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... LINKS WEBRINGS BUY this BOOK! 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: OVERVIEW LIST ALL ABOUT ANIMATIONS FLIPTOON FORUM Introduction Chapter 2 : CHARACTER MOVEMENT GUESTBOOK GUESTMAP Chapter 2 This chapter includes rhythm charts for creating movements of both LINKS 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... BUY this BOOK! 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: OVERVIEW LIST ALL ABOUT ANIMATIONS FLIPTOON FORUM Introduction Chapter 3 : ANIMATION GUESTBOOK GUESTMAP Chapter 3 The chain reaction of waving actions is extremely important to LINKS 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... BUY this BOOK! 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: OVERVIEW LIST ALL ABOUT 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... LINKS WEBRINGS BUY this BOOK! 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... And find many others about 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: OVERVIEW LIST ALL ABOUT 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.... WEBRINGS BUY this BOOK! 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... And find many others about how to create 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