online.

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1.3 How animation Works

In the traditional animation process, animators will begin by drawing sequences of

animation on sheets of paper often using colored pencils, one picture or frame at
a time.

A key animator or lead animator will draw the key drawings (key in the sense of
important) in a scene, using the character layouts as a guide. The key animator
draws enough of the frames to get across the major points of the action; in a
sequence of a character jumping across a gap, the key animator may draw a frame
of the character as he is about to leap, two or more frames as the character is flying
through the air, and the frame for the character landing on the other side of the gap.

Once the key animation is approved, the lead animator forwards the scene on to the
clean-up department, made up of the clean-up animators and the inbetweeners. The
clean-up animators take the lead and assistant animators drawings and trace them
onto a new sheet of paper, taking care in including all of the details present on the
original model sheets, so that it appears that one person animated the entire film.
The inbetweeners will draw in whatever frames are still missing in between the
other animators drawings. This procedure is called tweening.

1.4 Animation and Frame Rates

Virtually all visual animation media uses framesa series of still images shown
very rapidly to simulate motion or change. Anything you see on a computer, televi-
sion, or movie screen is based on frames. This goes back to the earliest days of car-
toon animation, where the individual pictures were drawn on sheets of cellophane
and became known as cels, and the earliest motion pictures, where a similar tech-
nique was used with multiple photographs.

TV video builds 30 entire frames or pictures every second. Movies are shot at a
shutter rate of 24 frames per second, but using projections tricks the flicker is in-
creased to 48. On some projectors each frame is shown 3 times before the next
frame, for a total of 72 flickers per second which helps eliminate the flicker effect.

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1.5 Types of Animation

There are many different types of animation that are used nowadays. The main
types are clay animation, computer animation, cel-shaded animation and regular
animation.

Clay Animation
Clay animation is not really a new technique as many people might think. Clay
animation began shortly after plasticine (a clay-like substance) was invented in
1897, and one of the first films to use it was made in 1902. This type of animation
was not very popular until Gumby was invented. The invention of Gumby was a
big step in the history of clay animation. Now, clay animation has become more
popular and easier to do. Later on, more clay animation films were made, such as
the Wallace and Gromit series of movies, the advertisements that were made for
the California Raisin Advisory Board and the Celebrity Deathmatch series.

Computer Animation

Computer animation has also become common. Computer animation began about
40 years ago when the first computer drawing system was created by General
Motors and IBM. It allowed the user to view a 3D model of a car and change the
angles and rotation. Years later, more people helped make computer animation
better. Movies that used computer animation are: The Abyss, Jurassic Park,
Forrest Gump, and more. Also, computer animation was used differently, as in the
show 'South Park', which used stop motion cutout animation; recently it uses
computer animation. A well-known computer animation company is Pixar. They
are responsible for making Toy Story, A Bug's Life, Monsters Inc., Finding Nemo,
and more. Also, video games have used computer animation as well.

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Cel-Shaded Animation
Cel-shaded animation is makes computer graphics appear to be hand-drawn. This
type of animation is most commonly turning up in console video games. Most of
the time the cel-shading process starts with a typical 3D model. The difference
occurs when a cel-shaded object is drawn on-screen. The rendering engine only
selects a few shades of each color for the object, making it look flat.
In order to draw black ink lines outlining an object's contours, the back-face
culling is inverted to draw back-faced triangles with black-colored vertices. The
vertices must be drawn many times with a slight change in translation to make the
lines thick. This produces a black-shaded silhouette. The back-face culling is then
set back to normal to draw the shading and optional textures of the object. The
result is that the object is drawn with a black outline.
The first 3D video game to feature true real-time cel shading was Jet Set Radio
for the Sega Dreamcast. After Jet Set Radio, many other cel-shaded games were
introduced during a minor fad involving cel-shaded graphics. The next games with
cel-shading to capture attention in some form were 2002's Jet Set Radio Future and
Sly Cooper and the Thievius Raccoonus. Over time, more cel-shaded titles such as
Dark Cloud 2, Cel Damage, Klonoa 2, and the Viewtiful Joe series were released
with good results.
There were also some television shows that used the cel-shading style. These
shows included Family Guy, Futurama, Fairly Oddparents, Spider-Man, The
Simpsons, and many more.

Regular Animation
Animation began with Winsor McCay. He did his animations all by himself,
and it took him a long time (about a year for a five minute cartoon). But for some,
it was ridiculous that they would have to wait so much for so little. Then the
modern animation studio came to be. Years later, more people would invent more
cartoon characters. Otto Messmer invented the character 'Felix the Cat'. Later on,
the Walt Disney Studio created 'Steamboat Willie', which introduced the character
Mickey Mouse. Other companies started to make their own cartoons; some of
which we can still watch today.

9
"Steamboat Willie" (Regular "Gumby" (Clay
Animation) Animation) "Finding Nemo" (Computer
Animation)

"Family Guy" (Cel- "Celebrity Deathmatch" (Clay

"South Park" (Computer Shaded Animation) Animation)
Animation)

Actually, no rigorous classification of computer animation exists. However, the

following non-exclusive terms are used to label different types of animation:

Real time animation: an animation is real time if a computer is computing

and displaying the animation at the same speed as it is designed to be seen
at. Typically only simple animations can be displayed in real time.

10
 Keyframe animation: a technique for producing animations whereby impor-
tant positions, sizes and orientations of objects at particular points in time
are identified and everything else in-between is filled in by interpolation.

Character animation: animation focused on the display of expressions,

emotions and behaviors normally associated with intelligent life forms.

Motion path animation: a technique where objects or cameras move along a

path.

Hierarchical animation: animation of hierarchical objects.

Shape animation: there are various forms but the most well known is mor-
phing where one shape changes into another shape.

Procedural animation: animations typically require considerable data in

their production. Procedural animation aims to compute animation data
rather than have an animator specify it.

Simulation: may be characterised as scientific animation. Typically simula-

tions will be using data computed from the laws of physics.

Camera animation: typified by architectural walkthroughs. In its pure form

the only thing which moves is the camera.

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 SELF-CHECK 1

A. Identification

1. All visual animation media uses __________a series of still

images shown very rapidly to simulate motion or change.

2. It is a visual technique that provides the illusion of motion

by displaying a collection of images in rapid sequence

3. It is an animation focused on the display of expressions,

emotions and behaviors normally associated with intelligent
life forms.

4. It is a technique for producing animations whereby impor-

tant positions, sizes and orientations of objects at particular
points in time are identified and everything else in-between
is filled in by interpolation.

5. In animation it uses _________ frames per second.

B. Create a timeline for significant development in animation.

C. Site at least 3 examples of the following

Computer games
__________________________________
Internet:
__________________________________
Advertising:
__________________________________
Science:
__________________________________
Military simulation:
__________________________________
Transport:
__________________________________

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C. Do the following:

1. Find a story that migrated from a less visual medium (like a book or play)
to animation. Compare the story in both mediums. How did it change?

2. What do you think the animation industry will be like in twenty years? In
fifty? What influences might change it? Discuss.

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 INFORMATION SHEET 2
PRINCIPLES AND TECHNIQUES

2.1 12 Basic Principles of Animation

The 12 basic principles of animation is a set of principles of animation introduced

by the Disney animators Ollie Johnston and Frank Thomas in their 1981 book The
Illusion of Life: Disney Animation. Johnston and Thomas in turn based their book
on the work of the leading Disney animators from the 1930s onwards, and their
effort to produce more realistic animations. The main purpose of the principles was
to produce an illusion of characters adhering to the basic laws of physics, but they
also dealt with more abstract issues, such as emotional timing and character appeal.
The book and its principles have become generally adopted, and have been referred
to as the "Bible of the industry. In 1999 the book was voted number one of the
"best animation books of all time" in an online poll. Though originally intended to
apply to traditional, hand-drawn animation, the principles still have great relevance
for today's more prevalent computer animation.

1. Squash and stretch

The most important principle is "squash and stretch", the purpose of which
is to give a sense of weight and flexibility to drawn objects. It can be applied
to simple objects, like a bouncing ball, or more complex constructions, like
the musculature of a human face. Taken to an extreme point, a figure
stretched or squashed to an exaggerated degree can have a comical effect. In
realistic animation, however, the most important aspect of this principle is
the fact that an object's volume does not change when squashed or stretched.
If the length of a ball is stretched vertically, its width (in three dimensions,
also its depth) needs to contract correspondingly horizontally.

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2. Anticipation
An action occurs in three parts:
1. the preparation for the action - this is anticipation

2. the action
3. the termination of the action
Anticipation can be the anatomical preparation for the action, e.g., retracting
a foot before kicking a ball. It can also be a device to attract the viewer's
attention to the proper screen area and to prepare them for the action, e.g.,
raising the arms and staring at something before picking it up, or staring off-
screen at something and then reacting to it before the action moves on-
screen. An example of this is the opening scene of Luxo, jr.. The father is
looking off-screen and then reacts to something. This sets up the viewers to
look at that part of the screen so they are prepared when Luxo, jr. hops in
from off-screen.
A properly timed anticipation can enable the viewer to better understand a
rapid action, e.g., preparing to run and then dashing off-screen.
Anticipation can also create the perception of weight or mass, e.g., a heavy
person might put their arms on a chair before they rise, whereas a smaller
person might just stand up.

3. Staging
This principle is akin to staging as it is known in theatre and film. Its
purpose is to direct the audience's attention, and make it clear what is of
greatest importance in a scene; what is happening, and what is about to
happen. Johnston and Thomas defined it as "the presentation of any idea so
that it is completely and unmistakably clear", whether that idea is an action,
a personality, an expression or a mood. This can be done by various means,
such as the placement of a character in the frame, the use of light and
shadow, and the angle and position of the camera. The essence of this
principle is keeping focus on what is relevant, and avoiding unnecessary
detail.

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4. Straight Ahead Action and Pose-to-Pose Action
Straight Ahead Action in hand drawn animation is when the animator starts
at the first drawing in a scene and then draws all of the subsequent frames
until he reaches the end of the scene. This creates very spontaneous and zany
looking animation and is used for wild, scrambling action.
Pose-to-Pose Action is when the animator carefully plans out the animation,
draws a sequence of poses, i.e., the initial, some in-between, and the final
poses and then draws all the in-between frames (or another artist or the
computer draws the inbetween frames). This is used when the scene requires
more thought and the poses and timing are important.
This is similar to keyframing with computer graphics but it must be
modified slightly since the inbetweens may be too unpredictable. For
example, objects or parts of objects may intersect one another. Computer
keyframing can take advantage of the hierarchical model structure of a
complex object. Different parts of the hierarchy can be transformed at
different keyframes. For example, in a jump, translation keyframes can be
set for the entire model in the X and Z directions. Then other rotation or
translation keyframes can be set for portions of the model, e.g., the legs and
arms.

5. Follow through and overlapping action

These closely related techniques help render movement more realistic, and
give the impression that characters follow the laws of physics. "Follow
through" means that separate parts of a body will continue moving after the
character has stopped. "Overlapping action" is the tendency for parts of the
body to move at different rates (an arm will move on different timing of the
head and so on). A third technique is "drag", where a character starts to
move and parts of him take a few frames to catch up. These parts can be
inanimate objects like clothing or the antenna on a car, or parts of the body,
such as arms or hair. On the human body, the torso is the core, with arms,
legs, head and hair appendices that normally follow the torso's movement.
Body parts with much tissue, such as large stomachs and breasts, or the

16
loose skin on a dog, are more prone to independent movement than bonier
body parts. Again, exaggerated use of the technique can produce a comical
effect, while more realistic animation must time the actions exactly, to
produce a convincing result.
Thomas and Johnston also developed the principle of the "moving hold". A
character not in movement can be rendered absolutely still; this is often
done, particularly to draw attention to the main action. According to Thomas
and Johnston, however, this gave a dull and lifeless result, and should be
avoided. Even characters sitting still can display some sort of movement,
such as the torso moving in and out with breathing.

6. Slow In and Out

This refers to the spacing of the inbetween frames at maximum positions. It
is the second and third order continuity of motion of the object. Rather than
having a uniform velocity for an object, it is more appealing, and sometimes
more realistic, to have the velocity vary at the extremes. For example, a
bouncing ball moves faster as it approaches or leaves the ground and slower
as it approaches leaves its maximum position. The name comes from having
the object or character "slow out" of one pose and "slow in" to the next pose.
This is usually achieved by using splines to control the path of an object.
The various spline parameters can be adjusted to give the required effect. In
3D Studio this is controlled by the parameters Ease To and Ease From in the
Key info window (from the Track info window). When these are zero, there
is a constant velocity in either direction, i.e., to/from the keyframe. When
Ease To is set to a higher value, the motion is faster as it leaves the previous
keyframe and slows as it approaches the current keyframe. When Ease From
is set to a higher value the motion is slower leaving the current keyframe and
speeds up as it approaches the next keyframe. The tick mark spacing shows
the velocity with closer tick marks indicating a slower rate and spaced out
ones indicating a faster rate.
Examples:
Ease To/From both set to 0 (bounce0.flc)
Ease To/From both set to 50 (max value)(bounce1.flc)

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There are other potential problems with spline controlled movements.
Because of the nature of splines, there may be an overshoot effect, For
example, look at box1.flc. The upper box was keyframed to just touch the
top of the bottom box, but because of the properties of the spline curve, it
overshoots and goes into the lower box. There are three other parameters
that control the approach to/from keyframes.
Tension controls the overall shape of the spline curve. Continuity equally
affects the angles at which the spline enters and leaves the keyframe. Bias
affects the overshoot or undershoot of the motion through the keyframe.

7. Arcs
Most human and animal actions occur along an arched trajectory, and
animation should reproduce these movements for greater realism. This can
apply to a limb moving by rotating a joint, or a thrown object moving along
a parabolic trajectory. The exception is mechanical movement, which
typically moves in straight lines.

8. Secondary action
This is an action that directly results from another action. It can be used to
increase the complexity and interest in a scene. It should always be
subordinate to and not compete with the primary action in the scene. An
example might be the facial expression on a character. The body would be
expressing the primary action while the expression adds to it. Another
example would be the trailing electrical cord of Luxo, jr.
Adding secondary actions to the main action gives a scene more life, and can
help to support the main action. A person walking can simultaneously swing
his arms or keep them in his pockets, he can speak or whistle, or he can
express emotions through facial expressions. The important thing about
secondary actions is that they emphasize, rather than take attention away
from the main action. If the latter is the case, those actions are better left out.
In the case of facial expressions, during a dramatic movement these will

18
often go unnoticed. In these cases it is better to include them at the
beginning and the end of the movement, rather than during.

9. Timing and Motion

The speed of an action, i.e., timing, gives meaning to movement, both physi-
cal and emotional meaning. The animator must spend the appropriate
amount of time on the anticipation of an action, on the action, and on the re-
action to the action. If too much time is spent, then the viewer may lose at-
tention, if too little, then the viewer may not notice or understand the action.
Timing can also affect the perception of mass of an object. A heavier object
takes a greater force and a longer time to accelerate and decelerate. For ex-
ample, if a character picks up a heavy object, e.g., a bowlng ball, they should
do it much slower than picking up a light object such as a basketball. Simi-
larly, timing affects the perception of object size. A larger object moves
more slowly than a smaller object and has greater inertia. These effects are
done not by changing the poses, but by varying the spaces or time (number
of frames) between poses.

Timing can also indicate an emotional state. Consider a scenario with a head
looking first over the right shoulder and then over the left shoulder. By vary-
ing the number of inbetween frames the following meanings can be implied:

No in-betweens - the character has been hit by a strong force and its
head almost snappedd off
One in-betweens - the character has been hit by something substan-
tial, .e.g., frying pan
Two in-betweens - the character has a nervous twitch
Three in-betweens - the character is dodging a flying object
Four in-betweens - the character is giving a crisp order
Six in-betweens - the character sees something inviting
Nine in-betweens - the character is thinking about something
Ten in-betweens - the character is stretching a sore muscle

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10. Exaggeration
Exaggeration is an effect especially useful for animation, as perfect imitation
of reality can look static and dull in cartoons. The level of exaggeration
depends on whether one seeks realism or a particular style, like a caricature
or the style of an artist. The classical definition of exaggeration, employed
by Disney, was to remain true to reality, just presenting it in a wilder, more
extreme form. Other forms of exaggeration can involve the supernatural or
surreal, alterations in the physical features of a character, or elements in the
storyline itself. It is important to employ a certain level of restraint when
using exaggeration; if a scene contains several elements, there should be a
balance in how those elements are exaggerated in relation to each other, to
avoid confusing or overawing the viewer.

11. Solid drawing

The principle of solid or good drawing, really means that the same
principles apply to an animator as to an academic artist. The drawer has to
understand the basics of anatomy, composition, weight, balance, light and
shadow etc. For the classical animator, this involved taking art classes and
doing sketches from life. One thing in particular that Johnston and Thomas
warned against was creating "twins": characters whose left and right sides
mirrored each other, and looked lifeless. Modern-day computer animators in
theory do not need to draw at all, yet their work can still benefit greatly from
a basic understanding of these principles.

12. Appeal
Appeal in a cartoon character corresponds to what would be called charisma
in an actor. A character who is appealing is not necessarily sympathetic
villains or monsters can also be appealing the important thing is that the
viewer feels the character is real and interesting.[There are several tricks for
making a character connect better with the audience; for likable characters a
symmetrical or particularly baby-like face tends to be effective.

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2.2 Animation Techniques

Animation is the process by which we see still pictures MOVE. Each picture is
shot on film one at a time and is shown at the rate of 24 pictures per second mak-
ing the pictures appear to move.

Why do we see these images as moving?

The reason our eyes are tricked into seeing movement can be explained by the
Persistence of Vision theory.

The persistence of vision theory:

Our brain holds onto an image for a fraction of a second after the image has
passed. If the eye sees a series of still images very quickly one picture after anoth-
er, then the images will appear to move because our eyes cannot cope with fast-
moving images - our eyes have been tricked into thinking they have seen move-
ment.

The Moving Hand Theory:

You can do this by waving your hand in front of your eyes very fast. You will
seem to see several hands at once. Try doing this in front of a television screen
when it is switched on. You will see even more images of your hand because the
television is actually flickering. By waving your hand in front of it you make your
eyes very confused about what they are actually seeing.

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Basic techniques used in animation:
1. Drawn Animation.
2. Cutout Animation.
3. Model Animation.
4. Computer Animation.
5. Others.

Drawn Animation:
This covers any form where another replaces one drawing in a sequence. Each
drawing is slightly different from the one before. It works the way a flipbook does.
These animated films are made up of thousands of drawings which are shown on
screen very quickly one after the other.

Cutout Animation:
This covers any form of animation where cutout shapes are moved around or re-
placed by other cutouts. Flat objects like buttons, matchsticks and string can also
be used in this form of animation. Cutouts can also be laid on top of drawings.

Model Animation:
This involves the filming of puppets or any form of three-dimensional models. The
materials used could include plasticize, clay or wire - in fact anything that can be
bent or formed into another shape. The puppets are positioned and filmed before
being moved ever so slightly and filmed again. These shots are put together as a
piece of film and will give the impression of the models moving.

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Computer Animation:

Animation has historically been produced in two ways. The first is by artists creat-
ing a succession of cartoon frames, which are then combined into a film. A second
method is by using physical models, e.g. King Kong, which are positioned, the im-
age recorded, then the model is moved, the next image is recorded, and this process
is continued.
Using a rendering machine to produce successive frames wherein some aspect of
the image is varied can produce computer animation. For a simple animation this
might be just moving the camera or the relative motion of rigid bodies in the
scene. This is analogous to the second technique described above, i.e., using physi-
cal models. More sophisticated computer animation can move the camera and/or
the objects in more interesting ways, e.g. along computed curved paths, and can
even use the laws of Physics to determine the behavior of objects.
Animation is used in Visualization to show the time dependent behavior of com-
plex systems. A major part of animation is motion control. Early systems did not
have the computational power to allow for animation preview and interactive con-
trol. Also, many early animators were computer scientists rather than artists. Thus,
scripting systems were developed. These systems were used as a computer high-
level language where the animator wrote a script (program) to control the anima-
tion. Whereas a high level programming language allows for the definition of com-
plex data types, the scripting languages allowed for the definition of actors, ob-
jects with their own animation rules.
Later systems have allowed for different types of motion control. One way to clas-
sify animation techniques is by the level of abstraction in the motion control tech-
niques. A low-level system requires the animator to precisely specify each detail of
motion, whereas a high-level system would allow them to use more general or ab-
stract methods. For example, to move a simple rigid object such as a cube requires
six degrees of freedom (numbers) per frame. A more complex object will have
more degrees of freedom, for example a bird might have over twenty degrees of
freedom. Now think about animating an entire flock of birds.

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Therefore, a Control Hierarchy is required, so that high-level control constructs can
be specified which are then mapped into more detailed control constructs. This is
analogous to high level computer languages with complex control structures or
data types which are translated at runtime into low level constructs.
This refers to the drawing of three-dimensional models and sets on the computer.
Images can be scanned into the computer using digital photography or made within
the computer itself. Human characters can be built from clay whilst sets and fur-
nishings are modeled using design systems similar to architects drawings. These
models are scanned into the computer as wire-frame models that are gradually built
up into a colored and textured form that will finally be recorded onto film. The
wire-frame model was made on a computer before being built up into the charac-
ter.

24
Others:
Facial Animation:
Facial animation is the most important part of character animation, and realistic
and natural expression of emotions is one of the most important parts of animating
a believable character. This, however, is also one of the most challenging aspects
of animating a character. The human face is one of the most interesting and intri-
cate parts of the human body. We can detect even the subtlest change of expression
within the face, and its familiarity allows us to recognize one face out of a sea of
hundreds that we come into contact with every day. In order to successfully ani-
mate facial expressions and emotion, a thorough understanding of the human facial
muscular structure and how expressions are formed is necessary.

Limited Animation:
With limited animation as many repeats as possible are used within the 24 frames
per second. A hold is also lengthened to reduce the number of drawings. As a rule
not more than 6 drawings are produced for one second of animation. Limited draw-
ings are produced for one second of animation. Limited animation requires almost
as much skill on the part of the animator as full animation, since he must create an
illusion of action with the greatest sense of economy.

Pose-to-Pose Animation:
Some animations for television were made on pose to pose basis because of budget
constraints. In pose-to-pose animation purpose of creating and animating is served,
but does not enhance it. However animations for features demand more appeal,
where pose-to-pose animation does not serve any purpose of producing the feature.
Pose-to-pose animation does not serve any purpose of producing the feature. Pose-
to-pose animation is widely used for stylized animation productions.

25
Full Animation:

Full animation implies a large number of drawings per second of action. Some ac-
tion may require that every single frame of the 24 frames within the second is ani-
mated in order to achieve an illusion of fluidity on the screen. Neither time nor
money is spared on animation. As a rule only TV commercials and feature length
animated films can afford this luxury.
Animation is expensive and time consuming. It is not economically possible to ani-
mate more than is needed and edit the scenes later, as it is in live action films. In
cartoons the director carefully presumes every action so that the animator works
within exact limits and does no more drawings than necessary.
Ideally, director should be able to view line test loops of the film as it progresses
and so have a chance to make adjustments. But often there is no time to make cor-
rections in limited animation and the aim is to make the animation work the first-
time.

26
 ACTIVITY 1

A. Identify the animation principle used in the following example

1. ____________________________

2. ____________________________

3. ____________________________

4. ____________________________

27
B. Illustrate the following and tell the animation principle used

1. In the medium shot on the left Mister Moonface looks sad, however the long shot
on the right places him in an isolated location, emphasising his loneliness and
sadness

2. Mister Moonface cape billows out behind him as he walks. When be comes to an
abrupt halt, the cape continues moving forwards, wrapping around him, before
falling into its natural position.

3. Mister Moonface next door neighbour is Mister Midnight. While Mister Moonface is a
happy and fun character, Mister Midnight is nasty and scheming.

4. Mister Moonface is startled by a spider.

His facial expression is exaggerated, and Mister Moonface reaction is exaggerated
even further, to the extent that he actually jumps off the floor

28
 INFORMATION SHEET 3
ANIMATION PROCESS

3.1 2D ANIMATION PROCESS CHART

29
STORY DEVELOPMENT

Building the storyboard is an integral part of putting together an animated feature.

The process provides not only a visual interpretation of the script; it also allows de-
signers in each department to get a feel for what is being presented on screen.
Creating the visual story composed of consecutive story sketch panels that depict
the action and staging of the films script is the first step in the animation produc-
tion process. Twenty or more departments, converting them into a final full color
film, will build upon the concepts and timing initiated here. The storyboard is the
basic game plan, the vision of continuity that will drive the entire production.
Storyboarding involves working from a film script to set a story down in picture or
illustration form; rather like a comic book. The storyboard functions as the
blueprint of an animated picture. The following is a breakdown of the story-sketch
artists set up, and the thought and drawing processes involved.

3.2 EQUIPMENT

1. Pencils: Whatever the individual feels comfortable with.

Anything from an HB to a 6B depending on the quality of the line and
darkness of shadow required.
2. Paper: 8.5 x 11, standard white.

3. Field Guide: Story sketches are drawn to a standard

8-field size (5.5 x 10.25). This is traced down on the paper and repre-
sents the screen edge all around. Significant details will occasionally be
drawn outside this cutoff since all production artwork is finished out to
the edge of the paper. Wide screen projects will have altered field sizes
and measurements.

30
 4. Xerox Machine with Variable Size Capability: It is frequently
necessary to enlarge or reduce artwork to specific sizes, both to save
time and for cutting purposes. Final approved boards are then enlarged
or reduced to proper production size.
5. Desk: Any comfortable desk will suffice. An animation disk
is not necessary, though backlight is sometimes useful.
6. Pin-Up Boards: For displaying sketches in continuity.

7. Push Pins: To pin up sketches

8. X-Acto Blade: For cutting Xerox copies before revising.

9. Erasers: Plastic or kneaded soft eraser: the plastic for

getting rid of drawings completely, the soft for lightening lines.
10. Model Sheets and Reference as needed.

11.Chair
12.Overhead Light.
13.Pencil Sharpener.

It is also important to keep your work area neat and easily accessible. Keep the
desk functional and as uncluttered as possible. Reference material should be
pinned up or displayed for use as you draw.

31
3.3 THE STORY BOARD:

A smooth visual flow is the major objective in any film, especially if it is an ani-
mated one. Good continuity depends on coordinating the action of the character,
choreography, scene changes and camera movement. All these different aspects
cannot be considered in isolation. They must work together to put across a story
point. Furthermore the right emphasis on such planning, including the behavior of
the character, must also be realized. The storyboard should serve as a blueprint for
any film project and as the first visual impression of the film. It is at this stage that
the major decisions are taken as far as the films content is concerned. It is general-
ly accepted that no production should proceed until a satisfactory storyboard is
achieved and most of the creative and technical problems that may arise during the
films production have been considered

There is no strict rule, how many sketches are required for a film. It depends on the
type, character and content of the project. A rough guideline is approximately 100
storyboard sketches for each minute of film. If, however a film is technically com-
plex the number of sketches could double. For a TV commercial, more sketches
are produced as a rule because there are usually more scene changes and more ac-
tion than in longer films.

When developing the storyboards, careful attention was paid to budgetary and cre-
ative constraints designated by the client. Any solutions that allowed for greater ef-
ficiency and better use of the budget without hurting the quality of product were
worked into the storyboard, while constantly aiming for increased action and over-
all coolness. The storyboard process was critical, as it would fine tune the story
and serve as a point of reference throughout production. Major corrections and sto-
ry changes took place during this phase of the project to avoid making them
during vital parts of production down the road. Once the storyboards had been
approved, they were scanned and taken into Final Cut Pro to be edited into a 2D
animatic. The editing of the 2D animatic is where we first took a swing at the
trailers timing roughly depicting the camera motion, as well as the actions of
the characters.

32
Storyboard Process Chart:

33
Whether from an original concept or by buying rights to a book, a story must be
developed to fit the proposed duration of the movie. This in turn will be refined
into a storyboard. A storyboard shows sketches of the envisaged movie, each of
which represents perhaps 4-5 seconds of action, with the dialogue shown against
each picture. A shooting script and a timing chart are also normally produced.
Model sheets are also prepared. These show the major characters in different pos-
es, from various angles and with a variety of expressions. They will also show the
coloring to be used. In effect, the model sheet is the nearest an animator usually
has to a sculpture of the character. The model sheet is used to fix in the animators
mind how the character moves and what it looks like. This completes the design
phase..
Sample storyboard

34
 SELF-CHECK 3

A. Visit an animation studio. Diagram the animation production pipeline. Discuss

in class.

B. Creating a storyboard.
Create a conceptual thumbnail about a man playing golf.

35
LEARNING OUTCOME 2
PRODUCE KEY DRAWINGS

Introduction

We know that animation is nothing but a combined movement of individual

frames. Key drawings are communicators of your action.

In the above example, notice the main key position that can communicate the
whole action. Drawings at the key positions are know as key drawings or frames,
often called as poses. As the number of in-betweens becomes evident the
numbering of the key drawings will change.

Most commercially available computer animation systems are based on animating

with keyframes. At first, this seems like the same thing as keyframes in traditional
hand-drawn animation, but it is slightly different, and therefore, you should ap-
proach your animation differently. In hand-drawn animation, you work on the ba-
sic poses of the scene first, drawing poses of the entire character so the timing and
acting can be worked out with a minimum of drawings created. Once the poses are
finalized, then the inbetween drawings are created to complete the action. With
computer animation, keyframes are values at certain frames for the articulation
controls of a model, which are usually set up in a hierarchy. The computer calcu-
lates the inbetweens values based on a spline curve connecting the keyframe val-
ues..

36
 INFORMATION SHEET 4
FUNDAMENTALS OF FIGURE DRAWING

4.1 The Gesture

This is the most important step of the drawing because it dictates all other steps in
the process. Gesture is the action of the pose or movement between its forms.
However, this is too vague because gesture should also establish the length, width
and direction of all the masses of the figure. In a more abstract sense, the gesture is
the life, flow and energy of the figure. The gesture should be established using the
longest lines possible. Anything else is a scribble not a line. In the first pass
through the figure you should find the triangular or pyramid shape of
the pose. Almost all poses fit in to a triangle of one proportion or another. Next,
begin to establish the gesture of the pose using those long lines we talked about
earlier. Remember above all else, keep it light. Nothing is a mistake until you cant
erase it.

1) Establish the head first using either a bloated triangle or an oval (which ever
works best for you), and the sweep of the neck.

37
2) Next establish the sweep of the shoulders from acromium process to acromium
process (the acromium process is the visible and palpable bump near each end of
the collar bone)

3) Now find your way to the ground as efficientlyas possible. This is usually
through the center line, or from the pit of the neck to the weight baring foot.

38
 4) From the acromium process on each side draw a line mimicking the center
line down to the crotch. Then draw a line from the outside of the neck to the
hip on each side. These lines should establish the gesture of the torso and
hips while ignoring the true breadth of the rib cage and pelvis.

From here you should inject only as much structure as is needed to connect
the limbs.

5) Establish the gesture of the limbs by first drawing the flow of the limb (usually
the tendenous inner portion). Then by establishing the width (the boney outer
portion). Also terminate the limbs with the hands and feet, use simple
geometric shapes at this time.

39
6) Complete the gesture with any supporting elements, in this case the stool, block,
pole, etc.

Principles of Gesture

1. Stretch and Pinch. Stretch and pinch is essentially the idea that in any
natural pose the body has an active or pinch side and an inactive or
stretch side. This is best seen through the bean bag metaphor. When you
bend a bean bag you can see the fabric elongate on one side and bunch up on
the other. In fact you can stick arms, legs and a head on the bean bag and
have a decent representation of a human figure. This theory actually applies
to most parts of the figure, but none so obviously as the trunk of the body.

40
 2. Plumb lines. are basically straight vertical or horizontal lines to help
establish proper placement in your drawing. This is especially helpful in the
case of foreshortening. The way plumb lines work is to hold up your pencil
exactly vertical or horizontal. Where things line up on either a vertical or
horizontal axis, they should line up exactly the same way in your drawing.
This is a good way of double checking your drawing with the model.

Characteristics of Gesture

1) Movement between forms

2) Curved, fluid, graceful
3) Lifeline
4) Connecting line
5) Long
6) Keep it simple (s-curve c-curve straight)
7) Stretch
8) Two-dimensional

4.2 Structure

Structure is the movement around a form. While gesture is more or less a

twodimensional lay-in, Structure adds a third dimension, depth. Essentially
structure turns a shape into a form. The main difference between a shape and a
form breaks down like this. A square is a shape, a cube is a form; a circle is a
shape, while a sphere is a form.

41
In the second stage of the drawing we are going be adding volume to our linear
construction. The reason for using this method is so we can all be sure we
understand the volumes and are not just mimicking superficial shading tricks that
we have seen used by other artists. We should understand the principles behind the
tricks so that we can come up with our own way of communicating with the viewer
and not be stuck being a second rate copy of some other artist.

Here we are mainly going to be working

with cross contour lines, which essentially take

the gesture line and turn them either into a
rounded cylindrical form, a squared of boxy
form or anything in between. This is basically a
tool for you to use later on in the drawing, a
shorthand or road map for guiding you in your
shading of a the form, much the way you will
draw in a guideline before cutting a piece of
wood.

So let us begin. First we need to analyze

each form and decide three things:

1) What is the primitive form, is it a cylinder, a

42
cube, sphere or a cone? 2) How rounded or
squared off is this form? 3) What is its position
in three-dimensional space? Is it angled
towards me, away from me, or parallel to me?
These principles are going to dictate our cross
contours.

Characteristics of Structure

1) Movement over form

2) Three-dimensional
3) Pinch, flexion, tension
4) Form, depth, perspective
5) Strength

4.3 Shape Analyzation

Shape analyzation is probably one of the most difficult aspects of drawing for most
people. It requires you to put aside most of what you have spent so long learning
for a time and trust your eye. We spend most of our lives learning what an eye or
nose or arm looks like.

43
The best way of improving shape analyzation skills is just practice, practice,
practice. That cannot be taught. The first thing that has helped me in seeing shapes
more accurately is to squint. By squint is to sit at one arms length from my
drawing surface, relax, then close my eyes and open them back up slowly until I
can make out the figure as a series of blurry light and dark shapes. This is the
proper way to see when analyzing shapes.

Another trick for getting to draw the shapes more accurately it to think of it almost
like connect the dots, but (and here is the trick) you have to find the dots. So
basically when looking at the perimeter of a shape mentally, or physically if you
find it helps, put a dot on my drawing surface where ever I see a major change of
angle. Then I connect the dots with with a straight or slightly curved line,
whichever seems most appropriate. Where exactly you choose to put these dots
and curved and straight lines is called your design sense. The result of seeing

44
and drawing this way is the simplification of the incredibly complex visuals that
nature presents us with into a geometric, posterized, two value version of reality.

There are times that what works visually in the real three-dimensional world will
not work in the illusionary two-dimensional world of our drawing pad. This is why
we sometime have to interpret what we see and not simply translate.

When drawing a form that is slightly foreshortened, (which by the way almost all
forms are) instead of pushing that form more into profile like a lot of beginning
artists do (this is one of the things that gives a lot of artists that very stiff uptight
look) I push it more into foreshortening just slightly. Another thing is to push the
outlines of a forms closer to you in front of the outlines of forms farther from me.
For instance if the models arm is pointed at me I push the lines of the hand in front
of the those of the wrist, those of the wrist in front of the forearm, etc. One last
thing I like push in my drawings are a anatomical indications that show the volume
of a form and conversely remove or play down those that go against that form. For
instance I might push the hip insertion of a foreshortened leg, but not the
downward bowing arch of the teardrop shape of the vastus internus.

45
 Keys to shape analyzation

1) Squint
2) Squint
3) Squint
4) Two values
5) Connect the dots
6) Keep it simple
7) Visually relate lights and darks

4.4 Values

Start your drawing with two values, this two value breakup is very important to
maintain through the drawing. Once you have this established you can add as many
values as you want (it is not advisable however) as long as you keep the added
values secondary to the big two value separation. The rule for this says The
lightest light in the dark should always be darker than the darkest dark in the light.
Thus, nothing in the unlit side of the form should be as light as anything on the lit
side of the form.

The best process to establish full value range goes like this:

1) Establish the big two value block in (posterize and simplify)

2) Add in your middle tone to add depth and soften the transition between the
light and dark
3) Add your darkest dark and and lightest light, preferably around your focal
point with contrast lessening as you move outward away from your focal point.

Keys to controlling values

1) Squint

2) Five values or less

3) step 1: block in light and dark

step 2: add half tone
step 3: add darkest dark
step 4: add lightest light

46
 u
,
4.5 Developing Forms

Form by definition is the shape or struct re of anything. A at this point in our

drawing we should have already defined the forms when we defined the structure
but now we need to create the illusion of light on form. To do this it is best if we
break things down into the four basic primitives of form; the cylinder, sphere,
cube, and cone.
We have already discussed this to some degree,in the previous chapters, but as in
all things art related, there is overlap. The key factor in developing form and that is
edges, or the transition between light and dark. Any time you have a light and
dark value coming together within a form a corner or change of plane is created
visually. The sudden or gradual transition from one ,value,to another is going to tell
us weather this change of plane is sudden like on a cube or gradual like on a sphere
or cylinder. This transition is what is called an edge in drawing or painting.
Basically there ,are four kinds of edges, soft firm hard, and lost. Soft edges are
those gradual transitions that you will see on a rounded form. Hard edges are what
you would see on an angular form like a square or at the edge of a cast shadow. A
firm edge as its name implies, is somewhere in between and would be found most
commonly on an angular form that is not completely squared off, like a nose, knee
or other bony areas.
Occasionally you will observe a dark band of value at the edge of a shadow. This is
called a core shadow. Basically this is created when there is a transitional plane
that is not being lit by the direct light source or by the reflected light bouncing off
the surface beneath the form.
Identifying the value zones is very important to developing form. Even before ,
applying your edges the careful analyzation and placement of your light shadow
and reflected light can reveal important changes of plane to the viewer. Be careful
to not over-play the reflected light or core shadow card. When, used too often they
can create a metallic look to your figure. Even more they can break down a
drawing into too many values, and in doing so create confusion for the viewers
eye. You should always strive to keep the lighting situation very clear. It will allow
the viewer a stronger foot hold in your little world you have created, and47therefore
make a more comfortable place for the viewer to visit.
 ,

A few problem solving tips:

,

If your drawing or painting is looking ,cartoon-like check to see if your

edges are too hard. This can create a graphic or cartoon-like look to your
drawings. If your shapes are appearing ambiguous and lacking in structure
check to see if your edges are to soft this can create a foggy or weak
appearance to the drawing. Overly hard edges are generally favorable to
overly soft for two reasons. One viewers will grow quickly bored of a
drawing they are having difficulty solving, and two, it is easier to soften an
edge than to harden an edge.

48
 Keys to Developing Form
1) Think in terms of primitives (cubes, spheres, cylinders,, and cones)
2) Carefully observe and utilize your edges
3) Identify the breakup between direct light reflected light and core
shadow.
4) In the beginning error on the side of hard edges.
5.6 The Head
There are many ways of approaching the head.
Lets start at the beginning. The silhouette
of the head can be drawn, from the front, as
a boxy oval not unlike a pumpkin seed. And
from just about every other angle except behind
as a sort of bulging triangle.
The head can essentially be broken up into thirds
vertically and fifths horizontally. If we take the face
plane of the head, starting at the top of the forehead or
hairline and running down to the chin, and break it up
into perfect thirds we will find that the top of the eye
socket and the ear will fall on the top division, below
the hair line, and the nose and bottom of the ear
on the bottom division, above the chin. Now if
we divide the width of the head into fifths we
will find that the middle fifth defines the width
of the nose which is then flanked be the eyes,
and those by the width of the head.
I f we now look at the head in profile we
find that our vertical measurements still hold
true, but our horizontal obviously change. The
head in profile will fit exactly into a perfect
square, if we take that square and cut it in half

49
 both vertically and horizontally we find that the
ear rides on the back of the horizontal halfway
and between the brow and nose marks that we
found earlier. If we place the vertical halfway
we can use that the place both the bottom lid of
our eye as well as where the neck connects to
the back of the head. A common mistake with
connecting the head to the neck is placing the
neck on the center of the head like a lollipop. ,
Avoid this mistake by using this measurement.
When dealing with up and down head
tilts it is helpful to think of the head as a cylinder
or more precisely as a whistle. The main
reason it is helpful to think of the head this way
is because it is easier to visualize your axis and
division bending into
perspective. If you observe a cylinder with
three equal divisions tilted up or tilted down
you can find the top of your eye sockets, the
bottom of your nose and your ears at any angle..
I am not going to go in depth into each of
the features in this book, but there are some
important points that I would like to makesome
corrections to the most common mistakes
It is important to realize that for protection, all of
the features are built with a bit of an over-hang
to protect them from things falling from above.
They also fit to the slight curved contour of the
face plane. Rely on skeletal markers for the ,
placement of your features-at the brow ridge
where the cartilage of the nose connects to the
nasal bone, and where the flesh portion of the
lips connects to the face at the base of the nose ,

50
and at the mentolabial sulcus at the top of the
chin.. Do not rely as much on cartilage and
even less on flesh, because this varies so much
from one individual to the next.

Keys to Drawing the Head

1) Break the head down into thirds vertically

2) Break the head down into fifths horizontally from the front
3) Head fits into a box in profile
4) Use a cylinder metaphor to help find up and down tilts
5) head sits forward on the neck, avoid the lollipop head

5.7 Interlocking Forms

It is very important to think of the figure

as a whole, and not as a series of anatomical

pieces. So, as artists we need to find a way to
lock these pieces together in a believable
manner.

For instance, the shoulder area is a very

difficult area because of the double articulation
of the shoulder socket and the scapula The
shoulder socket itself has only about 90 degrees
of movement in any direction except backwards,
which is substantially less. After this,
the scapula takes over for any further motionthis
is what give the human shoulder such an
incredible range of motion. A good visual
metaphor for this is a towel peg like you might
see in a gym locker room. Think of the peg as
the upper arm and the towel draped over it as
the deltoid, pectoralis and scapular muscles.

51
Joints are always a difficult area to deal

with. I will often try to break it down into

interlocking
puzzle pieces. Instead of using two
cylinders stuck together, I employ more of a
tongue-in-groove construction as demonstrated
with the arms elbow joint on the right.

Another good way of connecting areas is

combined shapes. For instance, combining a
sphere and a cone. This can be useful in drawing
any ball-in-socket joint such as the shoulder
or hip. Practice all of these, but remember that
these are just principles. Dont just steal these
and go on about your day! Each individual
pose will present you with a different set of
problems, and to solve them you will need to
understand why they work. An indepth knowledge
of anatomy will help with coming up with
visual metaphors, but it is not necessary. What
is more important is that you understand form.
Once you do, you can use it as a very powerful
tool to turn figure drawing into a much simpler
and pleasurable experience.

Keys to Interlocking Forms

1) Simplify
2) Use visual metaphors
3) Overlap forms

52
 SELF-CHECK 4

A. Draw the illustration below. (No tracing please)

53
B. Creating gesture drawing

1. Hatch out a line similar to the spinal curve and start there.

2. Look at the position of the shoulders and how the arms extend outwards.
They also form dynamic action lines. Now, note the position of the hips, and
how the legs extend from the pelvis. Again, more dynamic line work. At this
stage you should be creating a stick man skeleton.

54
3. This is the foundation of your gesture drawing. Once that is complete, block
in the head and neck, followed by the upper torso and pelvis. Do not make
the upper body one piece, otherwise you will make your form look more like
a barrel than a person. Take a quick second and think about your own
anatomy. Your rib cage isnt fused to your pelvis like a tin can you have
your spinal column to provide the anchor, and your pelvis acts as a pivot
point. Therefore, they should be drawn separately.

Keep the drawing loose and simple you can refine these details later. Your
next step should be to create the forms of the legs and feet and all the joints
in between knees and ankles. Now, your drawing should look more like a
wooden mannequin. Remember NO ERASING. Just draw. Theres no
style points in a gesture drawing. Youre training yourself to create forms
quickly and build a better response between your eye, brain and hand.

55
 INFORMATION SHEET 5
CHARACTER CONSTRUCTION

5.1 STEPS

Step 1: First begin with a LINE OF ACTION. The LINE OF ACTION should
always be active. Avoid vertical lines they are still and can make
your character wooden. Try a sweeping curve, a diagonal or
horizontal LINE OF ACTION.

Step 2: Add some simple shapes to the LINE OF ACTION. Think of these
shapes as three dimensional, i.e., as FORMS with depth.

Step 3: We now need to build some STRUCTURE in our character. Draw

simple lines for the structure of the arms and legs.

TIP: The hips are always attached across from each other and they are

56
 always opposite each other. If one is forward, the other is back. If one
is up, the other is down.

Step 4: Create forms around the line of structure for the arms and legs. Most
of the time you will be using cylinders.

TIP: Experiment with different shapes of cylinders. Curved lines

against curves or, better yet, curved lines against straight lines
form more dynamic and interesting shapes

57
5.2 DRAWING WITH BASIC SHAPES

Basic shapes can be adopted to build characters and props. Basic shapes not only
enable character creation, but can also be used to create non-living props like
Houses, Bike, and Cars etc

58
Some Drawings with Basic Shapes:

Drawing a Cat:

Step 1: Start your drawing with basic shapes & centerlines.

59
Step 2: The next step is to draw the shapes of the Cats Legs.

Step3: At this point we sketch in the details, eyes mouth etc.

Step 4: The last step is to clean up your character on a separate piece of

paper, Cat is now finished.

60
 SELF-CHECK 5

ACTIVITY 1. LETS DRAW USING BASIC SHAPES

Using the steps above, draw a Dolphin with the final image below

61
5.3 MODEL SHEETS

In animation, a model sheet is a document used to help standardize the

appearance, poses, and gestures of an animated character. Model sheets are
required when large numbers of artists are involved in the production of an
animated film to help maintain continuity in characters from scene to scene, as one
animator may only do one shot out of the several hundred that are required to
complete an animated feature film.

In a model sheet you can find the respective character in different poses like side,
back, front and three fourth.

Animating any character without a model sheet will produce animations with
major problems like non-consistency of character. Even an experienced animator
will find it hard to conceive how a character looks in different poses, so it is best
advised to start animation with a proper model sheet.

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Character Model Sheets:

Character Model Sheets are the templates of the characters used by the animation
staff. They provide the construction, structure, proportion, design, etc. for each
character. Usually, several models sheets are needed for each character to show the
physical and design nuances. Each animator, artists have their own style of
drawing. The model sheet guides the 300 or so artists working on the production
toward making all the characters look ON MODEL. ON MODEL means the
model sheets have been followed to perfection as if one artist (instead of over 300)
has drawn the character. Below is a Model Rotation - its purpose to show the
character from all sides

Notice how the character is drawing in the front, profile (side), 3/4 and back views.
This is called a CHARACTER ROTATION. For this, we use a simple shaped
character. A simple shaped character uses one basic shape or FORM for the main
body of character.

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Below are three options you should consider for your character design. They are: a
ball, a triangle (or cone) and a combination - a ball and a cone. Please keep in mind
the dimensional aspects of your drawing - in other words what appear to be shapes
are really 3D forms.

A character rotation should include a front view, back view, 3/4 view, and profile
view of the character. These views help the animator (s) understand the characters
construction and proportion. The rotation also insures the character design can be
turned. The ability to turn a character is an element of animation that increases the
characters believability.

The easiest and best way to draw out a Rotation is to break down the character into
its simplest forms. Then you just rotate the forms. Here the model sheet of Matt is
distilled into simple
forms. (Pads for the hands and feet, cylinders for the arms and legs, a ball for the
body and a ball for the head)

Remember that the head (and neck if seen) are ALWAYS on the FRONT side of
the body.

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Once the basic forms are drawn- the details are drawn over top the forms.

Remember that the hair and fur are like carpeting over the form. Try to simplify
the details and apply basic rules of design. (Check to make details, asymmetrical
and pay attention to your positive and negative space)

The next page of the model sheet involves a close-up with the details, proportions
and structure of the characters head.

Use the same procedure for the construction of the head as you did with the body.
Begin with the simple forms, then add the eyeline and centerline and then layer the
details over top.

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 The eyes are anchored on top of the eyeline the nose or snout is anchored below
the eyeline.

The third page of the Character Model Sheet is a page of 5 or 6 action poses of
your character.
This page is pure play! Its purpose to make sure the character works in action.Also,
think about who your character is. The character is always defined by his or her or
its needs and those needs are reflected in his or her or its actions. If you are not
sure write a short bio of your character.

The concept of character model sheets is to provide enough information about the
character,
structure, and proportion so others can draw it. In fact, a good test is to give your
MODEL SHEET to someone else to draw and see if they can draw your character
design.

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 SELF-CHECK 5

1. Redraw the sample model sheet below.

2. The next page of the model sheet involves a close-up with the details,
proportions and structure of the characters head.

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3. Create 5 or 6 action poses of this character.

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 INFORMATION SHEET 6
POSE TO POSE ANIMATION

Introduction

Animation techniques such as cut-outs, clay, paint-on-glass, charcoal on paper etc,

make use of a method loosely described as straight-ahead animation' in which the
animator starts at the beginning of a sequence and works through to the end. This
method is often dictated by the medium which animator is using to create images -
the paint or sand, or objects being manipulated. It is a technique which can produce
great moments of inspired spontaneity. Ideas come as one plays around with the
medium and these can be easily incorporated into the sequence mid-stream without
the audience being any the wiser. The animated films of William Kentridge who
draws with charcoal on larges sheets of paper are examples of this method.
Drawing straight in to Flash with a graphics tablet using the 'light box' or 'onion
skin' tool can also employ a straight-ahead' animation method.

But what happens if our cut-outs or clay character misses its cue? Once the parts
have been moved, the painted image smudged and destroyed or the plasticine
deformed, it is extremely difficult to go back and correct mistakes. A completely
different way of working to help solve this problem is the key drawing animation
method, also called 'pose to pose' animation.

6.1 WHAT IS A POSE-TO-POSE ANIMATION METHOD

Key Poses, Key drawings or just keys are terms used to describe those
critical positions of an animated character or an object which depict the extreme
points in its path of motion, or accents in its expression or mood. For this reason
they are also called 'extremes'.

This method of animating from one pose

to the next, hence the term 'pose to
pose' animation, allows the animator to
map out the action in advance with sign
posts by charting up these key poses
onto exposure sheets or dope sheets,
or indeed into the timeline of computer
software. It is a particularly useful
animation method when a character

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must perform certain tasks within a predetermined time or where a series of actions
must synchronise accurately with a recorded sound track. The technique helps
ensure that characters arrive at a particular place on screen at a precise point in
time.

The key pose technique is still the most widely used method of animating. It is
also the method of choice within most 2D and 3D digital animation packages these
days. Sequences can be tested and individual poses can be re-worked and the
animation progressively improved. The exposure sheet or timeline is continually
revised to provide an accurate record of how the animation is to be photographed
or rendered. This production method also provides a logical way of breaking down
work so that it can be handed on to other people in the production chain.

EXAMPLES OF KEY POSES

KEY POSE 1 KEY POSE 2

Note: Consider the way the shapes and forms provide some interesting contrasts in movement. Note
the plasticity of its face and that the character appears to remain in balance throughout this action with its
feet firmly planted on the floor.

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 KEY POSE 1 KEY POSE 2
Note: Poses depicting extremes of exaggeration or distortion, in this case of squash and stretch, need
to be considered as key poses too, as these drawings define the limits of these kinds of qualities. There is
also an emotional change within this character from one of tiredness and fatigue to bright, sparky and
alert.

KEY POSE 1 KEY POSE 2 KEY POSE 3

Note:The nature of the action described in these poses, a jump, necessitates the use of a pose which
anticipates the following major action. Anticipation poses are always 'key' poses as they describe the
extreme of the movement.

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 KEY POSE 1 KEY POSE 2 KEY POSE 3

Note: This example shows the effectiveness of an exaggerated pose within a sequence. In this case, a
wide open mouth position using lots of stretch provides contrast to the following drawing of the mouth
closed. This results in a 'punchy' snap since the difference between the two drawings is so great.

6.2 DEVELOPING KEY POSES THROUGH WORKING ROUGH

When developing key poses, its a good idea to experiment with thumb-nail
sketches first to refine the poses and ideas. Initially, the animators key poses may
be nothing more than rough scribbles to block out the action. This is often done
with a blue pencil. There is no point doing lots and lots of highly finished drawings
at this stage if the action does not work. Besides, working roughly and quickly
sketching out the main shapes, forms and lines of action knowing that these
drawings are just a first step in a bigger process, always leads to fresher animation.

An illustration showing how an animator might work in rough

scribbles to find the key masses and shapes and then to refine
various lines of action to give the drawing purpose and intent
before finally fleshing in the character's final form.

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6.3 PLANNING KEY POSES
Obviously when planning a set of key poses for a shot or scene, the animator needs
to be acutely aware of the requirements of the script and the particular actions and
events that are necessary to progress the storyline. Background layouts will define
an 'acting space' while storyboard frames will indicate the 'business' of each shot.
What is entirely under the animator's control is the way the character 'acts' out
these events as informed by an understanding of the character's personality traits,
visual design and current emotional state. The key pose planning process goes
hand-in-hand with the idea of staging each action in such a way that it 'reads' well
and communicates clearly. Several key drawings might be required to describe the
sub-movements involved in even the most simple of actions - taking a pair of socks
out of a drawer, for example. If we were to go straight from the first drawing of our
character standing by the cupboard to the final position with socks in hand, the
result would appear as if a pair of socks had just magically appeared in our heros
hand. Obviously there is information missing which has to be seen by the audience
to explain just how the socks got into the characters hand.

KEY POSE 1 KEY POSE 2

Note: Consider the above information. The story may call for the character to get a pair of socks out of
the drawer, but if these are the only poses we use, the effect is of the socks appearing out of thin air. We
often need a number of key poses to adequately explain even the simplest of actions.

To tell the full story we need to break down this simple action into several steps.
We need to see the character standing by the cupboard, reaching for the drawer,
pulling open the drawer, dipping a hand in, and finally extracting the socks. Each

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of these poses, including squash and stretch, anticipations and any poses which use
exaggeration, are treated as a separate key pose.

6.4 EXPRESSIVE POSES

Animation usually operates in the realm of caricature in which exaggeration

becomes an important factor in order to capture the spirit of the action being
depicted. Good strong key poses emphasise and communicate the intent of an
action more efficiently than ill-considered ones. Put simply, strong keys lead to
strong animation. It is therefore vital to spend time and thought working out the
key poses until they do their job as expressively as possible as it will pay dividends
as if these work well. "Limited" styles of animation are based on keys only, and
this labor saving technique does not necessarily affect the audience's enjoyment of
a piece.

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Although these drawings are perfectly static, they are
nevertheless highly expressive, possessing a dynamic quality that
suggests action. Such poses are the beginning of strong animated
sequences.

As animators work out the key poses of a particular sequence, they also find it
helpful to consider whether or not the action works well if reduced to a silhouette.
Staging the action of hands gesturing immediately in front of the body may not be
as effective as staging this action in profile where the various shapes and forms can
be seen in a way that does not rely on the challenge of drawing complex
foreshortening.
Poses should have both function - depicting the physical extreme of an action or
setting up the character for an action to follow by loading its 'muscles', and impact
- an expressive pose with a dynamic quality that implies what has gone before,
what is about to come, and which registers and emphasises the inner emotional
state of the character.
Animation is an illusion requiring the audience to suspend its disbelief. The
audience can be absolutely engaged within the stories we tell and the world of
characters that we create. However the illusion is a very delicate one, and alas, it is
all too easy to remind the audience that they are merely looking at a series of
drawings, a puppet, or a moving computer model.

To sustain this illusion, in a sense, we also have to infer the physical laws of our
animated world in such a way that they are not in conflict with our day-to-day
experience of natural laws we observe in the real world. These laws can be
represented in an incidental way by how your character moves about its setting.
Your key poses, therefore, should also show how the character carries its own
weight - is one leg relaxed while the other supports the entire weight of its body? Is
the body of the character under some physical strain from carrying, pushing or
pulling a heavy object? Perhaps you need shift the character's weight off-centre to
counter-balance the object it is carrying. What is its state of balance or indeed
unbalance? Consider the 'line of action', the main mass of the character and and
what happens to these masses when your character propels itself from a resting
position - there must be at least one firmly locked down a contact point with the
ground (usually a foot) so that the forces involved in getting your character moving
can be seen to pass through its body to this contact point making the action

75
believable. The slippage of feet upon the ground at inappropriate times, is one sure
way of shattering this illusion.

When learning how to animate for the first time, get up out of your chair and act
out the action you are trying to represent. Feel where your limbs are space, what
you muscles are using, the contact points you have with the stable environment,
and how the weight of your body is being supported.

If your all your key poses are correctly thought out and timed, you will have no
trouble in getting all your ideas across to an audience. Flick your key drawings
from one to the next to ensure that the poses you have chosen work well together.
It is usually only after all the key poses of a scene have been timed out on the
exposure sheet and tested, that the animator or their assistant returns to add the
inbetween drawings.

In larger traditional animation studios, these numbered drawings are handed on to

an assistant to further clean up and refine according to character model sheets.
Once tested, an inbetweener adds the required number of drawings between each
key pose as prescribed by the animators dope sheets. A clean-up artist will tidy up
all the drawings ready for tracing. In digital production, a computer software
package can inbetween for you, but it does not follow that computer software
understands how things move in the real world.

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 SELF-CHECK 6

A. Identification.

1. It is used to describe those critical positions of an animated

character or an object which depict the extreme points in its
path of motion, or accents in its expression or mood.

2. This method allows the animator to map out the action in

advance with sign posts by charting up these key poses onto
exposure sheets or dope sheets, or indeed into the timeline of
computer software.

3. Obviously when planning a set of key poses for a shot or scene,

the animator needs to be acutely aware of the requirements of
the ________ and the particular actions and events that are
necessary to progress the storyline.

4. Key poses describe WHAT happens, but not necessarily HOW it

happens. True or False

5. Poses should have both ___________ - depicting the physical

extreme of an action or setting up the character for an action to
follow by loading its 'muscles', and __________- an expressive
pose with a dynamic quality that implies what has gone before,
what is about to come, and which registers and emphasizes the
inner emotional state of the character.

77
B. From the given example, Create key poses which shows character standing by
the cupboard, reaching for the drawer, pulling open the drawer, dipping a hand in,
and finally extracting the socks. Use the next page for your drawings.

KEY POSE 1

78
 Module 1. Produce Key Drawings
N
Recording Sheet For Oral Questioning / Interview

Student name:
Module Title/ o: N

Qualification:
Oral/interview questions Satisfactory response
Yes o
1.

2.

3.

4.

5.

6.

The student's underpinning knowledge was:

Satisfactory Not satisfactory
Student's Signature: Date
Trainor's signature: Date:

Acceptable answers are:

Trainor's signature: Date:

79
 Rating Sheet
Module 1. Produce Key Drawings

Performance Remarks
Feedback

S NS C NYC
1. Self-Check 1
2. Self-Check 2
3. Self-Check 3
4. Self-Check 4
M
5. Self-Check 5
6 Self-Check 6

S - Satisfactory
NS Not Satisfactory
C - Completed
NYC Not Yet Completed
Module is
Completed Not Yet Completed
Remarks:

Student's Signature Date

Trainor's signature: Date:

80