ANIMATION FUNDAMENTALS / EXERCISES
30/08/2023 - 29/11/2023 / Week 1- Week 14
Chew Zhi Ern / 0358995
Animation Fundamentals / Bachelor of Design (Honours) in Creative Media / Taylor's University
Exercises
INSTRUCTIONS
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LECTURES
Week 1: Module Information Briefing
In Week 1 of this module, we were provided with a comprehensive overview of what to expect throughout the course. The module outline was thoroughly explained, shedding light on the key topics and concepts we would be exploring in the coming weeks. We gained a clear understanding of our learning and assignment objectives, which helped us chart our academic journey. Additionally, our responsibilities as a student were outlined, including participation expectations and guidelines for success. Lastly, lecturer discussed the various assignments and assessment methods that would be used to evaluate our progress, ensuring that we were well-prepared to excel in this module.
Week 2: Animation Principles 1
In this week, we learned about the first 3 of the 12 principles of animation, which are:
We also completed an exercise to practice using these principles by creating a bouncing ball animation. These principles are essential for creating realistic and engaging animation.
Frame Rate
- Frame rate (expressed in frames per second or FPS) is the frequency (rate) at which consecutive images (frames) are captured or displayed.
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| Frame Rate |
Timing
- It refers to the length of time that each frame of the animation should be displayed.
* The number of drawings used in any move determines the amount of time that action will take on the screen.
- Standard Frame Rate for Movies: 24 fps
- Drawing on 'Ones': 1 drawing is made for each frame, 24 drawings per second.
- Drawing on 'Tows': 1 drawing is made for every 2 frames, 12 drawings per second.
- and so on...
* Its common to drawn to twos rather than ones, because:
- cuts the amount of work in half
- makes slow actions look smother than if were to draw every frame
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| Timing & Spacing |
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| example |
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Slow In & Slow Out
- Refers to the way that the speed of an action should change gradually. (For example, when a character starts to run, they should start slowly and then gradually speed up.) This helps to make the animation more believable.
- 2D Animation:
- Start by drawing the extreme poses. Then, draw a single in-between between each pose. Next, focus on drawing in-betweens only between the poses that are closest to the extremes.
- 3D Animation & Motion Graphics:
- Is just a matter of changing the motion curves from 'linear' to 'spline' by adjusting the bezier handles.
* To fix a choppy animation: Analyse the space between the drawings. They should evenly spaced with drawings closer together at the beginning of the action and at the end of the action, and drawings farther apart in the middle.
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| Timing Chart |
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| example |
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Arc
- This principle refers to the way that most actions follow an arc path. (For example, when a character throws a ball, the ball will follow an arc path through the air.) This helps to make the animation more natural.
- 3D Animation & Motion Graphics:
- Achieve this effect by keeping the movement in the x-axis constant, but giving the movement in the y-axis a slow in and slow out.
* When movements are very fast, we can add Arcs in the form of a smear.
- Take the beginning and end pose, and draw an Arc in between, fill it in the same colour as the object. Maybe slightly transparent, or fragmented towards the end of the action.
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| Arc |
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| example |
Week 3: Animation Principles 2
In the third week of the module, we continued with the next 2 principles of animation. We focus revolved around:
We also had an in-class exercise to practice using these principles by animating a squash and stretch ball. This was a great way to see how these principles can be used to create realistic and engaging animation.
The Animation Style
- Realistic
- Semi-Realistic
- Cartoony
Squash & Stretch
- This principle refers to the way that objects deform when they are animated. (For example, a bouncing ball will squash and stretch as it hits the ground.) It emphasise their speed, momentum, weight and mass. This helps to make the animation more believable.
- Rule of Squash & Stretch:
- Maintain the Volume - Consistency of the object
- Squash and Stretch gives the illusion of:
- Elasticity of the Material
- Flexibility of Motion
- Life
* The amount that an object squashes and stretches says something about its mass.
(The more squash and stretch, the softer the object. ; The less squash and stretch, the stiffer the object.)
* It applies to characters too. (eg. Stretching from the speed that he's coming down with, and then he squashes after he lands before settling in his pose.)(eg. use it to exaggerate facial expressions.)
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| Squash & Stretch |
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Follow Through and Overlapping Action
- It refers to the way that objects continue to move after the main action has finished. (For example, when a character stops walking, their arms and legs might continue to move for a moment.) This helps to make the animation more fluid and realistic.
- Follow Through
- Refers to the way parts of the body continue to move after the body is stopped.
- Overlapping Action
- Describes the offset between the timing of the main body and its other parts.
* Often associated with another technique called "Drag". (These names all describe the same thing but just in different ways.)
* Basically, the main body moves, the tip of the appendage should be the last to catch up. And when the body stops, the tip should follow through the farthest before settling back. This is true of not just appendages, but the whole body as well.
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Drag
- Describes the technique of delaying the movement of body parts in relation to the main body.
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Animation Techniques
- Pose to Pose
- Straight Ahead
Week 4: Animation Principles 3
In the fourth week of our Animation Fundamentals module, we focused on the other two crucial principles:
We also delved into the intricate world of the Character Design Process, gaining insights into the creative journey of bringing characters to life, from initial concept to final design. As we continue our exploration of animation, these principles and design techniques serve as invaluable tools to craft compelling and visually engaging stories.
Appeal
- This principle refers to the way that an animation should be visually appealing. The animator should choose colours, shapes, and textures that are pleasing to the eye. (It applies to the entire process.)
* It doesn't always mean good-looking, it can also mean interesting.
* Make it objective because everyone has a different criterion for what is appealing.
- Steps to creating dynamic design that can considerably increase its appeal:
- Variety of Shapes
- Instead of using the same shape for every character, try out different shapes.
- Proportions
- Finding the aspect of a character that defines his or her personality, and blowing it up.
- Keep It Simple
- Too much information can overcomplicate the character, and also make it harder and more restraining to animate.
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| example |
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| example (Proportions) |
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| example (Simple) |
- Drawing
- Character
- Background
- Audio
- Music
- Sound Effects
- Voice
Solid Drawing
- This principle emphasises the significance of drawing characters and objects precisely, with volume, weight, and balance.
* When doing a rough pass of the character, use basic solid shapes like spheres, cubes, and cylinders to construct the character, instead of circles, squares, and rectangles.
- Line of Action
- A line of action is the imaginary line running through a character that describes the direction and motion of his body and is the leading force of a character's action.
- A strong line of action goes through the whole body, illustrates the force of the action, unifies the pose, and makes a clear statement.
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Week 5: Animation Principles 4
In the fifth week of our Animation Fundamentals module, we explored deeper into the art of animation, focusing on two critical principles:
These guidelines will be extremely helpful as we move forward with Animation Fundamentals in improving the calibre and impact of our animations.
Staging
- This principle refers to the way that the action is arranged in the frame. (For example, a character who is about to jump should be placed in the foreground, with the ground in the background.) This helps to focus the viewer's attention on the action.
* It is the presentation of any idea so that it is completely and unmistakably clear.
* It can apply to acting, timing, camera angle & position and setting.
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| example |
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| Full control of where the audience is looking. |
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| Camera Setting |
Close Up - Expressions
* Avoid having the key action take place off to the side. (It should be the centre of the screen or on one of the thirds of the screen.)
* Avoid having the key action take place off to the side. (It should be the centre of the screen or on one of the thirds of the screen.)
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| Rule of Thirds |
Exaggeration
- This principle refers to the way that animators can exaggerate certain aspects of an animation to make it more expressive. (For example, a character's facial expressions might be exaggerated to make them more funny or dramatic.)
* Every action, pose and expression can be taken to the next level, to increase the amount of impact on the viewer.
* Make it more realistic didn't mean take the physics and proportions more consistent with reality, but rather, make the idea or essence of the action more apparent and real.
* Exaggeration doesn't mean more distorted, but more convincing.
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| example |
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Clarity in Animation
- Clarity is keeping the shot clean and precise. (For instance, it could mean simplify the movements of the character so it's easier for the audience to keep up.) No matter what animation are doing, the most important concept that must strive for is clarity.
- Clarity in Staging
- The most general of the principles - its covers so many areas and goes back so far in the theater.
- Its precise meaning is the presentation of any idea so that it is understood and unmistakably clear.
- An action is stage so that it is understood,
- A personality so that it is recognizable,
- An expression so that it can be seen,
- A mood so that it will affect the audience
- Each is communicating to the fullest extent with the viewer when it is properly staged.
- The most important consideration is always the “story point”.
- Environment
- Camera
- Clarity in Secondary Action
- One idea being put over in a scene can be fortified by subsidiary actions within the body.
- Example:
- A sad figure wipes a tear as he turns away.
- Someone stunned shakes his head as he gets to his feet.
- A flustered person puts on his glasses as he regains his composure.
- This extra business supports the main action, it is called a secondary action and is always kept subordinate to the primary action.
- Clarity in Exaggeration
- More exaggerated means..
- It is not a distorted drawing or an action so violent it was disturbing.
- If the character was to be sad, make him sadder, bright make him brighter, worried more worries, wild wilder.
- More Realism means..
- More convincing, bigger contact with people, never destroy believability.
- It is a caricature of realism.
- Dave tips on Exaggeration
- Will you make it so extreme that you make me mad?
- Clarity in Action - Anticipation and Follow Through
- Clarity in Solid Drawing
- Drawing is giving a performance.
- Solid, 3 Dimensional drawing
- Line of Action
- Silhouette
- Twinning & Parallel
- Contrapposto & Twist
- Poses with basic form
- Bean and Robo Bean
- Depth, Weight and Balance
Week 6: Animation Principles 5
In the sixth week of our Animation Principles module, we ventured further into the intricacies of animation, focusing on Animation Method:
This week was all about understanding and applying two distinct animation techniques: Pose to Pose, which involves planning key poses and then filling in the in-between frames, and Straight Ahead, a more spontaneous approach where we animate frame by frame in a continuous flow. These techniques added depth to our animation skills, allowing us to choose the method that best suits our creative vision and storytelling.
Good Poses
- Line of Action
- Contrapposto
- Silhouette
- Weight & Balance
- Emotion
Key Pose
- Staging
- Story
- Action
- Expression
- Personality
Straight Ahead & Pose to Pose
- These two principles refer to different ways of animating.
- Straight Ahead
- This action is when the animator draws each frame of the animation in sequence.
- Pros: Good For Secondary Movement (Unpredictable), such as:
- Tail
- Hair
- Fire
- Water Particles
- Clouds of Dust
- Explosions
- Cons: Not good for planning
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- Pose to Pose
- Pose to pose animation is when the animator only draws the key frames of the animation, and then fills in the in-between frames later.
- Pros: Good for Planning
- Cons: Not Good for Secondary Movement
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| example |
Pose to Pose Vocabulary
Main Poses: Keys
Secondary Poses: Extremes
Further Broken Down Poses: Breakdowns (Middle)
Week 7: Animation Principles 6
During the seventh week of our module, we ventured further into the realm of animation principles, with a specific focus on:
Throughout the week, we explored how anticipation can breathe life into animations, making them more realistic, engaging, and dynamic. This principle has far-reaching applications in various aspects of animation, and our journey this week equipped us with the skills to master it, enhancing the quality and impact of our animated narratives.
Anticipation
- This principle refers to the way that an action is prepared for. (For example, before a character jumps, they might bend their knees or wind up their arm.) This helps to give the animation a sense of weight and momentum.
* Anticipation helps communicate actions to the audience by preparing them for the next action.
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* This can also be used to trick the audience too. If lead their eyes one direction and then surprised them by having something happen in the other side of the screen.
* Taking anticipation a step further can actually have multiple levels of anticipation.
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Week 8: Independent Learning Week
No Class.
Week 9: Animation Principles 7
In the ninth week of our module, we delved into Animation Principles 7, with a special focus on:
In order to create more dynamic and interesting animations, we studied Secondary Action throughout the week. Additionally, we explored the complexities of animation planning to gain insight into the organised process required to create engaging animations. Our animation abilities were improved this week, and our tales gained depth, indicating that there would be more engrossing storytelling in the future.
Secondary Action
- This principle refers to the small, incidental actions that happen alongside the main action. (For example, when a character is talking, their hands might gesture or their facial expressions might change.) This helps to make the animation more lively and interesting.
* It is often associated with Overlapping Action, but they means something very different.
* It describes gestures that support the main action to add more dimension to the character animation.
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| example |
Primary action: the legs
Secondary action: everything else (the arms swinging, the head bobbing, the facial movements)
* It's important not to let the secondary action dominate the primary action.
- The character has a sad expression that should be seen, and we are adding a secondary action of wiping away a tear, the hand shouldn't cover the face. On the other hand, don't let it go unnoticed.
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| example |
-> Character is about to knock on a door
Secondary action of the other hand will communicate what kind of door-knocking this is.
- If it's a fist, it makes him looks angry.
- If it's dainty, it gives them a graceful happy vibe.
- If it's tucked close while the head looks back and forth before knocking, it communicates that he doesn't want to be discovered.
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| example (bad) |
- The character has a sad expression that should be seen, and we are adding a secondary action of wiping away a tear, the hand shouldn't cover the face. On the other hand, don't let it go unnoticed.
* So, the principle of Staging is very important in Secondary Action.
-> Simple bite animation
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| example |
Primary Action: The bite
Secondary Action: Licking his lips (show he is hungry); Close his eyes and have his eyebrows go up (showing that he likes it); Shake his head (can't believe how good it tastes)
* All the secondary actions add more dimension to the bite.
▶ Summary - The 12 Principles of Animation◀
- Squash and Stretch: The squash and stretch principle gives the illusion of weight and volume to a character as they move.
- Anticipation: Establishing themselves from an explosions.
- Staging: Staging is the principle that every pose or action that a character makes should convey a clear intention.
- Straight Ahead Action and Pose to Pose: Straight ahead and pose to pose refers to the techniques by which animation is crafted.
- Follow Through and Overlapping Action: The follow through principle argues that when a character is in action and stops, nothing stops all at once.
- Slow In and Slow Out: The movement of the human body, and most other objects.
- Arc: establishing themselves from an explosions.
- Secondary Action: A secondary action is an additional action that reinforces and adds more dimension to the main action.
- Timing: Timing helps create the illusion that an action is abiding by the laws of physics.
- Exaggeration: An effect that changes the way the character will look from as unrealistic to as realistic as possible counting on the effect needed.
- Solid Drawing: The animator needs to be a skilled artist and has to understand the basics of three-dimensional shapes, anatomy, weight, balance, light and shadow, etc.
- Appeal: 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.
Week 10: Performance Animation
We studied the field of performance animation during week 10 of this module. The main objective was to use facial animation to create realistic character reactions and emotions. We also discussed the subtleties of dialogue delivery and how to use spoken words to make characters come to life. This week's exploration enabled us to integrate depth, realism, and storyline into our character animations.
Week 11: Final Project Discussion
Production Execution and Feedbacks.
Week 12: Final Project Discussion
Production Execution and Feedbacks.
Week 13: Final Project Discussion
Production Execution and Feedbacks.
Week 14: Final Project Discussion & Submission
Production Execution and Feedbacks.
EXERCISES
Task 1: Bouncing Ball Animation
Exercise 1 delves into animation, challenging us to create a lively bouncing ball using OpenToonz while applying essential animation principles like Timing, Spacing, Slow in & Slow out, and Arcs that have learned in week 2. The task at hand is to breathe life into a ball, carefully crafting its bounce with a sense of realism in mind. The target frame rate are 24fps, 16:9 aspect ratio, and 1280 x 720 resolution. For inspiration and guidance, we might watch bouncing ball videos to grasp the nuances of timing and movement. The final result should be an animation that adheres to the 'on 2' technique, featuring clean-up strokes, and it should be exported in .mp4 format. This exercise not only hones our animation skills but also challenges us to bring a simple object to life.
In this exercise, we embarked on a journey to create a basic bouncing ball animation using OpenToonz. Building upon the animation principles we learned during Week 2, including Timing & Spacing, Slow in & Slow out, and Arcs, we were tasked with applying these principles to bring our bouncing ball to life.
The first step in this creative process was to understand the significance of movement patterns in animation. By referring to various bouncing ball videos, I gained a sense of the details needed to make the bouncing ball animation look natural and engaging. This served as a crucial foundation for our project.
I also felt more confident doing this task after adhering to the lecturer's step-by-step demonstrating tutorial.
Once I had configured the project settings for the animation, I was ready to start.
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| Figure 1. Project Setting |
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| Figure 2. Ground |
To ensure fluid and natural motion, I incorporated arcs as a guiding path for the animation. This approach helped eliminate any abrupt or jerky movements, adding a sense of grace to the animation.
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| Figure 3. Auxiliary Arc |
Applying the principles of Timing and Spacing, I meticulously crafted each frame of the bouncing ball's movement. I paid close attention to the concept of "Slow in & Slow out" to ensure that the ball's acceleration and deceleration felt natural and realistic.
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| Figure 4. Process |
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| Figure 5. Process |
One critical aspect of this exercise involved animating on '2,' meaning that I held each drawing for two frames. This technique enhanced the animation's smoothness and subtlety, making it more visually appealing. This step was repeated for all scenes in the project.
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| Figure 6. On '2' |
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| Figure 7. Coloured |
As the animation came together, I removed any visible strokes or distractions from the drawings to ensure a polished and distraction-free final product. Finally, I played the animation to ensure that everything was in order, and then I exported the completed project as an .mp4 file format, ready to be shared and showcased.
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| Figure 8. Preview |
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| Figure 9. Final Check |
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| Figure 10. Rendering |
Figure 11. Outcome
This exercise not only honed our technical skills in animation but also challenged our creative abilities to bring an inanimate object to life through movement and timing. It was a valuable step in our journey to mastering the art of animation and prepared us for more complex projects in the weeks ahead.
Task 2: Bouncing Ball with Tail Animation
In this exercise, building upon the concepts we explored last week, our objective is to imbue a bouncing ball with a sense of fluidity and dynamism by introducing a tail element. We'll achieve this by applying principles like drag, follow-through, and overlapping actions. The resulting animation will feature a smoothly rendered bouncing ball with on "2" technique, executed with precise, clean strokes. Upon completion, the animation will be exported in the .mp4 format.
As in the previous exercise, I first added arcs into the scene to assist the path of the ball after the initial set up.
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| Figure 2.1 Basic Line and Arc |
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| Figure 2.2 |
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| Figure 2.3 Process |
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| Figure 2.4 Process |
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| Figure 2.5 Outcome without the Tail |
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| Figure 2.6 Raster Level Applied |
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| Figure 2.7 Process |
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| Figure 2.8 Draft |
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| Figure 2.9 Refining Process |
Finally, here is the final outcome of the exercise.
Figure 2.10 Final Submission
FEEDBACKS
Week 4
- Exercise 1_Bouncing Ball: Everything is fine. Good.
- Exercise 2_Ball with Tail: To improve the general smoothness of the animation, make sure every tail is connected to the one before it.
REFLECTIONS
Experience:
The Animation Fundamentals module was a learning opportunity that gave a solid basis for understanding the principles and techniques required in the art of animation. The module's focus on the 12 principles of animation served as a cornerstone for exploring and enhancing creative communication through motion. Engaging with exercises such as the bouncing ball and ball with tail allowed for hands-on exploration of core animation concepts, fostering a better understanding of the complexities of timing, spacing, and movement. Additionally, delving into character design, character drawing, layout design, and perspective drawing provided valuable insights into the creative process and the importance of visual storytelling in animation.
Observations:
Throughout the class, the emphasis on mastering the 12 principles of animation was clear. Understanding principles like squash and stretch, anticipation, staging, and follow through, among others, was critical for generating convincing and entertaining animations. The exercises, including the bouncing ball and ball with tail, served as practical applications of these principles, allowing for experimentation and refinement of animation skills. Furthermore, the study of character design, character drawing, layout design, and perspective drawing demonstrated the value of attention to detail, inventiveness, and visual communication in effectively transmitting ideas and emotions through animation.
Findings:
The Animation Fundamentals module provided important insights into the fundamental elements of animation and their significance in creative communication. Mastering the 12 principles of animation gave a strong basis for understanding and applying animation techniques to a variety of projects and areas. The hands-on exercises and projects, which included character design, character drawing, layout design, and perspective drawing, served as practical implementations of previously learned principles, emphasising the need of experience, experimentation, and constant learning in animation. As I continue to hone my animation talents, the insights obtained from it will provide a strong base for future creative tasks, allowing me to push forward in the fields of creative communication and storytelling through animation. Finally, I would say that taking the Animation Fundamentals module enhanced my understanding of the fundamental concepts and methods of animation and was a truly profound experience. The hands-on exercises, projects, and practical applications provided a holistic learning experience that facilitated personal and professional growth in the dynamic and interesting field of animation. As I continue to explore and expand my animation skills, the knowledge and skills gained from my studies will provide a firm basis for future creative projects and endeavours, allowing me to effectively communicate ideas and emotions through the engaging art of animation.
ADDITIONAL INFORMATION / REFERENCES
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