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CHAPTER 1 - Introduction To 2D Animation

This document serves as an introduction to 2D animation, covering its concepts, history, and various types, including traditional, computer, and stop-motion animation. It outlines the principles of animation, such as squash and stretch, anticipation, and staging, which are essential for creating believable movement. The document also emphasizes the use of software like Adobe Photoshop for practical application in 2D animation projects.

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0% found this document useful (0 votes)
55 views14 pages

CHAPTER 1 - Introduction To 2D Animation

This document serves as an introduction to 2D animation, covering its concepts, history, and various types, including traditional, computer, and stop-motion animation. It outlines the principles of animation, such as squash and stretch, anticipation, and staging, which are essential for creating believable movement. The document also emphasizes the use of software like Adobe Photoshop for practical application in 2D animation projects.

Uploaded by

Shanika Zorca
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as DOCX, PDF, TXT or read online on Scribd
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CHAPTER I

introduction to 2D Animation
At the end of the lesson, you will be able to:

 Explain about the concepts of animation


 Elucidate about the history of animation
 Categorize the various types of animation
 Explain how animation works
 Apply the 2D animation principle

This block will introduce students to the fundamental principles and


practices of 2D animation. Students will study and explore the application
of these principles used in a range of 2D animation methods such as
paper, computer and stop-motion. Upon completion, the students will be
able to articulate and demonstrate how the principles of animation are
used to craft believable movement and a systematic approach to the
planning and production of an animation outcome. We will be using
Adobe Photoshop in creating your first 2D Animation.
Concepts of 2D Animation
Introduction
The process of making an illusion of motion is known as animation.
The illusion or apparition is created by the change in rapid series of
sequential images that actually differ from each other. Let us discuss
about the different types of animations. Generally, there are 2D
animation, 3D animation, stop motion, computer animation, sand
animation, etc.
The 2D animation follows the traditional animation method and it has
been in existence since late 1800s. Today, most of the 2D animations are
created by computer software and every frame is slightly different from
each other based on its color, its preceded frame.
This unit is about exploring the 2D animation. You will learn the definition
of animation, its history and different kinds. The unit covers 12 core
principles and concepts of animation. You will learn how to apply the
principles of animation to a character in order to create it.

Terminology
FPS: A film projected at 24 frames for every second and
video projected at 25 frames per second. Frames Per
Second or FPS is the rate at which back to back images
called frames appear in a display and form moving
imagery.
Cel and Cel setup: A picture is drawn on a unique place of plastic.
This plastic is called as Cel. If at least one Cel overlays
on a base it is known as Cel setup. (Video)
Model sheet: It is the drawing of a character, in an assortment of
states of mind and expressions, made as a source of
perspective guide for an artist.
Character models: Animator prepares a model sheet of the
character. The model sheet contains the character in
an assortment of outward appearance and stances.
(Video)
Maquette: It is a sculpted preliminary model or sketch in view of
the real/final character in the Model Sheet. (Video)
Time out: This is a liveliness key. It includes matching all the on-
screen activity to its correct beats, including music and
sound impact.
Lead artist: This artist in charge of making and animating one
specific character in the film.

Last Video – Destiny


Meaning of animation
We all have an idea of what animation is. We think of Disney’s
classic animated films but have you ever thought about what actually
makes animation film. The term animation has originated from Greek
word 'Any moss' and Roman 'enema'. This basically means “bring to life”,
so there is a sense of evolution over time that is what we capture through
animation. Conventional animation has been there for a long time and
the primary concern of animation techniques has been to create the
illusion of movement. It basically has the aspect of movement, which
could be just an illusion, without simulating the motion in its physical
sense. It involves creating a series of photographs as frames and run
those sequentially over time. This aspect of illusion of life has been used
by various commercial setups.

History of animation
The animation is the way towards making the deception of action
and the illusion of progress by methods for the quick progression of
consecutive images that negligibly vary from each other. The animation
is possible because of the persistence of vision discovered by Peter Rajat
in 1820. The persistence of vision causes images to look like they are
there longer than they actually are causing the drawings of animation to
blur together. Animations started with the phenakistoscope, created in
1872. The phenakistoscope is an optical illusion toy with rotating disks
to make it look like a moving picture. In the year of 1898, stop-motion
animation was invented.

Stopmotion animation is the method of taking many pictures and


putting them together to create an animation. Humpty Dumpty was the
first animated feature film to use stop-motion animation in 1914. It is
when Gertie the train dinosaur was created. It was one of the first cel-
animated films. A Cel (celluloid) is a transparent sheet of paper used for
traditional hand drawn animation. Cel animation is when the background
is drawn separately from the characters, the background is put in a clear
box and the characters are placed on top of it, in their own separate box
and then photographed. This saves a lot of time of the animator because
they do not have to redraw the background every time.

In 1915, Max Fleischer patented the route a scoping process. Tracing a


live footage is called Rotoscoping. In 1923, Walt and Roy formed Disney
Brothers cartoon studio. In 1928, Steamboat Willie, the first animation
with sound, was created by the Disney Brothers. In 1930, Warner Bros
cartoons were created, and the first CGI animation was made by Charles
Sri and James Schaffer in 1967. CGI stands for computer-generated
imagery. CGI is normally associated with 3D computer effects but CGI is
any picture that is generated by a computer and not drawn by a human.
There are many movies such as Star Wars, Tron Legacy, Alien Series and
The Matrix that have seen use of CGI animation for certain effects. The
first feature-length animation that used CGI was Toy Story. Today, many
cartoons on TV still use traditional animation but computers have
become a big part of the animation process.

Types of animation
1. Traditional animation

Cel animation is generally recognized as traditional animation. This


is the grownup forms of animation. In traditional animation, every frame
is hand drawn for creating an animation image sequence. It consists of
large numbers of hand drawings called “Frames”. In the past, the
drawing occurred on a big light table. It was a drafting table with a big
light section in the central point of it. The animator drew the image
sequence on it, and the light allowed the animator to see his earlier
drawings all the way through the paper to get a better look of his
animation. This is called Onion Skinning. Even now, traditional animations
are mostly done on PC with a Pentab alike the Wacom Pentab. The 2D or
traditional animation is generally animated at 12 frames per second with
more frequent and rapid animated actions at 24 frames per second.

2. 2D Animation

Vector-based animation is referring to 2D animation. This is all


around preferred configuration from most recent couple of years with the
expanding clients. 2D animation software is easy to use as it is for entry
level and has a user-friendly interface.

Illustration: Flash animation products are the modest and simple to utilize
vector-based animation program. An artist has an alternative option of
making rigs for the character at the joints for the moving body parts and
movement can be provided separately as per the requirement of the
character in the drawing. The character having more than one eventual
outcome can be achieved as it permits complex rigs for animations or by
utilizing the manikin apparatus to drag and move the body parts around.
These types of adaptabilities give more choices. While moving ahead in
the process of animation, particularly, if the drawing is not solid, it would
not match at all for which drawing abilities are mandatory like traditional
animation.
Title : Animated Horse
Attribution : Janke
Link : https://commons.wikimedia.org/wiki/File:Animhorse.gif

3. Computer Animation

Computer animation is also known as 3D animation or just


animation. It is the common form of animation. 3D animation works in a
totally extraordinary manner from traditional animation, all the animators
are considered to be associated with a standard organization and has
certain level of creative development, yet there are some specialized
experts in particular fields of work who are different from each other. In
3D animation, the artist moves the character in a 3D program by
manipulating controllers, which are associated with each body part, for
example, hands, elbows, lips and etc. Like 2D animation, an animator in
3D program doesn't have drawn to move every frame. Animators set the
key frame on the timeline when the models are ready to animate.
Proceed to move forward in timeline and move all those controllers again
to create another key frame in the 3D program. Then the program
calculates and animates the frames between those two key frames.
Animators take maximum time to clean the curves for a detailed and
smooth animation, which helps for the development of various body parts
later on. Another huge distinction with 3D animation is that it’s not at all
like traditional animation. The body parts are constantly present and
contemplate. In 2D animation, the character draws for each edge.
At the point when the character is seen from the side portion of its body
is not appearing and in this manner not drawn.

The significant distinction with 3D animation is the edge rate like


traditional artists. Generally, a shot is taken at twos, which implies they
draw another drawing each having two edges and in this manner making
them draw less for two edges. 3D animation's movement is constantly
smooth with the exception of adapted pieces, which deliberately attempt
to appear as unique. Having a character stop totally resembles a mix-up
in 3D. Notwithstanding when the character is stopping, there ought to
dependably be a few indications of life. This is something which 2D
animation can escape with a great deal by more effectiveness than 3D.

4. Motion Graphics

Motion graphics is considered as a type of graphics animation.


Motion graphics is somewhat not quite the same as alternate part of
animation. Unlike any animation, it is not character- or story-driven. It is
the craft of imagination of moving realistic components or content which
is mainly used for business or promotional purposes, enlivened logos,
introduction recordings, TV promos or even film opening titles. The
abilities for motion graphics do not vitally means alternate sorts of
animation since, they don't require information of body mechanics or
acting. However, they do have a few characteristics in similar manner.
For example: Presenting great arrangement and extremely imperative
camera motion.

Title : Motion Graphic

Attribution :
Source : Little Visuals
Link : https://www.pexels.com/photo/lights-abstract-curves-long-
exposure- 1944/

5. Stop Motion

A standout amongst the most well-known structures is clay


animation. Working with mud or play-doh characters can undoubtedly be
controlled for animation. The animation process is similar to 2D
animation, creating poses of movements and moving it little step by step
while taking pictures of each movement. Then the pictures are used to
play sequentially, which creates illusion of motion. Propelled clay
animation as found in the Neverhood or Armikrog utilizes metal skeletons
on which the dirt is shaped for more durable rigs. A few illustrators would
utilize normal manikins rather than dirt ones, generally likewise based
upon some kind of skeleton rig. The characteristics of the characters can
be supplanted in light of the articulations or be controlled inside the rig.

Another mainstream type of stop-motion is cut-out. Utilizing development


paper or cardboard characters and putting them on paper, while shooting
the animation from above. That is the means by which South Park was
originally made before they exchanged the PCs. Like cut-out animation,
outline animation utilizes cardboard or some sort of level material, yet
the items are for the most dim parts and the shot is portrayed with
outlines as it were. This is one of the most established types of stop-
motion and is once in a while utilized today.

Title : Stop Motion


Attribution : Cogdogblog
Source : https://www.flickr.com/photos/cogdog/5560633224/
Link :
https://en.wikipedia.org/wiki/File:Stop_the_Motion_(5560633224).jpg

Pixilation, is a type of stop-motion that utilizations genuine individuals


and genuine conditions to make unbelievable recordings. It utilizes the
stop-motion technique for taking a still photograph, moving things
around and taking another photograph. However, the topic is normally
used for genuine individuals rather than manikins.

12 principles of animation
Walt Disney Studio’s animators developed the twelve principles of
animation in 1930. Frank Thomas and Ollie Johnston distributed them in
their book "The Illusion of Life" Disney Animation, in 1981. Those
standards came due to their goals to make sensible animations, through
the development and articulation of the character. The standards taken
after the essential laws of material science additionally manage more
issues which are conceptual. These principles were utilized as rules to
make toons and are still used today in numerous animation studios. The
book "The Illusion of Life” has been considered by some as the “Bible of
animation”. Principles are:

1. Squash and stretch


This is the rule that defines speed, energy, weight and mass of any
animated subject. This is the most important principle of animation.
Squash and stretch also use too exaggerated facial expressions and
when you are animating dialogue you can apply it in any simple objects.
For example, bouncing balls and very difficult creations like characters
face muscles. It is the principal strategy for artists.

2. Anticipation

This is the point when a character gets ready for action guiding
audience what is going to happen next. It makes the activity seem more
sensible. When a character is going to hop, before jumping into the air he
needs to get ready for the activity by hunching down. To fabricate the
vitality, it is resembled with a spring that loops up before discharging. A
character’s hopping with no anticipation is extremely unreasonable, in
light of the fact that the vitality to bounce appears unexpectedly. You will
see this in many toons, before running a character will pull back and
takes a running pose holding for a second before taking off. Anticipation
also utilizes rather than quickly extending up the face squashes initially
to anticipate the extent and give it more power anticipation imparts
activities to the group of onlookers by setting them up for the following
activity. This can occur from numerous points of views. In the event that
a character is going to remove something from their pocket, they arrange
the position of their hand exceptionally obvious and not yet decided
before going into the pocket. Something else, the gathering of people
may miss it and think about how they got that protest in any case. The
most important thing is that the viewer notices the hand and the pocket
so the character cannot perform any competing actions.

3. Staging

Staging is the introduction of guiding the gathering of people's


thoughtfulness regarding what is essential in the scene. The extreme
expansive guidelines are totally unmistakable as they cover a large
number of zones of animation. It can apply to acting, timing, camera
edge position and setting. During animation, you need to be in full control
of where people are looking at. You are basically saying to take a gander
at this, the control is accomplish through staging, the majority of the
components of the scene cooperate to move the watcher's eyes around
the scene.

For instance, of awful staging, an animation of Tom chasing Jerry inside a


house there are props like sofa, TV, carpets, vases and many more. A
character often gets obstructed by props used and a watcher does not
know which one to take a gander at. The camera has a great deal to do
with this. It’s critical to know when to shut everything down or when to
go, which is useful for an enormous scale of activity like showing a nuke
blasting. The primary activity of the scene ought to be clear and basic. It
can't be upstaged by various things that are going on which removes
consideration from the principle point. It has to be a legitimate planning
by allowing one activity to get completed before the other individual
begins their activity, thereby avoiding overlapping. Now and then, you
have to embed delays if there is something on the screen that is
necessary to be handled by the watcher before proceeding onward.

4. Straight ahead and pose to pose animation

This rule portrays two strategies used to animate drawings. The


main technique is drawing the principal drawing and then moving on to
the second drawing and so on. Then, sequentially arrange them by
outlining from the beginning. The second technique is ‘pose to pose’ in
which you draw the starting and end of every principle pose and later on
fill in the drawings at the middle called in-between poses. There are
advantages to these two strategies but ‘pose to pose’ is by far better for
most activities since it gives the maximum control to what the activity
will resemble. Utilizing straight ahead animation can prompt the
character evolving size, or being on an alternate level from start to finish
whereas pose to pose technique spares a considerable measure of work.

On the off chance, animate an entire grouping straight ahead and then
understand that one pose is off. You would need to change few drawings
to settle that one pose. In pose-to-pose technique, you would do the
fundamental poses to check whether it feels right and if you can get
issues at an opportune time straight ahead animation. It is also useful for
animation, which is flighty. A few cases of this incorporates fire, water,
particles, dust and storms blasts explain the motivation behind straight
ahead functions, which admirably is on the grounds that there are laws of
material science that work at a steady rate and it is difficult to foresee
them. Another method is animate using pose to pose, then going
through, and adding the years using straight ahead. This is good because
you can focus on the figures’ movements without the distraction of
having to do it and you can focus on the physics of the particular
movement without the distraction of his body's movement.

5. Follow through and overlapping action

This is the strategy of having body parts and different parts behind,
whatever remains of the body and keeps on moving, a few sections of
the body lead the action, and others follow the development. Drag is
another mainstream method where the following parts of the body take a
couple of more casings to get the primary lead parts. At the point when
the body stops follow through, an overlapping action is regularly
connected with another method called follow through. Follow-through
alludes to the route parts of the body and keeps on moving after the
body stops. Overlapping action depicts the counterbalance between the
planning of the primary body and its different parts. Each of the three of
these is depicting distinctive parts of a similar thing. Follow through is an
overlapping action that includes a lot of authenticity to a character.
Overlapping action when the fundamental body moves the tip of the limb
ought to be the last to make up for lost time and when the body stops
the tip ought to follow through the furthermost before settling back this is
valid for extremities as well as the entire body too. When grinding to a
halt regularly the body will follow through and then returned just, as a
character needs to anticipate.

6. Slow in and slow out

This rule alludes to the way practically all development begins


gradually, constructs speed and completes gradually. This stands out
amongst the most imperative procedure of accomplishing life like a
motion without moderate in and moderate out feel mechanical. It is in
light of the fact that robots are one of the main things that really move
their parts at a consistent speed to utilize.

This principle in 2D animation is your extraordinary poses that attract a


solitary between and then just in the middle of the drawings nearest to
the extremes until the point that you're happy with the measure of
moderate in and moderate out. With 3D animation and motion graphics
having moderate in and moderate out issue, can be solved by changing
the motion bends from straight to spline, modifying the Bezier handles to
create a smooth curve in graph as time advances, the protest begins
moderate gets quick.

7. Arcs

Every action follows an arc, either you swing arm, throw a ball or
chew a food. Curves make the animation feel normal and realistic. Arc in
motion helps to define momentum too. Any object not following its
natural arc will not look fluidic but erratic for example you cannot make
sharp turn in a speeding vehicle rather than a slow-moving vehicle.

8. Secondary Action

It implies something altogether; different secondary action


portraying helps the fundamental action to add more measurement to
the character animation. The secondary action commands the essential
action. Secondary action helps in characterization or expressing emotion
like a tensed man is walking left and right with hands in his pocket, joyful
person walking with swinging hands and whistling, a horse is running so
its tail is waving fast following the movement of body. The principle of
staging is also very vital in secondary action.

9. Timing

This principle expresses that the identity and nature of an


animation is incredibly influenced by the quantity of casings embedded
between every primary action. Timing means the speed of action which
gives the quantity of in-betweens i.e. between two keys. It includes
picking the quantity of edges that will be used to animate a scene.

The quantity of edges demonstrates the speed of the action on the film.
The less casings and action the animation has, the speedier and crisper it
will get. On the off chance that an action has many edges, it will be
moderate and smooth. Timing adds surface and enthusiasm to the
development of your characters. A decent approach to rehearse this
method would be considering the acting and development of on-screen
characters and entertainers in front of an audience and utilize it as
reference while animating.

10. Exaggeration
Each action poses and articulations are taken to the following level
to build the measure of effect on the watcher. The early artists at Disney
would get confounded on the grounds that Walt would instruct them to,
which includes more authenticity yet when they transformed it. He would
ensure the outcome since it was not overstated enough.

More sensible did not mean you would make the material science and
extents steadier with reality but instead make the thought or
embodiment of the action more evident. Exaggeration a decent manage
to follow is to push the exaggeration level until the point that it really
turns out to be excessive. Along these lines, you see the entire range
beforehand as opposed to shooting oblivious right. Illustrators need to
utilize determination and information and shield it from winding up
plainly excessively showy animated.

11. Solid drawing

This principle is tied with ensuring that structures feel like they are
in three-dimensional space with volume and weight. Adjusting one thing
that makes animating simpler is having the capacity to draw a figure
from all points. This requires learning of three-dimensional drawing. For
instance, when drawing a line on a circle, it must follow the shape of the
circle’s surface. A straight line right away makes the circle look levelled
when drawing blocks abstain from making parallel lines. Lines are ought
to be twisted towards the vanishing point, otherwise it will resemble a
level. Illustrators need to take craftsmanship class and genuinely draw is
vital.

12. Appeal

The last principle of animation is appeal. Characters that you


animate ought to be some degree satisfying to take a look at. They
should have some sort of magnetic angle about them to be liked. A
character’s appeal doesn't generally mean attractiveness, it may be
based on its look or characteristics such as a scalawag ought to resemble
to have an intriguing look. Everybody has an alternate standard for what
is appealing; however, recently giving your character a dynamic plan can
enormously support its appeal. Here are three stages for doing in order
to start with: utilizing an assortment of shapes as opposed to, utilizing a
similar shape for each character and experiment with various shapes on
the grounds.

There is no restriction to the range of insane arrangements that


characters can have. Secondly, play with the extents. Visual artists
regularly amplify the things, discover intriguing and contract the things.
For instance, they may broaden the head and eyes, shrivel the body and
make the hands bigger. Finding that part of a character, that
characterizes his/her identity. Third, one is to keep it straight forward as
a lot of data can over muddle the character and make it harder to control
animation.

Stages of creating an animation movie


The stages for creating an animation film, it has to go through
phase’s like:

 Pre- production
 Production
 Post-production

These stages are sub-divided into parts and the animators execute
their work as decided.

Pre-production:

Pre-Production is the period of time during which work is done on a


show prior to the first rehearsal. During pre-production, you make
decisions that dictate how the rest of the production comes together.
During pre-production, following things are finalized so that all the
obstacles are removed to get a smooth production.

 Writing the story


 Production plan
 Character development
 Story board
 Creating premises
 Scene planning
 Sound track
 X-sheet
Production:

This is the most challenging stage of creating an animation film. At the


stage, you get to see the actual result of the treatment given to the story
and the visual achievement of the director’s imagination.

 Recording the dialogue


 Layout designing
 Background designing
 Animating

Post Production:

Post Production is the process of compositing and editing both the


pictures into an organized matter.

 Compositing
 Digital compositing
 Computer effects
 Sound
 Editing
 Mixing audio-video
 Final mixing

Summary
In this chapter, you have learned about animation. It would introduce and
expand the knowledge, understanding and skills for a diverse range of
different types of animation by exploring relevant techniques and
processes. Also, it explains the history of animation. You should be able
to apply the 12 principles of animation and production processes to
create an animation film.

Activity 1.
You can send your answer in MS Word (Size-A4, Fontstyle-Century Gothic)
on our GC tomorrow until 5 o’clock in the afternoon. Be authentic in
answering these questions (sariling gawa). First letter of your program (F
for FSM, E for Electical) then use your name, and write
‘TechVoc7Activity1’ as your file name. Ex. F-Monuz-Arci-
TechVoc7Activity1 or E-Monuz-Arci-TechVoc7Activity1

1. Explain what is animation.


2. What do you think is the difference between 2D and 3D animation?
3. List various steps for creating a 2D animation.
4. Explain basic techniques used in 2D animations.
5. Describe animation process
6. List principles of animation
7. Explain stop motion animation. What is
layout design.
8. List the types of colour use in inking and colouring.

Assignment: Watch videos on you tube on how to make 2D


animation.

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