Republic of the Philippines

RIZAL TECHNOLOGICAL UNIVERSITY

Cities of Mandaluyong and Pasig

INSTITUTE OF COMPUTER
STUDIES

Animation

Rowena A Reyes, MsIT

 Republic of the Philippines
RIZAL TECHNOLOGICAL UNIVERSITY
Cities of Mandaluyong and Pasig
INSTITUTE OF COMPUTER STUDIES

Introduction
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.

Persistence of Vision
This is the tendency of the eye
and brain to continue to
perceive an image even after it
has disappeared.
 Republic of the Philippines
RIZAL TECHNOLOGICAL UNIVERSITY
Cities of Mandaluyong and Pasig
INSTITUTE OF COMPUTER STUDIES

Animation generally wit

hand
deals
drawn images contrasth
motion
in video which dealsto
with
actual
photographs of real- object
world through a camera, although
taken s
both uses the concept of
displaying sequences of
images one after another to
depict motion.
 Republic of the Philippines
RIZAL TECHNOLOGICAL UNIVERSITY
Cities of Mandaluyong and Pasig
INSTITUTE OF COMPUTER STUDIES

In multimedia, animation is regarded

as an important and useful tool for
communicating information. The main
application areas of animation include:

• Marketing and advertising

• Educational Multimedia
Programs
• Sports
• Games
• Interactive Magazines
• The Internet
 Republic of the Philippines
RIZAL TECHNOLOGICAL UNIVERSITY
Cities of Mandaluyong and Pasig
INSTITUTE OF COMPUTER STUDIES

History of Animation
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 make
phenomeno after the light
from
p
n the source
ossible. has ceased.
animation led
This
“philosophical” totoys numerous
during the
19th century. These include the
Zoetrope, and the ever famous
Flipbook.
 Republic of the Philippines
RIZAL TECHNOLOGICAL UNIVERSITY
Cities of Mandaluyong and Pasig
INSTITUTE OF COMPUTER STUDIES

The fi rst animated

traditional
cartoon(in i.e. the
on film)
sense,
was “Fantasmagorie” by
the
director Emile
French
Cohl. Released in
1908.
 Republic of the Philippines
RIZAL TECHNOLOGICAL UNIVERSITY
Cities of Mandaluyong and Pasig
INSTITUTE OF COMPUTER STUDIES

One of the very fi rst

successful animated cartoons
was “Gertie the Dinosaur” by
Winsor McCay. It is considered
the fi rst example of true
character animation.
 Republic of the Philippines
RIZAL TECHNOLOGICAL UNIVERSITY
Cities of Mandaluyong and Pasig
INSTITUTE OF COMPUTER STUDIES

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.
 Republic of the Philippines
RIZAL TECHNOLOGICAL UNIVERSITY
Cities of Mandaluyong and Pasig
INSTITUTE OF COMPUTER STUDIES

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.

The Animators
A key animator will draw the
key drawings (“key” in the
sense of “important”) in a
animator using
scene, draws the character
of
frames
enough as a guide. The key
layouts thethe
points
to of the
get major
action
across
 Republic of the Philippines
RIZAL TECHNOLOGICAL UNIVERSITY
Cities of Mandaluyong and Pasig
INSTITUTE OF COMPUTER STUDIES

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.
 Republic of the Philippines
RIZAL TECHNOLOGICAL UNIVERSITY
Cities of Mandaluyong and Pasig
INSTITUTE OF COMPUTER STUDIES

• 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 fl icker 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 fl icker eff ect.
 Republic of the Philippines
RIZAL TECHNOLOGICAL UNIVERSITY
Cities of Mandaluyong and Pasig
INSTITUTE OF COMPUTER STUDIES

Types of Animation
Traditional Animation
• Animators draw images on
a transparent piece on a
top of a lightbox, one frame
at a time.
• Requires very strong drawing
skills.
 Republic of the Philippines
RIZAL TECHNOLOGICAL UNIVERSITY
Cities of Mandaluyong and Pasig
INSTITUTE OF COMPUTER STUDIES

2D Vector-based animation
• Computer generated
animations, that uses
the exact same
techniques as traditional
animation.
• The animator has the
option to move the body
parts individually instead
of drawing the characters
over and over.
• Does not require very
strong drawing skills.
 Republic of the Philippines
RIZAL TECHNOLOGICAL UNIVERSITY
Cities of Mandaluyong and Pasig
INSTITUTE OF COMPUTER STUDIES

3D Animation
• Also referred to as
Computer Generated Imagery
• Instead of drawing, the
characters are digitally
modeled in the program, and
then fi tted with a “skeleton”
that allows animators to move
the models.
• Body parts are always present
and should be taken into
consideration, not like in 2D
Animation.
 Republic of the Philippines
RIZAL TECHNOLOGICAL UNIVERSITY
Cities of Mandaluyong and Pasig
INSTITUTE OF COMPUTER STUDIES

Motion Graphics
• Animate logos commercials
d , ,
television promos or film opening
titles.
• Usually involves animating
images, texts, or video clips.
 Republic of the Philippines
RIZAL TECHNOLOGICAL UNIVERSITY
Cities of Mandaluyong and Pasig
INSTITUTE OF COMPUTER STUDIES

Stop Motion
• Any animation that uses objects
that are photographed in a
sequence to create the
illusion of movement.
• The process of stop-motion is
very long, as each object
has to be carefully moved
inch by inch, while it is being
photographed every frame to
create a smooth sequence
of animation
 Republic of the Philippines
RIZAL TECHNOLOGICAL UNIVERSITY
Cities of Mandaluyong and Pasig
INSTITUTE OF COMPUTER STUDIES

Types of Stop-Motion
Claymation
• One the most popular
motion form
of stop-
• Working with CLAY or PLAY-
DOH
characters
• Some Claymation uses
metal skeletons on which
clay is molded
 Republic of the Philippines
RIZAL TECHNOLOGICAL UNIVERSITY
Cities of Mandaluyong and Pasig
INSTITUTE OF COMPUTER STUDIES

Puppets
• Animation using Puppets (built
with
skeleton rig; some with strings)
• The faces of the characters
can be replaced based on the
expression.
 Republic of the Philippines
RIZAL TECHNOLOGICAL UNIVERSITY
Cities of Mandaluyong and Pasig
INSTITUTE OF COMPUTER STUDIES

Cut-out
• Using construction paper
cardboard
or characters and
placing them on paper while
shooting the animation from
above.
 Republic of the Philippines
RIZAL TECHNOLOGICAL UNIVERSITY
Cities of Mandaluyong and Pasig
INSTITUTE OF COMPUTER STUDIES

Silhouette
• Also uses cardboard or some
flat material, but the objects
are all black and the shot
is depicted with silhouette
• or
One shadow
of only.
oldest forms of
the stop
motion.
 Republic of the Philippines
RIZAL TECHNOLOGICAL UNIVERSITY
Cities of Mandaluyong and Pasig
INSTITUTE OF COMPUTER STUDIES

Action Figures/ Lego

• Uses action figures or
Characters
Lego
• Popular on YouTube.
• Dedicated to create funny skits.
• Some use popular action
figures to make fun of pop
culture.
 Republic of the Philippines
RIZAL TECHNOLOGICAL UNIVERSITY
Cities of Mandaluyong and Pasig
INSTITUTE OF COMPUTER STUDIES

Pixelation
• Uses people rea
real and to l
environmen create unrea
• ts l
Taking a still(not moving)
videos.
photo, moving things
around and then taking
another photo.
 Republic of the Philippines
RIZAL TECHNOLOGICAL UNIVERSITY
Cities of Mandaluyong and Pasig
INSTITUTE OF COMPUTER STUDIES

12 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
bookandon their
the eff work
ort to of the
produce
leading Disney
realistic animators more
animations. from
the 1930s
purpos onwards,
ofThe the wasmain
e principles
illusionan character
to
produc to ofthe s laws
e
physics, basic of
adherin
but
more theyissues
also such dealt
g
emotional
abstract timing , and as with
character appeal.
 Republic of the Philippines
RIZAL TECHNOLOGICAL UNIVERSITY
Cities of Mandaluyong and Pasig
INSTITUTE OF COMPUTER STUDIES

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.
 Republic of the Philippines
RIZAL TECHNOLOGICAL UNIVERSITY
Cities of Mandaluyong and Pasig
INSTITUTE OF COMPUTER STUDIES

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
fi gure stretched or squashed to
an exaggerated degree can have
a comical eff ect.
 Republic of the Philippines
RIZAL TECHNOLOGICAL UNIVERSITY
Cities of Mandaluyong and Pasig
INSTITUTE OF COMPUTER STUDIES

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.
 Republic of the Philippines
RIZAL TECHNOLOGICAL UNIVERSITY
Cities of Mandaluyong and Pasig
INSTITUTE OF COMPUTER STUDIES

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
idea so and
that it
Thomas
is completely
defined
it as "the presentation
unmistakably clear", of any and
whether
idea is an action, a personality,
that
an expression or a mood.
 Republic of the Philippines
RIZAL TECHNOLOGICAL UNIVERSITY
Cities of Mandaluyong and Pasig
INSTITUTE OF COMPUTER STUDIES

4. Straight Ahead Action and Pose-

to-Pose Action
Straight Ahead Action in
hand drawn animation is
when the animator starts at
the fi rst 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.
 Republic of the Philippines
RIZAL TECHNOLOGICAL UNIVERSITY
Cities of Mandaluyong and Pasig
INSTITUTE OF COMPUTER STUDIES

Pose-to-Pose Action is when

animator carefully the
animatio plans
draws a out
n,
poses, i.e.,sequence
the initial, th
some
between, and the final poses e
and then draws all the in- of
between frames (or anotherin
artist or the computer draws -
the inbetween frames). This is
used when the scene requires
more thought and the poses
and timing are important.
 Republic of the Philippines
RIZAL TECHNOLOGICAL UNIVERSITY
Cities of Mandaluyong and Pasig
INSTITUTE OF COMPUTER STUDIES

5. Follow through and overlapping

action
Thes closely related
e techniques moveme
render mor
realistic,
help andnt give the
e
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 diff erent rates (an
arm will move on diff erent
timing of the head and so on).
 Republic of the Philippines
RIZAL TECHNOLOGICAL UNIVERSITY
Cities of Mandaluyong and Pasig
INSTITUTE OF COMPUTER STUDIES

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
velocity than
for an having
object, it is a
uniform
appealing, and more
sometimes
realistic, to have the velocity more
vary at the extremes.
 Republic of the Philippines
RIZAL TECHNOLOGICAL UNIVERSITY
Cities of Mandaluyong and Pasig
INSTITUTE OF COMPUTER STUDIES

7. Arcs
Most human and animal
actions
occu along an trajector
r animation
arched y,
and should
movements reproduc
realism.
thes This can apply e
for togreater
a
limb
moving
e by rotating a joint or a
thrown object , along a
moving
parabolic trajectory. The
exception is mechanical
movement, which typically
moves in straight lines.
 Republic of the Philippines
RIZAL TECHNOLOGICAL UNIVERSITY
Cities of Mandaluyong and Pasig
INSTITUTE OF COMPUTER STUDIES

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.
 Republic of the Philippines
RIZAL TECHNOLOGICAL UNIVERSITY
Cities of Mandaluyong and Pasig
INSTITUTE OF COMPUTER STUDIES

9. Timing and Motion

The speed of an action, i.e.,
timing, gives meaning to
movement, both physical 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 attention, if too little,
then the viewer may not notice
or understand the action.
 Republic of the Philippines
RIZAL TECHNOLOGICAL UNIVERSITY
Cities of Mandaluyong and Pasig
INSTITUTE OF COMPUTER STUDIES

10. Exaggeration
Exaggeration is an eff ect
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
defi nition of exaggeration,
employed by Disney, was to
remain true to reality, just
presenting it in a wilder,
more extreme form.
 Republic of the Philippines
RIZAL TECHNOLOGICAL UNIVERSITY
Cities of Mandaluyong and Pasig
INSTITUTE OF COMPUTER STUDIES

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.
 Republic of the Philippines
RIZAL TECHNOLOGICAL UNIVERSITY
Cities of Mandaluyong and Pasig
INSTITUTE OF COMPUTER STUDIES

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. [
 Republic of the Philippines
RIZAL TECHNOLOGICAL UNIVERSITY
Cities of Mandaluyong and Pasig
INSTITUTE OF COMPUTER STUDIES

Drawings in
Animation
Rough Drawing
• A rough drawing is always
done fi rst
• It is the skeleton of the
character
• It is done to get a feel on the
weight
and form of the character.
• Often done in a very loose
fashion.
 Republic of the Philippines
RIZAL TECHNOLOGICAL UNIVERSITY
Cities of Mandaluyong and Pasig
INSTITUTE OF COMPUTER STUDIES

Clean-up Drawing
• It is the drawings you see in
the finished film
• The artist doing the clean-
up is responsible for the
final line and finished look
of the character or scene.
• Usually done on a new
sheet of paper.
 Republic of the Philippines
RIZAL TECHNOLOGICAL UNIVERSITY
Cities of Mandaluyong and Pasig
INSTITUTE OF COMPUTER STUDIES

Inbetween Drawing
• The drawing generated
between two images to give
the appearance that the
fi rst image evolves
smoothly into the second
image.
• The drawing that gives
the appearance of motion.
 Republic of the Philippines
RIZAL TECHNOLOGICAL UNIVERSITY
Cities of Mandaluyong and Pasig
INSTITUTE OF COMPUTER STUDIES

Model Sheet
• also known as a character
board, character sheet,
character study or simply a
study
• is a document used to
help standardize the
appearance, poses, and
gestures of an animated
character.
•a communication tool
that a character designer
uses to show other artists
how the character works,
and therefore how he/she/it
should be represented
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RIZAL TECHNOLOGICAL UNIVERSITY
Cities of Mandaluyong and Pasig
INSTITUTE OF COMPUTER STUDIES

• Mode sheet ar required

l snumberse of when
involved in the production
large artists are
a
of
animated film to helpn
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.
 Republic of the Philippines
RIZAL TECHNOLOGICAL UNIVERSITY
Cities of Mandaluyong and Pasig
INSTITUTE OF COMPUTER STUDIES

• A character DRAWN
according
the to standardize
production's d to as
model
MODEL is “ON-
referred
”
• While character NOT DRAWN
according
a to the
production's standardized
model is referred to as “OFF-
MODEL”
 Republic of the Philippines
RIZAL TECHNOLOGICAL UNIVERSITY
Cities of Mandaluyong and Pasig
INSTITUTE OF COMPUTER STUDIES

Character rotation
• atemplate that the
character shows sides –
side,
from ¾ and back
allviews. front,
• Its purpose is to show
the character from all sides
 Republic of the Philippines
RIZAL TECHNOLOGICAL UNIVERSITY
Cities of Mandaluyong and Pasig
INSTITUTE OF COMPUTER STUDIES

Expression sheet
• helps show what your
character
helpful
looks like
toinsee
diff erent their
situations.
eyes
how brows,nose mout It , is
(beak),features
other h, an
move. d
 Republic of the Philippines
RIZAL TECHNOLOGICAL UNIVERSITY
Cities of Mandaluyong and Pasig
INSTITUTE OF COMPUTER STUDIES

Tools in Traditional
Animation
Non-Photo Blue Pencils
These pencils are useful for
doing initial sketches because
they're a shade of pale blue
that doesn't to show up on
copies when you transfer your
work from paper to clear cels.
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RIZAL TECHNOLOGICAL UNIVERSITY
Cities of Mandaluyong and Pasig
INSTITUTE OF COMPUTER STUDIES

3-Hole Punched Paper

You need something to draw on
with your pencil sets. Three-hole
punched paper attaches to a peg
bar taped on your light table to
hold the paper in place.
 Republic of the Philippines
RIZAL TECHNOLOGICAL UNIVERSITY
Cities of Mandaluyong and Pasig
INSTITUTE OF COMPUTER STUDIES

• Light Table
• Light
Itbox up your fro
lights
beneat artwork toit make m
h to see transparent
through
reference.
enough for
• Animation/ Drawing
disc
An disc is
animator
animation where drawing
s
needed draw animation.
the s It
placed
for on the
a islightbox and
used to work out camera
moves and panning walk
cycles. It has two sliding
peg bags at the top and
bottom.
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RIZAL TECHNOLOGICAL UNIVERSITY
Cities of Mandaluyong and Pasig
INSTITUTE OF COMPUTER STUDIES

Peg bar
Holds the papers in place
when you’re drawing. Also
makes sure that the paper goes
exactly where it did last time
when you place them back.
POST-TEST