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| ANIMATORS
MAKE A SERIES OF ROUGH OUTLINE SKETCHES THAT SUGGEST THE MOVEMENT
OF A CHARACTER. IT IS LIKE HANDWRITING WORDS WITH NO THOUGHT ABOUT
FORMING INDIVIDUAL LETTERS - ONLY ABOUT WHAT YOU'RE SAYING (OR ACTING).
TO DRAW A POSE, MAKE SCRIBBLES OF WHAT YOU SEE IN YOUR IMAGINATION;
THEN STUDY BY THE SCRIBBLES FOR SUGGESTIONS. FORGET DRAWING - SCRIBBLES
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| A BEGINNER
CAN ONLY BECOME AN ANIMATOR THROUGH MANY HOURS OF SKETCHING.
MAKE MANY ATTEMPTS. THE SKETCH IS LIKE A PLAN FOR A BUILDING,
SO PICK FROM SEVERAL SKETCH ATTEMPTS. |
REVERSE YOUR
SKETCH (TURN IT OVER ON A LIGHT BOARD) AND REDRAW. GENTLY ERASE
IT WITH A KNEADED ERASER AND REDRAW. SKETCH IT IN COLORED PENCIL
AND THEN REDRAW IN BLACK. |
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| THIS IS AN ANIMATOR'S
"ROUGH." A CLEANED-UP, FINISHED DETAIL DRAWING IS MADE FROM
THIS. YOU SHOULD KNOW ALL ABOUT THE SKELETON, BUT ANIMATORS
DON'T DRAW THE SKELETON FIRST; THEY SKETCH THE OUTLINE. |
SCRIBBLES CAN BECOME MULTIPLE
SKETCHES. KEEP TRYING TO GET A SUGGESTION OF WHAT YOU WANT.
A ROUGH OUTLINE SUGGESTION IS THE FIRST STEP IT MAY TAKE MANY
SCRIBBLE ATTEMPTS. USE YOUR IMAGINATION TO DEVELOP THE DRAWING. |
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| DRAWING SMALL, "THUMBNAIL"
SKETCHES OF IMPORTANT POSES BRINGS OUT THE OVERALL STRUCTURE
AND APPEAL AND MAKES FOR BROADER DRAWING AND LESS ATTENTION
TO DETAILS. |
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| THESE
KEY POSES OF A TIGER ACTION ARE FROM TRIAL SKETCHES. THEY MAY
BE CHANGED TO FIT THE ACTION AS IT EVOLVES IN ANIMATION.
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