Chapter 3 - Page 138

STRAIGHT-AHEAD ANIMATION

THERE ARE TWO DISTINCT METHODS OF ANIMATING: (1) THE STRAIGHT-AHEAD METHOD (SHOWN ABOVE),
WHICH SIMPLY INVOLVES DRAWING ONE MOVE AFTER ANOTHER IN AN EVOLVING SEQUENCE OF GROWTH,
AND (2) THE POSE-PLANNING METHOD, WHICH IS ACCOMPLISHED BY SKETCHING "KEY" OR "EXTREME"
POSES (AS SHOWN WITH THE MOUSE ON PAGE 139) AND THEN FILLING IN THE ACTION WITH IN-BETWEEN
DRAWINGS.

THE CHARACTER ABOVE WALKS FOR THREE STEPS AND THEN REACHES DOWN FOR THE KITTEN, HERE THE
FOOT CONTACT EXTREMES ARE PLACED IN A STRAIGHT PATH OF ACTION. THEN THE CHARACTER CHANGES H
IS "ACTING" - HE ANTICIPATES THE REACH FOR THE KITTEN BY LIFTING HIS ARMS AND MOVING HIS HEAD
BACK. THE HEAD STAYS BACK TO COUNTERBALANCE THE REACHING ARMS, IT THEN FOLLOWS THROUGH IN
AN OVERLAPPING ACTION AS THE KITTEN IS LIFTED. THE WALK IS AN OVERLAPPING ACTION. EACH ACTION
MUST FIT THE MOOD OF THE STORY, THERE IS A TIME AND A PLACE FOR EACH ANIMATION APPROACH.
Chapter 3 - Page 139

POSE-PLANNING DRAMATICS

THE IMPORTANCE OF THE EXTREME DRAWING IS BEST ILLUSTRATED USING PENDULUM ACTION (SEE PAGE
136). PLAN WELL-DEFINED ACTIONS (SUCH AS A WALK OR RUN) BY FIRST DRAWING A PATH OF ACTION
USING PERSPECTIVE (PAGE 74), AND THEN RENDERING THE SAME CYCLE DRAWING IN PROGRESSIVE
POSITIONS. THE IN-BETWEEN DRAWINGS ARE PLANNED WITH SPACING CHARTS (WHICH ALSO INDICATE THE
"ARC" OF THE ACTION IN CASE OTHER ARTISTS COMPLETE THE SCENE) AND ROUGHED IN BY THE ANIMATOR.
THE IN-BETWEENS CAN RADICALLY CHANGE AN ACTION-EITHER IMPROVING OR STUNTING IT.

THE MOUSE IN THE EXAMPLE DEMONSTRATES THE IMPORTANCE OF POSE-PLANNING. THESE TYPES OF
SCENES ARE BASED ON THE DRAMA, GESTURE, OR ATTITUDE OF POSES - NOT THE SPECIFIC ACTION. THE
KEY POSES MUST BE CAREFULLY THOUGHT OUT BECAUSE THEY ARE USED TO ENHANCE THE ACTION,
PRESENTATION OF DRAMA AND MOOD, THEY REINFORCE THE STORY, SCENE COMPOSITION, AND DRAWING
POINTS.
Chapter 3 - Page 140

ARCS – CURVES - PATHS OF ACTION

A CHARACTER MOVES IN PATHS OF ACTION THAT EITHER CURVE OR GO STRAIGHT. IF A DRAWING IS PLACED
IN AN ACTION THAT DOES NOT FIT THE PATH OF, SPACING PLAN, A JITTER, A JERK, OR AN UNREALISTIC
ACTION WILL OCCUR. YOU DON´T NEED TO CHART ALL THE PATHS, YOU CAN SEE THEM WHEN YOU FLIP THE
DRAWINGS. THE DEGREE OF ARC IN AN IN-BETWEEN CAN EITHER IMPROVE OR STUNT AN ACTION.

EXPERIMENT WITH THE DEGREE OF ARC IN THE IN-BETWEENS. WILL THE GIRL´S ACTION ABOVE BE
IMPROVED IF A DRAWING BETWEEN 1 AND 2 DIPS LOWER IN A CROUCH ANTICIPATION THAN THE PATH
INDICATES ? WHAT IF A DRAWING BETWEEN THE HIGH 3 AND 4 WERE HlGHER ? WHAT IF A DRAWING AFTER
7 WERE LOWER ? TRY TO THINK LIKE THIS ... EXPERIMENT ... FLIP THE DRAWINGS TO SEE IF YOU ARE
CORRECT !
Chapter 3 - Page 141

MULTIPLE ACTION PATHS IN BOUNCE-STRUT

USING THIS DOUBLE BOUNCE-STRUT AS A GUIDE, TRY ANIMATING THE SAME ACTION AND PATHS USING
ROWDY RABBIT FROM PAGE 40

IT IS IMPERATIVE THAT YOU CONSULT THE DRAWINGS GOING INTO A AND OUT OF B. CHECK AT LEAST TWO
PRIOR DRAWINGS AND A FOLLOWING EXTREME. THERE ARE TWO THINGS TO NOTICE: (1) WHAT IS THE
RIGHT ARC, IF ANY, AND (2) IS THE DRAWING EXACTLY IN BETWEEN, OR IS IT CLOSER TO A OR B
ACCORDING TO THE PROGRESSION OF DRAWINGS? THIS IS ARC AND SPACING. EXPERIMENT ! YOU WILL
LEARN THE TRICK OF TAKING DRAWINGS OFF PEGS, SHIFTING THE EXTREMES SO THE DETAILS COINCIDE,
PLACING THE CORNERS OF YOUR IN-BETWEEN PAPER BETWEEN THE TWO SHIFTED EXTREMES, AND MAKING
AN IN-BETWEEN ON MUCH EASIER TERMS THAN THE PEGS ALLOW. IT IS BEST TO MAKE A LIGHT MECHANICAL
DRAWING-NO MATTER HOW CRUDE - BETWEEN LINES, AND THEN CORRECT THE DRAWING OF THE IN-
BETWEEN, FLIPPING ALL THE TIME.
 Chapter 3 - Page 142

THE WAVE PRINCIPLE

RYTHM IN ANIMATION ACTION IS BASED ON THE WAVE PRINCIPLE. THE "LINE OF BEAUTY CURVE" (LIKE AN
"S") ANIMATES AS A WAVE INTO THE OPPOSITE Z-SHAPE AND BACK THE WAVE IS PUSHED OR MANIPULATED
FROM ONE SIDE TO THE OTHER.

THE FIRST THREE DIAGRAMS ABOVE ARE WAVED FROM THE BASE, THE FOURTH IS WAVED FROM THE TOP. BE
SURE TO WAVE RHYTHM IN THE RIGHT DIRECTIONS. IN THE EXAMPLE, THE HORSE WAVES THE COWBOY
AROUND LIKE A FLAG.

IN ANIMATION WE BUILD FROM THE FIRST DRAWING (AS WITH THE HORSES AND START A CHAIN REACTION
OF RHYTHM LINES WAVING. USE THE SECOND DRAWING AS A GUIDE. THEN WHEN YOU GET THERE, REVISE
IT SO IT FITS THE SERIE´S WAVE PROGRESSION AND ANATOMY PROGRESSION. THIS PRINCIPLE APPLIES TO
ALL ANIMATED CURVES.
 Chapter 3 - Page 144

DELAYED SECONDARY ACTION

MAKE OVERLAPPING ACTION WHENEVER YOU CAN. WHEN ANIMATING A CHARACTER FROM ONE POINT TO
ANOTHER, DON´T GO THERE WITH ALL PARTS OF THE CHARACTER AT ONCE. INSTEAD, ARRIVE WITH
DELAYED SECONDARY ACTIONS, AS ILLUSTRATED ON THIS PAGE.

WITH DELAYED SECONDARY ACTIONS, ALWAYS GET A GOOD FOLLOW-THROUGH ON LOOSE-MOVING

SECONDARY OBJECTS, SUCH AS COATTAILS, HAIR, EARS, AND TAILS. IN THE SQUIRREL ACTION AS BELOW,
THE FEET ARRIVE FIRST, THEN THE BODY RISES. AFTER THIS, THE ARMS MAY ARRIVE, FOLLOWED BY THE
TAIL.

THE DOUBLE PENDULUM ACTION ABOVE ILLUSTRATES A PRIMARY ACTION OF THE DARK CIRCLE FROM A TO B,
FOLLOWED BY TWO SECONDARY ACTIONS OF THE PENDULUMS. THIS PRINCIPLE IS ALSO APPLIED TO THE
ACTION OF THE DOG GRABBING A BUTTERFLY WITH THE PRIMARY ACTION OF HIS ARMS. HIS HIPS AND BODY
ARE SIMILAR TO THE TOP PENDULUM, AND HIS FEET AND TAIL ARE SECONDARY TO HIS HIPS, LIKE THE
LOWER PENDULUM DIAGRAMS. THIS PRINCIPLE IS ALSO APPARENT IN HIS HEAD, WHICH SWINGS FROM HIS
ARMS, AND THE EARS PENDULUM FROM THE HEAD.

DELAYED SECONDARY ACTIONS ARE EFFECTIVE IN PUTTING LIFE INTO POSES AND HOLDS. A CHAIN OF PARTS
CAN ARRIVE LATE AT DIFFERENT TIMES AND IN DIFFERENT TIMINGS TO TAKE THE CURSE OFF ANY HELD
DRAWING. THEN VARIOUS PARTS, SUCH AS THE EYES, CAN "TELEGRAPH" THE NEXT MOVE IN SECONDARY
ACTIONS THAT PRECEDE IT. THUS, LIMITED ANIMATION FOR TV CAN BECOME VERY CONVINCING. HOWEVER,
THIS IS NOT AN ECONOMY ANIMATION FORMULA, IT IS BASED ON LIFE. NOTHING MOVES IN EQUAL
COMPARTMENTS OF ALL PARTS IN UNISON.
STUDY THE DELAYED ACTION OF THE SQUIRREL´S TAIL.
 Chapter 3 - Page 146

FAST ACTION – IMPACT - SPEED

IN FAST ACTION AS ABOVE, THE CHARACTER STRETCHES, GOES INTO A BLUR EFFECT, DISAFFEARS FOR A
FRAME, AND THEN REAPPEARS AT THE OBJECTIVE. MULTIPLE IMAGES CAN SPEED THE ACTION.

THE ANIMATED BLUR REPLACES LEG ACTION IN A THREE OR FOUR DRAWING TWIRL, AS SHOWN.
CHARACTERS EXPLODE FROM ANTICIPATION OUT OF SCENE WITH ANIMATED SPEED LINES, AS SHOWN
BELOW. AS SHOWN IN THE ELF (BELOW), MULTIPLE IMAGES OF A FAST-MOVING HAND (OR LEG) CARRY THE
ILLUSION OF THE MOVEMENT BETTER. THUS, A FAST-MOVING LEG OR ARM PASSING THE BODY IS AN IMAGE
ON EACH SIDE.
SPEED EFFECTS - CLOUDS OF DUST AND/OR SMOKE ARE STIRRED UP BY THE SPEED OF THE BULL CHASE.
SPEED-LINE BLUR EFFECTS OFTEN FOLLOW, INCLUDING FRAGMENTS OF DOUBLE IMAGES. AS SUCH SPEED
GOES THROUGH A QUIET, STILL BACKGROUND, THE GRASS AND TREES ARE SUCKED IN THE DIRECTION OF
THE PASSING TORNADO. THESE SPECIAL EFFECTS INVOLVE ANIMATED BACKGROUNDS.

IMPACT, AS SPEED IS ABRUPTLY HALTED, ENHANCES THE IMPRESSION. AS SHOWN IN THE STORYBOARD
(BELOW), THE BULL COLLIDES WITH THE TREE ON A FASTMOVING PAN. NOTICE THAT THE IMPACT KNOCKS
THE FAN AND TREE BACKWARD, THEN INTO A FORWARD AND BACK RECOVERY, AND THEN INTO A STOP.
ALTERNATELY, THE PAN ACTION CAN BE ENLARGED TO A STAGGER / JITTER ACTION, OR THE BULL CAN GO
INTO A STAGGER ACTION AFTER THE IMPACT.

VERTICAL IMPACT - AFTER A FAST FALL, THE IMPACT WITH THE EARTH IS USUALLY HANDLED WITH A
VIOLENT, VERTICAL STAGGER / JITTER OF THE BACKGROUND. HOWEVER, CLASSIC IMPACTS IN GREAT
CARTOONS HAVE ALSO INCORPORATED ANIMATED REPERCUSSION EFFECTS IN THE BACKGFOUND - FOR
EXAMPLE, DISTANT ROCKS RISING AND FALLING FROM THE SHOCK WAVES. OTHER GREAT IMPACTS HAVE
CREATED ANIMATED CRATERS AND SMOKE.
 Chapter 3 - Page 148

THE CARTOON "TAKE"

A "TAKE" REGISTERS A CHARACTER´S SUDDEN SURPRISE IN A CARTOON. THE AVERAGE CARTOON IS FULL OF
TAKES. SOME ARE SUBDUED, OTHERS ARE VIOLENT LIKE THE ONE ON THIS PAGE. THE TAKE IS USUALLY
PRECEDED BY A GOOD ANTICIPATION DRAWING, SUCH AS STEP B. THE CHARACTER SEES HIS DATE FOR THE
EVENING IN STEP A, CRINGES INTO ANTICIPATION IN STEP B, AND THEN FLIES UP INTO A WILD TAKE IN
STEP C.
Chapter 3 - Page 149

SURPRISE REACTION

ALMOST ANYTHING CAN HAPPEN IN A TAKE: THE FIGURE MAY STAGGER OR FLY THROUGH THE AIR, THE EYES
MAY POP OUT, OF LOOSE HAIR, COATTAILS, ETC., MAY FLY UP AND CONTRIBUTE TO THE SURPRISE EFFECT.
Chapter 3 - Page 150

EXPRESSING AN ATTITUDE

GESTURES, MANNERISMS, ATTITUDES OF PICTURE, AND OUTBURSTS ARE A LANGUAGE OF ANIMATION THAT
SPEAKS EMOTIONS AND REVEALS CHARACTER THROUGH YOUR DRAWINGS. AS THE ART DEVELOPS, THE
COMIC CHARACTERS BEGIN TO "THINK"AND ASSUME PREDICTABLE CHARACTER - MOST OF IT HILARIOUS.
HOWEVER, IN LATER DISNEY FEATURES THE ANIMATED ART OFTEN REACHED A HIGH POINT OF MOVING
PEOPLE TO TEARS. THE ANIMATOR BECAME A "REAL" ACTOR.

HERE ARE SOME RULES FOR THESE ACTORS: (1) NEVER MOVE OR "FREEZE" WITHOUT MEANING, (2) HOLD A
GESTURE AS LONG AS POSSIBLE TO LET IT REGISTER AND SINK IN, AND (3) DON´T OVER-GESTURE. MAKE
EVERYTHING WORK FOR YOU: EARS, TAIL, HAIR, LEGS. FEET, CLOTHING, ETC. FOR THE ACTION, MAKE A FEW
THUMBNAIL SKETCHES AND A SHORT SCRIPT. FOR EXAMPLE: DOG WITH RED HAT AS BELOW SNEAKS IN AND
STOPS IN FORWARD CROUCH, THE BIG EYES LOOK FROM SIDE TO SIDE AND THE BODY BECOMES ERECT, THE
HAND FOLLOWS THROUGH SLOWLY TO LIPS (SHOW CONSPIRACY), IT MOVES INTO POSE SLOWLY, AND THEN
THE EARS AND TAIL OVERLAP IN POSE.
Chapter 3 - Page 152

EMOTION – GESTURE - REACTING

START WITH THE EMOTION - GET INSIDE THE CHARACTER AND ACT IT OUT - AND THEN SKETCH THE SWEEP
OF THE BODY, ARMS, LEGS, AND HEAD. EXPLORE EVERY TILT AND TURN OF THE HEAD AND THE EXPRESSIVE
HANDS.
IN THE "TAKE" OF THE MOUSE ABOVE, THE MOUSE SINKS INTO AN ANTICIPATION CROUCH OR CONTRACTION
THAT IS ALWAYS BRIEF, AND THEN SPRINGS INTO THE STRETCH EXPANSION (ALSO BRIEF), AND THEN IN A
SCRAMBLE REVERTS TO NORMAL-SIZE LOOK. THIS ANIMATION REACTION HAS WIDE USE IN MANY FORMS. IT
CAN BE REVERSED WITH THE STRETCH FIRST. THEN CROUCH CONTRACTION, AND THEN INTO LOOK.

ACTIONS HAVE DRAWINGS LIKE BEAR NO. 2 ON PAGE 150 AND SLOW-BURN NO. 2, BELOW, THAT NEED TO
BE HELD OR PROLONGED WITH CLOSE ADJACENT DRAWINGS. THE DEAR COULD BLINK, AND NO. 2 OF THE
BURN COULD SLOWLY MOVE FURTHER BACK.

ANIMATION IS A CALCULATED SPACING OF CARTOONS THAT CAN BRING GESTURES LIKE THESE TO LIFE.
EACH OF THESE GESTURES REQUIRES: (1) RELATED ANIMATION ACTING INTO THE POSE, (2) OVERLAPPING
ACTION INTO AND OUT OF THE POSE. AND (3) THE SUBTLE ANIMATION OF THE POSE, OR A "FREEZE" WITH
DRAMATIC MEANING, WHEN ANIMATING, NEVER GO TO A PLACE ALL AT ONCE UNLESS THERE´S A REASON
(WHICH ISN´T OFTEN). HERE ARE THREE CLASSIC ANIMATION PATTERNS: THE BEAR "DOUBLE-TAKE" INTO
POSE (PAGE 150). THE MOUSE "TAKE" INTO POSE (ABOVE), AND ONE VERSION OF THE GREAT
"SLOWBURN" (BELOW).
Chapter 3 - Page 153

THE BODY LANGUAGE ACTOR

MAKE A COLLECTION OF BODY GESTURE CARTOONS AND PHOTOS.

Chapter 3 - Page 154

WEIGHT-RECOIL EFFECTS

A) WEIGHT IS REGISTERED IN ANIMATION BY

1. THE VISUAL STRUGGLE TO MOVE WEIGHT.
2. THE VISUAL EFFECTS OF STOPPING WEIGHT.
3. THE TIMING CAUSED BY IMMOBILITY AND GRAVITY.
4. CHAIN-BALANCE DUE TO TYPES OF SAG.
B) LIGHT WEIGHT IS REGISTERED BY
1. THE SPRING UP WITH NO RESISTANCE.
2. THE ELIMINATION OF RECOIL PROCESSES.
3. TIMING CAUSED BY MOBILITY AND FLOAT.
4. NO SAG, STRESS, STRAIN, OR SQUASH.

C) THE BOUNCING BALL PRINCIPLE ILLUSTRATES THE BASIC RECOIL- SQUASH-CONTRACTION AND THE
STRETCH-ELONGATION THAT ARE PART OF MOST CHARACTER MOVEMENT. THE ELEPHANT (BELOW) SHOWS
OVERLAPPING SQUASH-RECOIL AND STRETCH.

D) THE OFF-CENTER BALANCE IS CAUSED BY ONE-SIDED WEIGHT.

E) THE CHAIN BALANCE IS EXAGGERATED IN A FIGURE ACTION CAUSED BY HIGH BAG, SUCH AS WITH HEAVY
GIANTS AND ANIMALS (SEE PAGE 130).

F) STRAIN IS CREATED WHEN MOVING HEAVY BODIES OR WEIGHTS.

G) STRESS IS CREATED WHEN PULLED AND PUSHED ANATOMY SHOWS WEIGHT.

THE TIMING OF A CHARACTER ACTION HAS A GREAT DEAL TO DO WITH WEIGHT - OR LACK OF IT. AS SHOWN,
THE RECOIL PROCESS TAKES TIME FOR AN ELEPHANT, WHILE THE DEER HARDLY TOUCHES THE EARTH,
SPRINGS UP AND FLOATS, UNTOUCHED BY GRAVITY.
 Chapter 3 - Page 156

THE SQUASH AND STRETCH PRINCIPLE

OVERLAPPING ACTION (NOTE: THIS RULE HOLDS TRUE IN THE MAJORITY OF ANIMATION ACTIONS) - WHEN
ANIMATING A CHARACTER FROM ONE POINT TO ANOTHER, DON´T GO THERE ALL AT ONCE. THE MAIN ACTION
CAN BE PRECEDED AND FOLLOWED BY LESSER ACTIONS THAT RELATE TO, OR ARE THE RESULT OF, THE MAIN
ACTION. THESE ARE KNOWN AS "OVERLAPPING ACTIONS" AND THE PROPER USE OF THEM WILL GREATLY
IMPROVE THE QUALITY OF YOUR WORK. NOTICE THAT FROM THE ANTICIPATION IN STEP 8 THE COP COMES
TO AN EXTREME ACCENT IN STEP 10 AS HE STARTS SAYING, "ALL RIGHT !". THE MAIN ACTION OF THE FIGURE
CAUSES A LESSER ACTION - OR REACTION - ON THE COP´S STOMACH. DOWN IN STEP 10, IT RECOILS IN
STEPS 13 TO 16, BOUNCES BACK IN STEP 18. AND THEN FINALLY SETTLES BACK UP IN STEP 24. IN OTHER
WORDS, A MAIN ACTION BETWEEN STEPS 8 AND 10 HAS CAUSED AN OVERLAPPING LESSER ACTION TO
OCCUR FROM STEP 10 ALL THE WAY TO STEP 24.

FOLLOW-THROUGH - ANOTHER RULE OF ANIMATION IS THAT WHEN A FLAG - OR SOMETHING SIMILAR - IS

WAVED OR JERKED, THE FLAG WILL FOLLOW A DEFINITE CURVING PATH THAT IS DETERMINED BY THE
POSITION OF THE MAST A SPLIT SECOND BEFORE THE MOVEMENT. IN ANIMATION THIS NATURAL LAW IS
CALLED THE "RULE OF FOLLOW-THROUGH". STUDY THE ENDS OF THE COAT HERE. PUT THIS TYPE OF FOLLOW-
THROUGH ACTION ON ALL FLEXIBLE, LOOSELY-WAVING OBJECTS, IN A STRICT SENSE, ANY OBJECT THAT
"GIVES" IN ANIMATION HAS A CERTAIN AMOUNT OF FOLLOW-THROUGH ACTION.

SMASH AND STRETCH - WHEN A SANDBAG MOVES THROUGH THE AIR, IT WILL STRETCH IN THE DIRECTION
OF THE MOVEMENT. THEN WHEN ITS PROGRESS IS ARRESTED, IT WILL "SQUASH" OUT. IF IT WERE ALIVE
(ANYTHING CAN HAPPEN IN A CARTOON !), IT WOULD ALSO SQUASH FROM ANTICIPATING THE ACTION IN
WHICH IT STRETCHES. NOTICE STEPS 8 AND 10. THE PROPER USE OF SQUASH AND STRETCH WILL
STRENGTHEN AN ACTION. IT IS ESSENTIAL IN CREATING A FEELING OF WEIGHT IN CHARACTERS.

OVERLAPING ACTION . FOLLOW-THROUGH

Chapter 3 - Page 158

DANCING HIPPO

DURING HER PERFORMANCE THE HIPPO BALLERINA MAKES A JUMP AND TURN LASTING ONE SECOND, OR
TWELVE DRAWINGS OF TWO FRAMES EACH. THE METHOD IS STRAIGHT-AHEAD ANIMATION. EACH DRAWING
EVOLVES FROM SEVERAL OF THE PRECEDING DRAWINGS. THE ANIMATOR FLIPS THE DRAWINGS LIKE A "FLIP
BOOK" AND MAY WOFK ON SEVERAL AT ONCE.

STUDY THE OVERLAPPING ACTIONS OF THE ENORMOUS TUMMY, THE SKIMPY TUTU SKIRT, THE ARMS, THE
LEGS, AND THE HEAD, AND THE SQUASH AND STRETCH PRINCIPLE SHOWN AS THE HUGE POSTERIOR-HINDER
SIDE OF THE BODY (FANNY) SQUASHES TO ENORMOUS PROPORTIONS ACCENTUATED BY THE FORCED
PERSPECTIVE. THE HIPPO BALLERINA SWINGS HER ARMS UP TO CREATE A MOMENTUM FORCE TO LIFT THE
HUGE BODY (SEE JUMP IN SPACING).
Chapter 3 - Page 160

ALLIGATOR BALLET

IN THIS TYPE OF ANIMATION, THE ANIMATOR MUST MAKE EVERY DRAWING COUNT BECAUSE EACH ONE IS A
SEPARATE IDENTITY - NOT AN IN-BETWEEN. (THE USUAL METHOD OF OUTLINING THE ACTION WITH A FEW
EXTREMES AND THEN RELYING ON AN ASSISTANT TO FIT IN THE REMAINING DRAWINGS IS NOT USED). EACH
MOVE OF THE ALLIGATOR HAS A QUALITY ALL ITS OWN AND MUST GROW FROM THE PRECEDING DRAWING.
DURING THIS FLIPPING REFERENCE TO A SERIES OF DRAWINGS, THE ANIMATOR MAY GO BACK AND CHANGE
WHOLE ACTIONS IN THE DRAWINGS THAT LEAD UP TO THE DRAWING HE IS CURRENTLY WORKING ON. HE IS
ACTUALLY WORKING ON ALL THE DRAWINGS ON THE TOP PEGS AT THE SAME TIME. (BOTTOM PEGS ARE NOT
ADAPTABLE TO THIS TYPE OF ANIMATION AS FLIPPING AND DRAWING FROM THE TOP OF MOST DRAWINGS
ARE DIFFICULT AND CUMBERSOME.)

WHEN THE ANIMATOR HAS COMPLETED THE SCENE OF THE ALLIGATOR BALLET ACTION, EACH DRAWING IS
PHOTOGRAPHED TWO TIMES (2s) FOR A ROUGH FILM TEST (TWELVE DRAWINGS ARE VIEWED IN ONE SECOND
ON THE FILM). HE THEN USES A REVOLVING-PRISM EDITING VIEWER OR A MOVIOLA PROJECTION MACHINE
TO ANALYZE THE ACTION TO DECIDE WHETHER EACH FRAME FITS OR NOT. HE THEN MAKES ANY NECESSARY
CHANGES. THROUGH THIS PROCESS OF ANIMATING AND FILM TESTING, THE ANIMATOR LEARNS HOW TO
TIME AND SPACE THE DRAWINGS TO ACHIEVE THE PROPER SPEED IN EACH OF THE PRIMARY AND
SECONDARY ACTIONS THAT SIMULATE REALITY. HE WILL ALSO LEARN HOW MANY DRAWINGS ARE NEEDED
TO REGISTER AND SEE ANTICIPATIONS, POSES, AND REACTIONS. ON FILM, YOU DO NOT SEE JUST ONE OF
THESE ALLIGATOR DRAWINGS, YOU SEE THE SEQUENCES. NOTE: THIS PROCESS IS EXPLAINED IN GREATER
DETAIL IN CHAPTER 5.

Chapter 3 - Page 164

HIPPO AND ALLIGATOR BALLET

THE HIPPO IN DISNEY´S MOVIE FANTASIA WAS CONCEIVED IN THIS EXPERIMENTAL ANIMATION. I MADE THE
MODEL SHEETS AND ANIMATED HER IN THE BALLET.

(download large image)

 Chapter 3 - Page 168

WOMEN

WOMEN MOVE IN A DISTINCT MANNER BECAUSE OF BALANCE. THE KNEES AND ELBOWS TEND TOWARD
INWARD ARCS IN ACTION. A THROW WITH THE ELBOW IN AND ALMOST A PUSH IN THE RELEASE IS TYPICAL.
(IN CONTRAST AN ATHLETE SWINGS THE ELBOW WIDE IN A WHIP-RELEASE THROW).

WHEN THE LEG LIFTS THE FOOT OFF THE GROUND, THE HIPS TILT AS THE SUPPORT IS REMOVED, CAUSING A
CHAIN REACTION IN BALANCE IN THE ENTIRE FIGURE (RIGHT). THE CHEST AND HIPS SHOULD BE ANIMATED
WITH PERSPECTIVE GUIDES, JUST LIKE THE HEAD. ALL THREE ARE IN A CONSTANT STATE OF TIPPING IN
BALANCE. ABOVE TO THE LEFT IS A TORSO FORMULA. THE RHYTHM SWEEPS (ABOVE) ARE OF VITAL
IMPORTANCE TO CREATE GRACE AND BEAUTY.
Chapter 3 - Page 170

BUILDING AN ACTION

THIS DANCING GIRL ACTION IS DEVELOPED LIKE STACKING BUILDING BLOCKS - ONE ON TOP OF ANOTHER.
THE FIRST DRAWINGS ARE RHYTHM SCRIBBLES. AFTER EACH ONE IS MADE, THE DRAWINGS ARE FLIPPED TO
STUDY HOW THE ACTION IS PROGRESSING. WHEN THE SKETCHES ARE ALL ON PEGS (SEE PAGE 218), THE
ACTIONS CAN BE REVISED AND RE-REVISED, LIKE CHANGING DOTS IN THE PAGES OF A FLIP BOOK. THIS GIRL
´S LEG DID NOT SWING HIGH AND WIDE AT FIRST, I MADE A SERIES OF SCRIBBLES OVER THE FIRST CRUDE
SKETCHES TO REVISE THE ACTION. THEN THESE ROUGHS WERE MADE OF WHAT I IMAGINED SEEING IN
THESE FORMS.
Chapter 3 - Page 172

A DANCE KICK

THIS DANCING GIRL RISES FROM A TWIST-POSE (1), STEPS (13) INTO A DANCE-KICK (23 THROUGH 31),
THEN INTO A BACK STEP AND SINKING ACTION (49), AND INTO A REVERSAL OF POSE 1 (ON 2s - ON ONLY
ODD NUMBERS). THUS, DRAWINGS 1 THROUGH 49 REVERSED ANIMATE THE GIRL IN A KICK TO THE LEFT,
AND BACK TO 1 FOR A CYCLE. THIS KICK HAS A DOUBLE TOP STAGGER IN THAT THE ACTION OF THE ENTIRE
FIGURE RAISES THE LEG TO 23, SINKS TO 25, AND RAISES AGAIN TO PUSH THE LEG OUT IN A KICK AT 27.

(download large image)

 Chapter 3 - Page 176

BACK-GROUND CONTROL

CHARACTER METAMORPHOSIS ANIMATION

(download large image)

THE DRAMA OF METAMORPHOSIS (OFTEN CALLED "MORPHING") IS A VALUABLE TOOL IN ANIMATION. IN THIS
SCENE, METAMORPHOSIS IS USED IN TWO WAYS:

1. A SPECIAL LIGHTING EFFECT KNOWN AS "CROSS-DISSOLVE" IS USED TO CHANGE THE BACKGROUND

FROM LIGHT TO DARK.
2. THE FOUR DRAGONS ARE "MORPHED" INTO A SINGLE FIRE-BELCHING DRAGON MONSTER. STUDY THE
CHANGES SHOWN IN THIS SEQUENCE. WHEN YOU USE THIS TECHNIQUE, THE ACTION SHOULD FLOW
GRADUALLY AND SMOOTHLY.
Chapter 3 - Page 178

COMPOSITION – STAGING - DRAMA

THE DRAMA PORTRAYER BY THE COMPOSITION FIRST CATCHES THE EYE, AND THEN DIRECTS THE EYE TO THE
CENTER OF INTEREST BY VARIOUS DEVICES. AS SHOWN BELOW, THE CHARACTERS MAY SEND FORWARD AND
LOOK AT IT, OR THE ABSTRACT DESIGN MAY POINT AT IT, INTERSECT IT, FRAME IT, CIRCLE IT, OR BEND
AROUND IT (JUST AS PARENTHESES DO). THE CHARACTER IS ACCENTED BY COLOR DIFFERENCE, CONTRAST,
OR TONE, IT IS CLEAR OF DETRACTING DETAIL (SEE DUCK ABOVE) AND ISOLATED, AND IT MAY ALSO
BALANCE THE COMPARISON IN IMPORTANCE.

COMPOSITION CAN BALANCE LIKE A SCALE WITH EQUAL WEIGHTS (AREAS), OR AS A BALANCE OF INTEREST.
ANY SMALL, ISOLATED OBJECT OF GREAT IMPORTANCE CAN BALANCE A HUGE OBJECT.

CHARACTERS ARE FIT AND WOVEN TOGETHER IN A GROUP WITH RHYTHM LINES, STRAIGHT LINES THAT
ALIGN, AND AREAS THAT FIT IN PATTERNS.

THE ALIGNMENT OF CHARACTER ABSTRACT LINES CREATE CIRCULAR AND CURVED RHYTHM LINES AND THE
HORIZONTALLY VERTICAL, AND DIAGONALS.

THE VIEWERS EYE LEVEL IS IMPORTANT WHEN HE LOOKS AT GRANDEUR OR BIG MONSTERS FROM A WORM´S-
EYE VIEW, OR WHEN HE LOOKS DOWN AT SMALL THINGS.

APPRECIATE THE VALUE OF SILHOUETTES TO DEFINE AND CLEARLY TELL THE STORY IN TWO DIMENSIONS,
EVEN IN GROUPS THEY DEFINE ALL ALONE (AS SHOWN BELOW).
Chapter 4 - Introduction

Chapter 4 : DIALOGUE

Dialogue, mouth movements, body movements, and facial expressions all work together to portray the correct
animation of the character. The examples on pages 138-139 are a great beginning for turning your character
into an actor. Although it is interesting when your cartoon character simply walks across the screen, making it
speak with the proper mouth movements and adding the gestures that go along with them turn the character
into an actor with a distinctive personality. This is when the real excitement of animation begins.

A world of professional knowledge is contained here, including tips on how to keep your character´s movements
lifelike and real. Mouth movements used in dialogue make the character seem alive, and the dialogue delivery
develops the personality of the character. In addition, the information on scientific phonetics is invaluable.
Included are diagrams showing mouth positions, along with a thorough explanation of how sounds are made
using the throat, tongue, teeth, and lips. Schedule diagrams showing timing and duration of sounds, along with
explanations of what sounds are nasal, throat, or explosive, are covered.

Study the charts and the mouth drawings, paying close attention to the studies of the consonant sounds, the
vowel sounds, and the diphthong vowel sounds. By studying this entire chapter, you can make your character
say anything you wish, while creating the personality you had in mind when you first designed it.
Chapter 4 - Page 182

DIALOGUE EXPRESSIONS - POINTERS

AN ACTOR/ANIMATOR HAS AN ENORMOUS RANGE OF FACIAL EXPRESSIONS. HE OFTEN STUDIES THESE

EXPRESSIONS IN A MIRROR SO HE WILL BE BETTER ABLE TO DRAW THEM. EVERY EXPRESSION IS BASED ON
FOUR FACTORS: THE EYEBROWS, THE EYES, THE EYELIDS, AND THE MOUTH/CHEEK AREA. ALL AFFECT THE
EXPRESSION AND THEY MUST ALL WORK TOGETHER.

MANY EXPRESSIONS ARE NOT SYMMETRICAL, BUT THEY DON´T HAVE TO BE. AN ASYMMETRICAL EXPRESSION
CAN CHANGE YOUR ANIMATION TO A NONSYMMETRICAL LOOK WITH DRAMATIC EFFECT.

THE ANIMATION PRINCIPLE OF CONTRACTION TO EXPANSION TO NORMAL OR EXPANSION TO CONTRACTION

TO NORMAL IS VERY IMPORTANT IN FACIAL ACTION AND EFFECT. OVERLAPPING ACTION OF THE FOUR
FACTORS CAN IMPROVE MANY ACTIONS. FOR EXAMPLE, AN EYE BLINKS (CONTRACTS), OPENS WIDE
(EXPANDS), AND THEN GOES INTO NORMAL POSE. FOLLOWED IN AN OVERLAPPING ACTION BY THE
EYEBROWS AND THEN THE MOUTH/CHEEK EXPRESSIONS. THE FACE IS A CONTINUOUS OVERLAPPING ACTION
OF CONTRACTION AND EXPANSION. MAKE A CASSETTE RECORDING OF THE DIALOGUE, THEN PLAY AND
STUDY IT WHEN ANIMATING. MOUTH AND ACT OUT EACH PHRASE AND SENTENCE MANY TIMES BEFORE
DRAWING THE ACT.

IN ADDITION TO THE FACIAL FEATURES, THE TILT ANGLE AT WHICH THE HEAD IS HELD, THE DIRECTION THE
CHARACTER IS LOOKING, AND THE MOVEMENT OF THE HEAD IN RELATION TO THE BODY ALL HELP TO CREATE
EXPRESSION. THE SIMPLE TILTING OF THE HEAD INTO A POSTURE RELATED TO THE FACIAL EXPRESSION CAN
CONVEY A BROADER EMOTIONAL RANGE. FOR EXAMPLE, A HAND PUPPET OPERATES ON A TILT AND BODY
TWIST ALONE, WITHOUT THE BENEFIT OF ACCURATE PHONETIC MOUTHING OR ANY FACIAL ACTION
WHATSOEVER TO CONVEY EMOTIONS. MANIPULATING A HAND PUPPET IS EXCELLENT DIALOGUE RESEARCH
FOR AN ANIMATOR TO LEARN HOW A MERE FIVE-DEGREE CHANGE IN TILT CAN CONVEY A DIFFERENT
EMOTION. MANY TILTS OR HEAD TURNS ARE GESTURES IN THE ACTION SUCH AS A NOD FOR AFFIRMATIVE
DIALOGUE, A SHAKE SIDEWAYS FOR NEGATIVITY, OR A CERTAIN JERK TO POINT TOWARD ANOTHER
CHARACTER, ETC.
AS SHOWN ABOVE, WHEN THE HANDS AND ARMS GESTURE THE DIALOGUE, THE HEAD TILTS TO BALANCE
THESE MOVES IN THE OPPOSITE DIRECTION. THIS RESULTS IN AN OVERLAPPING ACTION AND FOLLOW-
THROUGH THAT CAN IMPROVE MANY DIALOGUE ACTIONS. THE ACTION AT THE LEFT COULD BE SAYING THE
DIALOGUE ON PAGE 118 YOU FIT IT: A TO B IS "ALL OF THE BOYS" AND B TO C IS "CAUGHT A FISH". B IS A
POSE ACCENT FOR "BOYS" AND C AND SPACING ACCENTS ARE "FISH".

AN ACCENT IN DIALOGUE ACTION CAN OCCUR AT AN ACTION START OR STOP, ANY CHANGE IN SPACING, OR
ANY CHANGE IN DIRECTION. ACCENT THE START OF PHRASES OF DIALOGUE AS WELL AS THE LOUD SOUNDS
IN THE TRACK. DIVIDE THE DIALOGUE INTO PHRASES OF ACTION AND EXPRESSION. OFTEN, ONE FACIAL
EXPRESSION SHOULD DOMINATE AN ENTIRE SCENE TO EFFECTIVELY ADVANCE THE PLOT AND SAY MORE
THAN THE MERE WORDS.