how to animate[1]

8/3/2019 How to Animate[1]

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FimC a to o n s

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CARTOON CONS'TRUCTIONPROPORTIONS The heavy pugnacious character has a small head,large chest or body area, and heavy arms and legs. His jaw andchin protrude. The cute character is based on the proportionsof a baby. "Screwball" types have exaggerated parts. Cats havea wide head, small nose area, and pear shape body. Proportionsmake character, so analyze them before you draw.

STANCE-SOLID MASSES Draw a "Une of Action" through thethree dimension parts to organize and set the altitude or action.Construct your drawing like you were fitting together the parts ofa puppet at the joints according to a character formula. Thus yourcharacter becomes believable, and when he acts the audienceemotionally responds.

C op yrig hl 1 98 0. P re sto n B la ir . A ll rig hts re se rv ed . T his b oo k h as b ee n p llb lis h& d 1 0 a id th e a sp jr-in g a rtis t. R ep ro dl.lC lio n o f th e w or k fo r s tu dy o r fin is he d a rt is p erm is sib le . M Y p ho to me ch an ic alr flP 'o du c! io n o f a rt f ro m the publication o r a rt d ra wn f ro m t he p ub lic ati on f er c om m er cia l purposesIs f or bi dd en w it ho ut w ril le n c on se nt Ir e m t he P lIb lis he r. W a lt er F os te r P ub li sh in g, I nc .

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HEAD CONSTRUCTION -TI L .T

TILT Draw the vertical center gUIde line andthen the hcnzontal line around the head mass.This sets the perspective-tiIt 01the head that isthe basis 01 many expressions. This tilt con-stantly changes in many actions. especiallyin important dialogue scenes, Anchor the eyes,nose, and ears to theseguide lines,

HEAD CONSTRUCTION The cranium circularmass is ball, oval, or pear shaped according tothe character, The horizontal guide line can CIr-cle the center, upper, or lower part of this mass.The eyes fit.above this l ine, and the nose areafits below the line. These features remain fixedto the head as part of the craniummass,

FLEXIBLE FEATURES As the jaw moves themouth and cheek form is very flexible andchanges to many forms creating expressionsand mouth positions in speech, The eyebrowsand ears are also flexible, but note that the baseof the ears and the nose remain fixed to thehead. Theeyes are flexiblewithin fixed sockets,'@ ,. .'1 _ .' .

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SK(;TC~ING BASICS - A SI-tORTI-lAND ARTAnimators make series of rough outline typesketches that suggest the movement 01a char-acter. It's like the handwrit ing of words with nothought about- forming individual letters, onlythought of what you're saying (or acting).

For poses make scribbles of what you see inyour imagination, then, study the scribble forsuggestions Imaging before and after sketching.Forget drawing, scribble! Beginners become anartist-animator only through hours of sketching.

Make many attempts. The sketch is like a planfor a building, so pick Irom many. Reverse yoursketch (turn-over on lightboard) and re-draw.Slightly erase with a kneaded eraser and re-draw.Sketch in colored pencil, and re-draw in black.

Scr ibbles can become mult ip leskatehes. Keep try ing to get asuggestion of what you want.A rough outline suggestion isthefirst step. It may have to comefrom many scribble attempts.

Use your imagination to developthe drawing. This may also takemany scribble attempts to l inish,This is an animator's "rough,"A "clean- up" finished detail draw-ing is made trorn this basis.

You should know all about this.But, animators don't draw Ihisskeleton first. they sketch oulline.

Making small thumbnail sketches of important poses brings out the over-all structure and appeal,makes for broader drawing and less attention to details.

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ANIMATING WITI-I POSES-EXTREMES

There are two distinct methods of animating.A third method combines the best fealuresof each. "' IThe origirnll case .metho~Lis, ;:stralght~ahee.d."It is simply drawing one move directly afteranother in an evolving sequence of growth.A plant grows "straight-ahead," Drawing dots,one after anolher in a flip-book is "straight-ahead."The second method is "pose planning" as hereillustrated. "Key-poses" (like the mouse below)are first sketched that plan the "extreme" posi-nons in an action. These ale carefully tI10ughtout in regard to the action, drama.tic presen-tation, interpretation of mood, reinforcingthe story, scene composition, and drawingpoints,Use POSE PLANNING to animate scenes thatinvolve repaated cycles in a p6th of action. UsePOSE PLANNING to animate scenes of dramawith the "key" gesture poses, attitudes.

The importance of the "extreme" drawing isbest illustrated in pendulum action, whichswings in "a path of action" between the"extremes," Such well defined actions thatmove in repetitious cycles, like walks and nuns,are planned by first drawing "a path of ac-tion" according to perspective, and thendrawing the same cycle drawing in the pro-gressing positions. The remaining "inbe-tween" drawings are planned with spacingcharts that also indicate the "arc" of the a.c-non. Such guides are placed by the animatoron his "extremes" if other artists completethe scene. Animation between "extremes"is rough-in by the animator. The inbetweenscan radically change an action, greatly lrn-prove it, or badly stunt it.

A character walks, above, for three steps andreaches down for a kitten. The loot-con-tact extremes are placed in a straight "pathof action," In another way of "acting," thec haracler starts his reach for the ki Iten as hewalks in an overlapping action, anticipatingby lifting his arms, head back. As arms reachout. head stays back in balance to thrust, andfollows through later in an ove~apping actionas kitten is lifted. The later is a better anima-tion job, but. the acting as It fits the moodand story is the essence. and there is a timeand place for each approach. Pose planningis vital to acting scenes like the mouse below.Such scenes are based on the drama, ges-ture. 01 aWtude of poses, and not action.


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STRAIG~T-A~ EAD +R~YT~M ANIMATION

STRAIGHTAHEAD ANIMATION or drawing each move from thestart in a growth sequence is used for action involving rhythms in thecharacter movements. There may be several overlapping secondaryactions moving in a character, and each has a different timing andrhythm. These are started unevenly by turns, twists, and other bodyact ions. They are impossible to pose-plan, and many are discoveredas you animate straight-ahead. Start with a plan of action in mind,work with rough sketch-scribbles and rhythm lines. and aim for thesweep of the character. Have a model drawing on a paper slip tocheck sizes, and watch scene perspectives.

A METHOD TO ANIMATE Visualize the entire scene with projectionposes at the most important points. With these drawings as a guidemake "paths of action" i f practical. Then animate "straight-ahead"from the start toward the first pose. When you near this pose use itonly as a guide, and do not work into it unless it fits the flowing rhythmprogression of your action. Don' t hesitate to revise. Discover improve-ments as you progress. Research the scene by acting before a mir-ror, Study live-action fi lm research. Make thumbnail sketches. Thenanimate from your imagination, create. Roughly complete all drawingsand make a film pencil-test.

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TIMING + SPACING PATTERNSThe animator is the actor of the cartoon film. An actor's timing is the essence of the art, il is based on instinct and personality. The actor (])learns the craft-how to always walk or move with a meaning-to _ _ never pause unless you have a reason for it-when you pause, pauseas long as you can. And so the actor-animator must learn the value ofa "hold" -and the right amount of time to linger on it, so it will reg- G0ister with the audience for all it is worth-when to cushion into a .- ..hold gradually, or when to jump into a hold-when to "freeze" a holddead still. or when to keep up subtle secondary actions during a hold Bto give it that breath of life-when to start little actions during the Hhold that anticipate the following move, or move the eyes to ant icipatecoming movement-when, after such anticipation to jump out ofa pose, or when to slow-aut-for such is the craft of the art.

M I : T R O N O M ENUMB'R. q . q . = 3 0 F ~M ES54 = 24 "88'" 16120" 12140 "10168- 8 "

1 S b C O N t> . . 2 .4 F R A M I: ~~MINUTr:=720

The swings and ticks of the metronome can tell you the exact speedin frames of a walk, run, or action you visualize as you act it out. Setthe arm at 8 frames and act a fast walk or run with your fingers andhand as the actor-maybe 12 frames would be closer to what youwant. Make frame count marks as above. Check clock so 30 12frame ticks fi t 15 sec.

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The filmed result and meaning of a spaced move depends on:1. Actual measurement 2. Relation to field size 3. Relation to size ofcharacter. As shown above. a small move on a small circle has thesame relation to the circle as a iarge move is related to a large circle.The large move on large field appears the same on film as small moveon small f ield.

A puppet moves as the strings are adjusted. An animated film char-acter moves according to spaced-move patterns in the actions.When Ihe animator starts a scene he has a specific action in mindto do in a certain time .. or frames. From experience he hasgained a knowledge 01 how specific patterns of spacing will workwhen they measure and path the actions in the character ..Often hecharts a pattern in advance, but usually these patterns are inherentin the animat ion structure .. . and evolve intuitively during animation.My advice to the beginner is to first develop a little of this sense oftiming by animating and film testing a large and small circle in var-ious speeds in patterns. It will give you an idea of how fast 24frames go by in a second. You cannot see a single frame. Neverforget it takes 3 to 5 frames to glimpse a drawing. To register aquick-gesture takes at least 10-12-14 frames . . . or the audiencewill miss it. So, think animation only in series of frames ... in pat-terns.You can check the looks of even speeds by moving your pencilback and forth across a 12 field as timed by a metronome. Youcan figure il out: at the 24 frame tick, one move across 12 inchesis a speed of Y 2 inch per frame, and it takes two 24 frame ticks tomove your pencil across 12" at % inch, etc.The pendulum pattern (1) is even spaced. The pattern occurs in legand arm movements in walks and runs. The uneven-spaced (2)and (3) change the action considerably. Fig. (2) is stow-out andslow-in, slow-out-in etc. Fig. (3) is either slow-out and fast-in. slow-out.fast-in, etc.. or it is reversed as fast-out. slow-in, fast-out, slow-in,etc,Figs_ (4)-(11) are actions in walk and run cycles of the head or body.The recoil drawing is at the base ... and when time is spent aroundthis, weight is accentuated. The creature simply cannot seem toget off the ground. When the high drawing is accentuated, the crea-ture is so lighl-weight he bounces up, floats, and scarcely touches theground. Walks with character usual ly have certain uneven-spacing.Figs. (4) and (6) are for heavyweights, , . and a light-weight deerwould bounce and float like (5) and (7). Figs. (8)-(9) are usual in awalk or run on a pan. Recoil is bottom, rise to lell mid-way up, highon top, and contact mid-way down on right Any of these four posi-tions can be accentuated in timing to create character. In (10)-(11)the head or body and head are moving Irom side to side in the walkor run action on a pan. Reverse the direction on these or (S)-(9) andyou get different character.Often the best way to move is simply in a straight-line as (12)-(14).And all patterns may be better evenly spaced.Figs. (151S) occur in hand-arm movements in various accents.Fig_ (19) happens in live-action constantly. A hand and arm movein an arc and suddenly jump to a different arc as the result of anotherbody action accenl, or jerk, like a kick. On Fig. (21) a hand and arm,or entire character, comes back in anticipation, moves last, thenviolently stagger-stops. Figs. (22-25) are some of many staggeractions for takes, stops, collisions, crashes, etc, An evenly spacedseries a t drawings can be a stagger-action: '-10-2-9-3-8-4-7-5-6, etc.


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ACCENTS-BEATS -SCENE TIMING. , il L _l t . .. I - -AlL I 1 1)0 - I-- [!> I f.lAV- - ; - 7 Y 1V . , Bvrl/wl IfVN- I-CSRY ISOMe rra --

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B l O A T SD I A L O G U EA C T I O NE F F E C T S

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M U S I C

A STOPWATCH startsand stops with the pushof the button The ani-mator thus t imes his act-ing to plan 1M amount01Irames lor each action.Some watches have 1001-age scales, A secondhand of an elect ric c lock,the metronome. or liveaction lilm research canalso be used fo ' scenetiming,

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The STORYBOARD and SCRIPT are thebuilding plans like a blueprint, and on thisfoundation the film is constructed, Eachscene is described in the script for pictureand for sound. The scene title descr ibesthe characters. sound. and the type as aCLOSE-UP, MEDIUM CLOSE-UP, ME-DlUMSHOT, MEDIUM LONGSHOT, orLONGSHOT. The transition from thescene to the next is described as: CUTTO, CROSS-DISSOLVE, FADE-OUT,FADEIN, TRUCKBACKTO, TRUCK-DOWNTO, WIPE. IRIS-OUT, IRISIN,or an imated metamorphosis. Layout draw-ings based on the storyboard are made ofthe background and key character posi-lions, Dialogue and music is recorded anda f ilm-edi tor "reader" measures and wri tesdown the exact frame position on theBAR SHEETS and EXPOSURE SHEETS.The music or BAR SHEETS plan the pro-duction timtng of all the scenes into a film.

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The EXPOSURE SHEETS plan the anima-tion production timing of an individualscene, Every frame, foot. and scene hasa number. Every music beat. action ac-cent, word sound, or any timing detailhas a number, For a drawing to appearin "sync" with a sound accent. the draw-ing should be exposed 2 or 3 times be-fore the sound. Many animators do this.but the usual way is to simpty animateexactly to the same frame as the sound.then later shi ft the entire picture film, 2 or3 frames ahead of the sound track duringfilm editing. Sound accents can be "hit"by any radical change in picture timingThis mean s sud den sta rts as we II as sud-den stops, jumps. and action reversalsor freezes. Sudden slow spacing or sud-den wide spacing in a continuous ac-lion can accent a sound. And, think inseries of frames , you can't see any-thing else.

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Accents on walk and run cycles comeat the recon-bottorn or high point draw-ings, Most action and dialogue can beon 2's. When the action is fast with widespacing use 1'5 10avoid 100 wide jumpyspacing. The 4 cets over the back-ground in cartoon films allow 4 actionlevsts. Also, parts of a character can moveon one level (12A-E), while the other partsare held on the next level (12). Don ' t doanything vital in the first 5-6 frames ofa scene, and important dialogue shouldnot be there, TV Bar Sheets as abovehave a foot (16 frames) per bar, The-atrical music-bar sheets vary in barlength to fit the music mood of the film.Dialogue and music is planned in Ihesebar sheets by stopwatch, Music isthen composed and recorded with dia-logue and the scene timing may haveto be adjusted to ttt. Adjusl & changeis constant in fi lms.

PRODUCTION #34 THE LOST KITTEN

SCEIiB S. CLO SE-UP GIW iSHOPl'ERG .r as al \o pp er s in gs t o o ff -stage Kitten ann Ducklingw ith fl our ial\ a n~ s piri t.JWlPII for joy.

(CUT TO )SCElIIiI ". LONG SHOT - GRA SSHOPPEII.D U CK L IN G A N D K IT T El l'

Duckling an~ Kitten lookat Gra~sbopper who becomessQbdued an~ serioQa as helaments in song.Kitten and Duckling locksadl y at eacl \ o thar .

( T RD C lC D O I( I I TO )SClilIIB S. M ElH tlK SHo T - DUCKL IN G a : SA D KUS I CGW SHOPPEII. A NII KEA D OFKIT'l 'E lf DUCKL DIG 1( fa lt er in g s pe eC h)Duckling sadly gulp~, speaks,

and then sheda a tear... ..An I I'1IlI\ung ry wipea eye with wing right now.,gulp too Grasshopper turns toKitten shakaa his head in

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G RA SSH OPPE R SIN GS:( t he b lQ es J HQt I'm hun-gry B om e t im e ~ ik e n ow .

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CYCLES - PLANNED ANIMATIONThese CYCLES are from my other Foster book.'Carloon A.nlmatlon," #26. On a pan scene,when the foot is placed on the ground i t moveswith the pan moves, as IMose indicated below,These moves are related below to a stationarycenterline. The body and all the parts move inpaths of action; these are the usual pat terns. .The action can move in either direction. As inHfe, cycles have countless variations.Exaggerate or subdue an y position or move.

Never move a character without acting ming. Bring out a gesture, mannerism ormood in' every cycle. On page 30, two cbelow are oombined ina double-bcunce-sNotice the cocky geslure at high points.readable because it is a series of closelyed drawings. Then no time is losl in goinopposite slep gesture. Funny walks can "ma fi lm. Girls move with a dist inctive arm-mannerism (see page 39).

L.IFT

WAL-K-

HIGH CONTACT

DOU9'LE80UN:1OWALK-

STRIIT-

SNEAK-

PLANNED ANIMATION is a system of combining animation melh-ods and planning the re-use 01 this art work in many scenes. It isused to produce the considerable film footage of TV cartoon series,A change of pace results from the use of full animation in critical ac-tions of the story, and the use 01 limited animation in dialogue withbursts of full animation for important gestures. Animation, back-grounds with overlay backqrounds, and camera fields and trucksare planned for use in many combinations. This production workthus gets much more "mileage," So, plan your lilm.CYCL-E ANIMATION as the above can be put on long eels thatallow 12" on each side of the drawing. Such animation can be usedas above in tile field center with a moving pan as the background,The same eels placed on moving pegs can move the characterthrougM a still background scene, Or the same eels can walk into an-othe r bac kg round. stay ce nte red as the bac kg round moves.and then move out when the background stops, And, on the threeother cellevels inthe animation scene, other cycle-characters can moveat a different speed, in any direction; and plus camera moves.

LIMITED ANIMATION is based on dividing a character into as manyas four eel levels: and a dialogue system as i llustrated, It is especiallyadaptable to the type of character on the other page. The dialoguesystem often is more elaborate. as 7 heads up-down, and 7 headsin a sideways move, all around a centered head. Laughs and gig-gles are allen animated by a laughing evenly-spaced up-downseries 01 such heads in a stagger-timing on the exposure sheet.Dialogue head-series can be fitted to a body cycle walking on apan background A bottom peg camera device moves the pegsup-down to fit the walking action. (Note: body action peg-holes areadjusted.) Head's can fit characters in a vehicle on a pan: and, thisentire action bounces on the rough road using the same deviceattached to the bottom peg bar. Such mechanics are endless.ANIMATED CUTOUTS can be added to full or limited animationeels. After the eel is placed on camera, the cutout is placed over orunder the eel according to a few dot guides on eel. For example:An elaborate line-engraving of an antique auto is cutout and placedunder a series of eels Ihat animate the wheel action, dust, smoke,and characters sealed in the auto.


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'> . " ~~~~;_ ..~.~ , ,_: : , ; : M ~ : : ~ , ! ~ ' M " ' O ; ~ : c , ; ; : t " ' : ' " : ,,nto parts I 9 charactersse parat ,,,,"" we," '0 ~examples of~;:I~ere are '.' .-'. .s,ons possible T any a,vi - - -set of charaet . he same --used in manyesr eels can be : ' I l l ' . . , ' :cenes.

DIALOGUhead move~ i~YSTE Theaction u a " light noddrawings lP t~ ~d dow n inhas a series f - Each headdrawings Ih~ 4 to 7 moutl1cel level ab work on theThus Ihe hove the head.many timings ~oad nods inof d lafogue. r any amount


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." :.-'wier/' " f " ' > r r t , . , , . . . 5. 'n 'f "T n'f'i '!FORESHORTENING - PERSPECTIVE

Perspective gives animation the dimen-sions of depth (toward vanishing points)and foreshortening (toward the eye ofviewer). The horizon line is the verticalposition 01the eye of the viewer.Thedis-tance between the two V.P. (VanishingPoints) is determined by experiment.The closer Ihese V,P, are togelher. thegreater the distortion and loreshorteningof the object. Oraw a box shape of per-spective lines and construct a characterin this framework like a sculptor chiselsa 3-dimension mass Try ditlerent hori-zons and V,P. spacing Then. plan anentire action within such a rramework.Study the foreshortening in the aboverevolving cylinder,. and notice how itapplies to every line on this page, An-other point: The different sizes and ioca-tions of the same srze-reiatec objects -J--creates depth and foreshortening. For -......"example: the big. medium. and small ".gnomes running, and the two hands ....----'"""';......_,l.t"fand feet of the pursuingogreo

This page is based on 2-point perspective.~.The vertical lines in the box guide lines are .. \.parallel, and there are two vanishing pomts. . 'For B character of great height 3-point per-spective is used in which the verticals con-verge on a third vanishing point. Heightalso is accentuated by lowering the horizonline vanishing points. Thus the drama ofanimation is heightened. A giant is morefrightening from a worm's eye-view. Per-spective can create a normal 3-dimensionor it can be distorted for dramatic depth,height, or foreshortening, The musiciansabove illustrate foreShorteningin the legs,arms, and hands. Such perspectives occurconstantly in cartoon character acting anddialogue gestures. Learn to draw handsfromevery angle.To help you, here is a tor-mula. A box shape hingesfrom the wrist upor down, The arm turns it around, The ballbase 01thumb fits on. This thumb base isaccented in cartoons. Notice little straightlines in all these drawings help define per-spective.

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,-------''1-'' < $CAMERA q . . TECHNICAL

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EXPRESSING AN ATTITUDE

Gestures. mannerisms. attitudes of posture. outbursts are alanguage of animation that speaks emotions, and reveals char-acter through your drawings. As our art developed, the comicanimalsand people began to "think" and have predictable char-acter. most of it hi larious. But later in Disney features, theanimated art reached a high pointof moving people 10teers.The animatorwas now a "real" actor, There are rulesfor actors,Never move or "freeze without meaning, Hold a gesture aslong as possible to let it register and sinkin.Don't ovsr-qesture.

Animation is a calculated spacing of cartoons. thatcan bringgestures like these to life. Each of these gestures require: 1,Related animation acting into the pose. 2. Overlapping actioninto and out Of the pose. 3. The subtle animation of the pose,or a "freeze" with dramatic meaning. In animation never goanyplace all at once . unless there's a reason, which isn'totten, Here are three classic animation patterns, the bear"double-take" . into pose, the mouse"take" into pose, andoneversionof the great "slow-burn."

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EMOTION-GESTURE - REACTING

Start with the emotion. get inside the character and act it out.and then sketch the sweep of the booy-arms-teqs-nead. Ex-plore every tilt and turn of the head and the expressivehands. Make everything work for you , , . ears ... tail , hair... legs-feet clothing,etc. Forthe actionmakea few thumb-nail sketches. and a little script. For example: Dog (with redhat) sneaks-in. stops in forward crouch, big eyes look side-to-side, raises body erect. hand followsthru slowlyto lips (showconspiracy). into pose slowly, earsand tail ovenapin pose.

In the "take" of mouse above he sinks into an anticipationcrouch or contraction that is always brief, then springs intothe stretch expansion (also briel), then in a scramblehe revertsto normal size look This reactionhas wiGeuse in animation inmany forms. It can be reversedwith stretch first. then crouchcontraction,then into look.Actions havedrawings like bear #2, slow-burn#2, that need tobe prolonged with close adjacent drawings, or held. The bearcould blink, and #201 burncouldmoveback furtherSIO'My.


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DIALOGUE EXPRESSIONS - POINTERS

POSE ACTION POSE-

eACCENT ONSTOP 01=ACT!ONG )ACCENT ONSTART OFACTION

ACCENT ONCI-+ANGE INDIRECTIONThe lil t-angle at which the head Is held, where the character is look-ing, and the movement of the head in relation to the body createsan expression as well as the facial features.The simple tilting of the head into a posture related to the facial ex-pression can convey a broader emotional range,An example is TV hand-puppets that operate on a tilt and body twistalone without the benefit of accurate phonetiC mouthing or any facialact ion whatsoever to convey many emotions, Acting a hand puppetis excellent dialogue research for an animator. as you learn how just alive degree change in tilt can convey a different errotton.Many ti~s or head turns are gestures in the action, as a nod is foraff irmative dialogue. and a shake sideways is for negative doom, Acertain jerk points to another character, etc,

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An actor-animator has an enormousrange of expressions that move on hiface. and he studies these in a mirror ohis desk,Every expression is based on four factorsthe eyebrows, the eyes. the eyelids, andthe mouth-cheek area, All of these affecthe expression, and you have to get eachand all of them working together.Many expressions are not symmetrical, ,both sides are not the same _, . and thedon't have to be- A symmetrical expression can change in your animation to anon-symmetrical look with dramatiC effect.The animation principle of contraction toexpansion to normal, or expansion tocontraction to normal is very importanin facial action _, . and effect And overlapping action of the four lactors canimprove many actions. For example: aeye blinks (contracts). opens wide (expands) and then goes into normal posefol lowed in an overtapping action by theeyebrows and then the mouth-cheekexpressions, The face is a cont inuousoverlapping action of contraction andexpansion.Make a cassette or tape recording of thediatogue to play and study when animating. Then, mouth and act-out eachphrase and sentence many times beforedrawing the act.

ACTION

ACCENT ONCHANGE INSPACI NG- FASTfR.

ACCENT ONCHANGE: INSPACING-SLOWERAn accent in dialogue action can occur at an action start or stop,any change in spacing, and any change in direction.AccenI the start of phrases of dialogue as well as the loud soundsinthe nack. Divide the dialogue into phrases of action and expression.Remember, however, that often one facial expression should dom-inate an entire scene to effective ly advanoe the plot, and say morethan the mere words.A s shown above, when the hands and arms gesture the dialogue, thehead til ts to balance these moves in the opposite direction. This re-sults in an ovenapping action and follow-through that can improvemany dialogue actions, The action above could be saying the dia-logue on the opposite page. You lit il, A to B is "Al l of the boys," andB 10C is "caught a fish." B is a pose accent for "boys," and C andspacing accents "fish,"


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MOUTI-I ACTION - PRONUNCIATIONm p b_-- f vn t d 1th tft

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wh-w

aa PRESTON BLAIRkat a f I s hcaught a f i s h .

til kAniJllated Nouth .l,rr anllement - I I . . _ " ' - 'o - l - a - v - e - b - o - i z - o a e i f ! e i s hcnbetweon drawing \.._ Jw~p in sizeThe animator creates an illusion of speecn . , , o r an imagebased on realily Ihal is believable. Real moulh action isanalyzed by phonetic science and Ihe pronunciationalphabet guide after every word in the dictionary, And,your own moulh ac tion analyzes,When you pronounce "all of . '.. " your mouth shapes thesounds 01av , . . The a in all is like b-ough-t or like c-augh-!, or an o, While the 0 in of is an Italian a like f-a-r, I-a-tner . English is irregular,A lamous example is I-i-sh. These language sounds areactually spelled "ghoti " in the sentence: "There's enou-ghwoo-men in tl1is na-tl-onl"In the phonetic chart above, the Italian a is formed at thebottom middle of the mouth, the i at the front-top, and the00 at the back-top, These are the vowel extremes. Con-sonant w is an extreme 00, and y is a continuation 01 l.The chart is a path you tollow.The phonetic i is really two sounds blended. a + i, Andlikewise u is i + 00, Mouth it. The word "f-ew" very ac-tual ly analyzes the sound u for animators.Americans mouth r as u, A Scotch r is like not-d.PhonetiC science every animator should know is that m-n-ng are nasals and sound comes at this mouth, butp(unvoiced) and b(voiced) are explosions of m and thesound is after this mouth. And, I-d are explosions of n,and k-g are explosions of ng(a sound without a Ietter) ,

The dialogue is entered on the exposure sheet by thetrack-reader. The sound and volume of each frame isindicated. The mouths on the exposure sheet here area guide and are not usually put on the sheets.Mouths fit the character and rnood. Often a cartoonmumbles out of the corner 01 his mouth, and all the dia-logue is a slight variation of a gesture mouth.Study your mouth acncn in a mirror , .. the general flow01 shapes through a sentence. Your mouth blends andconsolidates vowels and consonants in a continuous move-ment. The faster ltle speech, the more blending , , . untilan entire sentence is mouthed as just one word.There is simply a speed limit. Animation that passes thisl imit chatters unrealisti cal ly, destroying the i llusion, This iscaused by too many jumps from side to side in the abovepath. Don't get jumps to close together, or too manytogether in the exposure timing, And, get jumps beforevowels when the mouth opens.Important vowels are treated like a pose with plenty ofdrawings to make them register.Many mouths in your action can be influenced or modi-fied in shape to fit adjoining mouths, and thus a smootheraction results. Many characters cannot pronouncewords with all these positions on the chart (like f-1), andmany gestures limit mouth shapes Just draw in the direc-tion of the right mouth (blend).

Loud - Full Volume

i-e-a o-u

DIAI..OGlU. 0 ' 1 . . . . S1 IJ a I3 . '~ lAW 4 ~f I.~ :;> 7~ -< < r L l /0 .st~ 2 h1. . . . ~ 4 7IS~ 'i!F 7qv 8 _9I rf.j ~ ~ /P1~ E 2 L/I-q;v /24.. ~ I; L;?7- "B L/I-9. . . 1/~1- - - . . . oy 2 /b3.1IIIf_ > /7~ 5~ 6 / f:'7~ 5 /99~ C 'to '1.J:;1- - :;:~AW 2 ~I~ 3- - - . . 4..-29'5_ _ . Z~~. 7

~ T .2--qpo- ,",0 .2-5I2


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FOUR-LEG ANIMALS

This simplified skeletondivides the animal body intothree sections. the forequarters. the belly. and therearquarters. Notice that all .these joints with theshoulder blades and hipfcrrn have.to be defiFledorsuggested in your drawing, After'first tocafinq thesepivot points then proceed with .vour drawing.,Makelegs irregu~ar.nottoo parallel.

After establishing the body shape and sweep. seta center-line or backbone. and mark-otf the threepoints below, then lit or weave the parts togetherwith the body rhythms. The legs told-up andstretch-outwith the body all based on the action ofthe Pivot points in paths of action. Characters withtheseanatomicalelements can seem "real."

Oogs and deer run with Ii rotary gallup, and caand noeses . and most olher animals, run withtransversegallop, The opposite front and back leleads in dog-deer runs. The same front and bacleg leads with horses and cats, In any run the leor fight fronlteg can lead, so. there are two versionof everyanimalrun in this book .. , just reverse leg

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A walk cycle is two steps. In animal walks, theback legs are usually 1/ 2 step ahead of thefront legs - as with the horse (and pup onpage 39). The dog's back feet are 3/4 stepahead here, but could be 1/2 step. Elephantback leet are 113 step ahead here, but 1f2 stepahead in the amble-walk, which is their fastest.(Elephants can't run.)

When animating a walk, think of the back footooming forward and releasing the front foot torise, This is the front foot on the same side.The back foot never releases the oppositefront fool to rise, which is a common mistakewilh animators and illustrators. When the ani-mal baoks up, i t is the same, only in reverse.


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---------------------------- ----- .-.COMPOSITION-STAGING

ARRANGEMENT FOR DRAMAThe drama portrayed by the composition firstcatches the eye-then, the composition directsthe eye to the center of Interest by various de-vices. The characters as above may bend towardand look at it. The abstract design may: point atit, intersect it, Irame it, circle it, or bend aroundit just as parenthesis ( ) do. It is accented bycolor difference, contrast, or tone. It is clear ofdetracting detail (see duck), and isolated. Itmay batance the composition in importance.

Compositions can balance like a scale with equalweights (areas), or as a balance of interest Asmall object of importance, and isolated, canbalance a huge object.Characters are fitted and woven together in agroup, with rhythm lines and straight lines thatalign, and areas that f it in patterns.The alignment of character abstract l ines createscircular and curved rhythm lines and the hori-zontals, verticals and diagonals.

The viewer's eye level is important when he looksat grandeur or big monsters from a worm's eyeview-or down at small things all.Appreciate the value of S lhouettes to defineand clearly tell the story in two dimensions. Evenin groups they deline al l alone (above).Of course, there's a time and place for three di-mension foreShortening and perspective to givereal ity. Then, you have to define with uncluttered,simple, good drawing (a big order) .

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G I RLS move in a distinctive manner due to balance, The knees andelbows tend toward inward arcs in action. Typical is a throw with theelbow in. and almost a push in the release. An athlete swings theelbow wide in a whip release throw. When the leg lifts the foot off Iheground. the hips tip as this support is removed, causing a chain reac-t ion in balance in the entire f igure (right). The chest an d hips should beanimated with perspective guides, just l ike the head. All three are in aconstant state of t ipping in balanoe (see page 39). AI left is torso for-mula. The rhythm sweeps (above) are of vital importance to creategrace and beauty. 21


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C OM PO SIT IO N O F P IC TU RE SUnder the real ist ic surface of every pictureare abstract princ ip les 01 composit ion tnatare the structure and the toundatlcn onwhioh the picture is built , that a.e the dacora-tive pattem of the picture, and that are themeans of telling a story or expressing adrarnattc mood, Thus composition has atripte function,The abstract pr'inclples are:1, The varied principies of balance2. The entrance and exit o f the eye3. Circular and rhythm composition4. Angular compcs~ion5. Units-groups-the figure in tandscape6. L ight , shade, and colorArttsts operate intuitively with composition,Many draw without the power of knowingcomposition principles they use, Theydraw without recourse to inference or reasoning. and with a kind of innate or in-stinotlve knowledge of composition,Thus was Michelangelo, Leonardo da Vincicomposed with knowledge.

STILL BACKGROUNDS- TRUCKS-FIELDSThis #12 field scene can have 4 cel levelsand a number of overlays. The distanthills could be the background. and the tors-ground inn and tree could be two separateoverlays, They could separate during atruck-down to give depth.A truck is indicated as per field center 10 'cation on chart (page 13). . j ust like amap nls and wle. On a section of thechart at actual size below, the truck illus-trated is charted. This truck is down (0.up) between a #12 field at center (C.) anda #4 field at a center point that is 3 fieldssouth of center, and 3 1 - 2 fields east of cen-ter (#4F.3 5 . - 3 1 - 2 E,)The path of a truck can curve or evenstagger. The field can tip to any degree .,or tu rn around, In th is seen e the fox cou I drun up the road . , , up the hill .. , past theinn. . and Into the foreground . intothe camera. or reverse, followed by acurved truck from a 3Y 2 to 12 field .Truck moves are usually even spaced onthe charted path (in red), with a slight slow-in and slow-out, But, to help you graspthe meaning of trucks and fields, here isa truck that is figured to appear on Himabsolutely even. Each move reduces thefield by the same percentage, The fieldslook like the framework of a house. Evensteps down the road are in Ihe same con-figuration. Use diagonals as shown to 10'cate such positions in perspective work.Now, when you animate in these fields,you can see that the same space-move inyour animation art will be a differentlength and speed in each separate field.Let's say you have to shift gears for eachfield, The same pan move is also Slowerin the larger fietds, and faster in the smallfieldS.

... 5

6

T HE C EN TER O F IN TE RE STAn understanding of composition prrn-clples is highly useful, even necessary toan animator when he moves and posesthe actors in the stage set. The animationis the center of interest in the total picture.In all art there are abstract elements thatsupport and point to this center. A classicexample Is Leonardo's "Last Supper"with al l the d iagonals leading the eye 10thecentral figure. The abstractions of the foxand racoon l1ere fit, and take advantageof, the circular rhythms (red) and theverncal-nonzonral-diaqonal composition(blue), So, watch the perspective in the setas the actor moves (with meaning), and"play all your cards."As the camera trucks down and a.ound the# t2 f ield scene above, the smaller f ields thatresult have different compositions. . withdifferent abstract patterns . and theanimator designs the animation to fit ..keeping the animation "the cents r of in-t~rest"


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PAN BACKGROUNDS - OVERLAYS -CELS- XEROXThe bear and racoon in a walk cycle ani-mate through scene to lett, The pan back-ground (top) moves to right under bear-racoon tong eels. Above these cets anovertay background of the large tree movesright at twice the speed or spacing of thepan background. Above the tree overlay,a second overlay background moves rightat three times the speed of the pan. Thuslhe scene is given an IIIusion of great depthand distance. The variations in pan over-lay speeds are based on actual perspec-tive moves,Backgrounds can be several fields in length,Or, a cycle background is planned withthree or more fields like the first and last fieldpainted exactly alike .. thus the back-ground can be jumped between thesefields ina cycle.Cycles l ike this bear and racoon that movethrough a scene are on long eels that allowa lull clear field (not indicated) on eachside of the characters, I f a drawing is usedin only one peg position. it is usually puton a Singlefield eel.In TV planned animation many scenes aremade trorn this artwork, Other pans areshot at smaller fields, Still scenes are madefrom sections 01 the backqround withother overlays, Other animation is used,The bear and racoon cycle walk throughother backgrounds.Overlays are cutouts. or the paint ings aremade direct ly on the cel with viny' l-acryt icpaint This warer-oasec paint adheres '10acetate, and is used in all animation 'celproduction , and in artwork As shownbelow the back d t the animation cal ispainted witl;l this opaque ,paint. Originallythe drawings were'lrac~d with p e ' n or b'rushon the front of the cet with acetate inks, 'and many films are still made this way,Xerox equipment is used to transfer mostanimation art to eels using fumes insteadof heat 10 fix the image on the cel. Twotypes of Xerox are used. and the anima-tor should know what each offers ... as heshould know what the animation cameracan do, (1) The original Xerox hand-oper-ated bellows camera offers both enlarge-ment and reduction, It is used for both cetsand backgrounds (2) The Xerox 35mmMicrofilm Unit is fitted with 35mm projectormechanism, The drawings are photo-graphed on film by an animation camera.and this f ilm is used to mass-produce eels,Thus the rotoscope is obsolete, Trucksand all operations of an animation cameracan be done by this versatile xerox,

o


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R~YTI-IM +DESIGN IN CARTOON ARTH ere is the se cret formu Ia behi nd the appeal and cha rm of great cartoon art. Eve rya rtist has inst inets and i ntu i tion tha t Ie II him thE lse th i ngs, Here is the abstractdesign basis to help you,

The basic 'S" curve of rhythm. and the cpposite ares (next) have great valufor your drawings. Learn all their values, .. like "the value of a straight line"many drawings fail without it

THE "LINE-OF-BEAUTY" CURVE AND VARIATIONS THE STRAIGHT LINE BECOMES ANGULAR DESIGNS GEOMETRIC SHAPES ARE BASIS OF MANY CARTOON

Rhythm lines (left) are often broken andthey may jump between parallels . A seriesof objects or spots can create a line.Opposition of lines is impor tant . Vert icalsoppose horizontals. and angles and arcsoppose (above). The rabbit and elf areexamples of opposing arcs or rhythmc u r oe s , Accents in lines occur at breaksor intersections by other lines or objects,They add to design interest and cutmonotony.

Repetition of lines ind ifferent parts of cartoon adds contrast 10 oppos it ion linesUne 01 Action is sweep of basic formsfrom legs through head. Weave theseforms together to give rhythm and move-ment. Contrast of lines helps designVerticals. d iagona ls, and horizontals withangles contrast and oppose rhythm curvesand arcs, Geometric Shapes snooto bin snarpconnast for design and charac-ter del i ni tion.

2 4


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, 17.....----------


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A DANCE KIC KT HI~ D AN CIN G G IR l. R IS ~S F RO MA T W 1 Sr ~~ E (I)'AND mps(r3)INTO A DANCE-KICK(Z"'3r)TJ .IE N INTO A BAG K -m P A ND


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BALANCE - + TIL..TIN MOVEMENT

The Center of Balance l ine tips forward in a forward movement in pro-portion to the speed of the action.

i,However. characters can run leaning backwards. And. the balance linecan be a curve in an action (in any Slant).

/

A thrust in any direction triggers a chain reaction balance in the oppo-site direction with a speed in proportion, These balancing reactions need not be simultaneous to the thrust ac-l ion. , , or to each other. They may be overlapping,

~ II/./

A thrust in a circular swing tliggers a corresponding swing in reactionon the opposite side of the circle movement. Thiscircular path of action can be horizontal or tipped to any diagonalangle, ,or it can be a vertical circle,

As either the chest or hips twist with a thrust, the other will twist in theopposite direction in a balance reaction. Thesebalancing reactions need notfollow the thrust. they mayprecesd,and move before and after the thrust of action,

tn a walk or run the hips sag with the leg lifted. triggering a chain bal-ance reaction in tilts of chest, shoulders, head, The arms swing higheron relaxed side, and lower on the otherThis action gives weight to heavy giants or large animals wilh a pon-derous crashing gait. II is not typical of closely knit athletes, The result-ing hip sway is a typical girl move,


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In a pendulum balance the arms swing asa reaction to the thrust of the pendulum legaction of a walk Of run, The extreme 01thearm swing is not on the leg contact draw-ing but on the recoil. The leg moves backand straightens in the push-extreme. Thearms move forward in a lower arc thantheir return, as a balance to lifted teg,

A vertical thrust, up or down, can create avertical reaction. This action is very im-portant in dialogue moves of the head andarms. and in anticipation action drawingsof a hunch-contract ion into a thrust. If theleg lifts the head and arms react by lower-ing. In a heavy cratt-borse action the headlowers as he lifts leg in a pulL

The baseball pitcher goes throu gh anelaborate balancing act as he lifts his foot ina wind-up before a swing that has beenexaggerated in foreshortening. As he startspitch the arm is delayed to give more vio-lence to action, Single drawing draftsman-ship is thus abandoned lor draftsmanshipof a serieswe see in less than a second.

I1 1 ( ] ) )2 9


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ARCS-CURVES-PATJ-IS 01=ACTION

A character moves in palhs of action Ihat curve orgo straight If a drawing is placed in Ihe action thatdoes not fit the path, or the spacing plan, a jitter , jerk or unreal action results. You don't need tochart all the paths; you can see them when you flipthe draWings. The degree of arc in an mbetweencan improve an action, or stunt it.

Experiment with the degree of arc in inbetweens.Wil l the gir l action above be improved if a drawingbetween #1 & #2 dips lower in a crouch ant icipa-tion than the path indicates? . and a drawing be-tween the high #3 & #4 was higher? ... and draw-ings after # 7 lower? Think like this. . experiment.and flip the drawings to find if you were right.

- . . . . . .OOA()e-eI .EAD-IN Y.__. B FOLl.OWACTION i. ' " 'Q ACT. . . .' "~B'8_'';00A,.' BLet us assume you are about to put a drawing inbetween the above circles A & 6. It is absotutely Imperat ive that you consult the drawings going intA . and out of B. Gel at least two prior drawings ana following extreme to check. There are two thing10notice: What is the right are, if any? Is the drawing exactly inbetweell, or nearer A or B accordingto the progression of drawings? This is ARC an

SPACING. And then, experiment! You will learthe tr ick of taking drawings off pegs, shi fting thextremes so details coincide closer; then, placingthe corners of your inbstween paper between thestwo shifted extremes, and making an illbetween omuch easier terms than the pegs allow. It is besto make a light mechanical drawing between linesno matter how crude. Then, correct the drawrnq othe inbetween. flipping all the time.

IZ 13 15 16 17 20 1D OU B L E - BO U NC E S T RU T


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THE WAVE

Rhythm In animation acnon IS nasec on theWave Principle. The "Line 01 Beauty curvetlke an S " animates as a wave mto theopposite "Z" l ike shape an o back Thewave is pushed or manipulated Irom ertnerside to the opposite side.

PRINCIPLEIZ5~5

123'15The nrst three d l ag rams above are '-waved"lrorn the base. and the lourth trom the lopSo be sure to "wave" rhythm In the fight direc-lion. The horse 'waves" the cowboy aroundi,ke a flag. The principle applies to all animatedcurves.

In animation we nuud from the lirst draWinglas horse). and stan a cham-react ion of rhythmlines -wavlng. Use secono orawlng as agUIOe and when you get there revise II. so IIfits your series "wave" proqression and proc-ress ot anatomy

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.,.-. ..-._-,-----------------------------DELAYED SECONDARY ACTIONS

A----B B

2

Get Overlapping Action whenever you can, That iswhen animating a character from one point toanother , don't go there with all par ts of the characterat once. Instead. arrive late with Delayed Secon-d a r y Actions as illustrated on this page, Always geta good Follow-Through on secondary loose mov-ing things, like coat-tails, hair. ears. tails, etc, In thesquirrel action below, the feet arrive first, then'thebody rises. after this the arms could arr ive, fol lowedby the tail.'

The double pendulum action above illustrates apnmary action of the dark circle from A to S, fol-lowed by two secondary actions of the pendulums,The principle is applied in the action of the doggrabbing a butterfly with the primary acuon of hisarms. His hips and body are similar 10 the toppendulum, and his feet and tail are secondary torus hips, as the lower pendulum diagrams, The prm-ciore is also at work in his head which pendulumsfrom his arms, and ears pendulum from head

Delayed secondary actions are ettective on put-hng life into poses and holds. A chain 01 panscan arrive late at difterem times. in different tim-ings to take the curse oft any held drawing, Then.various parts, like the eyes, can "telegraph" the nex tmove in secondary actions that preceed. Thuslimited animation for TV can become very ccnvinc-ing. This is not economy animation formula,however It is based on life, Nothing moves inequal compartments of all parts in unison.

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ANTICI PATION/ ACTION/REACTION

ASTART AT A DRAW-BACK MOVE dO PAST"B

RBACK TO B

An action like the swing a t a pendulum is a movebetween two extreme positions. An action draw-ing 01 the pendulum in center position has littlevisual value to depict the action. II is the extremepositions 01the pendulum that depict acnon .and measure it too. The first extreme is antici-pation getset, wind-up, pull-back, contraction-crouch.or rise,pull-up (thelatter lor a down move).The other second extreme is the reaction-recoveryfrom the move, either a crash or a stretch and set-tle that may vibrate.

The slightest move in any direction may be rein-forced with a move in the opposite direction intoan anticipation before the act ... and then a re-covery process. Here is a trick 01the trade: Thecontact drawing is of such l it tle value, i t is betterin some actions as below to eliminate it entirely.In a golf swing we eliminate the center drawingof the club down hitting the ball. In a footbal l kick.skip the foot contacting the ball. etc. The er-teet of the trick is a crispness of executionbecause you never see it.

In the actions below we never see the rabbit con-tact the bulldog or the woodcutter hit the tree, Thisisreally not a trick, it is a ~ming exaggeration. But,real tricks l ike the magiCian's slight-ol-hand arevaluable to the animator. Called a "take" theyare used in situanons like drawing #8 of wood-cutter. His axe fits action simply. . the truth isa quick confusing twist on axe. When an ac-tion is concealed for a flash , . or when a quickmovement looses tne eye, change legs, hands,or any awkward situatiorl you are in.

3


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-

SPEED - FAST ACTION - IMPACT

"'-BACK TO STRETCHANTICI PATION SHAPE

In fast action the character stretchesand then goes into a blurr effect.and even disappears for a trarne..then reappears at the objective a~above. Or, multiple images speedthe action. '

As shown in elf, multiple images ofa last moving hand (or leg) carry.the iffusion of the movement bet-ter.A fast moving leg or arm pass-,ing the body is thus an image on~ach side,

IMPACT as speed is abruptly haltedenhances the impression, As shown inthe above storyboard, the bull collideswith tree on a fast moving pan. Noticethat the impact knocks the pan and treebackward, and then into a forward andback recovery, into a stop. Or, such panaction is enlarged to a stagger-j it ter ac-tion. Or, bull goes into a stagger actionafter impact.

34

SP!;{;;D ACTION CHART GO PASTOB..JbCrIV~~

- MULTIPLE-IMAGE

The animated blur replaces leg ac-tion in a 3 or 4 drawing twirl asshown. Characters explode fromanticipation out of scene wIth ani-mated speed linesas shownat fightand below.

VERTICAL IMPACT After a fast fal l, theimpact with earth is usually handled witha violent vertical jitter-stagger of the back-ground, But, the classic impacts ln greatcartoons have also incorporated ani-mated repercussion effects in the back-ground . of distant rocks rising andfalling from the shock-waves, Other greatimpacts have created animated cratersand smoke

SPEED EFFECTS Clouds of dust-smokeare stirred-up by the speed of the bullchase, Speed line blur-effects follow oftenwith fragments of double-images in-cluded. As such speed goes through aquiet still background, all the grass andtrees are sucked in the direction of thepa.ssing tornado, These special effextsinvolve animated backgrounds-suchare classics,


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WEIGHT - RECOIL + - EI=FECTSeetNORMAl.SIZ5 STIC5TCI-l,7

,DISTORTION~RI;COIL-SQUA9H \:~. "FAST SPRING-UP

BOUNCING BALL AC.TION LIGHTWE:IGHT _ INSTANT R,,"COII.

WeighI [$ registered in animation by:1. The 'IIIiSualstruggle to move weight.2. The IOiSlllal.affects ot stopping weight.3. The IlimliTlgcaused by immobilfty-gravily.4. ChaUm-ibalancedue to types of sag.

--.:._Ught Weight is registered by:1. The spring-up with no resistance.2. The elimination of recoil processes.3. Timing caused by mobility and tloat.4. No sag. stress, strain, or squash.

The bouncing ball principle i llustrates the basicrecoil-squash-contraction. and the stretch-elon-gation that is a part ot most character movementThe elephant shows overlapping squash-recoiland strength.

SLOW ecow

FAST SLOW FAST

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- t -

+

I+

+

WALT DISNEY PRODUCTIONSThe Owl studies on page 25 are for his animation in "Bambi" of the Owl at the Ii1m'sstart, and later of the Owl's "twitterpated" pantomine speech on tove.In "PinoCChio,"Blair animated the Foxand Cat asthey lead the hero astray singing: "Hey-diddle-de-deB, it's an actor's life for me!" W.F,


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In tI1lsexperimental animation for Disney's "Fantasia." the hippo was conceived. Model sheets were made of her by Preston Btair. and he animated her in theballet. tn "The Sorcerer's Apprentice," Blair animated Mickey as he awakens. tries to stop the brooms, but is instead thrown in the vat. W.F.

e WALT DISNEY PRODUCTIONS37


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C A RI CA TU RE C AR TO O N C H AR AC TE R SThis is a model sheet lor a proposed animated TVssries 0 1 " T he Honeymoone",: Th ese a re c an ca -t ures const ructed for enlma tlon. Th e method fordrawing such carioalures is s imple. You draw many,many a ttempts unt i I you recognize the essence ofllIe character cropping up in pa rt s, and !han in wll ol edrawings_ Everyone has tltls charactef essence ofdistinction. The trick Is 10 f ind n in drawing altempls.This method Is anc ient The, S lory goes that an art is twas commissioned 10 draw the emperor 's favor itehorse - so he borrowed the horsa. Aftar severalmon ths the emperor visited Ihe arust wanting toknow ff the drawing wa s flnished. Th e artist sal


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how to animate[1]

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