Table Of Content´
CHAPTERS LEARNING OVERVIEW :
OVERVIEW
LIST ALL
ABOUT
ANIMATIONS
Introduction Chapter 1 : CHARACTER DEVELOPMENT
FLIPTOON
FORUM
Chapter 1 Think about the type of character you wish to design, then use
GUESTBOOK
the diagrams and guides shown in this chapter to begin your
GUESTMAP drawing...
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Page 10 CARTOON CONSTRUCTION
Chapter 1 PROPORTION IS ONE OF THE MOST IMPORTANT FACTORS TO
And find many CONSIDER WHEN CONSTRUCTING A CARTOON CHARACTER. THE
ANIMATOR MUST KEEP IN MIND THE RELATIVE SIZES OF THE
others about
BODY PARTS, BECAUSE SPECIFIC PROPORTIONS ARE USED TO
how to create
CREATE CHARACTER TYPES...
Animation
Page 12 BODY BUILT FROM CIRCULAR AND ROUNDED FORMS
Chapter 1 THE ANIMATED CARTOON CHARACTER IS BASED ON THE
CIRCULAR, ROUNDED FORM. IN A CARTOON STUDIO SEVERAL
PEOPLE MAY WORK ON THE SAME DRAWING AND THE ROUNDED
FORM IS USED BECAUSE OF ITS SIMPLICITY...
Page 14 MORE CIRCULAR AND ROUNDED FORMS
Chapter 1 THE PARTS OF THE CHARACTER FIT TOGETHER AT SOCKET
POINTS. THESE EXAMPLES DEMONSTRATE THE EFFECTIVENESS
OF COMBINING CIRCULAR AND ROUNDED FORMS. THE
ROUNDED, PEAR-SHAPED BODIES SUPPORT THE CIRCULAR
HEADS AND ADD INTEREST TO THE OVERALL CHARACTER...
Page 16 THE SKELETON FOUNDATION
Chapter 1 BUILD THE CARTOON FROM A ROUGH SKELETON, BUT DON´T
EXPECT TO ALWAYS GET THE SKELETON RIGHT ON THE FIRST
TRY - NOBODY CAN DO THAT! EXPERIMENT… DISCARD... MAKE
SEVERAL DRAWINGS. THEN PICK THE BEST ONE. BE SURE TO
WORK LOOSELY WHEN CONSTRUCTING THE CHARACTER...
Page 18 CONSTRUCTION OF THE HEAD
Chapter 1 THINK OF THE HEAD AS A ROUNPED MASS: IT IS EITHER BALL-
SHAPED, PEAR-SHAPED OR EGG-SHAPED. IN ANIMATION THE
HEAD SHAPE MAY CHANGE PERSPECTIVE AND FORM MANY TIMES
DURING A SCENE. TO SIMPLIFY MATTERS, A FRAMEWORK IN
PROPER PERSPECTIVE MUST BE DRAWN FIRST, THEN THE
DETAILS ARE CONSTRUCTED OVER THIS FORM...
Page 19 EGGHEAD MODEL METHOD
Chapter 1 THE EGG IS THE BASIS OF A GREAT MANY CARTOON HEADS.
DRAW AN EGG LIKE THIS AND STUDY IT FROM ALL ANGLES...
Page 20 MORE HEAD CONSTRUCTION
Chapter 1 THE MOUTH AND CHEEK MASSES ARE VERY FLEXIBLE, AND, AS
THE JAW MOVES, THEY TAKE ON MANY DIFFERENT SHAPES,
CREATING VARIOUS EXPRESSIONS AND MOUTH POSITIONS IN
SPEECH...
Page 22 MORE HEAD CONSTRUCTION
Chapter 1 ALL ANIMATED CARTOON CHARACTERS CAN BE REDUCED TO A
BASIC FORMULA. THIS FORMULA MAKES THEM EASIER TO
MASTER AND ENSURES UNIFORMITY THROUGHOUT A FILM, EVEN
IF SEVERAL DIFFERENT ARTISTS WORK ON THE SAME
CHARACTER...
Page 24 FACIAL EXPRESSIONS
Chapter 1 THE JOB OF AN ANIMATOR IS THE SAME AS THE JOB OF AN
ACTOR IN LIVE ACTION PICTURES. BOTH SHOULD BE MASTERS
OF PORTRAYING EMOTIONS. STUDYING YOUR OWN GRIMACES
IN A MIRROR IS A MUST. PICK A CHARACTER YOU KNOW AND GO
THROUGH THE EXPRESSIONS WITH HIM, AS I HAVE HERE WITH
THIS LITTLE PUP...
CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 4 CHAPTER 5
CHAPTERS All the PAGES in CHAPTER 2:
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ANIMATIONS
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Introduction Chapter 2 : CHARACTER MOVEMENT
GUESTBOOK
GUESTMAP
Chapter 2 This chapter includes rhythm charts for creating movements of both
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humans and animals. These charts demonstrate that not only must
WEBRINGS the head, legs, arms, and hands move in proper relation to one
another, but also the body mass must follow...
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Page 90 LINE OF ACTION
Chapter 2 AN IMAGINARY LINE EXTENDING THROUGH THE MAIN ACTION OF
THE FIGURE IS THE "LINE OF ACTION"...
Page 92 LINE OF ACTION IN ANIMATION
Chapter 2 THE LINE OF ACTION IS THE BASIS FOR RHYTHM SIMPLICITY...
Page 94 RHYTHM AND DESIGN IN CARTOON ART
Chapter 2 RHYTHM AND DESIGN ARE THE SECRET FORMULAS BEHIND THE
APPEAL AND CHARM OF GREAT CARTOON ART...
Page 96 MOVEMENT OF BODY MASSES
Chapter 2 SOME SIMPLIFIED FIGURES IN ACTION TO SHOW YOU THE TWIST
AND TURN AND THE VARIATION OF PERSPECTIVE IN THE MAIN
BODY MASSES...
Page 98 MOVEMENTS OF THE TWO-LEGGED FIGURE
Chapter 2 DRAWINGS ARE MADE OF THE KEY POSITIONS OF THE STEPPING
ACTION UNTIL THE NEXT DRAWING WOULD BE A REPEAT OF THE
FIRST...
Page 100 THE BASIC BOUNCING BALL ACTION
Chapter 2 AS THE BALL FALLS, ITS SPEED INCREASES AND THE DRAWINGS
ARE SPACED FARTHER APART...
Page 102 MOVEMENTS OF THE FOUR-LEGGED FIGURE
Chapter 2 IN-BETWEEN DRAWINGS ARE MADE BETWEEN THE KEY DRAWINGS
AS TRANSITIONS TO CREATE A SMOOTH MOVEMENT OF THE
FIGURE...
Page 104 FRONT AND REAR VIEWS OF FIGURE MOVEMENTS
Chapter 2 ANIMATING FROM THESE ANGLES IS LIKE WATCHING A FOOTBALL
GAME FROM THE END ZONE...
Page 106 THE DIFFERENCE BETWEEN WALK AND RUN
Chapter 2 MORE THAN ANY OTHER SINGLE FACTOR, THE POSITION OF THE
BACK FOOT ON THE CONTACT DRAWING DETERMINES THE SPEED...
CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 4 CHAPTER 5
CHAPTERS All the PAGES in CHAPTER 3:
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ANIMATIONS
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Introduction Chapter 3 : ANIMATION
GUESTBOOK
GUESTMAP
Chapter 3 The chain reaction of waving actions is extremely important to
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character movement. Changing the speed of the animated
WEBRINGS movement, along with expressing attitudes, emotions, gestures, and
reactions, can all be combined and fitted to your character...
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Page 128 SKETCHING BASICS - A SHORTHAND ART
Chapter 3 DRAWING SMALL, "THUMBNAIL" SKETCHES OF IMPORTANT POSES
BRINGS OUT THE OVERALL STRUCTURE AND APPEAL AND MAKES
FOR BROADER DRAWING AND LESS ATTENTION TO DETAILS....
Page 130 BALANCE AND TILT IN MOVEMENT
Chapter 3 THE "CENTER OF BALANCE" LINE TIPS IN A FORWARD MOVEMENT IN
PROPORTION TO THE SPEED OF THE ACTION...
Page 132 BALANCE AND TILT - CONTINUED
Chapter 3 THE BASEBALL PITCHER GOES THROUGH AN ELAB0RATE BALANCING
ACT AS HE LIFTS HIS FOOT IN A WINDUP BEFORE A LEG SWING
THAT HAS BEEN EXAGGERATED IN FORESHORTENING AS HE
STARTS THE PITCH...
Page 134 STRAIGHT-AHEAD AND RHYTHM ANIMATION
Chapter 3 STRAIGHT-AHEAD ANIMATION (DRAWING EACH MOVE FROM THE
BEGINNING IN A GROWTH SEQUENCE) IS USED FOR ACTIONS THAT
INVOLVE RHYTHMS IN CHARACTER MOVEMENTS...
Page 136 ANTICIPATION – ACTION - REACTION
Chapter 3 THE SLIGHTEST MOVE IN ANY DIRECTION MAY BE REINFORCED
WITH A MOVE IN THE OPPOSITE DIRECTION, INTO AN
ANTICIPATION BEFORE THE ACT, AND THEN A RECOVERY PROCESS...
Page 138 STRAIGHT-AHEAD ANIMATION
Chapter 3 THERE ARE TWO DISTINCT METHODS OF ANIMATING: (1) THE
STRAIGHT-AHEAD METHOD, WHICH SIMPLY INVOLVES DRAWING
ONE MOVE AFTER ANOTHER IN AN EVOLVING SEQUENCE OF
GROWTH, AND (2) THE POSE-PLANNING METHOD...
Page 139 POSE-PLANNING DRAMATICS
Chapter 3 THE MOUSE IN THE EXAMPLE DEMONSTRATES THE IMPORTANCE OF
POSE-PLANNING. THESE TYPES OF SCENES ARE BASED ON THE
DRAMA, GESTURE, OR ATTITUDE OF POSES - NOT THE SPECIFIC
ACTION...
Page 140 ARCS – CURVES - PATHS OF ACTION
Chapter 3 A CHARACTER MOVES IN PATHS OF ACTION THAT EITHER CURVE OR
GO STRAIGHT. IF A DRAWING IS PLACED IN AN ACTION THAT DOES
NOT FIT THE PATH...
Page 141 MULTIPLE ACTION PATHS IN BOUNCE-STRUT
Chapter 3 USING THIS DOUBLE BOUNCE-STRUT AS A GUIDE, TRY ANIMATING
THE SAME ACTION AND PATHS USING ROWDY RABBIT...
CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 4 CHAPTER 5
CHAPTERS All the PAGES in CHAPTER 4:
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Introduction Chapter 4 : DIALOGUE
ANIMATIONS
FLIPTOON
FORUM Chapter 4 A world of professional knowledge is contained here, including tips on
how to keep your character´s movements lifelike and real. Mouth
GUESTBOOK
movements used in dialogue make the character seem alive, and the
GUESTMAP dialogue delivery develops the personality of the character...
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Page 182 DIALOGUE EXPRESSIONS - POINTERS
Chapter 4 AN ACTOR/ANIMATOR HAS AN ENORMOUS RANGE OF FACIAL
EXPRESSIONS. HE OFTEN STUDIES THESE EXPRESSIONS IN A
MIRROR SO HE WILL BE BETTER ABLE TO DRAW THEM...
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how to create Page 184 DIALOGUE CHARACTER ACTING
Animation
Chapter 4 THE HEIGHT OF THE ART IS TO SURPRISE THE VIEWER WITH THE
CHARACTER´S EXPRESSIONS... LEADING FROM ONE CRISIS TO
ANOTHER ... ON THE WAY TO THE FINAL CRISIS...
Page 186 DIALOGUE - VOWELS & CONSONANTS
Chapter 4 WHEN ANIMATING A GROUP OF WORDS, STUDY THE WORDS AS
THEY SOUND WHEN THEY ARE SPOKEN QUICKLY...
Page 188 MOUTH ACTION - PRONUNCIATION
Chapter 4 THE ANIMATOR CREATES AN ILLUSION OF SPEECH - OR A
BELIEVABLE IMAGE THAT IS BASED ON REALITY. AN ANIMATOR
ANALYSES REAL MOUTH ACTION FROM PHONETIC SCIENCE, THE
PRONUNCIATION GUIDES IN THE DICTIONARY, AND HIS OWN
MOUTH ACTION...
Page 190 THE HECKLER
Chapter 4 STUDY HOW ACTORS GO THROUGH A SERIES OF GESTURES AND
ATTITUDES AS THEY ACT THEIR PARTS ON TELEVISION AND HOW
THEY RELATE THIS BODY LANGUAGE TO THE WORDS - THE
SENTENCES AND PARAGRAPHS OF THE DRAMA...
CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 4 CHAPTER 5
CHAPTERS All the PAGES in CHAPTER 5:
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ANIMATIONS
FLIPTOON
FORUM Introduction Chapter 5 : TECHNICAL
GUESTBOOK
GUESTMAP Chapter 5 This chapter contains all of the vital information needed to get
LINKS you underway in your studio to develop and produce your own
animated film cartoons....
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Page 196 TIMING AND SPACING PATTERNS
Chapter 5 The animator is the "actor" of the film cartoon. An actor´s timing,
which is based on instinct and personality, is the essence of the art...
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Animation
Page 198 ACCENTS – BEATS - SCENE TIMING
Chapter 5 The EXPOSURE SHEETS plan the animation production timing of an
individual scene. Each frame, foot, and scene has a number...
Page 200 CYCLES-PLANNED ANIMATION
Chapter 5 The "pan" is the movement of the background while the character is
walking in the middle of the scene. The background art is moved a
precise distance as required by the character action...
Page 202 LIMITED ANIMATION - CUTOUTS
Chapter 5 Animation cutouts can be very cost effective in producing animated
films. Body poses, with different head attitudes, can be used over
and over in multiple combinations...
Page 204 MAKING AN ANIMATION CEL
Chapter 5 Here is the order of setting up the parts of a dog that are joined at
socket points...
Page 206 COLORING THE CEL
Chapter 5 The cleanup drawing was enlarged on a copy machine, and then a
brush and ink were used to trace it onto the cel...
Page 208 THE CARTOON STORYBOARD
Chapter 5 A team of artists usually develops the storyboard after the idea is
acted out by the storyman before an audience in a conference of
evaluation...
Page 212 BACKGROUND LAYOUT DRAWINGS
Chapter 5 Working with the film director, a layout artist draws each scene for
the animator...
Page 214 STILL BACK GROUNDS. TRUCKS. AND FIELDS
Chapter 5 Cels can be separated vertically to create a natural movement of
objects and create a feeling of depth during a camera truck-down
toward the cels...
CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 4 CHAPTER 5
Page 206 COLORING THE CEL
Chapter 5 The cleanup drawing was enlarged on a copy machine, and then a
brush and ink were used to trace it onto the cel...
Page 208 THE CARTOON STORYBOARD
Chapter 5 A team of artists usually develops the storyboard after the idea is
acted out by the storyman before an audience in a conference of
evaluation...
Page 212 BACKGROUND LAYOUT DRAWINGS
Chapter 5 Working with the film director, a layout artist draws each scene for
the animator...
Page 214 STILL BACK GROUNDS. TRUCKS. AND FIELDS
Chapter 5 Cels can be separated vertically to create a natural movement of
objects and create a feeling of depth during a camera truck-down
toward the cels...
CHAPTER 1 CHAPTER 2 CHAPTER 3 CHAPTER 4 CHAPTER 5
Description:It can be an exciting experience to create and develop an original cartoon ALL ANIMATED CARTOON CHARACTERS CAN BE REDUCED TO A
