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The amount of splashing water should always be the same. Make sure as much as possible that it doesn't look like it's repeating.
Figure Spray This is what it looks like when spray droplets are dis- persed. Even after becom- ing separate droplets, try to think of them as a single clump.
Its form is not constant and it continues to alter. How do you depict something like water, with these kinds of properties? Figure Rowing out water while altering it Figure shows foam in the trail of a boat that has passed along the surface of the water. The shape continues to change as the boat trail extends, losing its form and finally disappearing completely. Here's a slightly exaggerated illustration of a boat generating wake. While the shadows from the boat itself flicker, they are flowed out and continue to change shape as they move behind.
Figure Flowing out and changing shape simultaneously 3 DO 0 o-g.. A scene of bubbles rising is also depicted through repetition, and the techniques of flow and shape-changing should also be employed. Bubbles are not only circular, but actually they can also be flat or oval-shaped, and sometimes two or three of them are temporarily stuck together.
So then how do you draw wind? You show it by moving the target object that the wind is blowing. Figure Triangular flag Flags ;;''' Flutter the flag apparent when.
You can depict a two-dimen- ,.. Figure is a slightly more complex example of a flag. It is more complicated because of the flowing out of the three-dimen- sional flutters. Flags with markings or pictures, or national flags bearing designs are far more difficult. Wind Jo. The way to approach the animation of a cape is also through the concept of "flow. It helps if you imagine a ball of air that swells up the cape and moves around inside it. Figure Cape movement b. Direction of wind Flow out the edges of the cape only.
It gives Fluttering the edges a more realistic touch of the cape without when a cape swells any movement. Figure Vibration of fluttering flower Figure A "delayed" inbetween The movement of a flower fluttering in The movement will look more natural if the wind is basically a vibrating motion that you make use of "delay" for flowers and uses the base as a fulcrum. Vibration is not merely a back and forth motion. Staggering the timing in and lightness of the flower.
How do you contrast to the stem add that touch? The arc at the top forms a figure eight. If you want to make it more realistic, shape. Direction of wind. As in Figure , when drawing grass in the foreground and foxtails in the background, the manner and speed in which they sway may differ. Because the conditions of the wind may fluctuate, it is important to vary the timing, not only for the wind, but for all effects.
Figure Rustling that Figure A large tree rustled by the wind is slightly staggered. Only A shakes When drawing a large tree rustled by the wind, the timing should generally be stag- gered, as is the case with grass and flowers.
There may be fluctuations in the power of the wind, and indeed, there may be no wind B starts to shake at all just feets away. It adds a nice touch if you skillfully shift between the tree in its orginal position and the tree as it is moved by the wind. A starts returning to normal. C has begun to shake.
Figure Good example of Figure Bad example of hair hair fluttering fluttering. Shows an Too hard. When drawing fluttering hair, it doesn't look at all realistic when there is a stiffness to the quality and movement of the hair, as in Figure Hair is soft, fine, and light.
In animation, you have to demonstrate the feel of hair through image and movement. Many thousands of fine hairs gather naturally into Always make sure the several clumps.
It can be effective if you subtly vary amount of hair appears the appearance and thickness of those clumps. In general, bangs should move in a gentle manner, in comparison to the rest of the hair. If you have the bangs moving as much as the rest of the hair, the image of the character may change entirely. In most cases, in animation, the facial expression of the character should take precedence over every- thing else. Figure Bangs have an oscillating movement. Figure Change in number of clumps Figure Disheveled hair with inbetween due to disheveled hair.
In such cases, break down the clumps with a few inbetweens at a time, in even intervals. Overall, conveying a realistic sense of hair requires a highly- refined sensitivity and technique. There are many different types of smoke.
Each of them is drawn in its own manner and has its own style of movement. Figure Type A drawn realistically. Figure shows cartoonish cigarette smoke. For this type of smoke, you can animate it with a simple "flow. In Figure , the movement becomes a bit more realistic, and a simple "flow" will not suffice. Figure Large cloud of smoke. When you look at an extensive cloud of smoke from a distance, as in a vol- canic eruption, it hardly seems to be moving at all.
Volcanic smoke gives you a sense of considerable weight and solidity. The sense of solidity is suggested by the smoke itself, due to its shadows and overlapping plumes.
High pressure gas spurts out along with the bullet. Smoke blown out of a gun muzzle is momentarily generated Swirls into itself J and then gradually disappears. For basic animation, make sure that the clumps of smoke roll in on themselves and small clumps then break off.
Swirls further. Be careful to incorporate variations, so that the timing. Make sure that the 0 0, same images don't repeatmthis. At first, it is actually difficult to vary the pictures in an intentionally cr". Immediately starts inconsistent way.
It's easier to to disperse.. A1 ];. It's not that the effects have to.. It is an animation effect that often appears in science fiction or fighting scenes. The smoke rises due to the heat. For the flame in 1 and 2 , a transparent color close to white is often used to convey the higher temperature.
Since the amount of time it shines is extremely short. In order to make an even stronger impact with lightning scenes, you can use methods such as using three to four different drawings of lightning patterns one after another, or giving a directional movement to the lightning, or making the lightning thicker. Also, when an illuminated background or character returns to normal after being shown in high-contrast, you can have a brief overlap as they return to normal.
Figure Basic rain Figure Rain falling to the ground L! Recently, it has become the norm to portray rain by drawing three to four pic- tures and then shooting them at random. This is the method shown in Figure In this case, make sure that each pic- ture has about the same amount of rain. Shooting should not be confined only to the sequence " " "4, but should be random, such as " " "3. In Figure , rain is falling to the ground.
In this case, when the rain drop strikes the puddle, a ripple results, expanding outward. In general, this repetition should be made frequently, at irregular intervals.
In such cases, it's also important to alter the timing of each cycle as well. Snow is the most widespread effect used to convey winter. This is the most basic way to animate snow. Figure Basic arc for snow figure Break down into three inbetweens. Repetition of Figure is the most basic way of animating snow and Figure is the way to break it down into inbetweens. Snow's manner of falling should not be too vertical or too curvy. It is most snow-like when a quality of lightness is apparent.
Also, if the "flow" speed is too fast, it won't look like snow, so pay attention to the placement or distance of the intervals between each snowflake. Figure Receding snow Figure Bad examples '0. There are times when snow falls very qui- etly, slowly and heavily. If you want to depict it in this way, you can draw dwin- dling snow that is receding in the back- ground on an oblong cel. It used to be the favored technique in animation, but recently, it's not often seen in Japanese animation.
It's been replaced by CG in most cases, but ifyou're able to draw it well, it can still be a very effective and fun animation touch! Figure Basic metamorphosis gradually transforming with each inbetween Figure is the style most often used, in which the shape of the character gradual- ly transforms and finally becomes a different shape. Specifically, it can often be seen in such scenarios as a magic battle in which object A is animated and transformed into object B.
In Figure , there's no gradual transformation of each inbetween, but instead, each picture turns into something completely unexpected. It can be a lot of fun, and if well- done, it will surprise people who see it. The group of buildings around me as I fly through this city is an example of an ani- mated background. There are times when everything in the picture is moving. But in this case, the main animation is the scenery. If background animation is well-done, you can create a powerful and splendid sense of actually being there.
Figure Side-view diagram Figure Background with perspective. B Fill in the inbe- A c tween beyond the I.. For background animation, the background usually doesn't have to be drawn non- stop, but is animated through "repetition" cycles of about four to ten drawings. Background animation that keeps on changing for a certain number of seconds can be dramatic, but for commercial animation, the number of drawings or frames is limited due to various limitations.
Figure is a background animation of a row of trees. If it's a repetition cycle of seven drawings, position C would be in the middle in terms of distance and would be drawing number four. Figure is a diagram of the same thing seen directly from the side.
Usually, for perspective drawings, like Figure , you should only fill in one inbetween for each interval. If you add numerous inbetweens for each interval, it will surely look strange. Open navigation menu. Close suggestions Search Search. User Settings. Skip carousel. Carousel Previous. Carousel Next. What is Scribd? Explore Ebooks. Bestsellers Editors' Picks All Ebooks.
Explore Audiobooks. Bestsellers Editors' Picks All audiobooks. Explore Magazines. Editors' Picks All magazines. Explore Podcasts All podcasts. Difficulty Beginner Intermediate Advanced. Explore Documents. Uploaded by Mauricio Matus. The creation of animated drawings is at present divided into two stages, as shown below. Figure 1 Example of key drawings 1 Draw the key drawings First off, draw only the poses that form the main points along the line of action.
Also, pay attention to the timing of the movement. Movement should look as natural as possible. You can think of breakdown drawings in terms of two stages: First breakdown and second breakdown.
You can make creative in-between drawings that bear in mind the shape, material, and nature of the moving object. Generally, this kind of creative inbetween work is preferred in animation. A special technique is necessary to draw the lines of breakdowns. Usually, when making a breakdown drawing, you can start by making a clean copy of the key drawing.
Since the key drawing is in rough form, complete the breakdown drawing by tidying up the picture into separate, clean lines, creating a finished product.
What you need in your technique is the abilityto show the feel and shape of the object, clearly and accurately. Choose the appropriate lines and make a clean copy. Figure 6 Breakdown drawing A clean copy of the key drawing in Figure 5.
Also, you need to know which lines to use and which not to use. Thick linesUsed for outlining and for emphasis. Medium linesUsed for areas adjoining the outline. Fine linesmUsed for eyelashes, rims of the eyes, wrinkles in clothing, etc.
The energy added to objects, and the energy that objects generate themselves. Movement is affected by these combined elements. An animator, always seeking to create better animation, should never fail to consider these factors.
An arc should be depicted so that it conforms to a constant principle of uniformity. An arc without uniformity results in a jerky, awkward motion, lacking in continuity. An animator must grasp the principle of uniformity for moving objects. A rolling ball, however, slows down due to friction from the ground and will eventually stop, as in Figure Therefore, when you animate, make sure to adhere to the principle that when objects move, their speed is not constant. In Figure 12, the car starts to move slowly, and is fastest at the midpoint, with the movement slowing down again at the end.
This is particularly the case when a moving object has its own driving force such as a car. When the car starts to move from a rest position, it will accelerate gradually due to inertia. During movement. The change in appearance can be classified into two categories: squash and stretch.
These are phenomena that actually occur in nature, but in animation, you can increase their effectiveness by distorting the shape even more exaggeratedly.
If you use them more than necessary, objects will appear to have an overly sticky or fluid consistency. Fundamentals of Movement - Delay Depending on the material of a moving object, all parts will not necessarily move at the same time.
In contrast to the base of the tail, the tip of the tail moves later. Figure 26 Lowering a hoe A weak pose with no energy. If not, the movement will lack power. Fundamentals of Movement - Joints Human movement is generated by the interconnected motion of various joints. Figure 29 An inbetween joint movement. For example, even for a motion like raising the arms in Figure 28, it can vary depending on whether you decide to use an outside, middle, or inside arc for the middle pose.
When depicting human movement, you have to figure out where to place the center of gravity. Getting the center of gravity right means that you are sufficientlyconveying the heaviness of an object. For example, when the mallet is lifted in Figure 38, the weight of the mallet is not sufficiently conveyed. In order to support the weight of the mallet, the person pulls it towards himself he moves the left foot back, and changes the grip of the right hand.
In order to make the movement of the hair noticeable, it should start at a visible distance from the head. Fundamentals of Movement - Reaction When a fast movement suddenly stops, the object goes a little past the original stopping position, due to inertia, and then returns.
This is called reaction. Figure 43 Finger-pointing motion example showing extremes of motion. The extent to which it is used should also be based on the style and the characters.
Reaction is important for both realistic and cartoonish characters. However, the degree of exaggeration is something that should vary according to style. However, since most works center on human drama, human movement is of primary concern more than anything else.
Real Movement - Walking Walking is one of the most basic human activities and appears in animation frequently. Figure 46 shows the key poses of a walk that are generally used in Japanese animation. Start with the two key poses, switching the positions of the left and right hands and feet.
Then proceed to draw the breakdown pose. Usually, the sequence for filling in the inbetweens is to draw the B pose in the middle position first. Figure Then, after filling in two or three drawings between A and B, and between Band C, the walk will be completed. When you draw the inbetweens, make sure that all the elements are uniform in size and length, including the rise and fall of the body, the distance traveled, and the movement and arc path of action of each joint.
Position 3 is the highest. The arc forms a curve, peaking at 3. Be careful about filling in the inbetvJeens.
In contrast to walking to the side, the rear diagonal walk is difficult to draw, because of its specific path and the changing appearance of the soles of the feet. If you wish, you can replace this walk with the basic walking pose, drawing a side-view walk instead.
The impression given is quite different for the rear-view walk than for the side-view or diagonal-view walk. Pay attention to the slight shifting from left to right of the shoulders and back. In a dramatic context, the rear-view walk is quite common. Even for the same front-view walk, there may be variations, like the ones to the left, based on the emotional state of the character.
Naturally, the number of inbetweens and the timing may also change. Actual walking has various characteristics based on factors such as gender, body type, occupation, age, psychological state and physical condition.
Real Movement - Running Running is also a movement we see on a daily basis. The crucial difference between running and walking is that with running there is a moment of floating when both feet are completely separated from the ground figure Why does this moment occur? In order to kick off the ground powerfully, a pose like C in Figure 56 is necessary to gather energy before the kick. It's easier to make everything uniform.
Figure An explosion is a phenomenon of instantaneous ignition and combustion. It is an animation effect that often appears in science fiction or fighting scenes. For the flame in 1 and 2 , a transparent color close to white is often used to convey the higher temperature.
Effects - Lightning Lightning is a phenomenon in which an electrical discharge is generated from cumulus clouds. Since the amount of time it shines is extremely short. In order to make an even stronger impact with lightning scenes, you can use methods such as using three to four different drawings of lightning patterns one after another, or giving a directional movement to the lightning, or making the lightning thicker.
Also, when an illuminated background or character returns to normal after being shown in high-contrast, you can have a brief overlap as they return to normal. Recently, it has become the norm to portray rain by drawing three to four pictures and then shooting them at random. This is the method shown in Figure In this case, make sure that each picture has about the same amount of rain.
Shooting should not be confined only to the sequence " " "4, but should be random, such as " " "3. In Figure , rain is falling to the ground.
In this case, when the rain drop strikes the puddle, a ripple results, expanding outward. In general, this repetition should be made frequently, at irregular intervals. In such cases, it's also important to alter the timing of each cycle as well.
In animation where snow falls, put the snow on a gentle arc and flow it out it in repetition. This is the most basic way to animate snow.
Figure is the most basic way of animating snow and Figure is the way to break it down into inbetweens. Snow's manner of falling should not be too vertical or too curvy. It is most snow-like when a quality of lightness is apparent. Also, if the "flow" speed is too fast, it won't look like snow, so pay attention to the placement or distance of the intervals between each snowflake.
Figure Receding snow Figure Bad examples. There are times when snow falls very quietly, slowly and heavily. If you want to depict it in this way, you can draw dwindling snow that is receding in the background on an oblong cel. It used to be the favored technique in animation, but recently, it's not often seen in Japanese animation.
It's been replaced by CG in most cases, but ifyou're able to draw it well, it can still be a very effective and fun animation touch! Specifically, it can often be seen in such scenarios as a magic battle in which object A is animated and transformed into object B.
In Figure , there's no gradual transformation of each inbetween, but instead, each picture turns into something completely unexpected. It can be a lot of fun, and if welldone, it will surprise people who see it. Figure The following examples are for reference: a flower metamorphoses into Japanese writing and then into English letters; Rukio the lion cub from Kimba the White Lion turns to a butterfly, and Songoku a character from many Chinese fables transforms into a chair.
The group of buildings around me as I fly through this city is an example of an animated background. There are times when everything in the picture is moving.
But in this case, the main animation is the scenery. If background animation is well-done, you can create a powerful and splendid sense of actually being there. For background animation, the background usually doesn't have to be drawn nonstop, but is animated through "repetition" cycles of about four to ten drawings. Background animation that keeps on changing for a certain number of seconds can be dramatic, but for commercial animation, the number of drawings or frames is limited due to various limitations.
Figure is a background animation of a row of trees. If it's a repetition cycle of seven drawings, position C would be in the middle in terms of distance and would be drawing number four. Figure is a diagram of the same thing seen directly from the side.
Usually, for perspective drawings, like Figure , you should only fill in one inbetween for each interval. If you add numerous inbetweens for each interval, it will surely look strange. Open navigation menu. Close suggestions Search Search. User Settings. Skip carousel. Carousel Previous. Carousel Next. What is Scribd? Explore Ebooks. Bestsellers Editors' Picks All Ebooks.
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Explore Podcasts All podcasts. Difficulty Beginner Intermediate Advanced. Explore Documents. Tezuka Animation Vol 1. Uploaded by Veroni-k Aguirre. Document Information click to expand document information Description: Animacion. Did you find this document useful? Is this content inappropriate? Report this Document. Description: Animacion. Flag for inappropriate content.
Download now. Related titles. Carousel Previous Carousel Next. Jump to Page. Search inside document. Figure 2 Example of breakdown Second breakdown drawings First breakdown 2 Fill in the breakdown drawings Put the finishing touches on the movement by drawing poses that fit in between the key drawings.
Breakdown drawings of a changing precisely and mechanically. How to Draw Breakdown Lines A special technique is necessary to draw the lines of breakdowns. Figure 5 Key drawing rough sketch To do this, you've got to really understand the intention of the key drawing, in addition to having good enough technique so you don't lose the flavor of the key drawing.
Figure 7 Example of not distinguishing between different types of lines Figure 8 Example of distinguishing between different types of lines Also, be sure to make a distinction between the way a line stops and starts.
A sudden stop. Cl Surrounding conditions of the object, such as: air water heat cold The elements of move-. Figure 9 an arc Pendulum swing: bad example The length of the string and the shape of the pendulum are inconsistent, and the arc is wobbly. Rolling a ball by hand. It is necessary acceleration slowing down.. Speed not adjustments be made should arbitrarily, but should be based on sound physical principles.
Figure 12 Start of car motion Stop slow down [slo-in! In the example of a falling ball, the ball is affected gravity and speed. Figure 14 "Cushioning" chart from end to end Slow Fast Slow! Start Stop The best example of this type of speed distribution is called "cushioning.
Figure 15 Speed distribution of a car. Fastest Stop slow down Movement starts speed up L-- L I As the car's motion continues, it will slow down gradually due to inertia , finally coming to a stop. Fundamentals of Movement - Squash and Stretch During movement.
Figure 16 A bouncing ball -Bounce can be thought of as divided into three stages:falling contact rising -The arc of the bouncing depicts a "parabola. The direction in which the energy is going. After impact, the ball bounces up, and in that instant it changes shape, extending out vertically, This is called "stretch,". Arc It is more effective to use You can get interesting results when applying squash and stretch to human or other movement.
Arc Figure 20 Similarly, during squash, the volume of the ball should not change. Bas; shape Basic shape.. I r" --, X Figure 21 "'''; This method of distortion is unique to animation. Example of applying squash and stretch to humans Ii Let's consider the concept of "energy transmission. Figure 23 Good example. As a result, the elephant's trunk takes on a smooth, wavy appearance. This lagging movement of the tip is a concrete example of "delay. Transmission of Energy I'.
As a result, the motion becomes powerful. The hoe swings down. Without this pose, the movement would be weak. The hoe momentarily swingsup. Figure 28 Raising the arms that doesn't consider Bad example No movement of the elbow joint. Figure 31 Example of a middle arc Figure 30 Example of an inside arc. The movement of joints is not uniform; many variations possible.
Grabbing that incorporates a stick Figure 35 Example of an inbetween that ignores the center of gravity. For example, it looks unnatural if you draw the motion of ' standing up from a chair' with a breakdown pose like the one in A simplistic breakdown between A and B. Figure 36 Example Figure You can't possibly stand up from this posture. Figure 38 An unnatural pose that doesn't convey weight Person's center of gravity Mallet's center of gravity If you want to convey the weight of a mallet, look at the movement in Figure Figure 39 Movement that incorporates the weight of the mallet In order to support the weight of the mallet, the person pulls it towards himself he moves the left foot back, and changes the grip of the right hand.
The mallet and the person are well-balanced. Figure 40 Objects that drag Make sure that the movement "timing gap" creates. If the scarf or cape There should always The movement in a subordinate of the main of the ribbon an all the more moves be a gap at the same They time dragging behind the girl. This movement.
Figure 43 Finger-pointing motion example showing extremes of motion For example, in a finger-pointing motion with fast timing, like in Figure 43, the speed is distributed evenly between the two extremes and it doesn't look at all realistic. But if you speed up the motion, it's much more effective.
Figure 44 Finger-pointing sped-up example What's more, you can get an even better look if you incorporate a reaction, like in Figure Figure 45 Finger-pointing example that incorporates motion reaction Delay The more speed there is the bigger the delay.
Chapter 2 Real Movement - People. Human action seen from a variety of perspectives Among the various types of animation, and recently CG has also been added. Figure 46 Key drawings for a walk This is :. Figure 47 Initial inbetween pose Then, after filling in two or three drawings between A and B, and between Band C, the walk will be completed.
Figure 51 Walk from diagonal view r;:;.. Key 6 5 0 drawing Key drawing J drawing In contrast to walking to the side, the rear diagonal walk is difficult to draw, because of its specific path and the changing appearance of the soles of the feet.
J [ drawing ,6 Movement The impression given is quite different for the rear-view walk than for the side-view or diagonal-view walk.
One of my steps is twice the length of Merumo's! According to the size of your body, your manner of walking also changes! Figure 56 Running breakdown Most basic run The crucial difference between running and walking is that with running there is a moment of floating when both feet are completely separated from the ground figure Figure 64 Head angles G 2 CD Figure 65 Perspective during head rotation As in Figure 65, make sure that the head, rotating at a seemingly uniform speed, appears closer to 1 in its intermediate inbetween position, due to the perspective.
Figure 71 Bad in-between B1 A simple in-between pose that looks puppet-like and completely lacks energy. Real Movement - Jumps You can't jump without an "anticipation. Figure 73 Example of good inbetween Lowering down from position A And kick! Figure 74 Example of bad inbetween Figure 73 shows the inbetween movements when moving from A to D.
Real Movement - Body-Twists "Twisting" is a movement often used in dramatic works. Figure 75 A body-twist When filling in the in-between of A and D, in Figure 75, in which the body twists in a broad movement, a mechanical inbetween like B 1, in Figure 77, does not look good.
Figure 76 Example of good in-between The face is already looking at its target. Figure 77 Example of bad in-between 13'1 This picture is a literal breakdown of A and D, but lacks vitality. Figure 78 Throwing movement Breaking down the throwing movement: 1 Hip rotation 2 Upper body rotation 3 Arm swing 4 Wrist snap i Rotational movement is generated by the rotating of the hips.
Breaking down the kicking movement 1 Hip Rotation 2 - 3 Popping of the greater trochanter outer hip bone 4 Extension of knee joint 5 Snapping of ankle The pivot leg supports the body's weight and generates power, while at the same time, the upper body twists in the opposite direction of the lower body in order to maintain balance. Sometimes, you also see comedic mouths like this.
I Real Movement ultiple Characters For movement involving multiple characters, you have to bear in mind the energy they are both using. Figure 82 Movement involving multiple characters.
In cases like Figure 82, the two characters show independent movements. B will continue to move to the last, trying to evade getting hit.
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