Raymond Thibesart (French, 1874 - 1968)
Spring Trees

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Raymond Thibesart (French, 1874 - 1968)
Spring Trees
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Composition for dummies part two: The Dead Center Focal Point!**
I have found that storyboards that use a nice mixture of the “Rule of Thirds” and “Dead Center” focal points are the most visually pleasing. Remember, SHOT VARIETY is good.
Next: Screen direction and crossing the 180!
**Read part one here.
I did some compositional how-to’s in my early weeks at Warner Bros. studios. I thought it’d be great to post a series of these on the Tumblr’s for beginning board artists.
This is the first part - the rule of thirds.
Read part two by clicking here.
animated examples I’ve made for a homework, we were free to choose any topic we are interested in and I chose to talk about the basic principles of animation in the simplest way that i know
Gao ZhiPing - http://drawcrowd.com/bigballgao - http://bigballgao.lofter.com
Could you explain how to do lighting in landscapes?? I'm thinking specifically of how the heck they do it in Steven Universe. They have beautiful artwork and I'd love to be able to achieve that sort of lighting. Thanks!
Ah well lighting in animation backgrounds are done with the express purpose of guiding the eye to where the animation is going to take place - think of it like setting up spot lighting on a stage!
In fact, in a lot of cases the su team do literally set things up with what are essentially spotlights
Note that all of the characters are in areas where the light is shining. This is done because your eyes are drawn to the areas with the highest contrast, so your eyes jump to the spotlights - and by extension, the characters!
Now if i show you some backgrounds without the characters, can you guess where abouts the characters are on the stage?
Now the thing to understand about the lighting in these backgrounds is that there are some rules and guidelines that inform the colour choices and value ranges.
Scenery is divided into planes, the Foreground, Background, and the Middleground which is generally where the characters are staged.
In outdoor scenery there is also often Deep Space, which is things waaay off in the distance like mountains.
Take a look at this background for example:
This background has all of the different planes, you can flatten them each down into a solid colour
as i mention in the key there, the foreground is generally in contrast to the background and deep space.
If the background is full of cold blues and purples, the foreground is going to be warmer colours like browns and greens.
It’s also going to be on the opposite end of the value range - deep space is usually pale in colour and uses the higher end of the value range, whilst the foreground is usually darker and uses the lower end of the value range.
the colour of the sky is very important to the rest of the colour scheme!this is because of aerial perspective. It’s a simple enough concept, but it does need a little explaining
This is easiest to understand if you think of a really foggy day - you know how things get really hazy the further out in the fog they get?
This happens on regular days too! It’s just that it needs to be super far away for it to be noticeable.
So, basically, the further away something gets, the less contrast there will be and the colour will become closer to that of the sky.
The reason for this is because of the water in the atmosphere - the sun shines on it and it reflects the colour of the sky, which is particularly noticeable on foggy days due to there being so much water.
most of the time, this means that things in the distance will turn bluer, due to the sky normally being blue.
However! SU regularly takes place at different times of day, so you can see how the colour of the sky and how bright it is changes the aerial perspective
as for actually setting up the lighting, there are some simple rules to follow.
the area of highest contrast is where the viewer is going to look. To understand this better, look at the backgrounds in black and white only:
Your eyes are drawn to Beach Citywalk Fries because there is a stark contrast between the shadows and the spotlight!
It has the highest range of values going all the way through from black to white in the middleground.
The areas your eyes are not drawn to, however, only have a small range of values. The foreground goes from dark grey to black, and the background goes from light grey to white.
Generally, the foreground will be darker than the middleground, and the background will be lighter, whilst the middleground will have a full range of values.
I say generally as this is not always the case, there are lighting situations where the background will be the darkest part of the image
but they’re pretty unusual!
so in summary:
- figure out where you want the viewer to look, that should be the area of highest contrast. That means that there should be strong shadows and strong highlights.
- make use of aerial perspective to add depth to your scenery, the further away something is the less contrast it should have.
- Set your scenes up with the planes in mind, use the most values in the middleground and use opposite values for the foreground and background.
And also, you might want to check out kevindart, ducksofrubber, and ellemichalka, because they’re the art directors for steven universe! i also believe amandawinterstein and rickycometa are background painters c:
Background & Movement in TV
Since TV animation tends to have smaller budgets than feature animation, we are often times limited in the kind of animation we can do in terms of backgrounds. Here are a couple workarounds I have to show movement in a background.
The first is a tracking shot into cam where our Character is running without gaining away or from cam (but they could if you wanted) The foreground is the ground plane which is just a simple looping set of lines. The BG is actually a static image that would slowly drift down towards the horizon line imitating movement away from the background.
The second is also a tracking shot where the character is more in profile. This one requires some soft focus and low detail background drawings (usually not a lot, maybe 3 looping images. I only used 2 here but the theory holds.
The last one only requires a single background layout, but we use the camera to imitate action as it pulls out over a static image.
This is all based on my own experience rather than hard rulesets, so you know as usual take it with a grain of salt.
How Insects Fly: Dragonfly, Locust, beetle, and butterfly
“Shown (above) are the flapping motions of a single wing beat of three types of insect: locust, butterfly, and beetle. The locust (top row) beats its four wings out of phase, but not as dramatically so as the dragonfly (above). The butterfly bottom row) flaps its wings in phase, because it holds them together in one aerodynamic surface. The beetle (middle row) only beats two wings, the forward pair being shields and held out of the way of the rear pair.”
http://park.org/Canada/Museum/insects/flight/flapping.html
Click to enlarge)
Breakdown / Accent / Arc
To thank for the support for our film so far, we are posting some notes on animating originally made for our animation assistants. Breakdown is a very crucial technique of animating. It is a guideline of how every action should be acted out. It involves a thinking process of “hmm, I want my character to move in this way particularly, because of the context/situation/emotion/thought… etc”
Last but not least, breakdowns are the playground for animators. If you find these notes useful, also check out our film We Have Plenty. It’s a 2D animated film created by the students of SCAD and RISD. Please support us on Kickstarter and help usspread the word! We will be back for more notes on animation!
Tutorials in the name of our film. Please support us on Kickstarter! I really really believe in our film and our team. Super excited to see it finished!
Quickest way to improvement? Practice. It’s a simple bit of advice that rings with absolute truth. Articles, tips, mentors, and study will never get you as far as rolling up your sleeves and getting down to work, be it animation or any other skill. Today we’ve compiled a list of exercises, like animation push-ups, that will get your art skills buff and toned.
Maybe you still need convinced of how important the “Art of Doing” is? Look no further than the early days of animation, especially at the Disney studio. Here were a group of animators (before being an animator was even a thing) who HAD no books to read, or websites to visit, or even experienced animators to ask. They learned via the age old art of hands-on training, experimenting and discovering as they went. And some would argue they created some of the greatest animation to ever be seen. Masterpieces like the dwarfs dancing in Snow White or the terror of the Monstro scene in Pinocchio. So be like them! Get out there and do animation!
Some of these exercises you may have done or seen before; some maybe not. Consider doing each of them, even if you did once previously, because returning to an old exercise to see how much you’ve progressed is a very valuable experience.
Level 1 Exercises
(Do not discount their simplicity! Here you have the principals of animation, which all other animation is built on. They are worth your time and effort.)
Ball Bouncing in place, no decay (loop)
Ball Bouncing across the screen
Brick falling from a shelf onto the ground
Simple character head turn
Character head turn with anticipation
Character blinking
Character thinking [tougher than it sounds!]
Flour Sack waving (loop)
Flour Sack jumping
Flour Sack falling (loop or hitting the ground)
Flour Sack kicking a ball
Level 2 Exercises
Change in Character emotion (happy to sad, sad to angry, etc.)
Character jumping over a gap
Standing up (from a chair)
Walk Cycle [oldie but goodie!]
Character on a pogo stick (loop)
Laughing
Sneezing
Reaching for an object on a shelf overhead
Quick motion smear/blur
Taking a deep breath [also tougher than it sounds!]
A tree falling
Character being hit by something simple (ball, brick, book)
Run Cycle
Level 3 Exercises
Close up of open hand closing into fist
Close up of hand picking up a small object
Character lifting a heavy object (with purpose!)
Overlapping action (puffy hair, floppy ears, tail)
Character painting
Hammering a nail
Stirring a soup pot and tasting from a spoon
Character blowing up a balloon
Character juggling (loop)
Scared character peering around a corner
Zipping up a jacket
Licking and sealing an envelope
Standing up (from the ground)
Pressing an elevator button and waiting for it
Starting to say something but unsure of how
Level 4 Exercises
Character eating a cupcake
Object falling into a body of water
Two characters playing tug-of-war
Character dealing a deck of cards out
The full process of brushing one’s teeth
A single piece of paper dropping through the air
Run across screen with change in direction
Sleeping character startled by alarm then returning to sleepy state
Opening a cupboard and removing something inside
Putting on a pair of pants
Opening the “world’s best gift” and reacting
Any of the above exercises using a very heavy character/object next to a very light character/object. Enhance the differences the weight change makes!
Things to keep in mind:
Reading these exercises will do as much for you as reading about push-ups would do for your physical muscles: NOTHING. If you want the benefit, you must animate them. Take a deep breath and just do it.
Do not forget the famous words of Ollie Johnston: “You’re not supposed to animate drawings [3D models]. You’re supposed to animate feelings.” If a character isn’t thinking, they aren’t alive, and the animation has failed.
Keep it simple! There is no reason to over complicate any of these exercises. Going back to push-ups, would push-ups be harder if while doing them you also recited the Gettysburg Address? Yes. Would they be any more beneficial? No. Keep things nice and simple and clear.
Do your best. There is no reason to do these exercises poorly. Give it your all. You don’t have to show anyone, these are for you. You owe it to yourself to try your very best. Something not quite right? Take the time to fix it.
As always, have fun. Push ups are not fun. Animation is supposed to be. Be joyful in your work!
Have any questions about the exercises above? Leave a comment below and we’ll answer them the best we can! Someone else may be wondering the exact same thing, so you’ll help them too. Likewise if someone is looking for possible exercises, why not share a link to these and give them a hand?
Article featured on AnimatorIsland.com [Source] Article composed by J.K. RIKI MARCH 18, 2013 Follow @AnimatorIsland on Twitter for more updates tips and tricks.
Scale, hierarchy, impacts
From image 1 to 5 we have 5 different scales of different impacts, notice how the shapes of the smoke are all different from small to huge, this is very important in order to communicate the force of the impact.
We have a very small transparent round shaped smoke for image 2 vs a very dense with shadows and lots of little details for image 5. If you want to animate a very big explosion you have to keep in mind that the bigger it gets the more details you have to draw (debris, fire, lights and shadows, etc.), also, massive smokes are more dense and move slower. We are always trying to avoid these huge epic smokes because they are very time consuming, so it’s better to think about ways of showing big scale without actually having to draw it all. For example on image 5 the camera is following julith for a couple of seconds so all the big smokes on the bottom doesn’t need to be animated because they are out of the frame.
this question was asked by @maginpanic:
can you advice how to handle epic scenes? (Like tsunami flooding the city, or village in fire).
If you want to communicate effectively that something is huge you need to: draw tons of details, they have to move slow, you need something small so the audience can compare and tell how big is the thing you are showing. And I recommend that the scenes don’t last too long, unless you want to spend all your life in front of the computer drawing tiny slow lines… We actually avoid this scenes at Ankama because we are a small team, so I can’t really tell you anything more useful.
Sorry about the late response!
I’ve completed a few more shots from my Naruto vs Sasuke animation and figured it was about time to post another little gif of some of what I’m doing! This time, I decided to show some of my process, for those that’re interested…
As you can see above, I have 3 separate animations at different stages of the process. Here’s a breakdown:
[1] I always start out with a scribble test to get the general idea of what I’m doing. It’s ugly, it’s dirty, but it’s a very important first step! You never want to start out straight in to detailed drawings with animation. Make sure you’re happy with the motion first, then worry about good drawings.
[2] I then did up a naked mannequin rough to figure out what I’m doing with the body. No details on the face or clothes yet, just want to make sure I have my general proportions and anatomy where I want them. I also worked out a lot more of the motion. I made tweaks in the final, but I’m setting things in stone here.
[3] Finally, I dress it up, tie it down. If you look closely, different parts of Naruto’s body are different colors. This is because I worked in passes. In cases with this many moving parts, it’s best to focus on one thing at a time for the best motion. First, I started out with his clothes. This allowed me to experiment with how I had the cloth flapping around in the wind without worrying about the rest of what’s going on. After that, I worked out the hands and face. Getting the volumes of the face right can be a bit tricky when turning it in space, but there’s a few tricks I might do another little tutorial gif on in the future. Finally, I did the hair then bandana in a similar fashion as the clothes.
Hope that’s helpful to some folks out there! I’ll be posting more of my progress in the near future. :)
BGs from Mr. Peabody and Sherman episode that is detective noir inspired with Pinkerton, this was a fun episode to paint I like this kind of genre and mood :p
astro’s new mv is so pretty! i was going to do the other parts of the store but i wanted to post these first hehe
fairy chanyeol (ノ´ヮ´)ノ*:・゚✧ (reference)
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Zootopia (2016) | visual development by Matthias Lechner (x)