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"Is CHILDHOOD always the best time ?”
13 years ago
Between the late 1920's and the late 1930's animation grew from a novelty to an art form at theWalt Disney Studios. With every picture, actions became more convincing, and characters wereemerging as true personalities. Audiences were enthusiastic and many of the animators weresatisfied, however it was clear to Walt Disney that the level of animation and existingcharacters were not adequate to pursue new story lines-- characters were limited to certaintypes of action and audience acceptance notwithstanding, they were not appealing to the eye. Itwas apparent to Walt Disney that no one could successfully animate a humanized figure or alife-like animal; a new drawing approach was necessary to improve the level of animationexemplified by the "Three Little Pigs".
Disney set up drawing classes for his animators at the Chouinard Art Institute in Los Angelesunder Instructor Don Graham. When the classes were started, most of the animators were drawingusing the old cartoon formula of standardized shapes, sizes, actions and gestures, with littleor no reference to nature. Out of these classes grew a way of drawing moving human figures andanimals. The students studied models in motion as well as live action film, playing certainactions over and over. The analysis of action became important to the development of animation.
Some of the animators began to apply the lessons of these classes to production animation, whichbecame more sophisticated and realistic. The animators continually searched for better ways tocommunicate to one another the ideas learned from these lessons. Gradually, procedures wereisolated and named, analyzed and perfected, and new artists were taught these practices as rulesof the trade.
They became the fundamental principles of traditional animation:
Disney set up drawing classes for his animators at the Chouinard Art Institute in Los Angelesunder Instructor Don Graham. When the classes were started, most of the animators were drawingusing the old cartoon formula of standardized shapes, sizes, actions and gestures, with littleor no reference to nature. Out of these classes grew a way of drawing moving human figures andanimals. The students studied models in motion as well as live action film, playing certainactions over and over. The analysis of action became important to the development of animation.
Some of the animators began to apply the lessons of these classes to production animation, whichbecame more sophisticated and realistic. The animators continually searched for better ways tocommunicate to one another the ideas learned from these lessons. Gradually, procedures wereisolated and named, analyzed and perfected, and new artists were taught these practices as rulesof the trade.
They became the fundamental principles of traditional animation:
- Squash and Stretch - Defining the rigidity & mass of an object by distorting its shape during an action.
- Timing - Spacing actions to define the weight & size of objects & the personality of characters.
- Anticipation - The preparation for an action.
- Staging - Presenting an idea so that it is unmistakably clear.
- Follow Through & Overlapping Action - The termination of an action & establishing its relationship to the next action.
- Straight Ahead Action & Pose-To-Pose Action - The two contrasting approaches to the creation of movement.
- Slow In and Out - The spacing of in-between frames to achieve subtlety of timing & movements.
- Arcs - The visual path of action for natural movement.
- Exaggeration - Accentuating the essence of an idea via the design & the action.
- Secondary Action - The Action of an object resulting from another action.
- Appeal - Creating a design or an action that the audience enjoys watching.
The application of some of these principles mean the same regardless of the medium of animation.2D hand drawn animation deals with a sequence of two dimensional drawings that simulate motion.3D computer animation involves creating a three dimensional model in the computer. Motion isachieved by setting keyframe poses and having the computer generate the inbetween frames.Timing, anticipation, staging, follow through, overlap, exaggeration, and secondary action applyin the same way for both types of animation. While the meanings of squash and stretch, slow inand out, arcs, appeal, straight ahead action, and pose-to-pose action remain the same, theirapplication changes due to the difference in medium.
Sources : Internet
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