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CHAPTER
3
ANIMATION |
An
animator must consider a number of things when planning
and creating animated movement. First, he or she must
devise a plan for the action the character is supposed
to perform. Once the plan is set, the actual movements
of the character can be designed and rough sketches of
the movements drawn. (At this stage, the animator should
be well acquainted with the character so the movements
will appear natural.) Next, key (or "extreme") character
poses are drawn; then the key poses are used as guides
to draw the in-between movements.
This chapter includes excellent practice exercises to
help develop an understanding of timing in the animated
sequences. The poses and extremes shown on pages 138
- 139 are simple, but excellent,
examples. |
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Overlapping actions, holding poses, and other movements, as shown
in the exercises involving the sheriff, the
dancing girls, the hippo,
and the alligator, are valuable examples of
the highest-quality professional animation. |
Other actions included in this chapter are the "take"
(a surprise expression), straight-ahead
and rhythm animation, balance and tilt
in movement, and arcs, curves, and paths
of action. The movement of legs, arms, and hands, and the
anticipated movement or actions are covered in the section entitled
"The Wave Principle." These are excellent
methods for "waving" the animated movement in the proper directions.
The chain reaction of waving actions is extremely important
to character movement. Changing the speed of the animated movement,
along with expressing attitudes, emotions, gestures, and reactions,
can all be combined and fitted to your character. |
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