principles of animation by sinu

8/8/2019 Principles of Animation by Sinu

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Principles of Computer Animation

Sinu JoseReg: 091729

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Principles of AnimationSquash and StretchAnticipationStagingFollow-thru and Overlapping ActionStraight-ahead and Pose-to-PoseSlow-in and Slow-outSecondary ActionTimingExaggerationSolid Modeling and RiggingCharacter Personality

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Principles of Animation

Created by Disney Studios in 1930s Ollie Johnston and Frank Thomas They implemented for hand-drawn animation Snow White (1937) Pinocchio & Fantastia (1940) Dumbo (1941)

Bambi (1942)

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Really about

Performance Directing Performance Representing reality Interpreting real world physics Editing sequence of actions

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Squash and stretch

It helps to define how rigid an object is.

All objects are change shape when a force is applied tothem.

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Squash and stretch

Here is an example wherethe ball on the right has

been stretched and solooks more "natural".

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Anticipation

An action occurs in three parts:

- the preparation for the action- the action- the termination of the action

Consider an action ,kicking a ball

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Anticipation

An action occurs in three parts:

- the preparation for the action- the action- the termination of the action

Consider an action ,kicking a ball

Here the anticipation means the preparation for the particular action.

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Stagging

Staging is the presentation of an idea so that it is clear.This idea can be an action, a personality, an expression, or

a mood.The key idea is that the idea is made clear to the viewer.

An important objective of staging is to lead the viewerseye to where the action will occur so that they do not missanything.

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Staging

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Staging

Bad Silhouette Good Silhouette11


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Two AnimationTechniques for Action

Pose-to-PoseStraight-ahead

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In detail

Straight Ahead Action in hand drawn animation is whenthe animator starts at the first drawing in a scene and thendraws all of the subsequent frames until he reaches the endof the scene. This creates very spontaneous and zanylooking animation and is used for wild, scrambling action.Pose-to-Pose Action is when the animator carefully plansout the animation, draws a sequence of poses, i.e., theinitial, some in-between, and the final poses and then

draws all the in-between frames (or another artist or thecomputer draws the in between frames). This is used whenthe scene requires more thought and the poses and timingare important.

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Follow-thru Action

Follow through is the termination part of anaction.

For example, in walking, the hip leads,followed by the leg and then the foot. Asthe lead part stops, the lagging partscontinue in motion.

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Follow-thru Action

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Movement:Slow-in and Slow-out

This refers to the spacing of the in between framesat maximum positions.For example, a bouncing ball moves faster as it

approaches or leaves the ground and slower as itapproaches leaves its maximum position .The name comes from having the object or

character "slow out" of one pose and "slow in" tothe next pose.

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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 subordinateto and not compete with the primary action in thescene.An example might be the facial expression on acharacter.

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Secondary Action conti

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Timing n Motion

The speed of an action, i.e., timing, gives meaningto movement both physical and emotionalmeaning.

The animator must spend the appropriate amountof time on the anticipation of an action, on theaction, and on the reaction to the action. If toomuch time is spent, then the viewer may lose

attention, if too little, then the viewer may notnotice or understand the action.

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Timing n motion cont..

Timing can also affect the perception of mass of an object. A heavier object takes agreater force and a longer time to accelerateand decelerate.

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Exaggeration

Exaggeration does not mean just distorting the actions or objects arbitrarily, but theanimator must carefullychoose which properties toexaggerate. If only onething is exaggerated then itmay stand out too much. If

everything is exaggerated,then the entire scene mayappear too unrealistic.

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Solid modelling

The principle of solid drawing means takinginto account forms in three-dimensionalspace, giving them volume and weight.

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Solid modeling

(solid drawing in 1930s)

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Character Personality

The objective of the principles previously discussed are togive the characters in ananimation a personality thatappeals to the viewers. Thedifferent principles should beapplied in a fashion to produce

a consistent personality. Thismeans that the animator musthave a good idea of thedesired personality before

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Referencehttp://www.siggraph.org/education/materials/HyperGraph/animation/character_animation/principles/prin_trad_anim.htm

Kerlows Book Jessica Hodgins Notes

http://www.comet-cartoons.com/toons/3ddocs/charanim/ (animations)

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principles of animation by sinu

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