Asu Herberger School Of Art: Many Methods Of Animation

Asu Herberger School Of Artthere Are Many Methods Of Animation We Will

Asu Herberger School Of Artthere Are Many Methods Of Animation We Will

ASU Herberger School of Art There are many methods of animation we will cover a few in this course. ï‚— Stop-Action ï‚— Simple Animation ï‚— Cel Animation ï‚— Web Animation ï‚— 3D CGI ï‚— Methods are procedures and techniques for animating ï‚— Over the years many different form of animating have been established, some have become more popular than others, but all are important in understanding how we can animate our own imaginations ï‚— Although we will touch on each of these methods you will be responsible for reading the appropriate chapters in the course text to pass the exams and contribute to the discussions. Stop-Action or Stop-Motion animation is a time consuming method of photographing models or puppets in a series of slight moves. Each image is then played back in sequence to give the apparent look and feel of an animated character. The most popular use of Stop-Action is with clay figures, like the Wallace and Gromit Series. Simple animation would include 2d animations that don’t necessarily take a great amount of drawing skill. Usual short in nature, these simple animations still tell a story but use more simplistic graphics such as cut outs or collages. Many simple animation take on personal meaning to the viewer like a flipbook of personal experience or ideas. Some professional examples of this style include Monty Python’s Flying Circus, and Time Bandits. Cel Animation brings us to what most of us are familiar with as children. Cartoons have become a very large portion of what kids like to watch and the way they learn about the world and some moral issues. These Cartoons are Cel animation – this means that these are most often drawn my hand (some done by computer these days) and that the characters are superimposed on the backgrounds, this allow the action to take place seamlessly without having to draw the background again and again on every frame. Some example include any Disney, Hanna-Barbera, or Looney Tunes Cartoon. Web animation at it’s core is really just the same as simple or cel animation however the caveat is that it exists primary on the internet. Also the software used for web animation is more proprietary that the others. This is where the technique of vector animation really shines as programs like Flash or Photoshop with animated gifs can let the artist explore their own imagination with out restriction. Computers very much dominate the emerging horizon of digital animations and cartoons. More and more show on television and full feature movies are using them to accomplish amazing imagery and capture our senses. Even movies that we felt did have animation in them probably did in some form or another. With programs like Maya and 3D Studio Max new worlds can open to our view, the next step in imagination can transport us to the place that the artist envisioned. If properly executed we will forget that we watched it and feel like we actually went there. Computers and 3D Computer Generated Imagery is blurring the line between fantasy and reality. ï‚— Read pages 30-32, 46-47, 70-71, , , in the course text. Complete the quiz and participate in the discussion board for this section of the course. ï‚— For the discussion board I expect you to contribute to the conversation and respond to at least two other students on the comments they made. ï‚— Complete these by 11:59pm on the Due Date. ASU Herberger School of Art ï‚— As mentioned in the introduction section of this course the Principles of animation are the fundamental procedures for animating realistic looking characters. ï‚— Walt Disney setup drawing classes for his animators in Los Angeles. Most of these animators were drawing using standard shapes and using the old cartoon way of repetitive actions and gestures. In these classes the students studied motion and live action film, analysis of action became the most important role of these courses. ï‚— Squash and Stretch ï‚— Timing ï‚— Anticipation ï‚— Staging ï‚— Follow through and Overlapping action ï‚— Straight ahead action and Pose to Pose Action ï‚— Slow In and Out ï‚— Arcs ï‚— Exaggeration ï‚— Secondary Action ï‚— Appeal An important principle and thus the first, is Squash and Stretch. When an object is moved, the movement eludes to the rigidity of it. Very rigid objects such as chairs and dishes and pans remain stiff during motion. However any flesh type object will show vast amounts of movement and fluidity during motion. No matter how squashed or stretched out an objects gets, it’s volume remains the same. If it is squashed down it sides would stretch and vice versa creating the look of shrinking or growing during movement. The more pliable the object the more drastic this effect becomes. Timing is critical to making ideas readable. There is such thing as too little and too much time spent on any one action in animation. Correct timing defines the weight of an object and also determines whether the audience really has time to see it or not. If it is too fast the audience may not understand what they are looking at, and if it is too slow the audience may feel that the animation was unfinished or something is wrong with it. Additionally timing can contribute to the feeling of size and scale of an object or character as well as the emotional state of said character. Any action exist in three parts: Preparation for an action, the action itself, and the end of that action. Anticipation is the first, the preparation for the action. This is used to catch the eye of the viewer and to get them interested in the action, it also lends itself well to guiding the viewer through a recognized action that may end in an unexpected way. Also related to preparation is Staging. It is the presentation of an idea so that it is clear to the viewer. It means that ideas and actions in the animation are presented in such a way that they will be recognizable to the audience and elicit a response, be it an action or mood that is desired. Another important aspect of staging is that there need only be one idea presented to the audience at a time. If too much is happening all at once the viewers may miss out on a key action or idea that was essential to the story. As discussed earlier with the three parts of an action, follow through and overlapping determines the end of an action. Actions need a clear end and an action should never come to a complete stop without another action and secondary action overlapping the first. Overlapping means continuous flow between the collection of actions. These are the two main approaches to hand-drawn animation. Straight ahead animation is when the animator works straight ahead from the first drawing all the way through to the last. This lends itself well to creativity and wild and scrambling actions where spontaneity is key. Pose to Pose is such that the animator decides on all actions before hand and makes sure that each pose relates to the next in size and action, then the animator will draw the in-betweens. Slow In and Out deals with the spacing between the poses, it refers to the second and third-order continuity of motion. This idea is directly related to timing and how fast or slow we enter and exit from one pose to another. With digital animation this is done automatically as the in-betweens are created between the poses based on keyframe location. Just as it sounds and arc describes the visual path of an action from one extreme to the other. Most movement can be defined by an arc rarely in nature to we find straight lines in motion. Arcs add to the realism of an action and smooth out an otherwise rigid movement. Often times 3D animation software will short cut the in-betweens so the animator must add the arcs back in to complete the look. Although it sounds very straight forward the principles of exaggeration does not mean that we randomly distort objects or make movements more violent or unrealistic. Exaggeration of an action should always be balanced with the other components surrounding that character. Exaggeration can be used to accentuate a movement and draw attention to it, to facilitate a change in mood or a new direction for the animation to go in. Exaggeration also applies to the soundtrack and all other aspects to add to the richness of the scene. An action that results directly from another action. They add interest and realism to the complexity of an animation. These are always subordinate to the primary action and work to fill-in the action. In this example the secondary action could be the movement of the bedding but also could be the face expression of the character over the course of the movement. Appeal is subjective but is more simply defined as anything that a person likes to see, design, simplicity, and so on. Appeal in animation of character is focused on “twins” or parts of the character or object that look exactly alike as a result of the creation of it. If you take one of the “twins” and adjust it slightly to look different it suddenly becomes more appealing and realistic than it was before. ï‚— Read the Lasseter handout. Complete the quiz and participate in the discussion board for this section of the course. ï‚— For those of you new to online courses in the discussion board I expect you to contribute to the conversation and respond to at least two other students on the comments they made. ï‚— Complete these by 11.59pm on the Due Date.

Paper For Above instruction

Animation encompasses a diverse array of methods and principles that serve as foundational tools for creating visually compelling and believable characters and scenes. The evolution of animation from traditional hand-drawn methods to sophisticated digital techniques has been driven by technological advancements and artistic innovation. This paper explores the various animation techniques covered in the course, emphasizing their characteristics, historical significance, and the fundamental principles that underpin effective animation.

The primary methods discussed include Stop-Action (or Stop-Motion), Simple Animation, Cel Animation, Web Animation, and 3D CGI. Stop-Action or Stop-Motion animation involves photographing models or puppets in incremental movements to produce the illusion of motion. This labor-intensive process is popularized by clay animation series such as Wallace and Gromit, and it emphasizes physical manipulation and meticulous frame-by-frame capture. Simple animation, often 2D and characterized by minimalistic graphics, tends to be short and personal, employing cutouts or collages to tell stories without requiring extensive drawing skills. Notable examples include Monty Python’s Flying Circus and Time Bandits, where simplicity and personal expression are central.

Cel Animation, historically one of the most recognized animation techniques, involves hand-drawing characters and placing them over static backgrounds. This method was widely used by Disney, Hanna-Barbera, and Looney Tunes, allowing seamless action without redrawing backgrounds for each frame. Today, digital tools have modernized this process, but the core concept remains influential in understanding traditional animation workflows.

Web animation builds upon the fundamentals of simple or cel animation but leverages internet platforms and proprietary software like Adobe Flash and Photoshop. Vector animation and animated GIFs enable artists to explore creative boundaries without physical constraints, making web animation a versatile and accessible medium. The rise of digital animation software such as Maya and 3D Studio Max has expanded the horizon to three dimensions, allowing for the creation of immersive worlds that blur the line between fantasy and reality. These advancements contribute to a growing industry where digital effects and CGI are now commonplace in television, film, and interactive media.

Parallel to the technical evolution, the principles of animation established by pioneers like Walt Disney have shaped the discipline's artistic foundation. These principles include Squash and Stretch, Timing, Anticipation, Staging, Follow Through, Overlapping Action, Straight Ahead and Pose-to-Pose Animation, Slow In and Out, Arcs, Exaggeration, Secondary Action, and Appeal. These principles ensure that animated characters and objects exhibit realistic movement and emotional expressiveness.

For example, Squash and Stretch maintain the volume and shape of an object during motion, imparting a sense of weight and elasticity. Timing is crucial to expressing weight, emotion, or scale; too fast or too slow can distort the viewer's perception. Anticipation prepares the audience for upcoming actions, enhancing clarity and engagement. Staging ensures that each action is clearly conveyed, avoiding visual clutter and directing viewer focus. Follow Through and Overlapping Action add realism by completing actions naturally and avoiding abrupt stops.

The animation techniques of Straight Ahead and Pose-to-Pose approach the creation process differently— the former emphasizes spontaneity, while the latter emphasizes planning. Both methods benefit from understanding timing, arcs, and exaggeration, which serve to create fluid, believable movements. In digital environments, the automatic generation of in-betweens simplifies the animator’s workflow, but understanding the underlying principles remains vital for artistic control.

Arcs, or the natural visual paths of movement, are essential in portraying realistic motion, and exaggeration is used judiciously to emphasize actions and convey mood or narrative shifts. Secondary Actions provide depth, such as facial expressions or secondary movements that complement primary actions. Appeal, a key subjective quality, relates to the overall attractiveness or likability of characters, and slight modifications, like tweaking “twins,” can significantly enhance their visual resonability.

Mastering these principles is crucial for aspiring animators, as they underpin all types of animation from traditional to digital. The integration of technological tools and artistic principles results in compelling animations that captivate audiences and evoke emotional responses. As the industry continues to evolve, a comprehensive understanding of both methods and principles remains vital for producing innovative and engaging animated works.

References

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