By Tony White
ISBN-10: 0240813073
ISBN-13: 9780240813073
Apprentice your self to a grasp of classical animation strategies with this gorgeous instruction manual of insider suggestions and strategies. follow age-old suggestions to create perfect animations, no matter if you're operating with pencil and animation paper or a 3D program. writer Tony White starts off with the fundamentals, and expands his dialogue to extra complex subject matters, like tips to animate quadrupeds, operating with fluidity and adaptability, and discussion. White brings years of creation adventure or even extra time as an teacher to the booklet, making sure that The Animator's computer will serve good as your mentor in a ebook. The paintings from the publication involves lifestyles within the clips on hand at the book's net site.
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Additional resources for Tony White's Animator's Notebook: Personal Observations on the Principles of Movement
Example text
2. Rough thumbs. Again, as with the 2D process, thoroughly explore the acting and performance possibilities of your scene by way of creating a sequence of rough thumbnail sketches of what you want to attempt. Here again, reference footage from real life (or video reference footage of you performing the actions yourself) will provide you with a great deal of reliable material to build on. I always suggest to my students that what they get out of a project is in direct proportion to what they put into it, especially in terms of up-front preparation.
Let’s remind ourselves what an even in-between chart for our head turn looks like. However, most movements are neither constant nor even. As indicated earlier, pretty much all motion is in a process of either accelerating or decelerating, or both. The secret for the animator is to identify what is required for the actions he or she is working on and to adapt in-betweens accordingly. The notion of slowing in and slowing out is discussed elsewhere in this book, but for now let us state that if an action is accelerating, a slowing out of the in-between will be necessary.
Similarly, when the leg moves back in contact with the ground, the hip moves back with it. This inherent limb-related movement in the hips and the shoulders gives a natural sense of twist in the torso that will make the character less stiff and less cut-out looking. The Head Finally, to bring additional flexibility to the generic walk, we need to consider the head action. Right now it is just moving up and down with the body, but with the more fluid and flexible neck connecting the two, it needs some special additional attention too.
Tony White's Animator's Notebook: Personal Observations on the Principles of Movement by Tony White
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