Chapter 1 - Page 70

THE BELLIGERANT BULLDOG

SPIKE THE BULLDOG HAS A BARREL-LIKE CHEST, SMALL BOTTOM, HEAVY ARMS AND LEGS, NO NECK, PIGEON
FRONT TOES, AND BOWED LEGS.

USE CONSTRUCTION GUIDELINES TO HELP YOU DRAW THIS BULLDOG IN SEVERAL DIFFERENT POSES AND
ACTION VIEWS.

MAKE A REPEAT CYCLE OF BULLOOG RUNNING USING THE DRAWING AT RIGHT FOR POSITION ONE. SEE
"GALLOP" IN "MOVEMENTS OF THE FOUR-LEGGED FIGURE" ON PAGE 102 FOR A GUIDE.
Chapter 1 - Page 72

BULLDOG SAILOR

THE BULLDOG HAS A DOUBLE JAW WITH JOWLS. DRAW THE CIRCULAR FORMS FIRST, AND THEN DETERMINE
THE PERSPECTIVE LINES TO BUILD THE HEAD AND ASSEMBLE THE BODY.

IN ANIMATION THE BULLDOG JOWLS FLOP AROUND LIKE COATTAILS IN AN OVERLAPPING SECONDARY
ACTION (SEE CHAPTER 3). THAT IS A VALUABLE TECHNIQUE FOR KEEPING POSES ALIVE.

BUILD THE HEAD STEP-BY-STEP.

CONTINUE DEVELOPING THE CHARACTER AS SHOWN.

ANIMATION FORMULA

FIT THE CLOTHING TO THE BODY BY USING PERSPECTIVE GUIDELINES.

USING THIS FORMULA, YOU CAN DRAW THE CHARACTER IN ANY POSITION AND LEARN TO BE AN ANIMATOR.
Chapter 1 - Page 74

FORESHORTENING - PERSPECTIVE

PERSPECTIVE GIVES ANIMATED DRAWINGS THE DIMENSION OF DEPTH BY USING VANISHING POINTS (VPs)
ON A DISTANT HORIZON LINE AND FORESHORTENING (WHEN AN OBJECT SEEMS TO COME TOWARD THE
VIEWER). THE HORIZON LINE RELATES TO THE VIEWER´S EYE LEVEL. IF THE VANOISHING POINTS HAVE BEEN
POSITIONED TOO CLOSE TOGETHER, THE DRAWING WILL APPEAR DISTORTED. EXPERIMENT WITH YOUR
SUBJECT TO FIND A COMFORTABLE POSITON FOR THE VPs.

DRAW A BOX IN PERSPECTIVE, AND THEN CONSTRUCT A CHARACTER WITHIN THE FRAMEWORK. ALSO, STUDY
THE REVOLVING CYLINDER ABOVE. NOTICE THE RELATIONSHIP TO THE ARMS AND LEGS.

THE DRAWINGS ON THIS PAGE ARE BASED ON TWO-POINT PERSPECTIVE. THE VERTICAL LINES OF THE BOX
ARE PARALLEL, AND THE HORIZONTAL LINES ARE PROJECTED FROM THE VPs, AS SHOWN AT UPPER LEFT. FOR
CHARACTERS OF GREAT HEIGHT, A THIRD VP WOULD BE ADDED, AND THE VERTICALS WOULD CONVERGE AT
THE THIRD VP. THIS THREE-POINT PERSPECTIVE IS USED TO EMPHASIZE HEIGHT BY LOWERING THE
HORIZON LINE (EYE LEVEL), AS IF THE VIEWER IS LOOKING UP. THUS, THE DRAMA OF ANIMATION IS
HEIGHTENED. A GIANT IS MORE FRIGHTENING FROM A WORM´S-EYE VIEW.

FORESHORTENING IS USED WHEN THE OBJECT IS NOT PARALLEL TO THE PICTURE PLANE. NOTE THE HANDS,
LEGS, AND ARMS OF THE MUSICIANS TO THE LEFT.
LEARN TO DRAW HANDS FROM EVERY ANGLE. AT THE LEFT IS A FORMULA FOR A HAND. A BOX SHAPE HINGES
FROM THE WRIST UP OF, DOWN, THE ARM TURNS IT AROUND, AND THE BALL BASE OF THE THUMB FITS ON.

THIS THUMB BASE IS ACCENTED IN CARTOONS. NOTICE THAT THE SHORT, STRAIGHT LINES IN ALL OF THESE
DRAWINGS HELP DEFINE THE PERSPECTIVE. PERSPECTIVE CAN CREATE A NORMAL THIRD DIMENSIONS OF, IT
CAN BE DISTORTED FOR DRAMATIC DEPTH, HEIGHT, OR FORESHORTENING.
Chapter 1 - Page 76

GNOMES

GNOMES ARE USUALLY HAPPY BUT SHY CHARACTERS.

IT IS BEST TO DEVELOP THESE LITTLE FELLOWS WITH ROUNDED FORMS.
Chapter 1 - Page 78

ELVES
Chapter 1 - Page 79

DWARFS

A MOTLEY CREW OF LITTLE MEN ASSEMBLES TO PLAY NINEPINS ON AN ANIMATION LAYOUT DRAWING (IN
PENCIL).
Chapter 1 - Page 80

WICKED WITCH

PERSONALITY CAN BE PROJECTED THROUGH HAND EXPRESSION - YOU DON´T NEED TO SEE THE WITCH´S
FACE TO KNOW THAT SHE IS "WICKED."
Chapter 1 - Page 82

KIDS

KIDS COME IN ALL SHAPES AND SIZES. YOUNG CHILDREN HAVE LARGE HEADS AND SHORT LEGS, AND THEIR
DOVES ARE SLIGHTLY PEAR-SHAPED WITH A PROTRUDING TUMMY (LIKE "THE CUTE CHARACTER", SEE PAGE
32).

AS KIDS GROW OLDER, THE PROPORTIONS CHANGE, THEY ARE MORE LANKY AND AWKWARD LOOKING. THE
HEAD FOR THIS TYPE REMAINS A BIT LARGE.
 Chapter 1 - Page 84

THE YOUNG HEROINE

THE PROPORTIONS OF THIS CHARACTER ARE DIFFERENT THAN THOSE OF THE CHILDREN ON THE PREVIOUS
PAGES. USE THE CHART BELOW AS A GUIDE TO DRAW THIS YOUNG GIRL. THE CHART SHOWS THE FULL
FIGURE PROPORTIONS BASED ON A HEIGHT OF FIVE HEAD LENGTHS. THE LEGS ARE HALF OF THE HEIGHT (2-
1/2 HEADS), THE WAIST IS TWO HEADS FROM THE TOP. AND THE ARMS AND HANDS ARE A LITTLE OVER TWO
HEADS LONG. USE TH IS SCALE TO DRAW THE YOUNG GIRL ACCURATELY IN ANY POSITION.

FIRST DO THE ROUGH CONSTRUCTION DRAWINGS.

FACIAL FEATURES MOVE WITH THE HEAD: UP AND DOWN AND SIDEWAYS. THE POSITION AND ANGLE OF THE
EYES CHANGE WITH THE HEAD MOVEMENT, THEY MUST BE DRAWN TO LOOK IN THE DIRECTION SPECIFIED BY
THE HEAD POSITION. HERE THE CHANGE IS FROM A 3/4 FRONT VIEW TO A 3/4 BACK VIEW WHERE THE EYES
APE NOT SEEN AT ALL. USE THE RULES OF PERSPECTIVE AND FORESHORTENING TO ACCOMPLISH THESE
TRANSITIONS ACCURATELY (SEE PAGE 74).

MODEL SHEET DRAWINGS, LIKE THE ONES ON THIS PAGE, ARE ISSUED TO THE ANIMATOR AS A GUIDE WHEN
HE OR SHE PICKS UP THE SCENE FROM THE DIRECTOR.

DRAW THE BASIC FIGURE BY USING THE CHART FROM ABOVE. THEN DRAW THE CLOTHES OVER THE FIGURE.
YOU WOULD SEE THESE DRAWINGS ON THE SCREEN FOR TWO FRAMES - OR 1/12 OF A SECOND (SEE PAGE
196).
Chapter 2 - Introduction

Chapter 2 : CHARACTER MOVEMENT

Once the character has been developed, the animator must consider the types of actions that are appropriate
for it. A character´s basic design should contain a sense of movement to convey a message to the viewer about
the character´s actions and intended actions. One way to accomplish this is to use the "line of action" that is the
basis for rhythm, simplicity, and directness.

This chapter includes rhythm charts for creating movements of both humans and animals. These charts
demonstrate that not only must the head, legs, arms, and hands move in proper relation to one another, but
also the body mass must follow. The exercises on page 100 that demonstrate the movements of a man diving
into a pool and of a bouncing ball are excellent examples of accurate follow-through. Movements within the
figure such as "squashing", "twisting", and "stretching" are only a few of the movements studied in this chapter.

An animation cycle is a series of drawings that take a character through a complete movement (for instance, a
walking step). Complete cycles for continuous animated movement and the differences in body attitudes for
such movements as running, walking, dancing, posing, and much more are also included. Another subject
introduced in this chapter is adapting a character to a background. This subject is covered in detail in the
"Technical" chapter, but this introduction is an excellent stepping-stone to the more complex instructions.

By following the instructions in this chapter, you can make any character-person, animal, or inanimate object-
come to life through animated movement. It is exciting and great fun to do.
Chapter 2 - Page 90

LINE OF ACTION

AN IMAGINARY LINE EXTENDING THROUGH THE MAIN ACTION OF THE FIGURE IS THE "LINE OF ACTION." PLAN
YOUR FIGURE AND ITS DETAILS TO ACCENTUATE THIS LINE. BY DOING SO, YOU WILL STRENGTHEN THE
DRAMATIC EFFECT. THE FIRST TO DRAW WHEN CONSTRUCTING A FIGURE IS THE LINE OF ACTION.

[left] WRONG ! THE LINES OF ACTION DO NOT FIT.

[right] CORRECT! THE LINES OF ACTIONFIT AND ARE ACCENTUATED.

STUDY THESE DRAWINGS IN WHICH I´VE INDICATED THE LINE OF ACTION.

Chapter 2 - Page 92

LINE OF ACTION IN ANIMATION

THE LINE OF ACTION IS THE BASIS FOR RHYTHM SIMPLICITY, AND DIRECTNESS IN ANIMATION. START YOUR
ANIMATION WITH A LINE OF ACTION. THEN DRAW THE SKELETON AND THE DETAILS.

(download long image)

FINALLY ... ANIMATE ALL THE DETAILS.

 Chapter 2 - Page 94

RHYTHM AND DESIGN IN CARTOON ART

RHYTHM AND DESIGN ARE THE SECRET FORMULAS BEHIND THE APPEAL AND CHARM OF GREAT CARTOON AFT.
ARTISTS HAVE INSTINCTS THAT TELL THEM THESE THINGS. THE FOLLOWING ABSTRACTACT DESIGN BASIS
SHOULD HELP YOU.

THE BASIC "S" CURVE OF RHYTHM AND THE OPPOSING ARCS (SECOND FROM LEFT) HAVE GREAT VALUE FOR
YOUR DRAWINGS. LEARN THEIR VALUES, SUCH AS THE "VALUE OF A STRAIGHT LINE." MANY DRAWINGS FAIL
WITHOUT IT.

REPETITION OF LINES IN DIFFERENT PARTS OF THE CARTOON ADDS CONTRAST TO OPPOSING LINES. THE
LINE OF ACTION IS THE SWEEP OF BASIC FORMS FROM THE LEGS THROUGH THE HEAD. WEAVE THESE
FORMS TOGETHER TO CREATE RHYTHM AND MOVEMENT. CONTRAST OF LINES ENHANCES THE DESIGN.
VERTICALS, DIAGONALS, AND HORIZONTALS WITH ANGLES CONTRAST AND OPPOSE RHYTHM CURVES AND
ARCS. GEOMETRIC SHAPES SHOULD BE IN SHARP CONTRAST FOR DESIGN AND CHARACTER DEFINITION.
Chapter 2 - Page 96

MOVEMENT OF BODY MASSES

HERE ARE SOME SIMPLIFIED FIGURES IN ACTION TO SHOW YOU THE TWIST AND TURN AND THE VARIATION
OF PERSPECTIVE IN THE MAIN BODY MASSES. BUILDING THE FIGURE IN SOLIDS MAKES ANIMATION EASIER
TO "FEEL OUT."
Chapter 2 - Page 98

MOVEMENTS OF THE TWO-LEGGED FIGURE

A COMPLETE CYCLE FOR A TWO-LEGGED WALK IS TWO STEPS. DRAWINGS ARE MADE OF THE KEY POSITIONS
OF THE STEPPING ACTION UNTIL THE NEXT DRAWING WOULD BE A REPEAT OF THE FIRST. THE DRAWINGS
CAN BE USED OVER AND OVER AGAIN TO MAKE THE CHARACTER WALK AS FAR OR AS LONG AS DESIRED.

FOR A HALF-CYCLE, HALF OF THE ACTION (ONE STEP) CAN BE DRAWN, AND THEN THE HANDS, ARMS. LEGS,
AND FEET CAN BE SWITCHED FROM SIDE TO SIDE, ESSENTIALLY CREATING A COMPLETE ACTION WITHOUT
REDRAWING ALL OF THE BODY AND HEAD POSITIONS.
 Chapter 2 - Page 100

THE BASIC BOUNCING BALL ACTION

THE BALL FOLLOWS A DEFINITE PATH OF ACTION. STU DY THE SPACING OF THE BALL ALONG THIS PATH.
NOTICE THE SIMILARITY OF THE BALL ACTION TO THE HOP AND JUMP BELOW.
NOTICE THAT A, C, AND E HERE ARE LIKE 5, 7, 12, AND 14 ON THE BALL ABOVE WHEN THE CHARACTER
STRETCHES. B IS LIKE THE RECOIL ON 6 AND 13 AND D IS LIKE THE NORMAL 2, 10, AND 17.

HERE THE ARMS ARE FLUNG UP SUDDENLY TO CREATE MOMENTUM HELPING THE JUMP.
Chapter 2 - Page 102

MOVEMENTS OF THE FOUR-LEGGED FIGURE

HERE IS A COMPARISON OF THE MAIN CYCLES OF FOUR-LEGGED MOVEMENT. SOME OF THEM ARE COMPLETE -
OTHERS ARE HALF-CYCLES (YOU CAN DRAW THEM ON THE OPPOSITE FEET FOR THE REST OF THE CYCLE).
STUDY THE DIFFERENCES IN THE EXAMPLES. THE WALK, TROT SNEAK, STRUT AND TIPTOE ARE HALF-CYCLES.
THE GALLOP, CANTER, AND SNIFF ARE COMPLETE CYCLES.

IN-BETWEEN DRAWINGS ARE MADE BETWEEN THE KEY DRAWINGS AS TRANSITIONS TO CREATE A SMOOTH
MOVEMENT OF THE FIGURE. YOU MUST DRAW ENOUGH IN-BETWEENS TO MAKE THE ACTION SMOOTH FOR
THE SPECIFIC SPEED OF THE ACTION AND THE TIMING IN FILMING.