CHAPTER 1 - Introduction To 2D Animation
CHAPTER 1 - Introduction To 2D Animation
introduction to 2D Animation
At the end of the lesson, you will be able to:
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.
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.
Types of animation
1. Traditional animation
2. 2D Animation
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
4. Motion Graphics
Attribution :
Source : Little Visuals
Link : https://www.pexels.com/photo/lights-abstract-curves-long-
exposure- 1944/
5. Stop Motion
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:
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
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.
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.
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
9. Timing
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.
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
Pre- production
Production
Post-production
These stages are sub-divided into parts and the animators execute
their work as decided.
Pre-production:
Post Production:
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