ANIMATION FUNDAMENTALS ✿ EXERCISES ✿
ANIMATION FUNDAMENTALS ✿ EXERCISES ✿
22.04.24 - 14.05.24
week 1 - week 4
✿ TAN JIA JIA 0350577 ✿
Bachelor of Design (Honours) in Creative Media
✿ LECTURE ✿
Week 1
In our first week, Mr. Kamal briefed us on the module's objectives and
recommended two essential books: 'The Illusion of Life: Disney Animation' and
'The Animator's Survival Kit'. His insights set a strong foundation for our
learning journey.
Figure 1.1 The Illusion of Lfe: Disney Animation
Figure 1.2 The animator's Survival Kit
Week 2
In the second week of our module, Mr. Kamal commenced by introducing the first
exercise: animating a bouncing ball. He took the initiative to guide us
through this exercise with a detailed tutorial conducted during class
sessions. By walking us through the steps of animating the bouncing ball, Mr.
Kamal ensured that we had a clear understanding of the techniques and
principles involved. His hands-on approach and in-class demonstration were
invaluable in helping us grasp the intricacies of animating the ball
effectively. Through his guidance, we gained practical experience and
confidence in applying the concepts learned to our assignments.
Figure 1.3 Animation Principle (week 2)
Week 3
In the third week, Mr. Kamal reviewed everyone's projects and provided
feedback. Following the review, he began the class by introducing us to the
concepts of elasticity and flexibility in animation.
Figure 1.4 Animation Principle (week 3)
In the session, Mr. Kamal elucidated the intricate principles of squash and
stretch within the realm of animation. With vivid examples and practical
demonstrations, he showcased how these techniques breathe life into animated
characters and objects, imbuing them with a sense of elasticity and
flexibility. Through his guidance, we gained a deeper understanding of how
to manipulate shapes and forms to convincingly simulate the dynamic
properties of real-world motion.
Week 4
"Appeal" refers to the quality that makes characters, objects, or scenes
visually captivating and emotionally engaging to the audience. It involves
elements like design, movement, expression, and personality, creating a
connection and drawing attention.
Figure 1.5 Appeal
Solid drawing in animation refers to the skill of creating characters and
objects with three-dimensional solidity and volume. It involves
understanding form, structure, and perspective to give the illusion of
depth and weight in two-dimensional drawings or animations. Solid drawing
ensures that characters and objects appear believable and grounded in
space, enhancing their visual appeal and making them more convincing to
the audience.
Figure 1.6 Solid Drawing
Week 5
Figure 1.7 Animation Clarity
Week 6
Key Poses:
Main poses defining the structure and movement of the animation.
Extreme Poses:
Subset of key poses showing the maximum limits of an action.
Breakdown Poses:
Transitional poses between key poses, defining arcs, timing, and spacing.
In-Between Poses:
Frames filling the gaps between key and breakdown poses for smooth
transitions.
Figure 1. Pose to Pose and Straight Ahead
Week 7
Anticipation is a key principle in animation that prepares the audience
for a major action that a character is about to perform. It creates a
sense of realism and fluidity by making movements look more natural and
believable. Here’s a breakdown of how anticipation works:
Preparation for Action: Before a significant action takes place, a
character will perform a smaller, preliminary movement. For example,
before a character jumps, they will crouch down. This crouching movement
is the anticipation.
Builds Expectation: Anticipation sets up the viewer’s expectation
for what is about to happen next. It draws attention to the upcoming
action and makes it clearer and more impactful.
Enhances Realism: In real life, actions are rarely instantaneous.
There is usually some form of preparation or wind-up before a motion.
Anticipation mimics this natural behavior, making the animation more
relatable and convincing.
Improves Timing and Pacing: By incorporating anticipation,
animators can control the timing and pacing of actions, ensuring that
movements flow smoothly and logically.
Adds Emotion and Expression: Anticipation can also be used to
convey a character’s emotions or state of mind. For instance, a character
might hesitate or show reluctance before taking a leap, adding depth to
their personality and actions.
Week 8
-- Independent Learning Week --
Week 9
-- Lecturer MC --
Week 10
In Week 10, Mr. Kamal gave us feedback on our Project 2A. He also briefed us
on Project 2B and the Final Project, explaining the requirements and
expectations. We were instructed to start working on these new projects by
the end of the week.
Primary action is the main
movement that drives the narrative or scene forward.
Characteristics:
Main Focus: Central and grabs the audience's attention.
Narrative Driver: Essential for advancing the plot.
Clear and Defined: Easily recognizable and well-defined.
Secondary action complements and
enhances the primary action, adding depth and realism.
Characteristics:
Supporting Role: Adds context without overshadowing the primary
action.
Adds Realism: Mimics natural subtle movements.
Enhances Emotion: Adds emotional depth and personality.
Week 11
In Week 11, Mr. Kamal briefed us on Project 3. In this project, we need to
animate a short story featuring our own character.
Week 12
-- Consultation Week --
Week 13
-- Consultation Week --
Week 14
-- Consultation Week --
✿ INSTRUCTION ✿
Figure 2.1 MIB of Animation Fundamentals
✿ EXERCISES ✿
Exercise Week 2
In the inaugural exercise, which centered on animating a bouncing ball,
Mr. Kamal meticulously guided us through the process, step by step,
demonstrating how to utilize Adobe Animate effectively. Prior to delving
into the actual animation of the bouncing ball, he provided comprehensive
instruction on essential concepts such as the timing chart and principles
like 'slow in, slow out'. By acquainting us with these fundamental
elements beforehand, Mr. Kamal ensured that we were equipped with the
necessary knowledge to execute the animation successfully. This
preparatory phase not only fostered a deeper understanding of animation
techniques but also laid a solid foundation for our subsequent endeavors
in the realm of animation.
At first, I didn't understand the principle of slow in and slow out, so the
final outcome of my bouncing ball doesn't look smooth enough.
Figure 3.2 First attempt
After Mr. Kamal had seen my final outcome, he explained the principle of
slow in and slow out to me and provided a tutorial.
Figure 3.3 Tutorial
After Mr. Kamal explained the principle to me, I gained a clearer
understanding. As a result, I decided to redo the bouncing ball.
Figure 3.4 Second attempt
I decided to embark on a third attempt, determined to refine the animation
of the bouncing ball to meet my standards. Armed with the insights gained
from Mr. Kamal's explanation and tutorial, I approached the task with
renewed focus and attention to detail. This time, I aimed to address the
lagging issue and achieve a seamless transition as the ball moved across the
screen. With each iteration, I sought to hone my skills and elevate the
quality of my animation to a new level.
Figure 3.5 Third attempt
Figure 3.6 Final Outcome of bouncing ball
Exercise Week 3
In Exercise 2, Mr. Kamal delved into the concept of squash and stretch,
instructing us on its application in animation. He then tasked us with
incorporating these principles into the animated movements of the bouncing
ball that we had created during the previous week. Additionally, Mr. Kamal
went a step further by demonstrating how to enhance our animation by
adding a tail to the bouncing ball. Not only did he guide us through the
technical process of incorporating the tail, but he also provided insight
into animating its movement, showcasing how it interacts dynamically with
the motion of the ball.
I altered the ball's color to orange and utilized the free transform tool
to manipulate its shape, allowing for the implementation of squash and
stretch effects. This technique enabled me to imbue the animation with a
sense of dynamic movement, enhancing the realism and visual appeal of the
bouncing ball.
Figure 3.7 Squash and stretch
Figure 3.8 Squash and Stretch bouncing ball
After applying the squash and stretch effects, I proceeded to
meticulously draw out the tail using the brush tool, stroke by stroke.
This method ensured a smooth and fluid movement of the tail as the ball
bounced, adding an extra layer of realism and dynamism to the animation.
Figure 3.9 Tail
Once I completed drawing the tail, I felt it lacked visual interest,
so I decided to enhance it by adding some color. Using the fill tool,
I carefully added color to the tail, enriching its appearance and
making it more visually appealing.
Figure 3.10 Tail with color
Figure 3.11 Bouncing ball with tail
Exercise Week 6
In the Week 6 exercise, Mr. Kamal taught us the fundamentals of animating a
walking action. He guided us through the step-by-step process, emphasizing
the importance of key poses and smooth transitions. For the project, we
applied these principles by drawing 8 frames of the walk cycle. These frames
were designed to capture the essential movements of a walking sequence, and
by repeating these frames, we were able to create a continuous and fluid
walking animation. This exercise helped us understand the basics of walk
cycles and the significance of timing and spacing in animation.
Figure 4.1 Exercise Week 6
Initially, I followed Mr. Kamal's instructions and drew out all the frames
for the walk cycle. However, I wasn't satisfied with the character design,
so I decided to re-draw the character, this time focusing on creating more
detailed and accurate legs.
Figure 4.2 Walk Cycle
After completing the walk cycle exercise, Mr. Kamal instructed us to add a
head to our exercise character. This additional step allowed us to further
refine the animation and bring our character to life with more detail and
personality.
Figure 4.3 Added head
After I added the head, I started to sketch out the character's hands.
This step was crucial in completing the overall design and ensuring that
the walking animation looked cohesive and natural.
Figure 4.4 With hand
Exercise Week 7
This week, we learned about jump animation. Mr. Kamal taught us in class how to animate it step by step, explaining key principles and techniques to make the jump look realistic and dynamic.
Figure 4.5 Reference
After Mr. Kamal taught us the techniques for drawing the jump animation, I
started the animation process. I applied the principles he covered, focusing
on creating smooth transitions and capturing the essence of the jump. This
involved drafting key poses, refining the motion, and ensuring that the
animation accurately represented the dynamics of a character jumping.
Figure 4.6 Jump
After completing the leg animation, I added the head to my jump animation.
This step involved ensuring that the head's movement was synchronized with the
rest of the body to maintain a cohesive and realistic portrayal of the
character’s jump.
Figure 4.7 Jump with head
Finally, I added the hands to the character's jump animation. This involved
making sure the hand movements complemented the rest of the body’s motion,
enhancing the overall realism and fluidity of the animation.
Figure 4.8 Jump with hands
✿ REFLECTION ✿
The bouncing ball exercise was a foundational learning experience in my
animation journey, requiring a keen understanding of timing, spacing, and
animation principles. As I navigated the challenges of refining the ball's
motion, I gained valuable insights into the intricacies of animation and
the importance of attention to detail. Mr. Kamal's guidance and feedback,
along with observing the work of my peers, enriched my learning and fueled
my determination to improve. Overall, the exercise not only honed my
technical skills but also instilled in me a sense of discipline and
perseverance essential for future animation projects.
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