- Milt Kahl
Animation is just doing a lot of simple things - one at a time! A lot of really simple things strung together doing one part at a time in a sensible order.
Concentrate on the performance.
Do what a camera can't do.
Windsor McCay
"If I were starting over again, the first thing I'do would be to make a thorough study of draftsmanship. I would learn perspective, then the human figure, both nude and clothed, and surround it with proper setting."
Richard Kelsey
"First of all, kid, learn to draw. You can always do the animation stuff later."
Eric Freifield
"Go to the library and look at Albrecht Durer for two years."
Animators have to enclose their shapes so there is a tendency to end up just drawing outlines. We don't usually draw from the inside-out, like a sculptor does.
Good drawing is not copying the surface. What we want to achieve isn't realism, it's belief.
Grim Natwick
"Änimation. It's all in the timing and in the spacing."
Timing is the contact point.
Spacing decides the speed.
Squash and stretch isn't always necessary since a hard golf ball isn't going to conform much to that. Things will come out rubber-like.
Key - Storytelling. Main actions. Comic panels. GET IT RIGHT.
Extremes - main drawing.
Inbetweens - Drawings between the extremes. Volume control. Don't worry about line quality since the shapes will be colored in.
Breakdown - Middle position between extremes. POSITION CRUCIAL TO INVENTION. MUST BE GOOD OR INBETWEENS FAIL.
Easing in/out = slowing in/out = cushioning
For inbetweens:
Remember arcs/perspective
Retain shapes
Outnumber bad inbetweens with good ones.
Process: (Page 64)
Windsor McCay
"If I were starting over again, the first thing I'do would be to make a thorough study of draftsmanship. I would learn perspective, then the human figure, both nude and clothed, and surround it with proper setting."
Richard Kelsey
"First of all, kid, learn to draw. You can always do the animation stuff later."
Eric Freifield
"Go to the library and look at Albrecht Durer for two years."
Animators have to enclose their shapes so there is a tendency to end up just drawing outlines. We don't usually draw from the inside-out, like a sculptor does.
Good drawing is not copying the surface. What we want to achieve isn't realism, it's belief.
Grim Natwick
"Änimation. It's all in the timing and in the spacing."
Timing is the contact point.
Spacing decides the speed.
Squash and stretch isn't always necessary since a hard golf ball isn't going to conform much to that. Things will come out rubber-like.
Key - Storytelling. Main actions. Comic panels. GET IT RIGHT.
Extremes - main drawing.
Inbetweens - Drawings between the extremes. Volume control. Don't worry about line quality since the shapes will be colored in.
Breakdown - Middle position between extremes. POSITION CRUCIAL TO INVENTION. MUST BE GOOD OR INBETWEENS FAIL.
Easing in/out = slowing in/out = cushioning
For inbetweens:
Remember arcs/perspective
Retain shapes
Outnumber bad inbetweens with good ones.
Process: (Page 64)
- Thumbnail.
- Keys.
- Anticipations
- Extremes
- Animate one thing at a time.
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