Anime Reality
Computer animation: Principles
Computer animation: Principles
What is animation?
Animation is the rapid display of a sequence of images of 2-D or 3-D artwork or model positions in order to create an illusion of movement. The effect is an optical illusion of motion due to the phenomenon of persistence of vision, and can be created and demonstrated in several ways. The most common method of presenting animation is as a motion picture or video program
2d animation
2d animation is animation in which the characters and surroundings are created on a flat plane of two dimensions, unlike the three dimensions of computer animation common today. It can be as simple as a flip-book or as sophisticated
3d animation
3D animation are digitally modeled and manipulated by an animator. In order to manipulate a mesh, it is given a digital skeletal structure that can be used to control the mesh. This process is called rigging. Various other techniques can be applied, such as mathematical functions (ex. gravity, particle simulations), simulated fur or hair, effects such as fire and water and the use of Motion capture to name but a few, these techniques fall under the category of 3d dynamics. Many 3D animations are very believable and are commonly used as Visual effects for recent movies.
Principles of animation
1. Squash and stretch
Stretch and squash is very important in animation process 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
2. Anticipation
Anticipation is used to prepare the audience for an action, and to make the action appear more realistic.
Anticipation: A baseball player making a pitch prepares for the action by moving his arm back.
3. Staging
As we seen in theatre and film staging is very important in animation. 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.
4. Straight ahead action and pose to pose
These are two different approaches to the actual drawing process. “Straight ahead action” means drawing out a scene frame by frame from beginning to end, while “pose to pose” involves starting with drawing a few, key frames, and then filling in the intervals later. “Straight ahead action” creates a more fluid, dynamic illusion of movement, and is better for producing realistic action sequences. On the other hand, it is hard to maintain proportions, and to create exact, convincing poses along the way. “Pose to pose” works better for dramatic or emotional scenes, where composition and relation to the surroundings are of greater importance. A combination of the two techniques is often used.
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.[12] 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 loose skin on a dog, are more prone to independent movement than bonier body parts.[19] 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.
Follow though/Overlapping Action: as the horse runs, its mane and tail follow the movement of the body.
6. Slow in and slow out
The movement of the human body, and most other objects, needs time to accelerate and slow down. For this reason, an animation looks more realistic if it has more frames near the beginning and end of a movement, and fewer in the middle.
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.
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.
9. Timing
Timing in reality refers to two different concepts: physical timing and theatrical timing. It is essential both to the physical realism, as well as to the storytelling of the animation, that the timing is right. On a purely physical level, correct timing makes objects appear to abide to the laws of physics; for instance, an object’s weight decides how it reacts to an impetus, like a push. Theatrical timing is of a less technical nature, and is developed mostly through experience. It can be pure comic timing, or it can be used to convey deep emotions. It can also be a device to communicate aspects of a character’s personality.
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.
However the key to proper use of exaggeration lies in exploring the essence of the action or idea, understanding the reason for it, so that the audience will also understand it. If a character is sad, make him sadder; if he is bright, make him shine; worried, make him fret.
11. Solid drawing
The basic principles of drawing form, weight, volume solidity and the illusion of three dimensions apply to animation as it does to academic drawing. The way you draw cartoons, you draw in the classical sense, using pencil sketches and drawings for reproduction of life. You transform these into color and movement giving the characters the illusion of three-and four-dimensional life. Three dimensional is movement in space. The fourth dimension is movement in time.
Creating an animated character involves more than creating a series of images. Effective animation design considers how the character looks in different positions and from different angles. Even characters rendered as two-dimensional images become more realistic and believable if considered conceptually in three dimensions. Avoid twins: mirroring the position the face, arms, and legs on both sides of the body. This results in a wooden, unnatural presentation. Body movement is rarely symmetrical, but involves overall balancing of posture or reactions.
12. Appeal
Appeal in a cartoon character corresponds to what would be called charisma in an actor.
A weak drawing or design lacks appeal. A design that is complicated or hard to read lacks appeal. Clumsy shapes and awkward moves all have low appeal. Where the live action actor has charisma, the animated character has appeal. An animated character has appeal. Appealing animation does not mean just being cute and cuddly. All characters have to have appeal whether they are heroic, villainous, comic or cute. Appeal, as you will use it, includes an easy to read design, clear drawing, and personality development that will capture and involve the audience’s interest.
About the Author
The Anime Reality promo (Kyle Hebert)
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