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C LASSICAL A NIMATION Sec 1 AEP Term 3. E XAMPLES OF C LASSICAL A NIMATION

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Presentation on theme: "C LASSICAL A NIMATION Sec 1 AEP Term 3. E XAMPLES OF C LASSICAL A NIMATION"— Presentation transcript:

1 C LASSICAL A NIMATION Sec 1 AEP Term 3

2 E XAMPLES OF C LASSICAL A NIMATION &feature=related HU&feature=related

3 W HAT IS C LASSICAL A NIMATION ? Most Traditional of all animation techniques Drawn animation: - The drawings on papers are often precise - Entire sequences are drawn frame by frame. It requires accurate planning, timing and co-ordination

4 P ERSISTENCE OF V ISION

5 Our eye, the retina, momentarily retains any image it receives. This slight period of retention allows for separate sequential images, if seen in quick succession, to appear as a moving image.

6 F RAMES P ER S ECOND (F PS ) Deals with the element of TIME Film – 24 frames equals 1 second Video – 25 frames equals 1 second (PAL) Video – 30 frames equals 1 second (NTSC)

7 “In order to do the fantastic we must first understand the real.” ~ Walt Disney

8 A NIMATION E XERCISE 1 – FLIP BOOK Aim: To develop an understanding of the use of sequential images in the creation of animation and the principles of persistence of vision as applied to flip books. Make drawings in landscape format

9 A NIMATION E XERCISE 1 – FLIP BOOK Choose to work on any one of the following: Move a simple shape, a square, triangle or a circle, around the page. Animate a growing plant

10 A NIMATION E XERCISE 1 – FLIP BOOK NR=1

11 Use of the lightbox Ensure image / papers are aligned Place new sheet of paper over each drawn frame A NIMATION E XERCISE 1 – FLIP BOOK

12 A NIMATION TIMING 1. Pacing 2. Phrasing 3. Timing

13 PACING This describes an aspect of animation timing that is concerned with a series of sequences and how they interrelate with one another and create a coherent whole within a film. As a film progresses its pace will speed up or slow down to create action, drama or tension within a narrative.

14 P HRASING This category of animation timing is linked to actions that go to make up a sequence and the manner in which they interrelate, creating an overall performance. Most character animation will benefit from varied phrasing as the character undergoes changes either in action or mood.

15 T IMING This aspect of animation timing is the one we begin with when we consider the principles of animation timing, and it’s the one that describes the period of time it takes for an individual action to take place. It covers the fine detail of animation. An arm reaching for a glass of water, a head turning quickly in alarm, the speed at which arms and legs move in an animated walk or run, the beat of a bird’s wing, all of these separate actions will have their own varied timings.

16 B ASIC P RINCIPLES OF A NIMATION – S QUASH & S TRETCH To give a sense of weight and flexibility to drawn objects. Taken to an extreme point, a figure stretched or squashed to an exaggerated degree can have a comical effect. The most important aspect of this principle is the fact that an object's volume does not change when squashed or stretched. If the length of a ball is stretched vertically, its width (in three dimensions, also its depth) needs to contract correspondingly horizontally.

17 B ASIC P RINCIPLES OF A NIMATION – S QUASH & S TRETCH

18 B ASIC P RINCIPLES OF A NIMATION – S QUASH & S TRETCH Animated sequence of a race horse galloping. Photos taken by Eadweard Muybridge. The horse's body demonstrates squash and stretch in natural musculature.


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