Hello everyone! I hope your animations are coming along! I can't wait to see them next class. Unfortunately due to weather conditions and damages caused by Hurricane Sandy there will not be classes this Wednesday or Thursday. I was informed by Bloomfield College Alerts that school will be closed until Monday, November 5th, 2012. There was probably a power knock out, which has its pros and cons. One good thing about it is that you will have more time to work on your animations because you wont have TV, cell phones and video games to distract you. One bad thing about it is that if the power was knocked out in your area it may not come back on for a while. 90% of Newark lost its power and some of Bloomfield as well. (That means mine went out too.) I was devastated when I realized that means no internet, no phone service, no e-mail and no computer in general. That means I can only do my homework by daylight and if you're trying to animate there is no point in even trying because if you have a light box at home you wont have electricity to power it anyway! (It's a good thing I finished the most important part of my animation, all I have to do now is film it.) With the school closed you wont be able to use their light boxes either. I hope you all got your work done before the power went out. For now just work on your character model sheet sketches by daylight and try to spend some time with your family by night. My family and I played Monopoly by candle light the night our power went out.
I'm at a family member's house just charging my electronics, then I have to head back to my dark abandoned home, but here's one of my favorite animation videos that cheers me up. I hope you enjoy it too!
Remember, the stuff on those pages are pretty old dating back to high school and most are anime inspired so don't say I didn't warn you. I haven't updated my Deviant Art in a while but I'll be updating my Portfolio Blog regularly.
Day 9 had to be one of the best days. You know why? Because the professor didn't assign us any drawing pages for homework! This gives us more time to work on more personal animations; perfecting backgrounds, adding on to our animated characters and working on our own character model sheets. With all the time he's granted us I'm expecting to see some impressive work by next class. One of my very talented classmates has outdone me and for once I wasn't the one to put the class to shame. Congratulations, you know who you are. I've finally got competition and now I'm going to step it up! This is going to be fun!
The professor started off class by checking our animation homework; rotating head with follow through and overlapping action, as usual. I think we all did pretty good! Then he checked our various character sheets. You know, the two pages worth of characters we had to have done last week? There were some of us who didn't do so well, although I think everyone had some cute and unique character ideas. The professor would like for some or all of us to try again and this time try not to make the characters flat. Instead of having the characters stand on one line make it so they have some dimension to them. For example try putting one foot in back of the other as if the character is standing on a stairs. Another way to avoid flat characters is to make the pose of the character very dramatic or dynamic. You can also try to add values by shading and blending with your tortillion. Use the 300 model sheets the professor gave us to help you develop better character ideas. Copy the model sheets from the Drop Box.The professor wants us to pick 2 of our custom created characters and draw model sheets of them in different poses with different expressions. Here is an example of what our model sheets should look like when we are done: Click Here. You can also get that sheet from the Drop Box I believe or the professor's site by Clicking Here. Also keep in mind that the professor will check our Vilppu sketches by the next class so have them on hand and ready.
Today's lesson was Antic, short for Anticipation.
"Anticipation (some times called ANTIC)
is one of the most important animation principles that plays a main
role in bringing life to a character. We all know the meaning of the term
Anticipation. In general we use the term to express a waiting of the next move.
In animation terms anticipation means a character getting prepared to perform an
action, it means that when a character anticipates, he is also in the process of
gathering some energy to perform the next action."
The character we create will be pulling back with anticipation to gather energy aka build strength to launch forward for a punch, which ends with anticipation as well after the punch is made the character eases back in to a less stretched pose. There are 2 versions to this, one is as I explained and the second adds a bigger fist to the animation making it look as if the fist is coming out toward you as it rounds and shoots up for the punch. We will be working on the first one today.
-There is a path for each body part. (Head, Body, Right Fist) First practice drawing the character according to the picture above. You can use your red carmine pencil or blue. I would suggest using the blue one because we were given more blue pencils than red. The character has a round circular head.
-Next draw the character's line of action; the line of action is like the character's spine. You will draw the body on this line as well. The body begins with a small circle that overlaps the head where the neck should be. The end of the body is a round circle as well, slightly smaller than the head. Connect the small circle of the body to the bigger circle of the body to create a smooth pear like shape.
-The feet are ovals that connect to the body with slightly bent legs. The legs barely have knees, which bend closer to the feet.
-Start the hands like circles as well, connecting them to the upper half of the body accordingly. Draw the thumbs in as well.
When you have practiced drawing the character enough you can start the key drawings. Begin with key drawing number 1 below and make your way to each pose after. (Important key drawings: 1, 7, 9, 11, 19)
As you animate, the body begins to twist, going around and leaning to the right slightly squishing with anticipation. The fist comes down to make its round. The head turns and looks downward following the body.
The fist then launches upward, body following and stretching while the legs straighten and the character's weight shifts to the left foot while the right foot stands on toe. The head looks in the direction the fist is aiming. The last pose eases the body back to its normal form. The right foot lifts into the air while the left leg bends. The left hand is extending backwards while the right wrist pulls back slightly to a less strenuous pose.
Use the Timing charts above to guide you in drawing the extra pages. You can get a look at each key pose by itself when you visit the professor's site by Clicking Here. Remember to draw each of the following poses: 1, 3, 5, 7, 9, 11, 13, 15, 17, and 19. You can draw the in between, in between drawings as well for a smoother flow animation.
Remember to darken the limbs farthest from you and keep the feet in the same position, they should not move forward or backward for any of the poses. You are welcome to add things to your character to give it personality, but the most important part is the animation. Use a creative 2 point perspective background. You can also have your character hitting something that will react to the punch. Use your imagination! Film your character on 3's, 2's and 1's as usual; follow the format below:
Title Page- 24 frames
1st Drawing- 24 frames
3rd-17th Drawings- 3's first then 2's then 1's
Last Drawing (19th)- 48 frames
BTW: You will need about 10- ll sheets of large acme punched paper for this assignment. If you plan on doing the in between, in between drawings you may want to pick up 19-20 sheets.
*When you are finished filming your Character Punch Antic you should take maybe the first page and clean it up a bit. The professor wants one cleaned up frame so that we can scan it and he will show us how to fix it up on Photoshop.
*Don't forget to make those model sheets for your 2 main characters. Later we will narrow it down to just one character that we will be drawing for the rest of our semesters in the professor's classes.
*Make more posts to your portfolio blog sites so the professor can see your progress.
So I'm still trying to figure out the appropriated age to make Hochi-Min when she starts her adventures with Cooper, whom I have yet to draw. Here are some cute little sample picture scenes my cousin, Jarrid and I have come up with.
I do not have this picture in my sketch book now because it was sketched for my cousin and it is in his possession just like the other Hochi-Min drawing. He thought up the poses and scenes. I just drew it all.
Monkey Bone Stew is exactly as it says however this is just a sensor for what Bone Stew really is. Bone Stew can consist of any type of animal bone part. When my cousin and I were younger we used to play with action figures and bone stew was a vital part of the the action figure diet. LMAO. Our logic behind this is that bone marrow is so nutritious to action figures that they had to make a stew out of it. In Hochi's situation, she hunted down a whole lot of monkeys to create her stew which is a delicacy in her village because the monkeys on her island are going extinct.
Bone Stew apparently must taste better than it looks.
The young Hochi-Min with her spear for the last time. She looks to be about 7-13.
Here is the scene Hochi parts with her spear. She uses the spear to break free from the huge jaws of a blue shark after this she will equip herself with a bow and arrow.
Here are my original character sketches. Notice how there is a variety of body types and beings.
These were some off the top of my head. A little girl, a goofy bear, a fire rodent a spotted dog, some duck thing, an elephant with a ball, a silly dancing cat, a cute little frog and Hochi-Min's little brother whom I have yet to name.
The upper half of the page came from the top of my head when I thought about the different body types. A fat lady, a fit lady and a famished lady. On the bottom half of the page we have characters from my child hood.
*We've got Mini Minoki and Dino the robot raptor dog from a comic my cousin and I started when we were younger.
*Specter a wild trouble making black cat, Sora the pretty white house cat, Slash the cool, flirtatious, tiger striped cat, and Emma the sexy grey street cat. These cats came from a series created by me, my little brother, sister and cousin. It was our longest series all drawn by me starting off as "Getting Along With The Menu" and ending as "Cat Jams". The name of the series was changed because the main characters Sora, Specter and Slash became stray cats that no longer had to "get along with the menu" aka make nice with the family pets. Slash and Sora had children and Emma was added to the Cat Jams series to give Specter a companion and a son as well. The comic is illegible today and probably could not be translated by even ourselves if we were the same age we were then.
*Spy Cat Bella was an anthropomorphic cat woman. A sexy spy sent on mission to obtain justice and obliterate evil. She started off as a main character on a TV show in Cat Jams. I continued her story alone. It wasn't really a show children should have been watching, not even my siblings were aloud to see it. LOL
*The most notorious Anger Bear was originally a green toy bear that I cut in half because he made me angry with the sound he was making when my little cousin played with him. In this picture it's like he's coming back from the dead. His waist is taped, he has a peg leg, scissors for one arm, bug eyes, sharp teeth and claws, a chunk missing from his ear and he lures children into the darkness with candy. He makes a loud obnoxiously high pitched sound that sounds like "Woooooooooooooooooooooooo-oooooooooooooooooooooooow".
The upper left hand corner character is a Sack Boy from Little Big Planet, not my character. I just used him for reference in the ghost character next to him. Also on this page is an outraged mermaid woman, a gargoyle like troll, Captain Flowers, a turtle magician, some sort of short, buff, cat eared pachyderm, a cartoon like turtle head and a graceful ballet goose girl.
-Create a Portfolio site for your artwork and send the link to the Professor. Post your best and completed projects from high school, completed colleges and current college classes on your Portfolio Blog. I think this is so the Professor can see what kind of work you're capable of. You can use Blogger.com or another blog site such as Wordpress.org. If you've also got a Deviant Art page, good for you! :) To visit my Portfolio Blog Site: Click Here! To visit my Deviant Art Page: Click Here!
-Draw pages 32-44 of the Vilppu Drawing Manual. Remember to keep your drawings loose and free. Fill up the pages but don't draw on the backs. Try using a blending stump aka your "tortillion" to shade and give value to your sketches. Don't forget to choose a light source and shade accordingly. Want to see this homework assignment completed? Click Here!
-For those of you who did not check my site last week before today's homework was due, you are to draw 2 pages worth of your own characters to be reviewed by next class. Make sure these characters have a variety of body types and keep in mind that the 2 characters you choose out of the bunch, you will have to draw throughout the year. You should created a model sheet for your 2 favorites. Use the 300 model sheets for character ideas. You can find the 300 model sheets in the professor's folder in the drop box on the school's computers. Transfer it to your desktop for later and/or save it to an external hard drive. It's a big file folder.
The Professor's moral today was "Talent is nothing without focus and endurance." I rephrased it but, think about that people. It's what separates the winners from the losers, the successful from the failures, and the strong from the weak. Step it up!
Also I didn't get a chance to blog about this the other day when the professor sent us an e-mail on it but he talked about it today which reminded me to post about it. One of his previous students, Ruel Smith, has started his own production company/brand called "Mini Cinema" The professor says it's an entertainment platform that showcases production top quality short films online. The website is www.MiniCinema.TV. It's free to sign up for information and he wishes that we spread the word about his successful student's work. He also showed us a video by Ruel Smith called "A Woman's Worth" You can view it on Vimeo. Just "Click Here".
Today's lesson was about adding anticipation to the rotating dog head. You start with your key drawings as usual and draw the following in between drawings. Use the professor's drawing below for reference. Then draw only the following in between drawings according to the horizontal timing chart in the picture. Do the "in between, in between" drawings that are not required for this assignment for a smoother look to the animation. (I ended up drawing all of the "in between, in between" drawings for the stiff rotating dog head the first time.)
Professor's Follow Through and Overlapping Action
Rotating Dog Head
Have the following page numbers in your Animation: 1, 3, 5, 7, 9, 11, 13, 15, 17.
You will need about 10 sheets of the large acme punched paper.
*1 and 17 (the key drawings) are exactly the same drawings used in the stiff rotating dog head.
*7 is underlined as the middle drawing but both 7 and 9 are in the middle and there is no real middle drawing. Follow the professor's master sheet exactly. Draw on model.
*When the dog's head is rotating it looks as if it is swaying. The cranium leads and the snout goes up and follows in anticipation. Kind of looks like the dog is ducking at first.
*The dog's ears follow the cranium as well catching up to the head after the snout. Remember to darken the ear farthest from you. Darken the opposite ear of the one you shaded when the dog faced your left to continue the effect that one ear is behind the other.
*The dog's eyes are blinking for 7 and 9. Make sure to include a good transition of the dog's eyes as they close and open again.
*The dog's head for the middle drawings should seem to get smaller and then become bigger again as they reach the last head frame. I try to think of this as squash and stretch so I don't get confused and think I've drawn them out of proportion.
When you're done drawing all of the heads on separate sheets of paper you are to film it the same exact way you filmed the stiff rotating dog head. Remember to draw loosely when you're sketching the dog's head.
Then he gave us new homework assignments. Open the folder he gave us on Day 1 and select the Vilppu Drawing Manual Copy. The assignments are PDF pages 7-21, which is most of Chapter 1 and some of Chapter 2. You are to draw every figure on each page. Work freely and loosely. Want to see this homework assignment completed? "Click Here!"
Afterwards draw 2 pages worth of characters you've created yourself. Make a variety of characters with different shapes. Use the Character Reconstruction folder images in the same folder from Day 1 to get an idea of the different types of facial features and body types you can give your characters. You can also look up "character model sheets" on Google. Don't copy other characters exactly; instead, take a piece of each character and put it into your own. Want to see this homework assignment completed? "Click Here!"
Today's lesson is on how to animate a Rotating Dog's Head. There are 2 ways to do it. One way, which we will be working on for today, is an inflexible version. The dog's head will rotate from left to right in a very stiff manner. In the 2nd way, we will probably go over by the next class, the dog's head will exhibit the 5th Principal of Animation; Follow Through and Overlapping Action.
Professor's Rotating Dog Head
Professor's Inbetween Drawings 5 and 11
>You must be "On Model" when drawing the dog's head so, first you will practice drawing each model of the dog's head on a separate, clean sheet of paper. The top half of the dog's head is oval shaped. Draw the eye lines and the center line to determine where the eyes will go.
>Then continue to draw the snout, imitating the shape of a cylinder, much like a can. The center line from the oval part of the dog's head should follow down the snout.
>Draw the nose accordingly and then the eyes of the dog close together. Being on model means that the character will look exactly like the original picture given to you to copy. Not fatter, not skinnier, not looking slightly off to the left. Eyes, nose, mouth and head shape must be exactly the same sizes as modeled.
>The ear of the dog closest to you overlaps the other ear. Shade the farthest ear so that it appears to be behind the closest ear. Keep the ears separate as if they are coming from 2 points on top of the dog's head, not one.
>Practice the middle most head, which is the front view. Don't forget to draw on model. Eyes close together, ears and nose aligned accordingly.
When you've got the character down on model you are ready to begin drawing the master sheet for your animation. Start by drawing the left most head first. This is your key drawing number 1. When drawing the dog's head remember that the center line for his eyes is tilted, not straight.
Draw the middle most head next according to how you see it in the first picture I posted. This head is the midpoint. Make sure it's proportionate with guidelines. You may draw your guidelines in blue pencil. Remember to use the ARC! Your guidelines will arch downward with the ends of the lines pointing out and up. Third most you will draw the head farthest to your right. This will be your key drawing numbered 17. Remember the head is tilted, not straight. Have the arched guidelines align with this head as well to be sure the head is in the right position.
It helps to draw the oval of each head first and then draw the arc guidelines, in my opinion.
Here is the timing chart:
Use the Timing Chart to draw in the extra heads to complete the animation. Use the eye lines and center lines of the three heads already drawn to determine the position of each facial piece. Use tick marks between widest and least widest points to determine the middle points of your in between drawings.
1 and 17 make 7
1 and 7 make 5
1 and 5 make 3
1 and 3 make 2
3 and 5 make 4
5 and 7 make 6
7 and 17 make 9
7 and 9 make 8
9 and 17 make 11
9 and 11 make 10
11 and 17 make 13
11 and 13 make 12
13 and 17 make 15
13 and 15 make 14
15 and 17 make 16
When you're done drawing each head you can change the direction of the dog's eye pupils when it turns its head. You can put a background if you want but it's not mandatory.
Title Page- 24 frames
1st Drawing- 24 frames
2nd-16th Drawings- 3's first then 2's then 1's
Last Drawing (17th)- 48 frames
I had a couple of people ask me about how we're supposed to film our ball character so I thought maybe I should make a post on it. I wasn't sure, at first, if the professor wanted us to film it and I thought he wanted to see how we sketched it with the center and eye lines. But, he e-mailed us all about it. Let me rephrase what he said:
Professor's e-mail (Rephrased by Me):
Hello my wonderful students! Please film the head, frames 1-32, on 1s, 2s and 3s without the slow in and slow out. (This means do not include the "A" Drawings, for the first filming.) Then film it with the slow in and slow out drawings on 1s, 2s and 3s once more. (This means include the "A" Drawings, for the second filming.) Please use this e-mail (and Sierra's helpful class blog) for future reference. Good Luck!
Your Charmingly Merciful Professor from Sierra's Delusions,
ROFLMFAO! I thought this blog could use a funny post. I hope you enjoyed it as much as I did.
Anyway... Here are the Filming versions you should follow. (I posted this same thing on Day 5, btw.)
Time Versions for Bouncing Ball Character:
Name/Title Page 24, Holds
1st Ball 24, Holds
Balls 2-31, 3 Holds Each
Ball 32, 48 Holds
Ball 1-31, 2 Holds Each
Ball 32, 24 Holds
Ball 1-31, 1 Hold Each
Ball 32, 24 Holds
All 3 versions should be filmed on 1 Scene.
Include your improved backgrounds! 2 Point Perspective is most likely preferred.
Remember to film the Ball Character first WITHOUT the "A" Drawings/ Slow In, Slow Out. Then film them WITH the "A" Drawings/ Slow In, Slow Out. This means 2 different films/scenes.
Questions: Do we have to include the bow on the character's head? My Opinion: I'm including the bow. Remember to observe pages 92, 95 and 127 in Preston Blair's Cartoon Animation PDF. Professor's Answer: No bows. We must work on the animation first; that is the important aspect. We will discuss the rest in class.
Question: Should we add shadows? My Opinion: I'm including the shadows in my animation for fun. Refer to the bottom of Day 6 post. Professor's Answer: No shadows. (Same as bows.) We'll go over it during the next class.
By next class you should have the following assignments completed:
1.) Bouncing Ball Without "A" Drawings filmed.
2.) Bouncing Ball With "A" Drawings filmed.
3.) Ball Character Without "A" Drawings filmed.
4.) Ball Character With "A" Drawings filmed.
The professor checked on our Bouncing Ball Films today. Once again if you did not film your bounding ball correctly the professor will be expecting to see it re-done by next class. Afterwards he showed us how to properly set up a 1 and 2 point perspective grid for our backgrounds.
Here are some background examples for one and two point perspectives.
One point perspectives
Two point perspectives:
Those of you who did not receive a grade for your Bouncing Ball Film should correct your backgrounds accordingly and make sure you have enough light when filming.
After that short lesson the professor went over the 12 Principals of Animation with us. You can view the 12 Principals Of Animation by clicking here: "The 12 Principals of Animation". Here is a video to help you understand the 12 Principals as well:
We spent very little time observing the movement of a tail frame by frame. The purpose of this was to get an idea of what the bow on our character's head will look like when animated. The flow of the tail is very similar to the way the flow of the bow will be. Observe the movement of the squirrel's tail and the dog's tail in the Preston Blair Cartoon Animation PDF on pages 92 and 95 (according to the PDF, not the actual page number). Both tails are following the wave principal and forming an "S" shape before going in the opposite direction during flow. View page 127 of the PDF to get a better understanding of the wave principal.
Moving on, it is time to characterize our bouncing ball, but, before we can do so, we must put in our in-between drawings of the ball. I've labeled the timing charts with "A" drawings also known as, our in-between drawings. (The "A" drawings are in blue pencil with boxes around them.)
In case you can't see; the "A" drawings are: 1A, 2A, 3A, 9A, 10A, 11A, 12A, 13A, 14A, 20A and 21A.
Before we could draw the in-between's we were instructed to get 4-5 more sheets of the 10x12 inch acme paper, which wasn't enough because we needed 11 sheets, one for each of our new drawings, so make sure you've got enough. Now remember our ball's path of action sheet we made in class on Day 5? We're going to need to draw the balls in between according to the timing charts above.
Here is my bouncing ball path of action sheet on the light box.
Here is what my bouncing ball path of action sheet would look like with the extra ball drawings.
Here are the extra ball drawings alone without the path of action sheet.
In a way I kind of cheated. I took my path of action sheet and a fresh sheet of paper and drew the extra balls on the clean sheet. That way I didn't have to flip back and forth between 3 sheets to make a proportionate ball for each of the "A" drawings. I'm not suggesting you do this, though. It may seem like the easier way out but I only did this to show you where each of the "A" drawings should go. The point of the exercise the professor was trying to teach us was how to draw our animations with the flipping method.
Make sure that your light boxes are on! To do the flipping method you will need a 1st pose and a 2nd pose of your drawing. You want to draw the between drawing, ("A" drawing) so place the 1st and 2nd pose down on your light box. (In this case start with drawings 1 and 2 of your ball animation.) You will need to put a clean sheet of paper on top of those two drawings. In the lower right hand corner of the clean page you will put "1A". To draw 1A you will look at drawings 1 and 2 and do your best to draw an equally proportionate circle to those two directly in-between those circles. Do not worry if the circle is over lapping, it's supposed to. You can check to see if the size of the ball is equal to the others by taking the page off of your peg bar and lining it up with your other drawings. You can use the same methods for your other "A" drawings. Don't forget to label each drawing with its number and "A". (#A).
Once you have finished all of your "A" drawings you can put them in order with your animation and film them. Film the ball the same way you did the first time, just without the background. (Look to Day 5 for the Timing Versions if you don't remember.) You have created a slow in and slow out animation. Adding more drawings to the ball animation made the ball appear to be traveling upward and over the arch a bit slower than before.
The next step is to add a character face to your ball. Choose a character sketch from your homework assignment and draw that character's face into each ball. Start by drawing the character faces into the key drawings first. Make the job even easier by drawing the character's face into the drawings in-between those next and so on. Use the flipping method the professor taught us in class and experiment with rolling order to be sure you've got the character animation down right.
Rolling Order Method
Don't forget; when drawing the ball character in its stretch and squish form you should elongate the face and/or tighten the face by having your character close its eyes when it hits the ground. If you plan to take it up a notch and have your ball character turn while it is bouncing, be sure to adjust the center line and eye lines of each character so it appears as if the character's face is rotating. Use guidelines and tick marks to line up the facial pieces.
That's all he assigned for us to do. My goal is to take it a few steps farther this week. Here is what I will try to complete by next week:
Bouncing Ball Film with improved background.
New 2 Point Perspective Background.
Drawing the character on each ball.
Adding the bow/scarf on the character's head.
Filming the Ball Character with a 2 Point Perspective Background AND SHADOWS!
Observe the ball's shadow below:
It's a little fast but notice when the ball is higher in the air, the shadow shrinks. When the ball is closer to the ground the shadow grows to about the same length of the ball. Keep this in mind when putting the shadows into your own animation.
Now, I know I darkened my ball with black marker, but that's not going to stop me from completing the assignments and more with top quality. I've got a little something in mind so, what I did wasn't a complete fail. >:-)
If you want to succeed in animation you've got to push yourself to do something you've never done before. Wish me luck on my goals! I hope you aim high too! :)
Here are the homework sketches that were due for Day 6. The professor will ask you which character of yours you would like to animate. Then you will have to animate that character as the bouncing ball. I placed a blue star next to the character I will be animating. He looks a little bit like Mickey Mouse.