Studio Brief 3- Explore 12 Principles of Animation

12 Principles of Animation

The 12 principles of animation was developed by Walt Disney and introduced by Disney animators Frank Thomas and Olli Johnston in 1930, many animation have been created through without any knowledge of the principles.

1. Squash and Stretch 

-Squash and Stretch gives the illusion of weight and volume 

-Lots of squashing and stretching could mean that the object is more rubbery and pliable

Tip- Keep the volume of squash or stretch constant

2.Anticipation

-to paraphrase Richard Williams 

-Anticipation communicates what is going to happen because for almost every action weaker there is anticipation

-Anticipation is preparation

-Simply put anticipation is the movement that a character or object makes before a major action

3.Staging

-Staging, or mis-en-scene as it also known is the presentation of an idea so it clearly communicates to the audience

-is should communicates a character or an objects mood, attitude or emotional state within a story 

-The use of shot framing eg. long medium of close ups and camera angles 

-Staging directs the audiences attention to the ideas or story being told 

-It's a good idea to present one idea at once otherwise the audience won't know where to look, or what is going on 

-You don't wont the main character to be upstaged 

4.Straight ahead and pose to pose animation

-Two different ways of animating is the process of animating frame after frame without the use of key framing 

-Literally starts with the first drawing and you continue to the end of a scene if you aren't careful you can wonder off, lose a sense of scale, size and volume 

-Pose to pose animation is meticulously planned and the animator works out what key poses will be needed to make an animation work, an assistant will then draw out the 'in between' frames that will for the animation 

-This allows the animator to focus on key drawings to allow for the more control over the movement and performance of the animation 

-With pose to pose this is clarity and strength 

-Working pose to pose means that its easy for the people to assist as they know what they are working towards, the director can see how far on progress is 

-As there are positives and negatives for both ways or working the obvious solution would be to combine both

-Plan using thumb nail sketches 

5.Follow through and overlapping action 

-Follow through is/are actions that happen when the main body of the character has stopped moving 

-Follow through is the termination of an action

-Overlapping action, we observe overlapping action when an object or character is trailing behind in action this is sometimes called 'drag' it often gives a sense of looseness and at the same time solidity

6.Slow-out and slow- in 

-Is also referred to as ease-out and ease-in

-As an action starts we will have more drawings at the beginning at the start of pose, one of two in the middle and more drawing near the end 

-Fewer drawings makes faster action

-More drawings makes action slower 

-Slow-out and ins soften the animation making in it feel more life-like 

7.Arcs

-All actions, except perhaps some mechanical ones follow and arc or circular path

8. Secondary action

-Simply put it secondary action is an action that support and reinforces in the intention of the first 

9. Timing 

-To make effective use of timing come from experience. It requires you to try again, refine and again 

-More drawings between poses slows and smooths the action. Fewer drawings make the action faster and crisper 

-A variety of slow and fast timing within a scene adds texture and interest to the movement 

-Most animation is done on twos (one drawing photographed on two frames of film) or on ones (one drawing photographed on each frame of film)

-Twos are used most of the time, but ones are used during camera moves such as panning

-Twos are also used for quick dialogue animation

10.Exaggeration

-Is not always something about making it bigger and better you can make it subtly

-It is a walk, head turn or even eye movement to make your animation have more appeal

11.Solid drawing

-The basic principles of drawing and turning them into colour movement, and give characters and objects the illusion of life, moving them through space

12.Appeal, or character personality 

-Appeal facilitates the emotional connection between character and audience. Characters must be well developed, and have an interesting personality.

Studio Brief 3- Explore Pixilation Video

This is my pixilation Video based upon predator and prey, I had used a small dinosaur toy to create the silhouette of the predator and Brogan as the prey. I came across various problems whilst shooting this pixilation, such as lighting, while shooting the silhouette of the dinosaur moving through the halls towards Brogans room, the lighting was too bright and was not about to see the shadow very well. I also had to include film footage into my video as i was not able to capture Brogan walking properly from one side of the room to another. I think i could have improved my pixilation if i had duplicated frames so that the video didn't move so fast and you would be able to see the video more clear, another thing i could improve on for the future is to plan out what size images i will need and what size video so that it is all one continuous size throughout.

Studio Brief 3- Explore Pixilation

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This stop motion video of Rex chasing the toy soldier's is what gave me inspiration towards my Pixilation video, as I really liked the way Pixar had used the silhouette of Rex chasing the soldiers before Rex was filmed into the video. I used this idea to help create my own Pixilation video as I had used the idea of a silhouette of a dinosaur to act as the predator, and have Brogan as the prey.

Studio Brief 3- Explore Pixilation Storyboard

Pixilation Storyboard

For my story i had decided to base it on predator and prey. I plan to create a silhouette of a dinosaur to be the predator in my pixalation and use Brogan as the prey. The dinosaur will only be seen as a shadow throughout my video, with Brogan getting dragged out of bed and taken away by this silhouette. I could of improved my storyboard by drawing more scenes so that the story was made more clear, I could also improve by showing more camera angles to show the direction of which the camera will then facing. 

Studio Brief 3- Explore Pose to Pose Animation

This is my pendulum, I struggled with trying to work out where the 6th and 7th slide should be as we were framing it at 13fps and instead of drawing the 6th frame being in the middle the 6th and 7th frame were suppose to be beside each other in the middle. apart from that i was able to complete my pendulum and make it swing successfully.  

Studio Brief 2-Telling Stories My storyboard

This is my storyboard for the rhyme Humpty Dumpty 

I exaggerated the fall to a great extent just to make the fall more dramatic. I could of improved my storyboard if i had added more camera angles to the storyboard and added more notes to make it more clear, so i would have better instructions of whats suppose to be going on.  

Studio Brief 2- Telling Stories

Aladin

The colours used for this storyboard are really vibrant with the deep blues and greens it gives the storyboard loads of depth, also the warm glow of the red on the characters faces gives us the feeling of the romantic scenes. I really like the use of shading on these storyboards as you can tell where the moonlight will be hitting in each scene. Each character is really detailed and recognisable. This storyboard gives clear instructions on what the animator should be doing, but there is not much for animations to go off such as notes or camera angles. 

Studio Brief 2- Telling Stories

Bob Camp- Ren and Stimpy

I really like how drastic changes in the characters facial features, as it adds to their personality, Also each storyboard shot is really clear as it focus on the character instead of the background. Reading Bob Camp's notes on the storyboard he has made them very clear and simple. Another thing i like about This storyboard is that there are no filler shots, each shot shots exactly what should be going on in the animation. Even though the characters in Ren and Stimpy aren't hugely detailed its really effective with the style and theme of Ren and Stimpy 

Studio Brief 2- Telling Stories

     

Andreas Hykade- Ring of fire

The style of this animation i really like especially as it looks like it has all been sketched, the use of shading is what really makes the animation as it gives us the idea that animation its self it quite dark, and the story behind it is quite deep. The background on the storyboard of Hykade's animation gives you a sense of movement whether it be which direction they're walking in or the wind blowing past the characters. Each shot of the storyboard gives us the clear idea of whats going on throughout this animation.

Studio Brief 2- Telling Stories

  

  

Bo Mathorne- The Black Water Gospel

I really like how simple but effective the storyboard is for this animation, it gives you the sense of how dark the animation is. What i really love about this animation is the whole style of it, with how sinister like the story is and it gives off  that western feel towards it, it reminds me of the game Red Dead Redemption because of the similar surroundings. I also love the character design, the way their facial features are shown to be quite square.

Studio Brief 2- Telling Stories

            


Adventure Time it all came from the nightosphere

Storyboard created by Adam Muto and Rebecca Sugar. I really like the way the storyboard can be very simple with little detail and still work so well, as each character is recognizable and you can tell what is happening so clearly in the story. From the images above from the animation's storyboard you can tell where there will be camera movement in that shot by the dotted square around the characters. On each one of these shots from the storyboard it has really clear instructions for the animator as it has notes and camera angles, even with quotes from the animation it gives us the idea of how the characters should respond or react.