BATAAN PENINSULA STATE UNIVERSITY – MAIN CAMPUS Balanga City, Bataan, Philippines 2100 Students will explore narrative for animation, focusing on the fundamental aspects of ideas generation, structure and story concepts. Animation history will critically explore the animation landscape and students will explore the context of animation, reflecting on the materials presented and how this may apply to their own practice.
2 PREFACE Welcome to the world of animation, where imagination comes to life! This module serves as an introduction to the captivating art form of animation, providing a comprehensive overview of its history, techniques, and applications. Whether you're an aspiring animator, a curious enthusiast, or simply interested in gaining a deeper understanding of this dynamic medium, this module will take you on an exciting journey through the realms of animation. Animation has come a long way since its humble beginnings, evolving into a powerful storytelling tool that has captivated audiences across generations. From the hand-drawn animations of the early 20th century to the computer-generated masterpieces of today, animation continues to push the boundaries of creativity and innovation. Its ability to blend artistry, technology, and storytelling has made it an integral part of various industries, including film, television, advertising, gaming, and even education. In this module, we will delve into the fundamental principles of animation, exploring concepts such as timing, squash and stretch, anticipation, and follow-through. We'll also delve into the different types of animation techniques, including traditional 2D animation, 3D computer animation, stop motion, and more. Through a combination of theoretical insights and practical examples, you'll gain a solid foundation in the principles and techniques that bring characters and objects to life on screen. Additionally, we'll examine the diverse applications of animation beyond entertainment, including its role in education, scientific visualization, virtual reality, and augmented reality. Animation has the unique ability to simplify complex concepts, engage viewers, and create immersive experiences, making it a versatile tool in various fields. Throughout this module, we'll also explore the impact of animation on popular culture, as well as its influence on other art forms. From classic animated films that have become timeless classics to the latest breakthroughs in visual effects, animation has left an indelible mark on our collective imagination. By examining the work of renowned animators and studios, you'll gain insights into the creative processes and artistic vision behind some of the most iconic animations ever produced. As you embark on this module, be prepared to unleash your creativity, sharpen your technical skills, and ignite your passion for animation. Whether you aspire to become an animator, a director, a visual effects artist, or simply a better-informed viewer, this journey into the world of animation will broaden your horizons and deepen your appreciation for this captivating art form. So, let's dive in and discover the magic of animation together!
3 TABLE OF CONTENTS Preface ........................................................................................................................2 Table of contents.........................................................................................................3-4 Lesson 1: Introduction to Animation………………………………………………....5 Pre-assessment.................................................................................................6 a. History of Animation .................................................................................7-10 b. Theories and Principles..............................................................................11 c. Father of Animation ...................................................................................12 d. Discovery of Animation .............................................................................13 Learning Activity 1 .................................................................................................14 Learning Activity 2..........................................................................................15-16 Post-assessment ...............................................................................................17-18 Self-evaluation or Performance Task ...............................................................19 Answer Key.....................................................................................................20 Lesson 2: 5 Pioneers of early Animation (before Walt Disney) ...............................21 Pre-assessment.................................................................................................22 a. Into the Animation world ...........................................................................23-24 Learning Activity 1..........................................................................................25 Learning Activity 2 .................................................................................................26 Post-assessment ...............................................................................................27 Self-evaluation or Performance Task ..............................................................28-30 Lesson 3: 12 Principles of Animation .......................................................................31 Pre-assessment.................................................................................................32 a. Definition of terms and classification .........................................................31-41 Learning Activity 1..........................................................................................42 Learning Activity 2 .................................................................................................42 Post-assessment ...............................................................................................43-44 Self-evaluation or Performance Task ..............................................................45-46 Lesson 4: Different types of Animation ....................................................................47 Pre-assessment.................................................................................................48 a. Traditional (2D and 3D)............................................................................. 49-10 b. Digital (2D and 3D) ................................................................................... 51-53 Learning Activity 1 .................................................................................................54 Learning Activity 2 .................................................................................................54 Post-assessment ...............................................................................................55-56 Self-evaluation or Performance Task ..............................................................57-58 Lesson 5: The process of Animation .........................................................................59 Pre-assessment.................................................................................................60 a. Theories and Principles..............................................................................61-62 Learning Activity 1 .................................................................................................63 Post-assessment ...............................................................................................64-65 Self-evaluation or Performance Task ...............................................................66-68 Lesson 6: Thaumatrope.............................................................................................69 Pre-assessment.................................................................................................70 a. History of thaumatrope...............................................................................71 b. Theories and principles of thaumatrope......................................................72 c. Types of thaumatrope.................................................................................72 d. Steps and procedure in making thaumatrope...............................................73-75 Learning Activity 1 .................................................................................................76 Post-assessment ..............................................................................................77-78 Self-evaluation or Performance Task ...............................................................79-80
4 Lesson 7: Flipbook making .......................................................................................81 Pre-assessment ................................................................................................82 a. History of flipbook.....................................................................................83 b. Theories and principles of flipbook ............................................................84-85 c. Steps and procedure in making flipbook.....................................................87-88 Learning Activity 1 .................................................................................................89 Post-assessment ...............................................................................................89-90 Self-evaluation or Performance Task ..................................................................................91-93 Lesson 8: Sand Animation ........................................................................................94 Pre-assessment.................................................................................................95 a. History of Sand Animation.........................................................................96 b. Types of Sand Animation...........................................................................97 c. Steps and procedure in Sand Animation .....................................................98 d. Tips and techniques in Sand Animation......................................................99 Learning Activity 1 .................................................................................................99 Post-assessment ..............................................................................................100-101 Self-evaluation or Performance Task ...............................................................102 Final Requirement ...............................................................................................................105-107 1. Relia model ...........................................................................................................107 References............................................................................................................................108 Index...........................................................................................................................110
5 LESSON 1 INTRODUCTION TO ANIMATION COURSE CODE: EANI0323
6 Objectives: 1. Understand the History of Animation 2. Identify the Father of Animation 3. Enumerate the 6 Early Animation Devices Pre-assessment 1. It consists of a rotating drum with slits through which viewers could observe a sequence of images to create the illusion of motion. a. Phenakistoscope b. Flipbooks c. Zoetrope d. Shadow Play 2. Ancient civilizations, such as the Chinese and Greeks, used handcrafted figures and light to create moving shadows. a. Phenakistoscope b. Flipbooks c. Zoetrope d. Shadow Play 3. Artists drew a sequence of images on pages that, when flipped rapidly, created the illusion of movement. a. Phenakistoscope b. Flipbooks c. Zoetrope d. Shadow Play 4. It was an image projection device developed in 1603. a. Magic Lantern b. Humorous Phases c. CGI d. Praxinoscope 5. Also known as the Fantascope a. Praxinoscope b. Thaumatrope c. Zoetrope d. Phenakistoscope What is animation? To animate means to give life to. Animations are created from a sequence of still images. The images are displayed rapidly in succession so that the eye is fooled into perceiving continuous motion. This is because of the phenomenon called Persistence of Vision. This is the tendency of the eye and brain to continue to perceive an image even after it has disappeared. For example, in the above shown figure, a sequence of images of a character in various positions gives the illusion of motion when displayed rapidly
7 one after another. Animation generally deals with hand drawn images in contrast to motion video which deals with actual photographs of real-world objects taken through a camera, although both uses the concept of displaying a sequence of images one after another to depict motion. Uses of Animation In multimedia, animation is regarded as an important and useful tool for communicating information. The main application areas of animation include: Marketing and advertising Staff And Program Development Training Presentations Educational Multimedia Programs Training Programs Sports Edutainment Titles Health-Care Programs Games Process Simulation Cyber Art Interactive Magazines The Internet. (Introduction To Animation - Module Handbook, 2016-2017) How animation Works In the traditional animation process, animators will begin by drawing sequences of animation on sheets of paper often using colored pencils, one picture or frame at a time. A key animator or lead animator will draw the key drawings (key in the sense of important) in a scene, using the character layouts as a guide. The key animator draws enough of the frames to get across the major points of the action; in a sequence of a character jumping across a gap, the key animator may draw a frame of the character as he is about to leap, two or more frames as the character is flying through the air, and the frame for the character landing on the other side of the gap. Once the key animation is approved, the lead animator forwards the scene on to the clean-up department, made up of the clean-up animators and the inbetweeners. The clean-up animators take the lead and assistant animators drawings and trace them onto a new sheet of paper, taking care in including all of the details present on the original model sheets, so that it appears that one person animated the entire film. The inbetweeners will draw in whatever frames are still missing in between the other animators drawings. This procedure is called tweening. Animation and Frame Rates Virtually all visual animation media uses framesa series of still images shown very rapidly to simulate motion or change. Anything you see on a computer, television, or movie screen is based on frames. This goes back to the earliest days of cartoon animation, where the individual pictures were drawn on sheets of cellophane and became known as cels, and the earliest motion pictures, where a similar technique was used with multiple photographs. TV video builds 30 entire frames or pictures every second. Movies are shot at a shutter rate of 24 frames per second, but using projections tricks the flicker is increased to 48. On some projectors each frame is shown 3 times before the next frame, for a total of 72 flickers per second which helps eliminate the flicker effect. History of animation The history of animation is a fascinating journey that spans several centuries, starting from ancient times to the present day. Here's a brief overview of the major milestones in the development of animation: Early Predecessors (2,000 BCE - 19th century): Shadow Play: Ancient civilizations, such as the Chinese and Greeks, used handcrafted figures and light to create moving shadows. Zoetrope: In the 19th century, devices like the zoetrope emerged, consisting of a rotating drum with slits through which viewers could observe a sequence of images to create the illusion of motion.
8 Silent Era and Early Animation (Late 19th century - 1920s): Flipbooks: Artists drew a sequence of images on pages that, when flipped rapidly, created the illusion of movement. Emile Reynaud: A French inventor, Reynaud, created the Praxinoscope (1877), an improved version of the zoetrope. The Humorous Phases of Funny Faces (1906): J. Stuart Blackton's film is considered the first animated film using stop-motion techniques. Golden Age of Animation (1920s - 1960s): Walt Disney: Disney revolutionized animation with the introduction of synchronized sound in Steamboat Willie (1928) featuring Mickey Mouse. This led to the creation of numerous iconic characters and films, including Snow White and the Seven Dwarfs (1937), considered the first full-length animated feature. Warner Bros. and Looney Tunes: Warner Bros. introduced beloved characters like Bugs Bunny, Daffy Duck, and Porky Pig, creating a rich universe of animated shorts. Technological advancements: During this period, various techniques like cel animation, multiplane cameras, and the introduction of color were developed, enhancing the quality and appeal of animated films. Rise of Television and New Techniques (1950s - 1980s): TV Animation: Animated series gained popularity, with shows like The Flintstones (1960) and The Simpsons (1989) becoming cultural phenomena.
9 Stop-motion animation: Ray Harryhausen and others expanded the possibilities of stop-motion animation with films like Jason and the Argonauts (1963). Limited animation: Studios like Hanna-Barbera embraced limited animation techniques, allowing for cost-effective production of animated TV shows. Digital Era and Modern Animation (1990s - Present): Computer-generated imagery (CGI): Pixar's Toy Story (1995) marked the first feature-length film entirely created using CGI, opening up new horizons for animation. 2D and 3D animation: Traditional 2D animation continued to evolve alongside advancements in 3D animation, leading to visually stunning films like Spirited Away (2001) and Frozen (2013). Expansion of Animation: Animated films gained critical acclaim and commercial success worldwide, with studios like DreamWorks Animation, Studio Ghibli, and Illumination Entertainment producing a vast array of memorable movies. The history of animation is an ever-evolving and dynamic field, constantly pushing boundaries and exploring new techniques and styles. From its humble beginnings to the vibrant industry we see today, animation has become a prominent part of our entertainment and artistic expression. 6 Examples of Early Animation Devices Throughout history, there have been numerous devices and toys capable of depicting active scenes of animated cartoon characters, people, objects, and events: 1. Magic lantern: The magic lantern was an image projection device developed in 1603. This device used a mirror in the back of a light source (originally a candle) that would direct the light through long glass slides, projecting the slide’s illustrations. Placing the slides together formed movement, making the magic lantern the first instance of “moving pictures.” 2. Thaumatrope: The thaumatrope was a nineteenth-century optical toy that featured a picture disk held by two strings. When the strings were twirled, they would spin the disk, moving images on either side of the disk into one by the “persistence of vision,” an optical illusion that tricks the eye into seeing movement long after the movement has stopped.
10 3. Phenakistoscope: Also known as the Fantascope, and sometimes spelled “phenakistiscope,” the phenakistoscope debuted around 1833, featuring spinning, painted cardboard disks reflected in mirrors, which created the illusion of movement. The phenakistoscope’s innovative experience could only be enjoyed by one viewer at a time. 4. Zoetrope: The phenakistoscope’s successor, the zoetrope was a spinning cylindrical version that presented images in sequential phases of motion that multiple viewers could watch at a time. The cylinder contained several vertical slits, which provided a mechanism for the eye to keep the spinning photographs from blurring together while in motion. 5. Kineograph: Latin for “moving picture,” the kineograph (known as the flipbook) debuted in 1868. The kineograph is a small book of drawings, with each page conveying a different form of movement, so that when the pages are flipped quickly in sequence, they animate a scene.
11 6. Praxinoscope: In 1877, the praxinoscope succeeded the zoetrope, replacing the latter’s narrow vertical slits with an inner circle of angled mirrors instead. These angled mirrors helped provide a clearer and more vivid animation than peering at the moving illustrations through slits. What Was the First Animated Film? Émile Reynaud’s Pauvre Pierrot (1892) was created by using a longer image roll for the praxinoscope, allowing for a longer viewing time. Pauvre Pierrot is often credited as the first animated film because Reynaud’s picture roll was hand-painted with 500 individual images (rather than using photographs). However, film historians argue that Émile Cohl’s Fantasmagorie (1908), is the first instance of a film produced with traditional animation techniques, making it the first true animated movie. Some consider Britsh-American producer J. Stuart Blackton’s Humorous Phases of Funny Faces (1906) to be the animation industry’s first film. Blackton used stop-motion animation to depict a series of animated characters changing movements throughout the three-minute movie. Humorous Phases of Funny Faces was the first animated film recorded on standard picture film, technically making it the first animated movie captured on real film. What Was the First Feature-Length Animated Movie? The first animated feature film is Walt Disney Studios’ Snow White and the Seven Dwarfs (1937). This film used the traditional animation process of cel animation, which involved rendering two-dimensional visuals on a transparent sheet of celluloid. The cel animation process allowed transferring illustrations between frames, rather than having to redraw from scratch each time, speeding up the process, saving time and labor. What Is the History of Computer Animation? People began to experiment with computer graphics as early as the 1940s, for science and research purposes. Composer, animator, and inventor John Whitney Sr. built a custom computer device from a converted Kerrison Predictor (a World War II-era anti-aircraft fire-control system). Using mathematics to control the device in more specific ways,they had the ability to produce precise lines and shapes. Whitney Sr., with the assistance of legendary graphic designer Saul Bass, animated the opening title sequence for Alfred Hitchcock’s 1958 film Vertigo. The classic film is considered to be one of the first live-action films to use computer animation. By the 1960s, innovative digital graphics boomed as more computers entered the mainstream, and by the 1970s, many people began using computer graphics as an art form. Graphic design tools and software for computers continued to evolve, and government funding allotted to the University of Utah saw an
12 emergence in groundbreaking animation projects, notably one produced by Ed Catmull, Hand/Face (1972). The abilities of computer animation continued to expand, as more people discovered the capabilities of this new medium, eventually evolving into the CGI masterpieces that dominate our media today. Father of Animation The title of the "Father of Animation" is often attributed to different individuals, depending on the context and criteria used. Here are a few notable figures who have been associated with this title: Émile Reynaud: Reynaud, a French inventor, is often considered one of the pioneers of animation. In 1877, he created the Praxinoscope, an improvement upon earlier animation devices. Reynaud also developed the Theatre Optique, which allowed for the projection of animated films to a larger audience. J. Stuart Blackton: Blackton, an American filmmaker, is credited with creating the first animated film using stop-motion techniques. His short film, "The Humorous Phases of Funny Faces" (1906), featured hand-drawn animations that came to life through stop-motion photography. Winsor McCay: McCay, an American cartoonist and animator, is widely recognized for his groundbreaking work in early animation. His film, "Gertie the Dinosaur" (1914), was one of the earliest examples of character animation and showcased McCay's skill in bringing a dinosaur to life through animation.
13 While these individuals are often associated with the title of the "Father of Animation," it's important to note that animation itself is a collaborative and evolving art form that draws upon the contributions of many talented artists, technicians, and innovators throughout its history. Discovery of Animation The discovery of animation can be traced back to various origins and the collective efforts of many inventors and artists throughout history. While it is difficult to attribute the discovery of animation to a single individual, there were key milestones and inventions that contributed to its development. Here are some important highlights: Persistence of Vision: The phenomenon known as "persistence of vision" was observed by early scientists and artists. It refers to the optical illusion that occurs when the human eye retains an image for a fraction of a second after it disappears. This phenomenon forms the basis of animation, as it allows us to perceive a series of still images as continuous motion. Predecessors of Animation: Before the advent of film, various forms of visual entertainment laid the groundwork for animation. For instance: Magic Lantern: Invented in the 17th century, the magic lantern used a light source and painted slides or transparencies to project moving images onto a screen. Thaumatrope: In the 19th century, John Ayrton Paris and Peter Mark Roget independently developed the thaumatrope, a disk with different images on each side. When spun, it created an illusion of merging images. Zoetrope: In the early 19th century, the zoetrope emerged as one of the earliest animation devices. It consisted of a rotating drum with vertical slits and a sequence of images on the inside. When spun and viewed through the slits, the images appeared to move. Stop-Motion Techniques: The discovery of photography and the development of the concept of frame-byframe imaging laid the foundation for stop-motion animation. Inventors like Eadweard Muybridge and Etienne-Jules Marey used multiple cameras to capture sequential images of people and animals in motion, providing valuable insights into movement. Celluloid and Film: The invention of celluloid by John Wesley Hyatt in the 1860s and the subsequent development of flexible film by George Eastman and Thomas Edison revolutionized animation. These materials allowed for the creation of long strips of sequential images, making it easier to capture and project animated sequences. The Lumière Brothers: The Lumière brothers, Auguste and Louis, are renowned for their contributions to early cinema. They developed the cinematograph, a combination of camera, printer, and projector, which enabled the mass production and screening of motion pictures. Their public screenings in 1895 marked the birth of the film industry. Walt Disney: Walt Disney is arguably one of the most influential figures in the history of animation. He co-founded Disney Brothers Studio (now known as The Walt Disney Company) and pioneered numerous advancements in animation techniques, storytelling, and character development. Disney's creation of synchronized sound animation in "Steamboat Willie" (1928) and the success of films like "Snow White and the Seven Dwarfs" (1937) solidified his impact on the industry. .
14 Emile Reynaud and the Praxinoscope: Emile Reynaud, a French inventor, developed the Praxinoscope in 1877. This device featured a strip of images placed on the inside of a spinning drum with mirrors. When viewed, it created the illusion of moving pictures. Winsor McCay and Gertie the Dinosaur: Winsor McCay's groundbreaking work in animation played a crucial role in its development. His film "Gertie the Dinosaur" (1914) was one of the first animated films to feature a character with a distinct personality and storyline, showcasing the potential for animation as a storytelling medium. While these milestones and inventors contributed to the discovery and development of animation, it's important to acknowledge that animation evolved through the collective efforts of many artists, inventors, and technological advancements over time. The field continues to thrive and push boundaries in the modern era with the aid of digital technology and innovative techniques. Learning Activity 1 Title: Thaumatrope Creation Activity Objective: To learn about persistence of vision and create a thaumatrope, an optical toy that creates an illusion of motion. Materials: 1. Cardstock or stiff paper 2. Pencil or pen 3. Markers or colored pencils 4. Scissors 5. String or thin ribbon 6. Hole puncher Instructions: 1. Introduction : Our brain retains an image for a split second after the image is gone, creating the illusion of motion when a series of images is shown rapidly. The thaumatrope, a popular Victorian-era optical toy that exploits persistence of vision. Explain that it consists of a disk with different images on each side. When spun or twirled, the images combine to create a single animated image. 2. Brainstorming and Design : Think of simple, contrasting images that can be easily drawn and combined. Examples such as a bird and a cage, a fish and a bowl, or a cat and a mouse.
15 It should be positioned such that they align when the thaumatrope is spun. 3. Creating the Thaumatrope: Partcipants should cardstock or stiff paper each. Draw chosen images on separate circles. The circles should be approximately 2-3 inches in diameter. Use the template provided or trace a circular object to ensure consistency. Color the images using markers or colored pencils. Cut out the circles along the drawn lines. Punch a hole near the top and bottom of each circle using the hole puncher. 4. Assembly: Attach the circles together using a piece of string or thin ribbon. Pass the string through the holes in both circles, aligning the images back to back. Tie a knot or secure the string on each end to keep the circles in place. 5. Testing and Observations: Participants should hold the string between their palms and rapidly twist it back and forth to spin the thaumatrope. Focus on the spinning thaumatrope and observe the illusion of the combined images merging into one. Learning Activity 2 Tittle: Creating Flipbooks Objective: The objective of this activity is to introduce students to the concept of animation and provide them with a hands-on experience in creating their own flipbooks. Through this activity, students will develop their creativity, fine motor skills, and understanding of sequential storytelling. Materials Needed: Blank sheets of paper (preferably in a small booklet format) Pencils or colored pencils Stapler or binder clips Scissors (optional) Markers or crayons (optional) Instructions: 1. Introduction: Begin the activity by explaining the concept of animation and its history, including the early animation devices such as thaumatropes, zoetropes, and flipbooks. Show examples of flipbooks or play a short video demonstrating how flipbooks work.
16 Discuss the persistence of vision and how it allows us to perceive a sequence of images as continuous motion. 2. Brainstorming and Storyboarding: Brainstorm ideas for flipbook stories. Choose a simple storyline or a more elaborate narrative. Sketch out their ideas on a separate sheet of paper, creating a rough storyboard for their flipbook. 3. Creating the Flipbook: Students number the bottom right corner of each page to keep track of the sequence. Now start drawing flipbooks frames on the pages, with each frame showing a slight progression in movement. Be creative and experiment with different characters, objects, or scenes in their flipbooks. Decorate the pages with markers or crayons. Stack the pages in numerical order, making sure the drawings align. Use a stapler or binder clips to secure the pages together on the left side. 4. Testing and Sharing: Test flipbooks by holding the book with one hand and using the thumb or fingers of the other hand to flip through the pages. Summary of the Lesson Animation is the process of creating the illusion of motion by displaying a sequence of still images in rapid succession. It is achieved through the phenomenon called Persistence of Vision, where the eye and brain continue to perceive an image even after it has disappeared. Animation has various applications in marketing, advertising, training, education, entertainment, and more. The history of animation dates back centuries and has seen significant milestones. Early predecessors include shadow play, thaumatropes, zoetropes, and flipbooks, which used different techniques to create the illusion of movement. The silent era and early animation introduced techniques like stop-motion and cel animation. The Golden Age of Animation saw the emergence of iconic studios like Disney and Warner Bros., along with technological advancements in animation techniques. Television and the rise of digital technologies in the mid-20th century brought new opportunities for animation. Computer-generated imagery (CGI) revolutionized the industry, leading to the production of the first feature-length animated film, Snow White and the Seven Dwarfs. Since then, animation has continued to evolve, with advancements in 2D and 3D animation, the expansion of animated films and series, and the use of CGI in modern animation. Throughout its history, animation has been shaped by numerous individuals who have contributed to its development. While figures like Émile Cohl, Winsor McCay, and Walt Disney are often associated with pioneering achievements, animation is a collaborative art form that relies on the contributions of many talented artists, technicians, and innovators.
17 The discovery of animation can be attributed to various milestones, including the understanding of persistence of vision, the invention of devices like the magic lantern, thaumatrope, and zoetrope, and the development of celluloid and film. The Lumière brothers' cinematograph and Emile Reynaud's Praxinoscope were instrumental in advancing animation techniques. Winsor McCay's "Gertie the Dinosaur" showcased animation's storytelling potential. Overall, animation has a rich history that continues to evolve, incorporating new technologies and pushing the boundaries of creativity. It has become a prominent form of visual storytelling and entertainment in our modern world. Post-assessment 1. What is animation? a. The process of capturing real-world objects through a camera b. The creation of continuous motion from a sequence of still images c. The use of 3D models to depict motion d. The manipulation of digital graphics in real-time 2. Which phenomenon is responsible for the illusion of motion in animation? a. Persistence of Vision b. Motion Capture c. Frame Rate Enhancement d. Optical Illusion 3. Which of the following is NOT an application area of animation? a. Marketing and advertising b. Staff and program development training c. Medical d. Games 4. In traditional animation, what is the role of a key animator? a. .Drawing the key frames that depict important actions b. Tracing the drawings onto a new sheet of paper c. Drawing inbetween frames to complete the animation d. Approving the final animation sequence 5. Which film is considered the first animated film? a. Pauvre Pierrot b. Fantasmagorie c. Snow White and the Seven Dwarfs d. Humorous Phases of Funny Faces 6. What is the first feature-length animated movie? a. Pauvre Pierrot b. Fantasmagorie c. Snow White and the Seven Dwarfs d. Humorous Phases of Funny Faces
18 7. When was computer animation first used in a live-action film? a. 1940s b. 1950s c. 1960s d. 1970s 8. Which of the following is NOT an early animation device? a. Magic lantern b. Zoetrope c. Phenakistoscope d. Television 9. Who is often credited as the "Father of Animation"? a. Walt Disney b. Émile Cohl c. Ray Harryhausen d. John Whitney Sr. 10. What is the phenomenon that allows us to perceive a series of still images as continuous motion? a. Persistence of Vision b. Persistence of c. Illusion of Continuity d. Frame Rate Synchronization 11. Which animation technique involves drawing a sequence of images on pages that, when flipped rapidly, create the illusion of movement? a. Cel animation b. Stop-motion animation c. Flipbook animation d. Computer-generated animation 12. Who created the first feature-length film entirely using CGI? a. Walt Disney b. Ray Harryhausen c. John d. Pixar 13. What invention allowed for the creation of long strips of sequential images for animation? a. Zoetrope b. Magic lantern c. Celluloid d. Kineograph 14. Which film is considered one of the first to use computer animation in a live-action movie? a. Gertie the Dinosaur
19 b. Snow White and the Seven Dwarfs c. Vertigo d. Westworld 15. Which animation technique involves physically manipulating objects and photographing them frame by frame? a. Cel animation b. Stop-motion animation c. Flipbook animation d. Computer-generated animation Self-evaluation / Performance Task Instruction: After you create your own thaumatrope and flipbook it’s time to e record a video or capture images of your creation in action. 1. Prepare a presentation, a video documentation of your performance task: a. Write a brief explanation of your chosen images and the concept behind your animation. b. Include a description of the materials you used and the steps you followed to create your thaumatrope. c. Display your recorded video or images to showcase your animation. d. Reflect on the process of designing and creating your animation. Discuss any challenges you faced and what you learned from the experience. 2. Share your thaumatrope and flipbook animation with your classmates, friends, or family members to demonstrate the magic of this early animation device. Rubrics Answer Keys Pre-assessment Creativity and originality of the chosen images and animation concept. 20 % Design and craftsmanship 20 % Smoothness and effectiveness of the animation when spun. 20 % Clarity and coherence of the presentation or documentation. 20 % Reflection on the process and demonstration of learning. 20 % Total: = 100 %
20 1. C 2. D 3. B 4. A 5. D Post -assessment 1. B 2. A 3. C 4. A 5. D 6. C 7. B 8. D 9. B 10. A 11. C 12. D 13. C 14. D 15. B
21 Objectives: 1. Identify and recognize the contributions of animation pioneers in shaping the field of animation. 2. Understand the historical context and evolution of animation before Walt Disney's era. 3. Explore the different animation techniques and tools used by animation pioneers. LESSON 2 PIONEERS OF EARLY ANIMATION ( BEFORE WALT DISNEY) COURSE CODE: EANI0323
22 Pre-assessment 1. Who is often referred to as the father of modern animation? a. Étienne-Jules Marey b. Walt Disney c. Winsor McCay d. Georges Méliès 2. In which year was "Fantasmagorie" created? a. 1908 b. 1911 c. 1893 d. 1900 3. How did Émile Cohl create the illusion of chalkboard drawings in "Fantasmagorie"? a. He used real chalk on a chalkboard. b. He filmed black lines on a glass plate. c. He filmed black lines on paper and printed them in negative. d. He used a computer animation software. 4. Where can you find Georges Méliès's seminal work? a. Winsor McCay: His Life and Art b. The Origins of American Animation, 1900-1921 c. Georges Méliès: First Wizard of Cinema (1896-1913) d. Eadweard Muybridge: The Human and Animal Locomotion Photographs 5. Who created "Little Nemo"? a. Émile Cohl b. Winsor McCay c. Étienne-Jules Marey d) d. Georges Méliès Lesson Proper Today, animation is universal. It has extended beyond television and cinema, and has a wider reach through the Internet, mobile phones, and even out-of-home media. When we think of animation, the first person that invariably comes to mind is Walt Disney. He is known as the father of modern animation. But animation existed long before Walt Disney made it a household name. Whether you are an animation student, a working professional in the industry, or a career aspirant who wishes to join a career course & make a mark in the field of animation, it is important that you know about these five legendary people who laid the foundation of the empire that the animation industry has become today.
23 1. COHL: FANTASMAGORIE (1908) To create the animation, Cohl placed each drawing on an illuminated glass plate and traced the next drawing, reflecting the variations necessary to show movement, over it until he had some 700 drawings. Since chalkboard caricaturists were common vaudeville attractions in the era, the characters in the film look as though they've been drawn on a chalkboard, but it's an illusion— Cohl filmed black lines on paper and printed them in negative to make his animations appear to be chalk drawings. 2. MÉLIÈS: THE PROLIFIC EGG (1902) Méliès's seminal work can be found in Georges Méliès: First Wizard of Cinema (1896-1913), an outstanding five-disc collection of 173 rare and rediscovered Méliès gems alongside a beautifully illustrated booklet featuring essays by acclaimed National Film Board of Canada animator Norman McLaren, and its sequel, Méliès Encore: 26 Additional Rare and Original Films by the First Wizard of Cinema (1896-1911). 3. MCCAY: LITTLE NEMO (1911) For more on McCay's work and legacy, look no further than the stunning and illuminating Winsor McCay: His Life and Art. There's also a wonderful Kickstarter project out to resurrect McCay's last film, The Flying House—join me in supporting it. French cartoonist and animator Émile Cohl is often referred to as "the father of the animated cartoon." The legend goes that in in 1907, when motion pictures were reaching critical mass, the 50-year-old Cohl was walking down the street and spotted a poster for a movie clearly stolen from one of his comic strips. He confronted the manager of the offending studio, Gaumont, in outrage and was hired on the spot as a scenarist—the person generating one-page story ideas for movies. Between February and May 1908, Cohl created Fantasmagorie, considered the first fully animated film ever made. French filmmaker Georges Méliès is known as the first cinemagician for his early use of special effects in cinema. Between 1896 and 1914, he directed some 531 films, ranging from one to 40 minutes in length, usually featuring single incamera effects throughout each entire film. In 1902, he appeared in one of his own films, l'oeuf du sorcier (The Prolific Egg)—a groundbreaking exploration of scale, multiplication, and transitions that truly sealed his reputation as a "cinemagician" and the father of special effects in film. Cartoonist and artist Winsor McCay (1869-1964) is often considered one of the fathers of "true" animation. His 1911 film, Winsor McCay, the Famous Cartoonist of the N.Y. Herald and His Moving Comics, also referred to simply as Little Nemo and featured here last week, contains two minutes of pure animation at around 8:11, using sequential hand-illustration in a novel way not seen in previous films.
24 4. BLACKTON: THE ENCHANTED DRAWING (1900) In the film, previously featured here, Blackton sketches a face, cigars, and a bottle of wine, then "removes" these last drawings as real objects so that the face appears to react. Although the stopmotion sequence isn't considered "true" animation in technical terms the way Little Nemo, which Blackton co-directed with McCay, is, the technique offered an early glimpse of what animation could become. Blackton's films are included in The Origins of American Animation, 1900-1921—a fantastic collection of the work that sparked what became one of the most powerful and permeating movements in visual creativity. 5. MUYBRIDGE: WALTZING COUPLE (1893) Though the work of English photographer Eadweard J. Muybridge isn't animation, his animal locomotion studies are among the earliest visual experiments with moving images, laying the foundations for later forms of videography. British filmmaker J. Stuart Blackton is credited with creating the first animation in America and was among the first in the world to use stop-motion as a storytelling technique. In 1896, Blackton, a reporter for the New York Evening World, was sent to interview Thomas Edison about his brand new Vitascope invention. In an age where wooing reporters was critical to success, Edison took Blackton to Black Maria, his studio-cabin, and created an impromptu film of Blackton doing a lightning sketch of Edison himself. Blackton became so infatuated with the technology that he soon founded the American Vitagraph Company and began producing films, debuting with The Enchanted Drawing in 1900. In 1872, the Governor of California took a public position on a commonly debated question of the era: When a horse gallops, are all four of its hooves off the ground simultaneously? Most paintings of galloping horses at the time showed the front legs extended forwards and the rear legs extended backwards, so Governor Stanford sided with the "unsupported transit" theory and took it upon himself to prove it scientifically. He hired Muybridge to settle the question, who enlisted a series of large cameras using glass plates placed in a line, each triggered by a thread as the horse passed. He paired that with a clockwork device. The images were then copied as silhouettes onto a disc, later viewed on a zoopraxiscope. In 1877, Muybridge finally settled Stanford's question with a single photographic negative showing Stanford's racehorse, Occident, fully airborne in the midst of a gallop.
25 In 1893, Muybridge used the phenakistoscope—an early animation device that harnessed the "persistence of vision" principle to create an illusion of motion—to extend his visual studies to animation. Hans-Christian Adams offers an excellent account of Muybridge's work and legacy in Eadweard Muybridge: The Human and Animal Locomotion Photographs, best examined in parallel with the work of Muybridge's equally influential French contemporary, Étienne-Jules Marey. Learning Activity 1 Title: Animation Timeline Objective: Gain a deeper understanding of the timeline of animation history and the contributions of different pioneers. Instructions: 1. Divide the class into small groups or pairs. 2. Each group has a large sheet of paper or a whiteboard. 3. Each group are going to create a timeline of animation history, starting from the earliest known experiments to the present day. 4. Include the names of the five pioneers mentioned in the lesson (Cohl, Méliès, McCay, Blackton, and Muybridge) and their significant contributions. 5. Conduct additional research to find more key milestones and pioneers to include on their timelines. 6. After completing the timelines, each group need to present their work to the class, explaining the importance of each milestone and pioneer. 7. Engage in a class discussion to compare and discuss the timelines, highlighting the interconnectedness and evolution of animation throughout history.
26 Learning Activity 2 Title: Create Your Own Animation Objective: Develop practical skills in creating a simple animation using traditional or digital techniques. Instructions: 1. Create your own short animation based on the techniques pioneered by the animation legends. Traditional Animation: Using paper, pencils, and a lightbox, students are going to create a sequence of hand-drawn frames, mimicking the techniques used by Cohl and McCay. They can start with a simple bouncing ball or a character walking. 2. Discuss the experience and insights gained from the activity, connecting it to the pioneers' contributions and the evolution of animation techniques. Summary of the Lesson The lesson explores the pioneers of animation who laid the foundation for the thriving animation industry today. While Walt Disney is widely known as the father of modern animation, the history of animation predates his contributions. The following legendary individuals are highlighted: 1. Émile Cohl: In 1908, Cohl created "Fantasmagorie," an animated film consisting of approximately 700 drawings filmed to give the illusion of movement. He used black lines on paper printed in negative to resemble chalk drawings. 2. Georges Méliès: His seminal work can be found in the collection "Georges Méliès: First Wizard of Cinema (1896-1913)." Méliès was a pioneer in filmmaking and incorporated animation techniques in his films, including "The Prolific Egg" (1902). 3. Winsor McCay: Known for his work on "Little Nemo" (1911), McCay was a renowned cartoonist and animator. His life and art are explored in "Winsor McCay: His Life and Art," and there are ongoing efforts to revive his last film, "The Flying House." 4. J. Stuart Blackton: In 1900, Blackton created "The Enchanted Drawing," where he used stopmotion techniques to make drawings come to life. His work, along with McCay, contributed to the early development of animation. 5. Eadweard Muybridge: Muybridge, though not an animator, conducted animal locomotion studies and explored early forms of visual motion experimentation. In 1893, he utilized the phenakistoscope, an animation device, to extend his studies to animation. These individuals played crucial roles in shaping animation as an art form and industry. Understanding their contributions is essential for animation students, professionals, and aspiring individuals interested in pursuing careers in animation Post-assessment 1. What was the title of J. Stuart Blackton's film that offered an early glimpse of animation techniques? a. "The Enchanted Drawing" b. "Fantasmagorie" c. "Little Nemo"
27 d. "Waltzing Couple" 2. Which early animation device did Eadweard J. Muybridge use in 1893? a. Phenakistoscope b. Zoetrope c. Praxinoscope d. Magic lantern 3. What principle did the phenakistoscope rely on to create an illusion of motion? a. Persistence of vision b. Stop-motion animation c. Frame-by-frame drawing d. Claymation technique 4. Who authored the book "Winsor McCay: His Life and Art"? a. Émile Cohl b. Walt Disney c. John Canemaker d. Norman McLaren 5. Which French contemporary of Eadweard J. Muybridge is mentioned in relation to his work? a. Étienne-Jules Marey b. Georges Méliès c. Winsor McCay d. J. Stuart Blackton 6. What type of media has animation extended beyond in recent times? a. Television and cinema b. Internet, mobile phones, and out-of-home media c. Radio and print magazines d. Stage performances and live events 7. How many drawings did Émile Cohl create for "Fantasmagorie"? a. 200 drawings b. 500 drawings c. 700 drawings d. 1000 drawings 8. Which film is considered to be a collaboration between J. Stuart Blackton and Winsor McCay? a. "Fantasmagorie" b. "The Prolific Egg" c. "The Enchanted Drawing" d. "Little Nemo" 9. Who laid the foundations for later forms of videography through animal locomotion studies? a. Émile Cohl b. Walt Disney
28 c. Étienne-Jules Marey d. J. Stuart Blackton 10. What Kickstarter project aims to resurrect Winsor McCay's last film? a. The Origins of American Animation, 1900-1921 b. The Flying House c. The Prolific Egg d. The Human and Animal Locomotion Photographs 11. Which animator has essays featured in the collection "Georges Méliès: First Wizard of Cinema"? a. Émile Cohl b. Walt Disney c. Winsor McCay d. Norman McLaren 12. Which animation device harnessed the principle of "persistence of vision"? a. Phenakistoscope b. Zoetrope c. Praxinoscope d. Magic lantern 13. What is the title of the collection that includes Blackton's films from 1900-1921? a. The Origins of American Animation, 1900-1921 b. Winsor McCay: His Life and Art c. Georges Méliès: First Wizard of Cinema (1896-1913) d. Eadweard Muybridge: The Human and Animal Locomotion Photographs 14. What was the focus of Eadweard J. Muybridge's visual experiments? a. Claymation techniques b. Stop-motion animation c. Animal locomotion studies d. Chalkboard drawings 15. Who is considered the father of modern animation? a. Émile Cohl b. Walt Disney c. Winsor McCay d. Georges Méliès Self-evaluation / Performance Task Title: Animation Showcase and Reflection Objective: Demonstrate an understanding of the contributions of animation pioneers and apply animation techniques in creating an original short animation. Reflect on the process and the impact of animation pioneers on the field of animation.
29 Task Description: 1. Create a short animation (1-2 minutes) using any animation technique of your choice (traditional hand-drawn, digital, stop-motion, etc.). 2. Include elements inspired by the techniques used by the animation pioneers discussed in the lesson (Cohl, Méliès, McCay, Blackton, and Muybridge). 3. Submit your animation as a video file or share it via an online platform. 4. Write a reflection paper discussing the following points: a. Describe the animation techniques and tools you used in your project. b. Explain how you incorporated elements inspired by the animation pioneers into your animation. c. Analyze the effectiveness of your animation in terms of storytelling, timing, and overall impact. d. Reflect on the influence of the animation pioneers on the field of animation. Discuss how their contributions have shaped the industry today. e. Share any challenges you faced during the animation process and how you overcame them. f. Discuss what you have learned about animation, both from the pioneers' work and from creating your own animation. Rubrics: Animation (50 points): Technical Skill (15 points): Animation demonstrates a good grasp of animation techniques, including smooth movement, proper timing, and attention to detail. Creativity and Originality (15 points): Animation showcases original ideas and creative use of animation techniques. Storytelling (10 points): Animation effectively tells a story or conveys a message, with a clear beginning, middle, and end. Reflection Paper (50 points): Understanding of Animation Techniques (10 points): Reflection demonstrates a clear understanding of the animation techniques and tools used in the project. Incorporation of Animation Pioneer Elements (10 points): Reflection explains how elements inspired by animation pioneers were incorporated into the animation. Analysis of Animation (15 points): Reflection provides a thoughtful analysis of the animation's effectiveness in terms of storytelling, timing, and overall impact. Reflection on Animation Pioneers (10 points): Reflection demonstrates a deep understanding of the influence of animation pioneers on the animation industry. Personal Growth and Challenges (5 points): Reflection discusses personal growth, challenges faced during the animation process, and how they were overcome Overall (100 points)
30 Answer Key: Pre-Assessment 1. b) Walt Disney 2. a) 1908 3. c) He filmed black lines on paper and printed them in negative. 4. c) Georges Méliès: First Wizard of Cinema (1896-1913) 5. b) Winsor McCay Post Assesment 1. a) "The Enchanted Drawing" 2. a) Phenakistoscope 3. a) Persistence of vision 4. c) John Canemaker 5. a) Étienne-Jules Marey 6. b) Internet, mobile phones, and out-of-home media 7. c) 700 drawings 8. d) "Little Nemo" 9. c) Étienne-Jules Marey 10. b) The Flying House 11. d) Norman McLaren 12. a) Phenakistoscope 13. a) The Origins of American Animation, 1900-1921 14. c) Animal locomotion studies 15. b) Walt Disney
31 Objectives: 1. Gain a comprehensive understanding of the 12 principles of animation. 2. Apply the principles effectively in animations. 3. Improve overall animation skills by incorporating the 12 principles into one's work. LESSON 3 PRINCIPLES OF ANIMATION COURSE CODE: EANI0323
32 Pre-assessment 1. The principle of follow through and overlapping action is applied to: a. Add weight and volume to characters b. Create appealing characters c. Emphasize secondary actions d. Create fluid motion and realistic movement 2. Which principle focuses on the timing and spacing of movements? a. Slow in and Slow out b. Timing c. Ease In, Ease Out d. Squash and Stretch 3. The principle of squash and stretch is used to: a. Add weight and volume to characters b. Create appealing characters c. Emphasize secondary actions d. Give a sense of flexibility and elasticity to objects and characters 4. The principle of staging is important for: a. Creating appealing characters b. Emphasizing secondary actions c. Directing the viewer's attention within a scene d. Realistically depicting the physics of movement 5. The principle of appeal in animation refers to: a. Making characters look attractive and visually appealing b. Adding weight and volume to characters c. Creating secondary actions to enhance the main movement d. Realistically depicting the physics of movement Lesson Proper The twelve principles of animation should be basic knowledge for everyone They were introduced by the Disney animators Ollie Johnston and Frank Thomas in book The Illusion of Life: Disney Animation published in 1981. These principles are the outcome of Disney animators’ work from the 1930s onwards. They were created to help reflect real life and the basic laws of physics in animations, but also to resolve abstract issues like character appeal. The 12 principles of animation are perfect for both frame-by-frame animation and motion design. The main goal was to create an illusion of characters by paying attention to the fundamental laws of physics, but also to more abstract topics such as emotional state, timing, and character traction. Although originally intended for traditional animation, this is important in both computer animation and stop motion animation. The role of animation in education - The creation of movement is based on the observation of nature.
33 - The study of the basic principles helps to understand the movement and rhythm. - Knowing the natural movement laws of a character or an object, the designer is able to choose which and when will exaggerate and why. - The pace of movement is vital and communicates to give emotions. In this rhythm, the “push” and the sounds will later lead us to design of intermediaries. - Tomorrow’s designer has these “basic” rules, he can avoid mistakes of inexperience while at the same time he learns to “push” his design on definitely and unquestionable steps. Later, the choice is personal whether the rules are trespassed or not.
34 The 12 principles are: 1. Squash and stretch 2. Anticipation 3. Staging 4. Straight Ahead Action and Pose-to-Pose 5. Follow Through and Overlapping Action 6. Slow in and Slow Out (Ease In, Ease Out 7. Arcs 8. Secondary Action 9. Timing 10. Exaggeration 11. Solid Drawing 12. Appeal 1. Squash and Stretch In a moving figure (especially during intense exercise), the muscle system is supplied with continuous compression change and stretching. In this way, the character hero acquires flexibility in the body and is simultaneously attributed to the design of continuous muscle shifts. A very weak hero when he jumps is less compressed than a fat round hero. The basic principle of compression stretching is given by a bouncing ball in its simplest form. Warner’s American designers and M.G.M., TexAvery, Chuck Jones, FrizFeleng, Robert McKinson (and others) gave nice samples of madness and the power of animation. The implementation of this basic principle has a rule that is not violated. Any type of figure or object can be compressed and stretched to the edges, but will never lose its original three-dimensional volume. As much as it squeezes vertically, it expands horizontally and vice versa. The designer must never change the volume of his character, because then he changes his own hero himself.
35 2. Anticipation It is the basic reaction of the figure before every movement. It is used to prepare the viewer for the hero’s next action, while his action is more pronounced and realistic. A figure from the static posture of the original extreme frame moves backwards in the final direction of the movement, taking a moment and starting to move. The designers follow Newton’s law of motion, “for every action there is an equal and opposite reaction”. This anticipation is necessary at the beginning of every movement. This happens either when moving from a static position, either when the movement changes the address and the time. A simple example is the start of a run. Before the figure starts to run to the left, he pulls the body to the right to get hold of fortresses. A typical example is the observation of a martial artist during the attacks on the opponent. The athlete will first pull hand-in-hand from his body and then he will hit his opponent in front of him with the force he has gained through his desired reversal movement. The analogy occurs when the character starts a jump. First, he will gather to take forums and then he will swing up. Then in restoring to the ground, it will first push into the ground and then come back into the upright position. Anticipation is used as a precursor to change the direction of movement. -While the designer is sketching the anticipation, he has in his mind the movement that will follow thefigure. Also the figure’s look is always facing the side of the expected movement. - As an example: when the figure is preparing to run towards left, during anticipation and all intermediaries her gaze is on the left.
36 -When the athlete moves aggressively towards the opponent, his gaze is nailed to the point where it will give the hit at duration of the entire movement. - When the figure starts to jump, it is pointing to the axis of the path to follow. The analogy also happens when he returns from the second anticipation to the upright static attitude. - The technique can also be used for less natural energies, as in the case of a character that turns the bodyand his look off-screen to predict the arrival of someone else. 3. Staging As a beginning it is based on the theater and identifies it setting up actresses (heroes on the scene) frame. It’s aim is to direct the viewer’s attention to the importance of the scene (in setting up the plan), so that he can lead him by sign in the action that will take place. The essence of this principle is to attend the viewer to focus on the meaning, avoiding them unnecessary details. As a start, it is based on the theater and identifies it to visual actresses (heroes on the scene) framework. The goal is to focus the viewer’s attention on the importance of the scene (in the preparation of the plan) so that he can guide him through the action that will take place. The essence of this principle is to join the viewer, focus on meaning, and avoid unnecessary detail. As in the theater, the actors lock themselves in a specific location on the stage and move in predetermined locations to have the best possible synthetic and lighting presence, leaving the heroes of the animation on the background for 2D or in the scene for 3D. The best visual and lighting composition is developed during his course plan. This can be done in different ways, eg. By inserting a character into the frame, using light and shadow, angle, and camera position. 4. Straight ahead action and pose to pose There are two different ways to design the same movement. In the first case, the designer launches a picture and develops it, developing one intermediate after the other, until the final movement. Designing in this way gives fluidity and capacity in motion and is better in realistic scenes of action. But it is very dangerous for the designer to lose his proportions and the volume of his figure. Steps of intermediaries organize the time of the movement, but also in this case there are difficulties to follow them completely.
37 5. Follow thought overlapping action drag action Consecutive are referred to as auxiliary movements in individual figures. Support the basic movement by giving the impression that the figure is following the laws of nature. So they offer realism in the main motive. “Movement” means that individual parts of the body of a figure continue to move after the basic movement is stopped. For example: The character runs, stops, but the chest goes up and down and flickers on legs or hands, etc. “Overlapping motion” means that body parts are synchronized differently from the main motion. As an example, the character runs, stops, but his hands spin in the air to put tension on the brake. “Moving” means that parts of the figure, such as clothing, hair, hands, feet, move a few frames later than the basic movement. These parts “crawl” behind the main train and even the direction changes. The “following movements” are created as a result of the main movement of the body. They follow him completely at the connection. But they have an independent movement on their other end. A girl with long hair or a woman with a big chest or a hound with big ears are very prone to such movements A. The ears of the dog that starts to run. B. The same ears in braking. C. Fabric or paper movement in the air. D. Horse tail. E. Bird feather. The same move can have bangles or ribbons. In this example, the swinging hair and the edges of ropes change the address when the swing is in the middle of the movement. In salty, it follows the way of the hair and the dress.
38 According to Thomas and Johnston, even in a static figure, the natural small movements such as breathing should be immobile, so it is not an inanimate figure. The designer must pay attention to the tensions of these movements, because although they offer realism, exaggeration can lead to comics and ridiculous results. 6. Slow in and slow out The movement of the human body as well as the most animated and inanimate objects take time to accelerate and slow down. Otherwise there will be “hitting” in the movement at the beginning and end of it. Because of this, every moving image, from animation to motion graphics, looks more realistic when it has more frame, time, beginning and end of the traffic, and less waist. This principle also applies to the characters who move between two extreme stops, such as from the sitting position to get up, but also inanimate and moving objects.
39 7. Arcs The physical movement follows a leaf trace. Nowhere in nature are the movements absolutely linear. Think about the movement of leaves, waves, human hands and Feet. So the designer should always follow in curves to deliver realism in his design. In a typical example, the hero throws an object. This will always make an elliptical orbit and never be straight. Conversely, mechanical movements are e.g. Piston in a machine cart or a production chain in a factory. 8. Secondary action By adding a secondary movement to a master movement, the plan learns to know more life and realism while strengthening the main movement. A hero can talk and speak on a mobile phone by expressing his words with his body or lifting his socks or turning his head to observe something we will look at the next shot. There is an interesting Rancor. But these little moves should only emphasize the capital and not “steal the show”. However, if there is a risk of distraction, it is better to leave the secondary movement. If we need to emphasize expressions for dramatic reasons, it’s better to do them either at the beginning or end of the plan, or with a close-up wedge. 9. Timing The “time” last a move. This time is counted by the number of frames that you have correspond to the motion, in relation to the frame rate. The right timing, faithfully follows the laws of physics. For example, a metal ball and a plastic ball fall from a certain height. Which one will reach the ground first? The same character walks and runs, which of the two moves are quicker? The timing of a hero is vital for the determination of character and its mood and communicates to perform feelings and reactions. Therefore he also identifies his personality. In an inanimate object, it is determined by the weight, the elasticity and the material.
40 Excitement traffic is particularly useful in animation, otherwise there is only an imitation of reality, which is enough static and painful. Of course, the level of excess is totally dependent on the design and character of the hero, as well as the style of the film. If the hero, but also the form of the film is realistic, it is possible to follow in the movement intense exaggerations. Disney suggested his designers remain true to reality, though with tension. At the same time, Tex Avery introduces the element of absurdity and creates the movement of the impossible with the additional animation. Or a purely personal aesthetic with surreal elements becomes a school. Or exaggeration in extreme drawings, and very fast and fragmentary rhythms become the style Warner and Metro Goldwyn-Mayer. Of course, the use of excess should also be supported by the scenario itself. The unity of components and design is balancing - character is the thing, otherwise the excess for overstatement simply creates confusion and visually “hits”.
41 10. Exaggeration Exaggeration is used to push movements further, adding more appeal to an action, and should always be implemented to some degree. Exaggeration can be used to create extremely cartoony movements including physical alterations or supernatural elements. Or, exaggeration can be incorporated with a little more restraint for more realistic actions. But, even then you can still use exaggeration to make a more readable or fun movement while still staying true to reality. So, if a character is preparing to jump off a diving board, you can push them down just a little bit further before they leap off. Alternatively, you can use exaggeration in the timing to enhance different movements or help sell the weight of a character or object. 11. Solid drawing The principle of uniform design takes into account the shapes imprinted in three-dimensional space, always keeping their volume and weight. The animator must be an experienced designer who understands the basic three-dimensional shapes, anatomy, weight and balance of his figure, as well as the light and shadow in the place where he belongs. Giving life to lifeless objects presupposes that the designer has studied the art of the animator. Usually, the designer at work begins to clean the shelf patterns and then draw in between. This experience helps him to become a good animator. A special feature that Johnston and Thomas emphasized was the creation of “twin” characters whose left and right sides are mirrored. They are lifeless heroes and tend to construct. The question of “twin” characters is very intense in computer design, though the benefits of this type of design at work and hours are enormous and therefore subject to charge. Often, computer animation uses plug-in help to correct mechanical movement and image problems, as well as intentional “bugs,” so that the result is closer to classic design and mechanical perfection is avoided.
42 12. Appeal A character’s design must look attractive to the viewer, whether the character is evil or a monster. The character beyond the design must follow in the movement and in the expressions of its characteristics its personality and that it is also attractive to the viewer. Learning Activity 1 Title: Animation Analysis and Discussion Video link: https://youtu.be/Bl1FOKpFY2Q Video Title: UMBRELLA | Oscar® Contender and Multi-Award Winning Animated Short Film” Direction: After watching the given video, analyze how each principle is applied. Present your analysis, and give the specific examples and explaining how each principle contributes to the overall quality of the animation. Learning Activity 2 Title: Animation Project Instruction: Create a short animation that focuses on demonstrating and showcasing that particular principle of animation. Students can use various animation techniques, such as traditional frame-by-frame animation, computer animation, or stop motion. Be experimental, be creative, and apply the principle effectively in your animations. Summary of the Lesson The lesson introduces the 12 principles of animation, which were developed by Disney animators Ollie Johnston and Frank Thomas. These principles were created to reflect real-life physics and enhance the appeal of animated characters. The principles include concepts such as squash and stretch, anticipation, staging, timing, and appeal. By understanding and applying these principles, animators can create more realistic and engaging animations. The lesson emphasizes the importance of observing nature, studying movement and rhythm, and maintaining the volume and balance of characters. It also highlights the role of animation in education and the benefits of incorporating these principles into various animation techniques. The lesson suggests learning objectives such as gaining a comprehensive understanding of the principles, applying them effectively, and improving overall animation skills. It also provides learning
43 activities like animation analysis and discussion, as well as creating animation projects focused on specific principles. Post-assesment 1. Which Disney animators introduced the 12 principles of animation? a. Ollie Johnston and Frank Thomas b. Walt Disney and Roy Disney c. Don Bluth and John Lasseter d. Hayao Miyazaki and Isao Takahata 2. The 12 principles of animation were introduced in which book? a. The Art of Animation b. The Illusion of Life: Disney Animation c. Principles of Animated Characters d. The Animator's Survival Kit 3. Which of the following is not one of the 12 principles of animation? a. Stretch and Squash b. Timing c. Solid Drawing d. Reaction 4. Which principle focuses on giving weight and volume to characters and objects? a. Squash and Stretch b. Follow Through and Overlapping Action c. Slow in and Slow Out d. Solid Drawing 5. The principle of anticipation is used to: a. Create secondary actions b. Prepare the viewer for the next action c. Give weight and volume to characters d. Create arcs in movement 6. Which principle emphasizes the importance of directing the viewer's attention within a scene? a. Staging b. Appeal c. Anticipation d. Timing 7. Which principle involves creating fluid motion by drawing every frame in sequence? a. Straight Ahead Action and Pose-to-Pose b. Squash and Stretch c. Arcs
44 d. Secondary Action 8. Follow Through and Overlapping Action principle is applied to: a. Add secondary movements to the main action b. Create anticipation before a movement c. Create fluid motion by drawing every frame d. Give weight and volume to characters 9. The principle of timing is essential for: a. Creating appealing characters b. Giving weight and volume to characters c. Adding secondary actions to the main movement d. Realistically depicting the speed and duration of a movement 10. Exaggeration is used in animation to: a. Emphasize secondary actions b. Add weight and volume to characters c. Create appealing characters d. Push movements beyond realism for impact or appeal 11. Which principle focuses on the fluidity and smoothness of movements? a. Squash and Stretch b. Timing c. Ease In, Ease Out d. Follow Through and Overlapping Action 12. The principle of appeal in animation refers to: a. Making characters look attractive and visually appealing b. Adding weight and volume to characters c. Creating secondary actions to enhance the main movement d. Realistically depicting the physics of movement 13. Which principle emphasizes the use of arcs in movement for a more natural and appealing look? a. Squash and Stretch b. Arcs c. Follow Through and Overlapping Action d. Solid Drawing Answer: b. Arcs 14. The principle of secondary action is used to: a. Add weight and volume to characters b. Create appealing characters c. Emphasize secondary movements to enhance the main action d. Realistically depict the physics of movement
45 15. Exaggeration in animation is used to: a. Create appealing characters b. Add weight and volume to characters c. Emphasize secondary actions d. Push movements beyond realism for impact or appeal Self-evaluation / Performance Task Title: Animation Showcase Task Description: Create a short animated sequence that demonstrates your understanding and application of the principles of animation. Your animation should showcase at least three principles and should be visually appealing, engaging, and well-executed. You have the freedom to choose the subject matter and style of your animation, whether it's a character animation, object animation, or a combination of both. Rubrics: 1. Creativity and Concept (30 points) Demonstrates originality and creativity in the concept and idea behind the animation. Shows a clear understanding of the chosen principles of animation and applies them effectively. Engages the audience with a unique and compelling concept. 2. Animation Techniques (30 points) Displays skillful use of animation techniques, including timing, spacing, and motion. Shows smooth and fluid animation movements that reflect a strong grasp of the chosen principles. Utilizes appropriate techniques to convey weight, volume, flexibility, and other relevant aspects. 3. Visual Appeal (20 points) Exhibits visually appealing design, color palette, and overall aesthetics. Demonstrates attention to detail in the visual elements, such as character design, backgrounds, and props. Creates a visually cohesive and pleasing animation that captures the viewer's attention. 4. Execution and Technical Proficiency (15 points) Shows proficiency in using animation software or tools of choice. Exhibits a high level of technical competence in rendering and exporting the animation. Displays smooth transitions, accurate timing, and precise control over the animation.
46 5. Presentation and Impact (5 points) Presents the animation effectively, considering factors such as aspect ratio, resolution, and sound (if applicable). Leaves a lasting impact on the audience through a well-crafted and engaging animation. Conveys the intended message or emotion effectively through the animation. Answer Key Pre-assessment 1. D 2. B 3. D 4. C 5. A Post-assessment 1. A 2. B 3. D 4. D 5. B 6. A 7. A 8. A 9. D 10. D 11. C 12. A 13. B 14. C 15. D
47 Objectives: 1. Differentiate between digital and traditional 2D and 3D art: Understand the distinctions in dimensions, representation, tools, and workflow between 2D and 3D art. 2. Explore digital 2D and 3D techniques: Gain knowledge of the specific tools, software, and techniques used in creating digital 2D and 3D artwork. LESSON 4 DIFFIRENT TYPES OF ANIMATION COURSE CODE: EANI0323
48 3. Understand the applications of digital 2D and 3D art: Identify the various fields and industries where digital 2D and 3D art is utilized, such as illustration, graphic design, animation, film, video games, architecture, and virtual reality. Pre assessment 1. What is the primary difference between traditional 2D and digital 2D art? a) The use of different color palettes b) The physicality of the art-making process c) The ability to create animations d) The availability of brushes and paint 2. Which art form involves shaping and molding a pliable material like clay? a) Drawing b) Painting c) Sculpture d) Printmaking 3. Digital 3D art can be manipulated and viewed from various angles using: a) Brushes and pencils b) Cameras and lighting techniques c) Printmaking presses d) Virtual reality headsets 4. How do traditional and digital art forms complement each other? a) Digital art replaces traditional art entirely b) Traditional art offers physicality, while digital art provides new tools and techniques c) Digital art is limited to two dimensions, while traditional art can create 3D objects d) Traditional art cannot be exhibited digitally 5. Which art form is commonly associated with creating virtual worlds, characters, and animations? a) Traditional 2D art b) Traditional 3D art c) Digital 2D art d) Digital 3D art Lesson proper Traditional 2D refers to the conventional form of two-dimensional artwork and media that predates the emergence of three-dimensional and digital technologies. It encompasses various artistic disciplines, such as drawing, painting, printmaking, and illustration, which are typically created on flat surfaces. In the realm of drawing and painting, traditional 2D techniques involve using tools like pencils, pens, brushes, and various types of paint on paper, canvas, or other suitable surfaces. Artists
49 employ different mediums such as graphite, charcoal, ink, watercolors, acrylics, oils, and pastels to create their works. These mediums allow for the application of color, texture, and shading to bring images to life. Printmaking, another traditional 2D art form, involves transferring an image from a prepared surface onto paper or another substrate. Techniques such as woodcut, engraving, etching, lithography, and screen printing fall under this category. Each technique offers its own unique visual qualities and requires specific tools and materials. Illustration, both traditional and digital, involves creating images that accompany text or convey a visual narrative. Traditional 2D illustration typically employs techniques like pen and ink, watercolor, or gouache on paper or board. These illustrations can be found in books, magazines, advertisements, and other printed materials. While traditional 2D art has a long history and continues to thrive, the advent of digital technology has introduced new tools and techniques. Digital illustration and painting software, such as Adobe Photoshop and Corel Painter, allow artists to create 2D artwork using digital brushes, layers, and various effects. However, traditional 2D techniques still hold immense value and offer a tactile and organic experience that many artists and art enthusiasts appreciate. Traditional 3D refers to the creation of three-dimensional objects using manual techniques and physical materials, as opposed to computer-generated 3D models or digital sculpting. It involves the use of various traditional art forms, such as sculpture, ceramics, and modeling, to create tangible and sculptural works. Sculpture is a prominent form of traditional 3D art. Sculptors work with materials like clay, stone, metal, wood, and other substances to shape and mold their creations. They employ techniques like carving, modeling, casting, and assemblage to give form and structure to their sculptures. Traditional sculpting methods often require physical manipulation of materials using tools such as chisels, hammers, rasps, and carving knives. Ceramics is another traditional 3D art form that involves shaping clay into objects and then firing them in a kiln to achieve a hardened, durable form. Artists utilize techniques like hand-building (coil, slab, and pinch methods) or wheel-throwing to shape the clay. After the initial forming process, additional decoration and glazing techniques can be applied before the final firing. Modeling, often associated with architectural or industrial design, is the creation of threedimensional scale models of buildings, products, or other objects. Traditional modeling typically involves working with materials like wood, foam, cardboard, or plastic. Artists use cutting tools, adhesive, and other construction methods to assemble and shape the model, capturing the details and proportions of the intended object. Traditional 3D art requires a hands-on approach and mastery of physical techniques and materials. Artists engage with the tactile nature of the medium, working with their hands and tools to manipulate and shape the materials directly. It offers a tangible and immersive experience, allowing artists to interact with the physicality of their creations. While digital 3D modeling and printing have become increasingly popular in recent years, traditional 3D techniques continue to be valued for their craftsmanship, artistic expression, and the connection between the artist and the physical medium. The combination of traditional and digital methods often leads to exciting possibilities in contemporary art and design.
50 Digital 2D refers to the creation of two-dimensional artwork using digital tools and software. It involves using computer-based programs and devices to produce images and illustrations that mimic traditional 2D techniques or explore new artistic possibilities unique to the digital medium. Digital 2D artwork can be created using various software applications, such as Adobe Photoshop, Corel Painter, GIMP, Procreate, or Illustrator. These programs offer a wide range of tools, brushes, and effects that simulate traditional mediums like pencils, pens, paints, and inks. Artists can use a graphics tablet or a stylus on a touchscreen device to draw directly onto the digital canvas, mimicking the experience of traditional drawing or painting. One of the primary advantages of digital 2D art is the ability to work non-destructively. Artists can easily make changes, experiment with different color palettes, layers, and effects without damaging the original artwork. The digital workflow also allows for easy editing, resizing, and manipulation of elements within the artwork, offering greater flexibility and efficiency in the creative process. Digital 2D art is widely used in various fields, including illustration, concept art, graphic design, animation, and web design. Illustrators can create digital illustrations for books, magazines, advertisements, and online publications. Concept artists often use digital tools to develop characters, environments, and objects for video games, movies, and animations. Graphic designers utilize digital software to create logos, posters, and other visual assets. Digital 2D art also offers the ability to incorporate elements like textures, patterns, gradients, and special effects that can be difficult to achieve with traditional methods alone. Artists can experiment with different brushes, blending modes, and layering techniques to create unique and visually appealing results. Additionally, the digital medium allows for easy sharing, distribution, and reproduction of artwork. Digital files can be easily transferred online, printed, or displayed on various digital devices, reaching a broader audience and facilitating collaboration with other artists and clients. While digital 2D art has its advantages, it's important to note that it doesn't replace traditional 2D art but rather offers a complementary set of tools and techniques. Many artists continue to embrace both traditional and digital methods, incorporating the strengths of each medium into their creative process. Digital 3D refers to the creation of three-dimensional virtual objects and environments using computer software and digital tools. It involves the use of specialized 3D modeling software and techniques to build and manipulate 3D objects, which can be rendered, animated, and interacted with in virtual environments.