Class XI Animation
Class XI Animation
Coordinator:
• Smt. Niti Shanker Sharma, Deputy Secretary (Skill Education), Central Board of
Secondary Education, Delhi
Original Content Source: The PSS Central Institute of Vocational Education (PSSCIVE)
PSSCIVE Acknowledgement:
• Special thanks to the Ministry of Human Resource Development (MHRD),
Government of India for funding the project on the development of curricula and
courseware for Classes 9 to 12 (NSQF Levels 1-4).
• National Skill Development Corporation (NSDC) and Media and Entertainment
Skills Council (MESC) for making available the Qualification Packs (QP) and
National Occupational Standards (NOS), which were utilized for developing the
course content.
• PSSCIVE thankfully acknowledges the valuable suggestions of the members of
the Standing Committee of the project and the guidance provided by Prof. R.B.
Shivagunde, Joint Director, PSSCIVE in the execution of the project.
• Special thanks are due to Prof. (Dr.) Vinay Swarup Mehrotra, Project
Coordinator and Head, Curriculum Development and Evaluation Centre (CDEC)
and National Skills Qualifications Framework Cell (NSQFC), PSSCIVE for
guidance and review of the course material.
• The contributions of Shri Sourabh Kulparia and Shri Meet Vishwakarma in type
setting and composing the material in its present form are thankfully
acknowledged and appreciated.
ABOUT YOUR
WORKBOOK
This workbook is to assist you with completing the Unit of Competency Introduction
to Computers and Internet Navigation. You should work through the workbook in the
classroom, at the workplace or in your own time under the guidance and supervision of
your teacher or trainer. This workbook contains sessions which will help you to acquire
relevant knowledge and skills (soft and hard) on various aspects of the unit of competen-
cy. Each session is small enough to be easily tackled and digested by you before you move
on to the next session. Animated pictures and photographs have been included to bring
about visual appeal and to make the text lively and interactive for you. You can also try
to create your own illustrations using your imagination or taking the help of your teacher.
Let us now see what the sections in the sessions have for you.
Section 1: Introduction
This section introduces you to the topic of the Unit. It also tells you what you will learn
through the various sessions covered in the Unit.
This section provides you with the relevant information on the topic(s) covered in the
session. The knowledge developed through this section will enable you to perform certain
activities. You should read through the information to develop an understanding on the
various aspects of the topic before you complete the exercise(s).
Section 3: Exercise
Each session has exercises, which you should complete on time. You will perform the
activities in the classroom, at home or at the workplace. The activities included in this
section will help you to develop necessary knowledge, skills, and attitude that you need
for becoming competent in performing the tasks at workplace. The activities should be
done under the supervision of your teacher or trainer who will guide you in completing
the tasks and also provide feedback to you for improving your performance. To achieve
this, prepare a timetable in consultation with your teacher or trainer and strictly adhere
to the stipulated norms or standards. Do not hesitate to ask your teacher or trainer to
explain anything that you do not understand.
Section 4: Assessment
The review questions included in this section will help you to check your progress. You
must be able to answer all the questions before you proceed to the next session.
TABLE OF
CONTENTS
CONTENT
Acknowledgement
Preface
Introduction.......................................................................................09
Glossary.............................................................................................56
Suggested reading..............................................................................57
List of contributors.............................................................................58
INTRODUCTION
Animation is the process of displaying still images in a rapid sequence to create the il-
lusion of movement. These images can be hand drawn, computer generated, or pictures
of 3D objects. There are three main types of animation: traditional, stop motion, and
computer generated. Each can be used to make 2D or 3D images. There are also other
less common forms, many of which focus on using an unusual medium like sand or glass
to create the images, as well as combination of live action and drawings or computer
created images.
Animated films and models aren’t actually moving, but people see the illusion of move-
ment because of a phenomenon called persistence of vision. In this phenomenon, the
brain and eyes cooperate to store images for fractions of a second, and the brain smooth
out any minor jumps or blips automatically. Since animated frames are shot at very fast
rates, people generally see the movement without stoppages.
Animation has many other uses. It’s commonly used in educational videos and advertise-
ments both on TV and on the Internet, and it can also be used in the process of research
and development to create simulations of how a machine or process would work.
Character design script writing storyboarding dialog recording – dialog is recorded first,
so the animator can match the voice to the lips. Animation as a learning tool can help
children that to solve problems in a much more flexible, creative and collaborative man-
ner. It can also make children them aware of the media and how the cartoon films are
made which they see on television.
In this unit, we will take an overview of the various aspects of animation and study the
history of animation. Animation can be classified in two categories: Classic animation
and modern animation. Classic animations are the old traditional animations, whereas
modern animation includes fully computer generated graphics called as CG.
09
COURSE: MEDIA AND
ENTERTAINMENT
SESSION ONE
INTRODUCTION
TO
ANIMATION
10
SESSION ONE
INTRODUCTION TO
ANIMATION
RELEVANT KNOWLEDGE
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NOTE :...........................................
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The final result would be one second of linear bumps and dips. Digital media is
smooth animation with a little effort from more compatible and does not degrade
user. For example, the bouncing ball over time therefore, it has
animation consists of the following six- Become the common choice for today’s
frames: audio and video formats.
Types of Animation
Animation creation methods include
the traditional animation creation meth-
od and those involving stop motion an-
imation of two and three-dimensional
objects, such as paper cutouts, puppets
and clay figures. Images are displayed
in a rapid succession, usually 24, 25, or
30 frames per second. The various types
of animation include the following:
Animations can be recorded on either
analog media or on digital media. A typ- 1. Flip book animation
ical analog device is a clock on which 2. Traditional animation
the hands move continuously around the 3. Cut-out animation
face. In contrast, a digital clock is capa- 4. Clay animation
ble of representing only a finite number 5. Stop motion animation
of times (for example, every 10th of a 6. Computer animation
second). VCRs, tape players, and record
players, on the other hand, are analog Flip book animation
devices. This is because they record data
linearly from one point to another. All an- Flip book animation is a very primi-
alog audio or video media must be con- tive way of creating animation purely
verted to digital to work on a computer. with pencil, eraser and a stack of draw-
Once the information is digital, comput- ing pads, such as post-it pads. It is cheap
ers can be used to edit the data and create and readily available at all stationery
effects that were never possible with an- stores. It help you to use your existing
alog media. Digital media is non-linear, drawing skill and you can easily under-
which means it can be edited or played stand the basic concept of animation.
back starting at any point, which can be
a huge time saver compared to working
with tape. Digital information also does Traditional animation
not “wear out” after repeated use like
Traditional animation, also called cel
tapes or records do, which results in much
animation, classical animation or hand-
better longevity for digital media. Digital
drawn animation, is an animation tech-
recordings are made with ones and zeros,
nique where each frame is drawn by hand.
while analog recordings are made with
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SESSION ONE
INTRODUCTION TO
ANIMATION
This was the process used for most ani- mator has achieved the desired amount of
mated films of the 20th century. To create film. Upon playback, the human mind of
the illusion of movement, each drawing the viewer perceives the series of slightly
differs slightly from the one before it. The
animators’ drawings are traced or pho-
tocopied onto transparent acetate sheets
called cels, which are filled in with paints
in assigned colors or tones on the side op-
posite the line drawings. The completed
character cels are photographed one-by
one against a painted background by a
rostrum camera onto motion picture film.
Cut-out animation
Cut-out animation is a stop-motion tech-
nique for producing animations, using flat
characters, props and backgrounds made
out of different materials such as paper,
card, stiff fabric or even photographs. changing, rapidly succeeding images as
motion.
Stop motion animation
Clay animation Stop-motion animation is used to describe
Clay animation, also known as Clayma-
animation created by physically manipu-
tion is any animation done using a char-
lating real-world objects and photograph-
acter or characters created out of clay.
ing them one frame of film at a time to
Traditionally,
create the illusion of movement. There
are many different types of stop motion
Storytelling and creative -writing are
animation, usually named after the medi-
some of the more obvious ways to use
um used to create the animation.
claymation. It is also helpful for explana-
tions of scientific processes, human body
functions, visualizing mathematical con-
cepts such as fractions, recreating histor-
ical time periods and events, and demon-
strating physical activities such as proper
exercises and stretches. Each object or
character is sculpted from clay or other
such similarly pliable material as plasti-
cine, usually around a wire skeleton called
an armature, and then arranged on the
set, where it is photographed once before
being slightly moved by hand to prepare it
for the next shot, and so on until the ani-
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Computer animation
It is now also possible for animators to
draw directly into a computer using a
graphics tablet or a similar device, where
the outline drawings are done in a similar
manner as they would be on paper. Com-
puter animation or Computer Generated
Imagery (CGI) animation is the process
used for generating animated images by
using computer graphics. Modern com-
puter animation usually uses 3D comput-
er graphics, although 2D graphics are still
used for stylistic, low bandwidth and fast-
er real- time renderings. Computer-generated animations are more
controllable than other more physical-
Computer animation is essentially a dig- ly based processes, such as constructing
ital successor to the stop motion tech- miniatures for effects shots or hiring ex-
niques used in traditional animation tras for crowd scenes, and because it al-
with 3D models and frame-by-frame an- lows the creation of images that would
imation of 2D illustrations. Classical 2D not be feasible using any other technolo-
animation is also known as hand-drawn gy. It can also allow a single graphic artist
2D animation or traditional animation. to produce such content without the use
In this technique animators need to make of actors, expensive set pieces, or props.
at least 12 drawings on paper for one sec-
ond length of film. The drawings are later History of Animation
scanned or captured for post production Animation refers to the recording of any
using computer. This technique was the image which goes through changes over
dominant form of animation in film and time to portray the illusion of motion. Be-
TV series, until the development of CGI fore the invention of film, the depiction of
animation. In digital 2D animation tech- figures in motion through static art existed
nique, animation frames are drawn direct- as far back as the Paleolithic. In the 19th
ly on software using mouse or pen tablet. century there were several devices which
This technique is used mostly for TV se- successfully displayed animated images.
ries and web animation.
Early examples of attempts to capture
the phenomenon of motion into a still
drawing can be found in paleolithic cave
paintings, where animals are often depict-
ed with multiple legs in superimposed po-
sitions, clearly attempting to convey the
perception of motion.
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SESSION ONE
INTRODUCTION TO
ANIMATION
In the first century BC, the Chinese crafts- In 1900, more than 500,000 people had
man Ding Huan invented a zoetrope-like attended these screenings.
optical device that created the impression
of motion from the rapid movement of
static images. A circular canopy of trans-
lucent paper painted with images of birds
and animals was placed over a lamp. The
rising convection currents of the lamp
rotated the vanes on the top of the can-
opy. When the device was spun at the
right speed, pictures painted on the panels
would appear to move.
In the 19th century, the phenak is to scope Praxinoscope, the first projection (1877)
(1832), modern zoetrope (1834) and prax-
inoscope (1877), as well as the common
flip book, were early animation devices to The first film that was recorded on stan-
produce movement from sequential draw- dard picture film and included animated
ings using technological means, but ani- sequences was the 1900 Enchanted Draw-
mation did not develop further until the ing, which was followed by the first en-
advent of motion picture film and cine- tirely animated film - the
matography in the 19thcentury. 1906 Humorous Phases of Funny Faces
by J. Stuart Blackton, who, because of
that, is considered the father of American
The cinématographe was a projector, animation.
printer, and camera in one machine that
allowed moving pictures to be shown suc-
cessfully on a screen which was invented
by history’s earliest film makers, Auguste
and Louis Lumière, in 1894. The first an-
imated projection (screening) was created
in France, by Charles-Émile Reynaud,
who was a French science teacher. Rey-
naud created the Praxinoscope in 1877
and the Théâtre Optique in December
1888. On 28 October 1892, he projected
the first animation in public, Pauvre Pier-
rot, at the Musée Grévin in Paris. This
film is also notable as the first known
instance of film perforations being used.
His films were not photographed, but
drawn directly onto the transparent strip.
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In Europe, the French artist, Émile Cohl, directed by Winsor McCay, a successful
created the first animated film using what newspaper cartoonist, including the 1911
came to be known as traditional anima- Little Nemo, the 1914 Gertie the Dino-
tion creation methods - the 1908 Fantas- saur, and the 1918 The Sinking of the Lu-
magorie. The film largely consisted of a sitania. During the 1910s, the production
stick figure moving about and encounter- of animated short films, typically referred
ing all manner of morphing objects, such to as “cartoons”, became an industry of
as a wine bottle that transforms into a its own and cartoon shorts were produced
flower. There were also sections of live ac- for showing in movie theaters. The most
tion in which the animator‘s hands would successful producer at the time was John
enter the scene. The film was created by Randolph Bray, who, along with anima-
drawing each frame on paper and then tor Earl Hurd, patented the cel animation
shooting each frame onto negative film, process which dominated the animation
which gave the picture a blackboard look. industry for the rest of the decade.
The author of the first puppet-animated El Apóstol (Spanish: “The Apostle”) was
film (The Beautiful Lukanida (1912) was a 1917 Argentine animated film utilizing
the Russian-born (ethnically Polish) di- cutout animation, and the world’s first
rector Wladyslaw Starewicz, known as animated feature film.[6] Unfortunately,
Ladislas Starevich. a fire that destroyed producer Frederico
Valle’s film studio incinerated the only
The more detailed hand-drawn anima- known copy of El Apóstol, and it is now
tions, requiring a team of animators draw- considered a lost film.
ing each frame manually with detailed
backgrounds and characters, were those
16
SESSION ONE
INTRODUCTION TO
ANIMATION
Exercise
Prepare an animal or cartoon using clay and other material. Seek the help of your teach-
er/trainer to perform the activity. First draw your character on a piece of paper (full size).
Using your drawing as a guide you need to measure and cut the lengths of wire for the
armature (skeleton). Use the polymer clay to block out the chest, pelvis, hands and feet of
the skeleton, and to hold the wire together. Put the clay around to prepare your character.
Visit some of the websites on claymation to learn about how to prepare a character out
of clay. You will need the following materials:
Materials Needed
1. Armature wire(1/16”)
2. Plastalina clay
3. Polymerclay
4. Plier
5. Foam board
6. Paper
7. Packing tape
8. Insta mold making compound
9. Petroleumjelly
10. Baby oil (mineraloil)
11. Double boiler (or cooking pot and glass mixing bowl)
12. Sculpting tools
13. Paint
14. Brushes
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Assessment
Answer the following questions
1. Describe how the animation industry evolved from its early days.
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18
SESSION ONE
INTRODUCTION TO
ANIMATION
Part B
Part C
Performance standards
19
COURSE: MEDIA AND
ENTERTAINMENT
SESSION TWO
TRADITIONAL
ANIMATION
SESSION TWO
TRADITIONAL
ANIMATION
In this lesson you will learn about the tra- ply takes a storyboard and inserts the
ditional animation. intermediary steps needed to create the
illusion of motion. The first time, have
them use the basic compositional forms
RELEVANT KNOWLEDGE
of drawing that they are already used
to, like dots, lines or circles, so that
Flip Book they focus on placement and sequence
Flip books offer the most versatility and rather than the detail within the object.
creativity in hands-on animation projects
because they are not limited in length or
materials, as is the case with some other
Traditional Animation
Traditional Animation was the process
techniques. They’re inexpensive to cre-
used for most animated films of the 20th
ate with common materials and require
century. The individual frames of a tradi-
no viewing devices. Most important, the
tionally animated film are photographs of
process used to make a flip book forms
drawings, first drawn on paper. To create
the basis for all of the more sophisticated
the illusion of movement, each drawing
animation techniques, including filmed
differs slightly from the one before it. The
animation. The basic rule is, if it will
animators’ drawings are traced or pho-
flip, it will work, so try index cards, Post-
tocopied onto transparent acetate sheets
called cels, which are filled in with paints
in assigned colors or tones on the side op-
posite the line drawings. The completed
character cels are photographed one-by-
one against a painted background by a
rostrum camera onto motion picture film.
the same over the past 70 years. Some animation producers have used the term “tradigi-
tal” to describe cel animation which makes extensive use of computer technology.
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SESSION TWO
TRADITIONAL
ANIMATION
Excerpt from the 1919 Feline Fol- artists at the American studio United Pro-
lies with Felix the Cat. ductions of America, limited animation can
be used as a method of stylized artistic ex-
Examples of traditionally animated fea- pression, as in Gerald McBoing Boing (US,
ture films include -Pinocchio|| (United 1951), Yellow Submarine (UK, 1968), and
States, 1940), Animal Farm (United King- much of the anime produced in Japan. Its
dom, 1954), and, -L’Illusionniste|| (Brit- primary use, however, has been in produc-
ish-French,2010). ing cost-effective animated content for me-
dia such as television and later the Internet
(web cartoons).
Rotoscoping is a technique patented by
Pinocchio
Traditional animated films which were
produced with the aid of computer tech-
nology include The Lion King (US, 1994),
Akira (Japan, 1988), Sen to Chihiro no Ka-
mikakushi (Spirited Away) (Japan, 2001), Max Fleischer in 1917 where animators
-Les Triplettes de Belleville (France, 2003), trace live-action movement, frame by frame.
and The Secret of Kells (Irish-French- Bel- The source film can be directly copied from
gian,2009). actors’ outlines into animated drawings, as
in The Lord of the Rings (US, 1978), or
Full Animation refers to the process of pro- used in a stylized and expressive manner, as
ducing high-quality traditionally animated in Waking Life (US, 2001) and A Scanner
films that regularly use detailed drawings Darkly(US,2006).Some other examples are:
and plausible movement. Fully animated Fire 14 and Ice (US, 1983) and Heavy Metal
films can be made in a variety of styles, from (1981).
more realistically animated works, such as
those produced by the Walt Disney studio Live-Action/Animation is a technique
(Beauty and the Beast, Aladdin, Lion King) combining hand-drawn characters into live
to the more ‘cartoon’ styles of the Warner action shots. One of the earlier uses was in
Brothers. Koko the Clown when Koko was drawn
over live action footage. Other examples
Limited Animation involves the use of less include Who Framed Roger Rabbit (US,
detailed and/or more stylized drawings and 1988),-Space Jam|| (US,1996)and-Osmo-
methods of movement. Pioneered by the sis Jones|| (US,2001).
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Exercise
1. Draw the moments of the two legged figures given below and
Paste them on the sheets of your portfolio book.
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SESSION TWO
TRADITIONAL
ANIMATION
2. Prepare a Flipbook Print out the frames given below and glue onto individual index
cards in the same position (upper right corner is the best). Staple the left edge together,
or use a rubber band to keep the cards stacked in a little book. Flip them cards with your
thumb and see how the character moves. Use colour or add images to customize your
flipbook (source:flipbook.http:www.zuzu.org/printout.html).
Try this!
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26
SESSION TWO
TRADITIONAL
ANIMATION
4. Sketch the picture of Pinocchio and paste it on your student portfolio book.
Assessment
Answer the following questions.
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NOTE :...........................................
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Use the following checklist to see if you have met all the requirements
for assessment activity.
Part A
Part B
Part C
Performance standards
28
SESSION TWO
TRADITIONAL
ANIMATION
29
COURSE: MEDIA AND
ENTERTAINMENT
SESSION THREE
STOP MOTION
ANIMATION
SESSION THREE
STOP MOTION
ANIMATION
33
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Exercise
1. Visit an Animation Studio for understanding the various methods of animation.
2. Make a short stop motion animation film by following the given steps. Perform the
activity under the supervision of your teacher/trainer.
A) Get objects and figures to use in your movie. Some good choices include clay, wire,
Lego or similar building block figures. Be imaginative in the types of objects and figures
that might workforyourmovie.You can also use a whiteboard, animating figures and ed-
iting the drawing slightly with each frame.
b) Set up the figures (characters) in a particular position and within the”set.”
c) Place your camera in front of the “set” that you are going to take photos. Make sure
that it can view the entire frame.
d) Set up a good source of lighting. It might be a lamp or a flash light.
e) Take a single photo of the figure in the selected position.
f) Begin the movement sequence. Move the figure bit by bit, in very small movement
seach time. It may be the entire body if the figure is walking, or it may just be an arm,
head or leg.
g) Repeat the movement sequence until your action step is completed
h) Save the pictures on to your computer
i) Use your movie-making software.
Assessment
Answer the following questions
2. Describe the terms Puppet Animation, Clay Animation, Cutout Animation and
Model Animation.
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SESSION THREE
STOP MOTION
ANIMATION
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Part A
Part B
Part C
Performance standards
35
COURSE: MEDIA AND
ENTERTAINMENT
SESSION FOUR
2D AND 3D
ANIMATION
SESSION FOUR
2D AND 3D
ANIMATION
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Computer Imagery Animation or CGI single graphic artist to produce such con-
Animation is the process used for gener- tent without the use of actors, expensive
ating animated images by using computer set pieces, or props.
graphics. The more general term comput-
er-generated imagery encompasses both To create the illusion of movement, an im-
static scenes and dynamic images, while age is displayed on the computer monitor
computer animation only refers to mov- and repeatedly replaced by a new image
ing images. that is similar to it, but advanced slight-
ly in time (usually at a rate of 24 or 30
Modern computer animation usually uses frames/second). This technique is iden-
3D computer graphics, although 2D com- tical to how the illusion of movement is
puter graphics are still used for stylistic, achieved with television and motion pic-
low bandwidth, and faster real-time ren- tures.
derings. Sometimes the target of the an-
imation is the computer itself, but some- For 3D animations, objects (models) are
times the target is another medium, such built on the computer monitor (modelled)
as film. and 3D figures are rigged with a virtual
skeleton. For 2D figure animations, sep-
Computer animation is essentially a dig- arate objects (illustrations) and separate
ital successor to the stop motion tech- transparent layers are used, with or with-
niques used in traditional animation with out a virtual skeleton. Then the limbs,
3D models and frame-by-frame anima- eyes, mouth, clothes, etc. of the figure are
tion of 2D illustrations. Computer gen- moved by the animator on key frames.
erated animations are more controllable The differences in appearance between
than other more physically based pro- key frames are automatically calculated
cesses, such as constructing miniatures by the computer in a process known as
for effects shots or hiring extras for crowd tweening or morphing. Finally, the ani-
scenes, and because it allows the creation mation is rendered.
of images that would not be feasible using
any other technology. It can also allow a For 3D animations, all frames must be ren-
dered after modeling is complete. For 2D
vector animations, the rendering process
is the key frame illustration process, while
tweened frames are rendered as needed.
For pre-recorded presentations, the ren-
dered frames are transferred to a different
format or medium such as film or digital
video. The frames may also be rendered
in real time as they are presented to the
end-user audience. Low bandwidth ani-
mations transmitted via the internet (e.g.
2D Flash, X3D) often use software on the
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SESSION FOUR
2D AND 3D
ANIMATION
The process of a 3D animation pipeline is complex and can be a lot more complicated
than any other forms of animation. Depending on what project and which 3D animation
studio is involved, the number of steps may vary.
The 11 most common steps involved in producing a 3D animation project are given be-
low:
2D animations deals more with drawing 3D allows you to do things that simply are
and framing and is the base of 3D anima- not possible in 2D animation.
tion. 2D animators create frames to define
a sequence that are then moved at varying 3D objects, once modeled, can be treated
speeds to create the illusion of motion. almost as a physical object. You can light
Traditionally these were put together in it differently, you can move a camera to
an amazing process where artists drew look at it from above, or below. 3D allows
pencil drawings of every frame of film, you to create realistic objects. You can use
then these images were painted onto clear textures and lighting to create objects that
plastic sheets called ‗cels‘, and each of appear solid, and can even be integrated
the thousands of hand drawn and paint- seamlessly into live video elements.
ed cels were photographed one at a time
over a hand painted background image 3D Animation Examples
and those thousands of images compiled
to run as film at 24 frames a second. • Toy Story
• Shrek
Today most 2D animation involves us- • The Incredible
ing computer software to one degree or • Jurassic Park (the dinosaurs)
another, from just digitally colouring the • The Transformers (the robots)
cels to be photographed in the traditional
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SESSION FOUR
2D AND 3D
ANIMATION
Exercise
1. Analyze a clip from an animated movie and animate a moment from a scene. Draw
the frames for your animation, capture your drawings with a camera or scanner, and ink
in and animate the drawings using 2- D software.
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2. Watch various 2d and 3d animation clip and make a chart containing the name of
studios and artists.
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Assessment
Answer the following questions:
42
SESSION FOUR
2D AND 3D
ANIMATION
Use the following checklist to see if you have met all the requirements
for assessment activity.
Part A
1. 2D and 3D animation.
Part B
Part C
Performance standards
43
COURSE: MEDIA AND
ENTERTAINMENT
SESSION FIVE
PRODUCTION
PIPELINE
SESSION FIVE
PRODUCTION
PIPELINE
RELEVANT KNOWLEDGE
Production pipeline is required in all logi-
cal organizations to produce an animated
feature film. It overlaps with the company
organizational structure. Every company
has its own pipeline. Every movie changes until a final story is agreed upon.
its pipelineas One panel of a story board for Pixar’s film
“Finding Nemo.”
Requirements are changing
• To save money
• To increase the quality of the movie
Voice recording
Before the animators begin working on
STEPS IN THE ANIMATION the different scenes, the voices are re-
PRODUCTION PIPELINE corded for the film. Before the actors
are brought in to record the lines, people
Story Boarding within the studio record scratch voices.
These recordings allow the animators to
When a film is in its beginning stages of gain ideas for the action based upon the
production, the storyboard is one of the movement of the actors. The recordings
first aspects to be completed. The story
board, a series of pictures with captions
that describe the outline of the story, helps
in the placement of cameras and the tim-
ing of animation later on in the produc-
tion process. The story boarding process
begins with an initial rough draft. Then,
one of the creators acts out and describes
the pictures in the story to his or her col-
leagues in order to receive feedback. After
taking into consideration the suggestions
presented, the story board is redrawn with also influence the timing in the scenes.
the new ideas. This process is repeated One of the actors recording for Pixar’s
45
NOTE :...........................................
..........................................................
..........................................................
Texturing
For texturing, one must “unwrap” the
mesh into 2D and then paint in either 3D
or 2D.
Modelling
Given the sketches of the characters, mod-
ellers use programs, such as Autodesk
Maya and 3D Studio Max to create the
3D computer characters. When model-
ling, the base object can be chosen from a
46
SESSION FIVE
PRODUCTION
PIPELINE
Autodesk Maya gives animators the graph editor and the dope sheet to help with ani-
mation. The graph editor is used to change how the computer interpolates between the
main key frames set by the animator. The dope sheet is used to change the timing of the
animation.
Animation is tiring but rewarding. After many hours spent setting key frames and tweak-
ing the timing, the character feels like they are alive.
Exercise
1. Write a short note on production pipeline.
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
Assessment
Answer the following questions:
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
Part A
Part B
Part C
Performance standards
The performance standard may include, but not limited to:
Performance standards Yes No
Demonstrate the knowledge of production pipeline
49
COURSE: MEDIA AND
ENTERTAINMENT
SESSION SIX
PRE-PRODUCTION
AND
STORYBOARDING
SESSION SIX
PRE-PRODUCTION
AND STORYBOARDING
In this session, you will learn about usually attended by all cast members with
pre-production and storyboarding. speaking parts, the director, all heads of
departments, financiers, producers, and
publicists.
RELEVANT KNOWLEDGE
Even though the writer may still be work-
Pre-production is the process of pre- ing on it, the screenplay is generally page-
paring all the elements involved in a film, locked and scene-numbered at the begin-
play, or other performance. There are ning of pre-production to avoid confusion.
three parts in a production: pre-produc- This means that even though additions
tion, production, and post production. and deletions may still be made, any par-
Pre-production ends when the planning ticular scene will always fall on the same
ends and the content starts being pro- page and have the same scene number.
duced.
Storyboarding: Storyboards are
Pre Production in Films: In film graphic organizers which are in the form
making and video production, prepro- of illustrations or images displayed in se-
duction formally begins once a project quence for the purpose of pre-visualiz-
has been conceptualized and approval. ing a motion picture, animation, motion
At this stage, preparations for production graphic or interactive media sequence.
go into effect. Financing will generally be Storyboarding became popular in live-ac-
confirmed and many of the key elements tion film production during the early
such as principal cast members, director 1940s, and grew into a standard medium
and cinematographer are set. By the end for pre-visualization of films.
of pre-production, the screenplay is usu-
ally finalized and satisfactory to all the
financiers and other stakeholders.
how a film could be shot and cut together. term ‘digimatic’. Images can be shot and
Some feature film DVD special features edited very quickly to allow important
include production animatics. creative decisions to be made ‘live’. Photo
composite animations can build intricate
Animatics are also used by advertising scenes that would normally be beyond
agencies to create inexpensive test com- many test film budgets.
mercials. A variation, the “rip-o-matic”,
is made from scenes of existing movies,
television programs or commercials, to Comic books
simulate the look and feel of the proposed
commercial. Rip, in this sense, refers to
ripping-off an original work to create a
new one.
Photomatic
A photomatic (probably derived from ‘an-
imatic’ or photo animation) is a series of
still photographs edited together and pre-
sented on screen in a sequence. Usually,
a voiceover, soundtrack and sound effects
are added to the piece to create a presenta-
tion to show how a film could be shot and
cut together. Increasingly used by adver-
tisers and advertising agencies to research
the effectiveness of their proposed sto-
ryboard before committing to a ‘full up’
television advertisement.
Novels
Storyboards are now becoming more pop-
ular with novelists. Because most nov-
elists write their stories by scenes rather
than chapters, storyboards are useful for
plotting the story in a sequence of events Tips
and rearranging the scenes accordingly. • For a storyboard any kind of paper will
do, but make sure that it’s not too fragile.
Interactive media • The key here is to have a rough idea of
More recently the term storyboard has what your story is about before you start
been used in the fields of web develop- with the storyboarding.
ment, software development and instruc- • Storyboards can also be done as video
tional design to present and describe, in storyboards, but these can be time con-
written, interactive events as well as audio suming.
and motion, particularly on user interfac- • If you are having trouble visualizing it
es and electronic pages. These are then use models to help you draw.
presented to the project’s cinematogra- • Don’t make them perfect a rough sketch
pher who achieves the director’s vision. is perfectly fine.
• If it helps, you can fold a piece of paper
Finally, if needed, 3D storyboards are cre- into 6 squares, to frame your scenes easily
ated. The advantage of 3D storyboards is or download a free storyboard template
they show exactly what the film camera from the internet.
will see using the lenses the film cam- • Use storyboarding software as a data-
era will use. The disadvantage of 3D is base for script info, props needed, loca-
the amount of time it takes to build and tions, camera directions and then gener-
construct the shots. 3D storyboards can ate a shotlist.
be constructed using 3D animation pro-
grams or digital puppets within 3D pro-
grams. Some programs have a collection
54
SESSION SIX
PRE-PRODUCTION
AND STORYBOARDING
Exercise
1. Analyzes a clip from an animated movie. Create a detailed storyboard of the moment
in the story that you plan to animate.
Assessment
Answer the following questions:
Part B
Discussed in the class the following:
Part C
Performance standards
The performance standard may include, but not limited to:
Performance standards Yes No
Demonstrate the knowledge of storyboard
55
NOTE :...........................................
..........................................................
..........................................................
Glossary
1. Animation -The process of creating a progressively altering image that gives the ap-
pearance of continuous motion.
2. Compositing -The process of combining multiple elements shot separately (still imag-
es, movie clips) into a final image or sequence to give the impression they were all shot
at the same time.
3. Frame - A still two-dimensional image. In computer animation, the term ‗frames per
second‘ (fps) is a measurement of the number of still frames displayed in one second to
give the impression of a moving image. For film work, this value is usually 24; for the
European PAL broadcast format, 25; and for the US NTSC broadcast format, 30fps.
5. Rigging - The process of preparing a character model for animation, including setting
up an underlying skeleton, complete with constraints, controllers and kinematic systems,
and linking it to the mesh of the character model.
6. 2D – Two dimensional.
7. 3D-Three-dimensional.
56
Suggested Reading
BOOKS
WEBSITES
1. http://en.wikipedia.org/wiki/Phi_phenomenon
2. http://en.wikipedia.org/wiki/Key_frame
3. http://www.cprogramming.com/tutorial/animation/frames_and_layers.html
4. http://www.arena-multimedia.com/blog/index.php/animation-techniques/
5.http://www.instructables.com/id/Making-an-army-of-Gromits-Claymation-Mold-
making/
6. http://www.animateclay.com/
7. http://www.stopmotionanimation.com/
8. http://www.stopmotionworks.com/
57
NOTE :...........................................
..........................................................
..........................................................
List of Contributors
Subject Experts
1. Mr. Suman Mondal, BJ 10, Sector 2, Near Tank No 7, Salt Lake City, Kolkata-700091
2. Mr. Atanu Moitra, BJ 10, Sector 2, Near Tank No 7, Salt Lake City, Kolkata -700091
3. Dr. Sreeparna Roychoudhury, BJ 10, Sector 2, Near Tank No 7, Salt Lake City, Kolk-
ata-700091
4. Ms. Shampa Chatterjee, BJ 10, Sector 2, Near Tank No 7, Salt Lake City, Kolkata
-700091
5. Ms. Paramita Pal, 4/1, Bibeknagar, Garfa, Jadavpur,Kolkata-700075
6. Ms. Sukanya Mitra, C/O Padma Saha, 2/59 Azadgarh,Kolkata-700040
7. Ms. Nisha Nair, 105/B, Ground Floor, Kankulia Road, Golpark, Gariahat,Kolk-
ata-700029
8. Ms Soumya Chakroborty, 126 B, Diamond Harbour Road,Kolkata-700060
Reviewers
1. Prof. (Dr.) Vinay Swarup Mehrotra, Head, Curriculum Development and Evaluation
Centre and National Skills Qualifications Framework Cell, PSSCIVE, NCERT, Shyamla
Hills, Bhopal – 462013 2. Prof. (Dr.) Asfa M Yasin, Head, International Relations Di-
vision, PSSCIVE, NCERT, Shyamla Hills, Bhopal – 462013 3. Dr. Asmita Khajanchee,
Associate Professor,Dept. of Electronic Media, National Institute of Technical Teachers’
Training & Research, Shamla Hills, Bhopal - 462 002(M.P.) 4. Shri Akhilesh Rajput, Di-
rector, Maya Academy of Advance Cinematic (MAAC) Center,Bhopal
Resource Persons
58
UNIT 2 :
PRINCIPLES
OF ANIMATION
62
ACKNOWLEDGEMENTS
Coordinator:
• Smt. Niti Shanker Sharma, Deputy Secretary (Skill Education), Central Board of
Secondary Education, Delhi
Original Content Source: The PSS Central Institute of Vocational Education (PSSCIVE)
PSSCIVE Acknowledgement:
• Special thanks to the Ministry of Human Resource Development (MHRD),
Government of India for funding the project on the development of curricula and
courseware for Classes 9 to 12 (NSQF Levels 1-4).
• National Skill Development Corporation (NSDC) and Media and Entertainment
Skills Council (MESC) for making available the Qualification Packs (QP) and
National Occupational Standards (NOS), which were utilized for developing the
course content.
• PSSCIVE thankfully acknowledges the valuable suggestions of the members of
the Standing Committee of the project and the guidance provided by Prof. R.B.
Shivagunde, Joint Director, PSSCIVE in the execution of the project.
• Special thanks are due to Prof. (Dr.) Vinay Swarup Mehrotra, Project
Coordinator and Head, Curriculum Development and Evaluation Centre (CDEC)
and National Skills Qualifications Framework Cell (NSQFC), PSSCIVE for
guidance and review of the course material.
• The contributions of Shri Sourabh Kulparia and Shri Meet Vishwakarma in type
setting and composing the material in its present form are thankfully
acknowledged and appreciated.
ABOUT YOUR
WORKBOOK
This workbook is to assist you with completing the Unit of Competency Introduction
to Computers and Internet Navigation. You should work through the workbook in the
classroom, at the workplace or in your own time under the guidance and supervision of
your teacher or trainer. This workbook contains sessions which will help you to acquire
relevant knowledge and skills (soft and hard) on various aspects of the unit of competen-
cy. Each session is small enough to be easily tackled and digested by you before you move
on to the next session. Animated pictures and photographs have been included to bring
about visual appeal and to make the text lively and interactive for you. You can also try
to create your own illustrations using your imagination or taking the help of your teacher.
Let us now see what the sections in the sessions have for you.
Section 1: Introduction
This section introduces you to the topic of the Unit. It also tells you what you will learn
through the various sessions covered in the Unit.
This section provides you with the relevant information on the topic(s) covered in the
session. The knowledge developed through this section will enable you to perform certain
activities. You should read through the information to develop an understanding on the
various aspects of the topic before you complete the exercise(s).
Section 3: Exercise
Each session has exercises, which you should complete on time. You will perform the
activities in the classroom, at home or at the workplace. The activities included in this
section will help you to develop necessary knowledge, skills, and attitude that you need
for becoming competent in performing the tasks at workplace. The activities should be
done under the supervision of your teacher or trainer who will guide you in completing
the tasks and also provide feedback to you for improving your performance. To achieve
this, prepare a timetable in consultation with your teacher or trainer and strictly adhere
to the stipulated norms or standards. Do not hesitate to ask your teacher or trainer to
explain anything that you do not understand.
Section 4: Assessment
The review questions included in this section will help you to check your progress. You
must be able to answer all the questions before you proceed to the next session.
TABLE OF
CONTENTS
CONTENT
PAGE NO.
Acknowledgement
Preface
Introduction........................................................................................71
Glossary..............................................................................................88
Suggested reading................................................................................89
List of contributors..............................................................................90
INTRODUCTION
Animation is the process of creating a continuous motion and shape change illusion by
means of the rapid display of a sequence of static images that minimally differ from each
other.
It is important that you should attain mastery over the 12 principles of animation, before
you actually start making an animation movie.
The first and most important of the 12 principles is Squash and Stretch which is used to
give drawn objects a feeling of flexibility and weight. Squash and Stretch are often ma-
nipulated to create a comedic effect but are utilized in all types of animation.
The third is the Staging, which is the layout of objects and characters in a scene that draw
the audiences attention to the subject of the scene. Wide, medium and close up shots,
camera angles, colors, and the amount of movement should all be taken into consider-
ation when developing the staging of a scene.
The fourth is the Straight Ahead and Pose-to-Pose in which the animator draws each
scene a single frame at a time. In this case, the animation is moving straight ahead from
the first drawing in the scene. In Pose to pose animation, the animator plans out the key
poses in the scene and then with the help of an assistant or animation software, fills in
the frames between each key frame.
71
NOTE :...........................................
..........................................................
..........................................................
The fifth principle is the Follow Through and Overlapping Action which pertains to
drawn objects that are in motion.
The sixth principle is Slow-Out and Slow-In, which governs the smoothness of an ani-
mation. More frames means smoother, slower animation, fewer frames will speed up the
animation.
The seventh principle is Arcs, which are used for expressing speed. Thrown objects, limbs,
and even free moving characters follow what is called a “natural arc” for the scene, which
is determined by the staging and perspective of the scene.
The eight principle is the Secondary Action which convey strong emotions.
The ninth principle is Timing or the number of frames in a scene or action. It governs
overall speed of the animation.
The tenth principle is Exaggeration, which is used to make scene interesting in one aspect
of it over another.
The eleventh principle is Solid Drawing that applies to objects drawn in three a three
dimensional space. An animator use solid drawing techniques to give their drawn objects
three dimensional aspects like weight, balance, anatomy, lighting and more.
The twelfth principle is Appeal which is used to make the leading characters in any proj-
ect as appealing as possible to captivate the audience.
In this unit, we will discuss the 12 principles of animation and learn how to apply these
principles to produce a wonderful animation movie.
72
COURSE: MEDIA AND
ENTERTAINMENT
SESSION ONE
PRINCIPLES
OF
ANIMATION -I
SESSION ONE
PRINCIPLES OF
ANIMATION -I
In this session, you will learn about the things moved, and how that movement
four principles of animation i.e. Squash might be used to express character and
and Stretch, Anticipation, Staging and personality.
Straight Ahead and Pose-to-Pose Anima-
tion. 1. Squash and Stretch
2. Anticipation
3. Staging
RELEVANT KNOWLEDGE 4. Straight Ahead and Pose-to-Pose
Basic principles of animation were de-
Squash and Stretch: The most important
veloped by the ‘old men’ of Walt Disney principle is “Squash and Stretch”, the pur-
Studios, during the 1930s and amongst pose of which is to give a sense of weight
them Frank Thomas and Ollie John- and flexibility to drawn objects. It can be
ston, of course they were not old men at applied to simple objects, like a bouncing
the time, but young men who were at the ball, or more complex constructions, like
forefront of exciting discoveries that were the musculature of a human face. For ex-
contributing to the development of a new ample, a figure stretched or squashed to
art form. an exaggerated degree can have a comical
effect. In realistic animation, however, the
The 12 principles of animation are as fol- most important aspect of this principle is
lows: the fact that an object’s volume does not
change when squashed or stretched. If the
1. Squash and Stretch length of a ball is stretched vertically, its
2. Anticipation width needs to contract correspondingly
3. Staging horizontally.
4. Straight Ahead and Pose-to-Pose Ani-
mation Illustration of the “squash and
5. Follow through and Overlapping Ac- stretch”-principle:
tion Example A shows a ball bouncing with a
6. Slow Out and Slow In rigid, non-dynamic movement. In exam-
7. Arcs ple B the ball is “squashed”.
8. Secondary Action
9. Timing
10. Exaggeration
11. Solid Drawing
12. Appeal
75
NOTE :...........................................
..........................................................
..........................................................
action that have a fresh and slightly zany look, because the whole process is kept very
creative. Straight ahead action is used for wild, scrambling actions where spontaneity is
important.
In pose-to-pose animation, the animator plans his action, figuring out just what drawings
will be needed to animate the scene. Pose to- pose is used for animation that requires
good acting, where poses and timing are important.
Exercise
1. Go to http://blog.digitaltutors.com/character-animation-fundametals-squash-stretch/
and watch the videos on squash and stretch and practice the same on the software avail-
able with you or download the software from open source.
2. Search for anticipation, Staging Straight Ahead and Pose-to-Pose on YouTube and
watch the videos and practice on the software available with you or download the soft-
ware from open source.
77
NOTE :...........................................
..........................................................
..........................................................
Assessment
Answer the following questions.
1. Write 12 basic principles of animation.
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
Part A
78
SESSION ONE
PRINCIPLES OF
ANIMATION -I
Part B
Part C
Performance standards
79
COURSE: MEDIA AND
ENTERTAINMENT
SESSION TWO
PRINCIPLES
OF
ANIMATION -II
SESSION TWO
PRINCIPLES OF
ANIMATION -II
In this session, you will learn about the animation, and the easiest way to accom-
four principles of animation i.e. Squash plish ease in and ease out is to utilize the
and Stretch, Anticipation, Staging and principle of spacing. As a character stands
Straight Ahead and Pose-to-Pose Anima- up from a sitting position, the spacing will
tion. be closer together at the start, so they ease
into the movement, and as they stand up,
RELEVANT KNOWLEDGE they will ease out of the movement. With-
out this acceleration and deceleration of
actions everything would be very abrupt
Let us now understand the other four
and jerky.
principles of animation.
These are as follows:
Arcs
Most natural action tends to follow an
1. Follow-through and Overlapping
arched trajectory, and animation should
Action
adhere to this principle by following im-
2. Slow Out and Slow In
plied “arcs” for greater realism. This can
3. Arcs apply to a limb moving by rotating a joint,
4. Secondary Action or a thrown object moving along a para-
bolic trajectory. The exception is mechan-
Follow-through and Overlapping ical movement, which typically moves in
Action straight lines.
These are related techniques which help
to render movement more realistically. As an object’s speed or momentum in-
“Follow through” means that separate creases, arcs tend to flatten out in moving
parts of a body will continue moving after ahead and broaden in turns.
the character has stopped. “Overlapping
action” is the tendency for parts of the Secondary Action
body to move at different rates (an arm Secondary action refers to creating actions
will move on different timing of the head that emphasize or support the main action
and so on). A third related technique is of the animation; it can breathe more life
“drag”, where a character starts to move into an animation and create a more con-
and parts of him take a few frames to vincing performance. A character walking
catch up. down the street while whistling could be
an example of secondary action or a per-
Slow Out and Slow In son leaning up against a wall talking to
As any object or person moves or comes some people at school, the main action
to a stop there needs to be a time for accel- is the character leaning against the wall
eration and deceleration. Without, ease in and talking, and then putting in an action
and ease out (or slow in slow out), move- of them crossing their arms would be the
ments become very unnatural and robot- secondary action.
ic. The same must be accomplished in an
81
NOTE :...........................................
..........................................................
..........................................................
Exercise
1. Search for Follow-through and Overlapping Action on YouTube and watch the videos
and practice on the software available with you or download the software from open
source
2. Search for Slow Out and Slow In Action on YouTube and watch the videos and prac-
tice on the software available with you or download the software from open source
3. Search for Arcs on YouTube and watch the videos and practice on the software avail-
able with you or download the software from open source
4. Search for Secondary Action on YouTube and watch the videos and practice on the
software available with you or download the software from open source
Assessment
Answer the following questions
1. What is the difference between follow through and overlapping action?
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
82
SESSION TWO
PRINCIPLES OF
ANIMATION -II
Part B
Part C
Performance standards
83
COURSE: MEDIA AND
ENTERTAINMENT
SESSION THREE
PRINCIPLES
OF
ANIMATION -III
SESSION THREE
PRINCIPLES OF
ANIMATION -III
In this session, you will learn about the ating a dramatic pause can make an event
last four principles of animation i.e. Tim- in your animation funnier, more poignant
ing, Exaggeration, Solid Drawing and or more intense.
Appeal.
RELEVANT KNOWLEDGE
have both arms on their hips or both hands in their pockets. This creates a rather boring
and unappealing pose. Making sure you implement the principle of solid drawing into
your posing will ensure you avoid this issue.
Appeal
Appeal corresponds to what would be called charisma in an actor. A character who is
appealing is not necessarily sympathetic – villains or monsters can also be appealing –
the important thing is that the viewer feels the character is real and interesting. There are
several tricks for making a character connect better with the audience
Exercise
1. Search for Timing, Exaggeration, Solid Drawing and Appeal on YouTube and watch
the videos and practice on the software available with you or download the software from
open source
Assessment
Answer the following questions
1. Describe the term staging.
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
86
SESSION THREE
PRINCIPLES OF
ANIMATION -III
Part B
Part C
Performance standards
87
NOTE :...........................................
..........................................................
..........................................................
Glossary
1. Animation -The process of creating a progressively altering image that gives the ap-
pearance of continuous motion.
3. Compositing -The process of combining multiple elements shot separately (still imag-
es, movie clips) into a final image or sequence to give the impression they were all shot
at the same time.
4. Driven keys – Driven Keys are used to drive the attributes of one object to another
object.
6. Frame - A still two-dimensional image. In computer animation, the term, frames per
second (fps) is a measurement of the number of still frames displayed in one second to
give the impression of a moving image. For film work, this value is usually 24; for the
European PAL broadcast format, 25; and for the US NTSC broadcast format, 30fps.
7. High Definition(HD) - A general term for a video signal with a significantly higher
resolution than standard definition.
10. Rigging - The process of preparing a character model for animation, including setting
up an underlying skeleton, complete with constraints, controllers and kinematic systems,
and linking it to the mesh of the character model.
11. 3D -Three-dimensional, Descriptive of a region of space that has width, height and
depth.
88
Suggested Reading
Books
Websites
1. http://computer.howstuffworks.com/video-editing4.htm
2. http://diyvideoeditor.com/video-editing-basics/
3. http://www.mediacollege.com/video/editing/tutorial/
4. http://www.dpbestflow.org/node/637
5. http://www.larryjordan.biz/adobe-video-editing-workflow/
6. http://manual.audacityteam.org/o/man/tutorial_editing_an_existing_file.html
7. http://www.hongkiat.com/blog/25-free-digital-audio-editors/
8. http://en.wikipedia.org/wiki/Adobe_Soundbooth
9. http://en.wikipedia.org/wiki/Adobe_Premiere_Pro
89
NOTE :...........................................
..........................................................
..........................................................
List of Contributors
Subject Experts
1. Mr. Suman Mondal, BJ 10, Sector 2, Near Tank No 7, Salt Lake City, Kolkata-700091
2. Mr. Atanu Moitra, BJ 10, Sector 2, Near Tank No 7, Salt Lake City, Kolkata -700091
3. Dr. Sreeparna Roychoudhury, BJ 10, Sector 2, Near Tank No 7, Salt Lake City, Kol-
kata-700091
4. Ms. Shampa Chatterjee, BJ 10, Sector 2, Near Tank No 7, Salt Lake City, Kolkata
-700091
5. Ms. Paramita Pal, 4/1, Bibeknagar, Garfa, Jadavpur,Kolkata-700075
6. Ms. Sukanya Mitra, C/O Padma Saha, 2/59 Azadgarh,Kolkata-700040
7. Ms. Nisha Nair, 105/B, Ground Floor, Kankulia Road, Golpark, Gariahat,Kolk-
ata-700029
8. Ms Soumya Chakroborty, 126 B, Diamond Harbour Road,Kolkata-700060
Reviewers
1. Prof. (Dr.) Vinay Swarup Mehrotra, Head, Curriculum Development and Evaluation
Centre and
National Skills Qualifications Framework Cell, PSSCIVE, NCERT, Shyamla Hills, Bho-
pal – 462013
2. Prof. (Dr.) Asfa M Yasin, Head, International Relations Division, PSSCIVE, NCERT,
Shyamla Hills,
Bhopal – 462013
3. Dr. Asmita Khajanchee, Associate Professor, Dept. of Electronic Media, National
Institute of
Technical Teachers’ Training & Research, Shamla Hills, Bhopal - 462 002(M.P.)
4. Shri Akhilesh Rajput, Director, Maya Academy of Advance Cinematic (MAAC) Cen-
ter,Bhopal
Resource Persons
90
UNIT 3 :
INTRODUCTION
TO 2D
ANIMATION
ACKNOWLEDGEMENTS
Coordinator:
• Smt. Niti Shanker Sharma, Deputy Secretary (Skill Education), Central Board of
Secondary Education, Delhi
Original Content Source: The PSS Central Institute of Vocational Education (PSSCIVE)
PSSCIVE Acknowledgement:
• Special thanks to the Ministry of Human Resource Development (MHRD),
Government of India for funding the project on the development of curricula and
courseware for Classes 9 to 12 (NSQF Levels 1-4).
• National Skill Development Corporation (NSDC) and Media and Entertainment
Skills Council (MESC) for making available the Qualification Packs (QP) and
National Occupational Standards (NOS), which were utilized for developing the
course content.
• PSSCIVE thankfully acknowledges the valuable suggestions of the members of
the Standing Committee of the project and the guidance provided by Prof. R.B.
Shivagunde, Joint Director, PSSCIVE in the execution of the project.
• Special thanks are due to Prof. (Dr.) Vinay Swarup Mehrotra, Project
Coordinator and Head, Curriculum Development and Evaluation Centre (CDEC)
and National Skills Qualifications Framework Cell (NSQFC), PSSCIVE for
guidance and review of the course material.
• The contributions of Shri Sourabh Kulparia and Shri Meet Vishwakarma in type
setting and composing the material in its present form are thankfully
acknowledged and appreciated.
ABOUT YOUR
WORKBOOK
This workbook is to assist you with completing the Unit of Competency Introduction to
Computers and Internet Navigation. You should work through the workbook in the classroom, at
the workplace or in your own time under the guidance and supervision of your teacher or trainer.
This workbook contains sessions which will help you to acquire relevant knowledge and skills
(soft and hard) on various aspects of the unit of competency. Each session is small enough to be
easily tackled and digested by you before you move on to the next session. Animated pictures
and photographs have been included to bring about visual appeal and to make the text lively and
interactive for you. You can also try to create your own illustrations using your imagination or
taking the help of your teacher. Let us now see what the sections in the sessions have for you.
Section 1: Introduction
This section introduces you to the topic of the Unit. It also tells you what you will learn
through the various sessions covered in the Unit.
This section provides you with the relevant information on the topic(s) covered in the ses-
sion. The knowledge developed through this section will enable you to perform certain activities.
You should read through the information to develop an understanding on the various aspects of
the topic before you complete the exercise(s).
Section 3: Exercise
Each session has exercises, which you should complete on time. You will perform the ac-
tivities in the classroom, at home or at the workplace. The activities included in this section will
help you to develop necessary knowledge, skills, and attitude that you need for becoming com-
petent in performing the tasks at workplace. The activities should be done under the supervision
of your teacher or trainer who will guide you in completing the tasks and also provide feedback
to you for improving your performance. To achieve this, prepare a timetable in consultation with
your teacher or trainer and strictly adhere to the stipulated norms or standards. Do not hesitate
to ask your teacher or trainer to explain anything that you do not understand.
Section 4: Assessment
The review questions included in this section will help you to check your progress. You
must be able to answer all the questions before you proceed to the next session.
TABLE OF
CONTENTS
CONTENT
PAGE NO.
Acknowledgement
Preface
Introduction........................................................................................103
Glossary..............................................................................................126
Suggested reading................................................................................127
List of contributors..............................................................................128
INTRODUCTION
Introduction to 2D Animation
What was once done with pencils, cells, and paint by a team of dozens of animators can
now be accomplished by a single person with a powerful enough home computer and the
right software.
The term “computer animation” broadly covers a wide variety of genres and applica-
tions, though the simplest way to break it down is into the categories of 2D and 3D ani-
mation. “2D”, short for “two dimensional”, is sometimes also called “vector animation”,
and is typically done in programs like Macromedia Flash and Macromedia Director.
The most familiar form of 2D animation are traditional cartoons, which are progressing
more and more into the digital realm. You probably see simpler animations every day just
while surfing the web, in the form of advertisements, E-cards, and cartoon shorts. Vector
animation is also useful in designing interactive interfaces for the web.
2D animation creates movement in a two dimensional space. Work in the field of 2D an-
imation requires both creativity and technological skills. It focuses on creating characters,
storyboards and backgrounds in two-dimensional environment. The characters can move
up and down, left and right. They do not appear to move toward or away from the viewer,
as they would do in 3D animation. 2D animation uses bitmap and vector graphics to cre-
ate and edit the animated images and is created using computers and software programs,
such as Adobe Photoshop, Flash, After Effects and Encore. These animations may be
used in advertisements, films, television shows, computer games or websites. To learn 2D
animation, you will have to learn about the various aspects of character design, life draw-
ing techniques, storyboarding, digital video, digital audio, and stop motion animation.
Unlike 3D animation, 2D animation does not employ any fancy digital models, but uses
a more straightforward approach. Massive digital drawing tablets enable animators to
draw their key frames digitally and create the tweens automatically using 2D animation
software. Many modern animation studios (such as Dream Works and Pixar) use 3D an-
imation tools to create the characters and environments for their movies, sculpting them
out of thousands of tiny digital polygons and animating them with computer code like
puppets on strings.
Today, visual development requires much less manual labor, but is no less an important
step in the creation of an animated film. Artists use specialized tools to digitally draw
and refine the characters and scenes, saving hundreds of hours of sketching, inking and
painting. After the designs of each character and scene have been finalized, the produc-
tion process can begin.
103
COURSE: MEDIA AND
ENTERTAINMENT
SESSION ONE
CONCEPT
OF
2D ANIMATION
SESSION ONE
CONCEPT OF
2D ANIMATION
RELEVANT KNOWLEDGE
What is 2D Animation?
The creation of moving pictures in a
two-dimensional environment, such as
through “traditional” cel animation or in
computerized animation software. This is
done by sequencing consecutive images,
Pre-Production
or “frames”, that simulate motion by each
Pre-production involves establishing the
image showing the next in a gradual pro-
plot of the completed animation. Because
gression of steps. The eye can be “fooled”
each shot in animation is so labour-inten-
into perceiving motion when these con-
sive, that it is necessary to get shots right
secutive images are shown at a rate of 24
during the pre-production. Re-animating
frames per second or faster.
a shot is very expensive, especially com-
pared to live-action filming, therefore, al-
2D animation figures are created and/or
most care needs to be taken while taking
edited on the computer using 2D bitmap
shots.
graphics or created and edited using 2D
vector graphics. This includes automated
Most animations are storyboarded, in
computerized versions of traditional ani-
which the main action in each scene is
mation techniques such as of interpolated
drawn in a comic book-like form. Story-
morphing, onion skinning and interpolat-
boards are usually pasted on large foam-
ed rotoscoping.
core or poster board sheets, which can be
quickly read through by the staff. During
2D animation has many applications,
pre-production, the staff reviews the sto-
including analog computer animation,
ryboard for consistency, and parts of
Flash animation and Power Point ani-
the storyboard may be redrawn multiple
mation. The overall process of creating a
times.
2D animation is divided into three parts:
pre-production, production, and post-pro-
duction.
• Pre-Production
• Production
• Post-Production
Production
105
NOTE :...........................................
..........................................................
..........................................................
A Colored Tween
A Colored Key Cel
106
SESSION ONE
CONCEPT OF
2D ANIMATION
In practice, the keys are usually drawn by a top animator, and these are then scanned and
assembled into a “rough cut” of the shot while the keys are given to a junior animator,
who will draw the tweens. The film can then be assembled during production, and junior
animators can be directed in small adjustments to improve the flow of each shot and
scene.
Post-Production
Even after all the tweens have been colored and added to the animation, the film is far
from complete. There’s still music and sound effects to be added, as well as visual effects.
The animation also may need to be edited in the more traditional film sense; shots cut
slightly short or held longer, even scenes cut entirely.
Exercise
1. Watch some 2D animated clips to understand about 2D animation.
Assessment
Answer the following questions
1. What is 2Dcel?
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
3. Which type of animation uses still frames with a graphic that slightly changes position?
____________________________________________________________
____________________________________________________________
____________________________________________________________
____________________________________________________________
____________________________________________________________
____________________________________________________________
4. Which animation techniques uses a seamless transition to change one image into an-
other?
____________________________________________________________
____________________________________________________________
____________________________________________________________
Part B
108
SESSION ONE
CONCEPT OF
2D ANIMATION
Part C
Performance standards
109
COURSE: MEDIA AND
ENTERTAINMENT
SESSION TWO
TYPES
OF
2D ANIMATION
SESSION TWO
TYPES OF
2D ANIMATION
In this session you will gain knowledge on which the object is redrawn in each con-
how animation is created on a computer secutive cel to depict motion. Cel comes
using bitmap images. from the word celluloid (a transparent
sheet material) which was first used to
draw the images and place them on a sta-
RELEVANT KNOWLEDGE tionary background.
Cinema graphs
Cinemagraphsare still photographs in the
form of animated GIF where the anima-
tor chooses the part where to animate.
Flip Book
A Flip Book or Flick Book is a book with
a series of pictures that vary gradually
from one page to the next, so that when
the pages are turned rapidly, the pictures
appear to animate by simulating motion
or some other change. Flip books are of-
ten illustrated books for children, but may
also be geared towards adults and employ
a series of photographs rather than draw-
ings.
Exercise
1. Make a chart containing various 2D animation processes, with some examples
2. Make drawings of characters with background
Assessment
Answer the following question
1. What is cell animation?
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
Part A
Part B
Discussed in the class the following:
1. What is cell animation?
Part C
Performance standards
The performance standards may include, but not limited to:
Performance standards Yes No
Demonstrate an understanding of cell animation
Demonstrate the knowledge of cut out animation
Make drawings of character and background
113
COURSE: MEDIA AND
ENTERTAINMENT
SESSION THREE
BASICS PROCESS
OF
2D ANIMATION
SESSION THREE
BASICS PROCESS
OF 2D ANIMATION
In this session you will learn about the ba- known as in-betweens/In betweening) are
sic principles of animation. either hand-drawn or using computer soft-
ware to interpolate them.
RELEVANT KNOWLEDGE
116
SESSION THREE
BASICS PROCESS
OF 2D ANIMATION
Exercise
1. Draw the poses of a walk cycle, as shown in the figure below.
117
NOTE :...........................................
..........................................................
..........................................................
Assessment
Answer the following questions
1. What is the difference between 2D and 3DAnimation?
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
Part A
Part B
Part C
Performance standards
119
COURSE: MEDIA AND
ENTERTAINMENT
SESSION FOUR
FLASH
ANIMATION
SESSION FOUR
FLASH
ANIMATION
RELEVANT KNOWLEDGE
Classic Tweening
A classic tween works the way old motion
tweens used to, in versions CS3 and ear-
lier. In this kind of motion tween, you’d
have to manually create all your key
frames and connect all of them with mo-
tion tweens that followed point A to point
122
SESSION FOUR
FLASH
ANIMATION
Shape Tweening
Shape tweens, on the other hand, perform distortions on non symbol shapes/vector
graphics. If you create one shape on one key frame and another shape on another key
frame, you can connect those two shapes with a shape tween. The tween will perform
whatever calculations and morphs needed to transform the first shape into the second.
Exercise
1. Draw and shape tween
2. Draw symbols
3. Draw motion tween
4. Drag and drop-game
Assessment
Answer the following questions
1. What is limited animation or cutout animation?
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
123
NOTE :...........................................
..........................................................
..........................................................
__________________________________________________________________________
3. What is the difference between .jpg, .gif, .png, .swf and animated .gif files?
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
Part A
Part B
Part C
Performance standard
125
NOTE :............................
......................................
......................................
Glossary
1. Animation -The process of creating a progressively altering image that gives the ap-
pearance of continuous motion.
3. Compositing -The process of combining multiple elements shot separately (still imag-
es, movie clips) into a final image or sequence to give the impression they were all shot
at the same time.
4. Driven keys – Driven Keys are used to drive the attributes of one object to another
object.
6. Frame - A still two-dimensional image. In computer animation, the term „frames per
second (fps) is a measurement of the number of still frames displayed in one second to
give the impression of a moving image. For film work, this value is usually 24; for the
European PAL broadcast format, 25; and for the US NTSC broadcast format, 30fps.
7. High Definition (HD) - A general term for a video signal with a significantly higher
resolution than standard definition.
10. Rigging - The process of preparing a character model for animation, including setting
up an underlying skeleton, complete with constraints, controllers and kinematic systems,
and linking it to the mesh of the character model.
11. 3D -Three-dimensional, Descriptive of a region of space that has width, height and
depth.
126
Suggested Reading
Books
1. http://www.digitaltutors.com/subject/2d-animation-tutorials
2. http://webneel.com/2d-animation-best
3.http://www.lynda.com/Flash-Professional-tutorials/2D-Animation-Princples/
158769-2.html
4. http://en.wikipedia.org/wiki/Traditional_animation
5. http://animate-it.com/get-animating/how-to-create-a-hand-drawn-animated-movie/
6. http://en.wikipedia.org/wiki/Cinemagraph
7. http://www.tripwiremagazine.com/2011/07/cinema graphs.html
8. http://giphy.com/search/cinemagraph
List of Contributors
Subject Experts
1. Mr. Suman Mondal, BJ 10, Sector 2, Near Tank No 7, Salt Lake City, Kolkata-700091
2. Mr. Atanu Moitra, BJ 10, Sector 2, Near Tank No 7, Salt Lake City, Kolkata -700091
3. Dr. Sreeparna Roy choudhury, BJ 10, Sector 2, Near Tank No 7, Salt Lake City,
Kolkata-700091
4. Ms. Shampa Chatterjee, BJ 10, Sector 2, Near Tank No 7, Salt Lake City,
Kolkata -700091
5. Ms. Paramita Pal, 4/1, Bibeknagar, Garfa, Jadavpur,Kolkata-700075
6. Ms. Sukanya Mitra, C/O Padma Saha, 2/59 Azadgarh,Kolkata-700040
7. Ms. Nisha Nair, 105/B, Ground Floor, Kankulia Road, Golpark, Gariahat,
Kolkata-700029
8. Ms Soumya Chakroborty, 126 B, Diamond Harbour Road,Kolkata-700060
Reviewers
1. Prof. (Dr.) Vinay Swarup Mehrotra, Head, Curriculum Development and Evaluation
Centre and National Skills Qualifications Framework Cell, PSSCIVE, NCERT,
Shyamla Hills, Bhopal – 462013
2. Prof. (Dr.) Asfa M Yasin, Head, International Relations Division, PSSCIVE, NCERT,
Shyamla Hills, Bhopal – 462013
3. Dr. Asmita Khajanchee, Associate Professor,Dept. of Electronic Media, National In
stitute of Technical Teachers’ Training & Research, Shamla Hills, Bhopal - 462 002(M.P.)
4. Shri Akhilesh Rajput, Director, Maya Academy of Advance Cinematic (MAAC)
Center,Bhopal
128
SESSION SIX
PRE-PRODUCTION
AND STORYBOARDING
Resource Persons
1. Mr. Santanu Bhattacharjee, Director, M/s Technable Solutions Pvt. Ltd.,Kolkata
2. Ms. Juthika Sarkar, 108, PurbaSinthee Bye Lane, Natun Bazar, Maidanpally, Dum
Dum, Kolkata-700030, West Bengal
129
NOTES
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