Fluidity in animation

June 28, 2010

Here’s some observations I’ve made regarding fluid motion;

Arcs – The number one reason why your nicely timed animation looks stiff and odd, it’s one of the core principles of animation, but not pushed often enough. Not just the major arcs, that’s easy to spot. Its the small arcs in a small anticipate, or a tilt of a head that often goes forgotten. It’s amazing what it does to one’s animation when detailed attention is paid to them.

Squash and Stretch – For some reason, many still relate squash and stretch to cartoony movement. It’s present everywhere! Using it as a way of pushing overlap and follow-through gives incredible softness and organic feel to the animation.

Overlap and Follow-through – Use these as a way to cushion into a moving hold, and push it for as long as you can get away with. Don’t let your moving holds die, use these to keep them alive.

Breathing – And breathing too, use them in conjunction with overlaps and follow-through to give your holds more life! Very easy to forget, and harder to animate then it sounds.

Why am I posting these? I’m posting these because most of the notes I’ve got from the director during the recent animation test was to “make it more fluid“, and committing my thought process to this blog should help me remember it better. I have horrible memory.

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Art styles

June 28, 2010

Hans Bacher has a series of posts on the designs of sleeping beauty;

I want to concentrate in this post and the next ones on EYVIND EARLE’S unparalelled stylistic design for SLEEPING BEAUTY. from what I have heard from artists they worked with him, he must have been a very difficult character to deal with, very demanding. well – look at all the designs and BG-paintings he created for SLEEPING BEAUTY! masterpieces! usually I am not a big fan of extremely detailed backgrounds, but in this case it is different. all the detail in his artwork works as a texture like in the medieval gobelins. he was very careful with the design of these textured elements, like the plants and trees in the forest, the interior of the cottage or the stone walls in the kings castle and the different more mossy walls in maleficent’s ruins, that the paintings never feel overworked. on the contrary, they are the perfect stage for the very designed and less detailed characters. the color-combinations throughout the whole film are some of the most beautiful and tasteful in animation.

I never really looked at the backgrounds of hand drawn animation before, a crime I know. I shall work to rectify that.

It’s overr

June 25, 2010

I’ve been busy doing animation tests for an upcoming project for the past week. Finally got it approved by the director yesterday. It’s my first time working with an external director, didn’t know what to expect at first, but it’s not too bad. No crazy last minute changes (yet. it’s just a test after all) It’s fun but I’m still glad it’s over, had to spend a couple nights over at work to finish it.

I’ll post the tests I did here once the project is over and I get clearance from the studio. Which would probably be near the end of next year. Arrr.

CRUNCH

June 17, 2010

Sorry for the lack of updates, I’m in crunch mode now, all things should resume to normal by next week. YeeaaH!

Busy busy busy

June 9, 2010

Crazy week at work, there’s multiple projects running concurrently and the meetings are endless! To top it off I have to finish polishing up my reel by this week; It’s my last week at AM

Flickering Myth has posted the first of a five part series on Hayao Miyazaki, an excerpt;

“Paku-san [Takahata] really proved that animation has the power to depict the inner mind of humans in-depth,” recalled Miyazaki who experienced a second creative revelation when he watched the picture. “Amid the turmoil of finalizing the film, I had no idea what kind of work Mori-san had been doing. Tears streamed from my eyes. It was not because the three-year project was over. It was because I couldn’t stop crying over the figure of Hilda that Mori-san had drawn. I had thought I had put all my efforts into the film project, but I realized then that my work had simply been to create a container. It was Mori-san who had put a soul into it.”

Part 2-5 is not out yet. Those of you who brought the Hayao Miyazaki biography will find many similar anecdotes  here, but heh if you brought the book, I doubt that will stop you from giving this a read.

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