79464411-Animated-Performance-sample-chapter-Design-for-Living.pdf

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1

Design for living

In this chapter you will learn how to stage an animated

performance in your imagination through the use of

rapid

sketches, or thumbnails, that allow you to analyse and

perform actions that transcend the limitations of the human

body or the laws of physics. With this technique you can

literally become any creature that you can imagine.

You will also learn how the animated character’s emotions

and thoughts are communicated through the movement

of its entire body. Exercises demonstrate how varying the

pose or attitude of the

body dramaticall

body dramatically changes the

y changes the

animated actor’s performance even before facial

expressions are added. You will learn to identify characters

that are good ‘actors’ in

animation terms. The timing

and blocking of action for dialogue scenes is discussed

in the third section, along with the

use of props as an

aid to acting.

12 12

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Don’t try this at home! Don’t try this at home!

You won't always be willing or able to act out your scene before You won't always be willing or able to act out your scene before starting to animate, and chances are you won't ﬁnd it easy to starting to animate, and chances are you won't ﬁnd it easy to perform the movements of three dogs and a man simultaneously. perform the movements of three dogs and a man simultaneously. And peanut butter is messy.

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1

1 Design for livingDesign for living

1. DESIGN FOR LIVING 1. DESIGN FOR LIVING

An introduction to thumbnails · Good actors: Designs that animate > An introduction to thumbnails · Good actors: Designs that animate > 14

14

Thumbnails

(n.) the ﬁrst ideas or

sketches of a designer noted down

for future reference.

Sharing the fantasy Sharing the fantasy Animated charact

Animated characters and stories begin as ers and stories begin as a sparka spark in the mind of an animator. This spark must then in the mind of an animator. This spark must then be translated into a medium that can be viewed be translated into a medium that can be viewed by other people. Until the happy time when by other people. Until the happy time when mental telepathy will instantly communicate the mental telepathy will instantly communicate the animator’s thoughts directly into the waiting animator’s thoughts directly into the waiting minds of the audience, the translation from mind minds of the audience, the translation from mind to matter to mind(s), no matter what medium is to matter to mind(s), no matter what medium is used, begins with the distinctly low-tech method used, begins with the distinctly low-tech method of drawing on paper.

of drawing on paper.

Drawings can be easily changed, they can be Drawings can be easily changed, they can be shown to large groups of people at the same shown to large groups of people at the same time, and they do not depend on speciﬁc time, and they do not depend on speciﬁc operating systems or become unreadable when operating systems or become unreadable when technological hardware or software changes. technological hardware or software changes. But paper’s greatest value is its

But paper’s greatest value is its cheapness.cheapness. You can make major changes quickly and You can make major changes quickly and inexpensively before spending time, money and inexpensively before spending time, money and effort building, animating, painting

effort building, animating, painting and renderingand rendering your animated characters on paper, on computer, your animated characters on paper, on computer, or in puppet form.

or in puppet form.

Two questions frequently arise when thumbnails Two questions frequently arise when thumbnails are discussed:

are discussed: 1.

1. Since Since characters characters are are developed developed in in thethe storyboard phase of an animated film, storyboard phase of an animated film, can storyboards be used for animation can storyboards be used for animation thumbnails? (a topic covered in my earlier thumbnails? (a topic covered in my earlier book,

book,Prepare to Board! Prepare to Board! ))(Answer: No.)(Answer: No.) 2

2.. Is there Is there a difference between a difference between acting on acting on aa storyboard and acting for animation? storyboard and acting for animation? (Answer: Yes.)

(Answer: Yes.)

Let’s analyse some storyboards and compare Let’s analyse some storyboards and compare them with animation thumbnails to see how them with animation thumbnails to see how small changes in a

small changes in a charactcharacter’s body languageer’s body language can create a completely different interpretation can create a completely different interpretation of the scene or story.

of the scene or story.

Storyboar

Storyboards: The ds: The animated scriptanimated script

Take a look at Figures 1.1 and 1.2. It is startling to Take a look at Figures 1.1 and 1.2. It is startling to see how the change in one drawing affects the see how the change in one drawing affects the entire story, yet these are only two of the many entire story, yet these are only two of the many possible ways to interpret the tiger’s reaction to possible ways to interpret the tiger’s reaction to the insult. How differently this sequence might the insult. How differently this sequence might develop if the tiger reacted aggressively, or develop if the tiger reacted aggressively, or openly appealed to the other animals, assuming openly appealed to the other animals, assuming that they were his friends.

that they were his friends.

None of the storyboards will appear on the None of the storyboards will appear on the screen in the final film. Storyboards are not screen in the final film. Storyboards are not the animated performance;

the animated performance;they are the script they are the script .. Storyboard is mainly concerned with the WHY Storyboard is mainly concerned with the WHY of a film

of a film (telling the story). Animation (along(telling the story). Animation (along with layout, art direction, and backgrounds) is with layout, art direction, and backgrounds) is concerned with HOW the story points are put concerned with HOW the story points are put across. An animator uses storyboards in the same across. An animator uses storyboards in the same way an actor uses scripts and director’s notes. way an actor uses scripts and director’s notes. The storyboard sketches show the character’s The storyboard sketches show the character’s basic attitudes and give the animated film-maker basic attitudes and give the animated film-maker a simple and inexpensive method of exploring a simple and inexpensive method of exploring character interactions and story development character interactions and story development in a film. Storyboards do not exist in the singular. in a film. Storyboards do not exist in the singular. They are always part of a larger project.

They are always part of a larger project.

An introduction to thumbnails

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1.1 1.1

A

A storyboard storyboard fromfromHow the Tiger Got His StripesHow the Tiger Got His Stripes

This

This ﬁrst ﬁrst storyboard storyboard excerpt excerpt shows shows a a large large cat cat (actually (actually aa tiger without stripes) being teased by other jungle tiger without stripes) being teased by other jungle creaturescreatures who have tricked him into attacking a log. The tiger reacts who have tricked him into attacking a log. The tiger reacts to the other

to the other animals’ merriment with blank animals’ merriment with blank incomprehensiincomprehensionon that is in

that is in fact due to extreme nearsightedness. He ﬁndsfact due to extreme nearsightedness. He ﬁnds his glasses, but is unable to stop the

his glasses, but is unable to stop the lion from taking andlion from taking and breaking them. Obviously this tiger inspires fear in breaking them. Obviously this tiger inspires fear in no one.no one.

1.2 1.2

The

The tiger’s tiger’s reaction reaction and and personality personality have have changedchanged Here is an alternative version of Panel 4 in Figure 1.1. Here is an alternative version of Panel 4 in Figure 1.1. The tiger’s changed body language now gives the scene The tiger’s changed body language now gives the scene an entirely different meaning. In the

an entirely different meaning. In the earlier version, theearlier version, the tiger simply peers uncomprehendingly at the other animals tiger simply peers uncomprehendingly at the other animals through his glasses. Now, he faces away from them, through his glasses. Now, he faces away from them, resentful of their unwelcome attentions. A slightly lowered resentful of their unwelcome attentions. A slightly lowered head, raised shoulders, half-shut eyes, a

head, raised shoulders, half-shut eyes, a sidelong glance,sidelong glance, and a small,

and a small, downturned mouth have changed this tigerdownturned mouth have changed this tiger from a hapless nerd into a frustrated, angry predator who from a hapless nerd into a frustrated, angry predator who is deliberately keeping his emotions in check. But this is deliberately keeping his emotions in check. But this storyboard drawing was out of character; and so it storyboard drawing was out of character; and so it was replaced.

was replaced.

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Thumbnails: The animated rehearsal Thumbnails: The animated rehearsal

Animation thumbnails translate emotion into Animation thumbnails translate emotion into motion. The animated performance will develop motion. The animated performance will develop the character’s personality through movement in the character’s personality through movement in a scene, or series of animated scenes, after the a scene, or series of animated scenes, after the story has been set. The ﬁrst step in the animation story has been set. The ﬁrst step in the animation process involves small, sketchy drawings called process involves small, sketchy drawings called ‘

‘thumbnailsthumbnails’ that codify the most important (’ that codify the most important (key key )) poses of a character’s movements and emotions poses of a character’s movements and emotions before the scene is animated. Thumbnails also before the scene is animated. Thumbnails also determine the timing of each action and line of determine the timing of each action and line of dialogue, where applicable.

dialogue, where applicable.

Several different interpretations of the acting Several different interpretations of the acting may be thumbnailed at this

may be thumbnailed at this stage, and thestage, and the most effective one will be used

most effective one will be used for the scene.for the scene. Thumbnails are frequently submitted for Thumbnails are frequently submitted for directorial approval on paper or scanned and directorial approval on paper or scanned and timed, sometimes with a dialogue track, on timed, sometimes with a dialogue track, on a line tester. This reduces the likelihood of a line tester. This reduces the likelihood of animation corrections later on. Animation animation corrections later on. Animation thumbnails describe character relationships and thumbnails describe character relationships and amplify emotions and

amplify emotions and motivatiomotivations that are ns that are onlyonly summarised

summarised on the storyboard. They are on the storyboard. They arethethe dress rehearsal for the animated performance dress rehearsal for the animated performance.. The function of thumbnails is to capture the The function of thumbnails is to capture the animator’s thoughts about the characters’ animator’s thoughts about the characters’ feelings and actions in graphic shorthand. They feelings and actions in graphic shorthand. They help preserve the animator’s spontaneity and help preserve the animator’s spontaneity and inspiration during the sometimes lengthy time it inspiration during the sometimes lengthy time it takes to actually animate the scene.

takes to actually animate the scene.

An introduction to thumbnails · Good actors: Designs that animate > An introduction to thumbnails · Good actors: Designs that animate > 16

16

An introduction to thumbnails An introduction to thumbnails

Figures 1.4, 1.5 and 1.6

Figures 1.4, 1.5 and 1.6 show some animationshow some animation thumbnails I drew for the lion and tiger thumbnails I drew for the lion and tiger storyboards in Figure 1.1. Related scenes in a storyboards in Figure 1.1. Related scenes in a sequence are usually thumbnailed at the same sequence are usually thumbnailed at the same time so that the character performance will time so that the character performance will remain consistent – or gradually develop over remain consistent – or gradually develop over time.

time. Animated sc Animated scenes do not eenes do not exist in isolatioxist in isolationn.. It is vitally important to know what occurs before It is vitally important to know what occurs before and after the scene you are animating since your and after the scene you are animating since your performance needs to be consistent with the performance needs to be consistent with the acting in the remainder of the

acting in the remainder of the sequence. This issequence. This is especially important if you are animating scenes especially important if you are animating scenes out of sequential order. Keep the storyboards on out of sequential order. Keep the storyboards on your desk and refer to them often so that you your desk and refer to them often so that you know how each scene fits into the sequence. know how each scene fits into the sequence. Field guides and camera moves are not important Field guides and camera moves are not important at this stage, but variety of scenes adds interest at this stage, but variety of scenes adds interest to the story. The animation will most likely be to the story. The animation will most likely be staged a bit wider than the storyboards to staged a bit wider than the storyboards to allow for character movement. Neither boards allow for character movement. Neither boards nor thumbnails are final artwork. Thumbnails nor thumbnails are final artwork. Thumbnails are

arealwaysalwaysrough. The drawings can be on onerough. The drawings can be on one sheet of paper, or on self-stick notes (these are sheet of paper, or on self-stick notes (these are especially useful as they can be easily revised especially useful as they can be easily revised or rearranged).

or rearranged). 1

1.3 1.3

Major Major posesposes

Thumbnail drawings of the major poses in

Thumbnail drawings of the major poses in an animated scenean animated scene block the action and

block the action and timing before detailed drawings are done.timing before detailed drawings are done.

1.4 1.4

Rough

Rough animation animation thumbnailsthumbnails The

The tiger’s tiger’s personality personality is is developed developed through through his his movemmovements.ents.

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Interpreting the

Interpreting the storyboarstoryboardsds

In Figure 1.4 I start by writing a brief sentence In Figure 1.4 I start by writing a brief sentence or two on the paper describing what is going or two on the paper describing what is going on in the sequence. If there is dialogue, I write it on in the sequence. If there is dialogue, I write it as well. Since this assignment was done without as well. Since this assignment was done without dialogue, I note the tiger’s thoughts and emotions dialogue, I note the tiger’s thoughts and emotions (puzzled and a little hurt). In

(puzzled and a little hurt). In this scene, hethis scene, he nearsightedly tries to view the log and has to nearsightedly tries to view the log and has to fumble for his glasses. He is resigned when the fumble for his glasses. He is resigned when the glasses reveal that he has been played for a fool. glasses reveal that he has been played for a fool. This action helps deﬁne his character.

This action helps deﬁne his character. Thumbnails can indicate timing for separate Thumbnails can indicate timing for separate actions. In Figure 1.5 I added a new drawing actions. In Figure 1.5 I added a new drawing (labelled b) after I thumbnailed the main action (labelled b) after I thumbnailed the main action with the glasses. In Figure 1.6 (on page 18), with the glasses. In Figure 1.6 (on page 18), the tiger tries to laugh the joke off but goes to the tiger tries to laugh the joke off but goes to pieces when the lion grabs the glasses. He reacts pieces when the lion grabs the glasses. He reacts submissively, actually crawling at the lion’s feet, submissively, actually crawling at the lion’s feet, rather than by defending himself. The sequence rather than by defending himself. The sequence has a subtext:

has a subtext:The tiger does not want to ﬁght.The tiger does not want to ﬁght. He is frightened of the other animals and does He is frightened of the other animals and does not know his own strength.

not know his own strength.Often I write theOften I write the subtext on the thumbnail page as well. Keep the subtext on the thumbnail page as well. Keep the subtext in the back of your mind and you will ﬁnd subtext in the back of your mind and you will ﬁnd that the character acting stays ‘in character’. that the character acting stays ‘in character’. All of the tiger’s moves are defensive and All of the tiger’s moves are defensive and ineffectual while the lion moves in a ineffectual while the lion moves in a direct,direct, aggressive fashion.

aggressive fashion.

Some of these thumbnails slightly change the Some of these thumbnails slightly change the staging in the storyboard. For example, I have the staging in the storyboard. For example, I have the tiger look nearsightedly down at the log rather tiger look nearsightedly down at the log rather than peer offscreen at the laughing animals as in than peer offscreen at the laughing animals as in the storyboard, the better to show his defective the storyboard, the better to show his defective vision and timid character.

vision and timid character.

The scene of the tiger

The scene of the tiger peering offscreen has beenpeering offscreen has been eliminated. Of course the director has to approve eliminated. Of course the director has to approve any acting or cutting changes an animator makes any acting or cutting changes an animator makes – usually, thumbnail changes are approved when – usually, thumbnail changes are approved when they ‘plus’ (add to) the story point! (Note: The they ‘plus’ (add to) the story point! (Note: The changes were approved.)

changes were approved.)

Not every action in a scene needs to be Not every action in a scene needs to be

thumbnailed. For example, the lion holding the thumbnailed. For example, the lion holding the tiger’s glasses (in Scene 4 of Figure 1.6) could tiger’s glasses (in Scene 4 of Figure 1.6) could pretend to bite them or put them on his own pretend to bite them or put them on his own eyes, depending on the time available. One eyes, depending on the time available. One thumbnail for the basic attitude will be

thumbnail for the basic attitude will be enoughenough if the scene is

if the scene is short. I often thumbnail more thanshort. I often thumbnail more than one version of the acting and pick the one that one version of the acting and pick the one that suits the story best, exactly the way I thumbnail suits the story best, exactly the way I thumbnail different camera angles in a storyboard.

different camera angles in a storyboard. I always I always have the storyboard pinned on the desk while have the storyboard pinned on the desk while drawing the thumbnails and animating the scenes. drawing the thumbnails and animating the scenes. The animation thumbnails portray the characters’ The animation thumbnails portray the characters’ personalities and inner thoughts through

personalities and inner thoughts through

movement. Storyboards do not do this; they set movement. Storyboards do not do this; they set the

the story story , basic, basiccharacter acting and attitudes,character acting and attitudes, timing

timing and and staging staging. The animator brings a. The animator brings a particular attitude toward the character’s particular attitude toward the character’s performance just as a human actor does. performance just as a human actor does.

However, an animator is often interpreting a role However, an animator is often interpreting a role that is physically impossible for a human actor to that is physically impossible for a human actor to perform. No two animators should interpret their perform. No two animators should interpret their characters in precisely the same way. (In a feature characters in precisely the same way. (In a feature ﬁlm, the character lead or supervising animator ﬁlm, the character lead or supervising animator determines the character’s personality and determines the character’s personality and charact

characteristic actions in eristic actions in test animation scenestest animation scenes after consultation with the directors. Other after consultation with the directors. Other members of the animation crew will then use the members of the animation crew will then use the lead’s performanc

lead’s performance as e as a guide when animatinga guide when animating their scenes.)

their scenes.)

1.5 1.5

An

An additional additional drawingdrawing The

The tiger tiger puts puts his his glasses glasses on on and and blinks blinks at at the the camera camera to to show show thatthat he can now see, lowering the log offscreen as he does

he can now see, lowering the log offscreen as he does so. He thenso. He then

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An introduction to thumbnails · Good actors: Designs that animate > An introduction to thumbnails · Good actors: Designs that animate >

18 18

An introduction to thumbnails An introduction to thumbnails 1

1.6 1.6

Major Major posesposes The

The tiger’s tiger’s submissiveness submissiveness and and the the lion’s lion’s aggression aggression areare indicated by their relationship toward the glasses. indicated by their relationship toward the glasses. NumbersNumbers and colours on the thumbnails indicate separate scenes. and colours on the thumbnails indicate separate scenes.

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Leica/story reels: Timing the performance Leica/story reels: Timing the performance One important element that is missing from One important element that is missing from my animation thumbnails is TIME.

my animation thumbnails is TIME. The originalThe original student storyboards were edited, or

student storyboards were edited, or slugged slugged , to, to a musical soundtrack that provided timing for a musical soundtrack that provided timing for the project. Since the story reel (also known as a the project. Since the story reel (also known as a Leica reel) is not included here, I

Leica reel) is not included here, I am ‘free timing’am ‘free timing’ the tiger and giving him a lot more to do than the tiger and giving him a lot more to do than his creator originally intended, to illustrate how his creator originally intended, to illustrate how thumbnails develop from storyboards. But this thumbnails develop from storyboards. But this action would not be possible in the time allocated action would not be possible in the time allocated for the scene. Perhaps the timing of the scenes for the scene. Perhaps the timing of the scenes could be

could be opened up opened up(lengthened) if the director(lengthened) if the director approves, but this is unlikely to happen if the approves, but this is unlikely to happen if the project has a set length, for example in a musical project has a set length, for example in a musical number.

number. Alway Always know how los know how long your sequenceng your sequence and scene is before starting the thumbnails and scene is before starting the thumbnails..ThereThere is no point in drawing the tiger fumbling for his is no point in drawing the tiger fumbling for his glasses if you only have one or two seconds glasses if you only have one or two seconds available in the scene. Note that I draw the available in the scene. Note that I draw the characters’ bodies and avoid tight close-ups. It characters’ bodies and avoid tight close-ups. It is important to know where a character’s feet is important to know where a character’s feet and backbone are, even if you are working in and backbone are, even if you are working in medium shot or medium close-up. Always extend medium shot or medium close-up. Always extend your thumbnail and animation drawings ‘outside your thumbnail and animation drawings ‘outside the box’ (field guide or screen boundary area) the box’ (field guide or screen boundary area) even if your scene is staged as a medium even if your scene is staged as a medium close-up. A scene’s fielding is often changed after the up. A scene’s fielding is often changed after the animator creates the performance. Your drawings animator creates the performance. Your drawings also have more integrity if they relate to the also have more integrity if they relate to the space surrounding them.

space surrounding them.

Prioritisation or knowing your ‘A-B-Cs’ Prioritisation or knowing your ‘A-B-Cs’

Thumbnails allow an animator to set the scene Thumbnails allow an animator to set the scene priorities before beginning animation since they priorities before beginning animation since they allow you to see which scenes have the most allow you to see which scenes have the most elaborate action and acting. An ‘A’ scene is one elaborate action and acting. An ‘A’ scene is one that is vital to the storyline and usually contains that is vital to the storyline and usually contains the most complicated animation. A ‘B’ scene the most complicated animation. A ‘B’ scene is still important to the storyline but may be a is still important to the storyline but may be a simple one-character shot rather than a simple one-character shot rather than a two-shot with dialogue. Since it will take less time to shot with dialogue. Since it will take less time to animate than an ‘A’, it will take second priority in animate than an ‘A’, it will take second priority in production. A ‘C’ scene has lowest priority and production. A ‘C’ scene has lowest priority and may be eliminated if the

may be eliminated if the limitations of time andlimitations of time and budget intervene in the production, as they often budget intervene in the production, as they often do. ‘C’ scenes may still be necessary for the story do. ‘C’ scenes may still be necessary for the story but they can easily be modified or shortened if but they can easily be modified or shortened if required. (A background with a held level is a required. (A background with a held level is a good example of a ‘C’ scene. Crowd scenes are good example of a ‘C’ scene. Crowd scenes are also usually ‘C’ scenes.) In Figure 1.6, Scene 5 also usually ‘C’ scenes.) In Figure 1.6, Scene 5 (where the tiger crawls on the ground looking for (where the tiger crawls on the ground looking for the glasses only to have them broken by the lion) the glasses only to have them broken by the lion) is an ‘A’ scene and should be animated first. is an ‘A’ scene and should be animated first. All the other scenes, except for Scene 1, are ‘B’ All the other scenes, except for Scene 1, are ‘B’ scenes. The puzzled tiger fumbling with the scenes. The puzzled tiger fumbling with the log may be amusing to watch, but

log may be amusing to watch, butScene 1 isScene 1 is a ‘C’ scene

a ‘C’ scene. Even though it should not be cut. Even though it should not be cut entirely out of the picture, it may be shortened entirely out of the picture, it may be shortened and the action simplified so that he merely and the action simplified so that he merely puts on the glasses. This change will not affect puts on the glasses. This change will not affect the basic story. Why do we do this? Animators the basic story. Why do we do this? Animators have the most time and energy at the beginning have the most time and energy at the beginning of a production. If the most important and of a production. If the most important and complicated scenes are done first, they will be complicated scenes are done first, they will be done (and done

done (and donewell well ) when the animation is) when the animation is completed. A simple ‘C’ scene done at the end completed. A simple ‘C’ scene done at the end of the production will not take too much of the of the production will not take too much of the animator’s by-now-depleted time and energy, or animator’s by-now-depleted time and energy, or it may be cut without leaving a hole in the ﬁlm. it may be cut without leaving a hole in the ﬁlm.

Maintaining consistency

It is better

It is better to draw thumbnailsto draw thumbnailsfor all scenes infor all scenes in your sequence

your sequence at the start of at the start of your assignment ratheryour assignment rather than before each individual scene as it

than before each individual scene as it is animated.is animated. This method will keep the

This method will keep the character acting consistentcharacter acting consistent throughout the sequence even if scenes are

throughout the sequence even if scenes are animatedanimated out of order (which

out of order (which usually happens in production).usually happens in production). It also makes it easier to develop the character It also makes it easier to develop the character performance over time. Always keep the original performance over time. Always keep the original storyboar

storyboards pinned up ds pinned up for acting and for acting and continuitycontinuity reference while thumbnailing and

reference while thumbnailing and animatinganimating your scenes. your scenes. TIP TIP Next > Next >

Next, we will discuss how Next, we will discuss how all animation works out of all animation works out of a story context.

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‘Any pose you think of, you must draw with facility, so that it isn’t

what the pose is so much as why is it

what the pose is so much as why is it being drawn – what emotion is

being drawn – what emotion is

being expressed.’

– Shamus Culhane,

– Shamus Culhane, Animation: From Script to Screen Animation: From Script to Screen

Good actors:

Designs that animate

< An introduction to thumbnails · Good actors: Designs that animate · An

< An introduction to thumbnails · Good actors: Designs that animate · An introduction to dialogue animatiintroduction to dialogue animation >on > 20

20

Developing a story context for your animation Developing a story context for your animation The previous section shows

The previous section shows how storyboardshow storyboards inspire character animators to create a inspire character animators to create a performance within a

performance within a story context. Whatstory context. What if you are a student

if you are a student learning to animate walklearning to animate walk cycles or express the

cycles or express the character’s emotions?character’s emotions? Y

Your scene is a our scene is a self-contained assignment;self-contained assignment; it is not part of a

it is not part of a longer ﬁlm. How do you showlonger ﬁlm. How do you show the character’s personality?

the character’s personality? More importantlyMore importantly,, how do you avoid the pitfalls of clichéd poses how do you avoid the pitfalls of clichéd poses and movements that can make your scene and movements that can make your scene resemble a thousand others?

resemble a thousand others? This question has

This question has a simple answer.a simple answer. All All animation animation is performed within a

is performed within a story contexstory context. It all dependst. It all depends on how you deﬁne

on how you deﬁne ‘story’. The story must be‘story’. The story must be simpliﬁed to meet the criteria of

simpliﬁed to meet the criteria of your assignment.your assignment. Instead of a

Instead of a three-act feature treatment, or even athree-act feature treatment, or even a three-sentence outline for a short ﬁlm, your ‘story’ three-sentence outline for a short ﬁlm, your ‘story’ can be the

can be the character’s mental state, a relationshipcharacter’s mental state, a relationship between two characters, or the

between two characters, or the interaction ofinteraction of a character and an object.

a character and an object.Your Your object in each object in each instance is to show a

instance is to show a pantomimic impression ofpantomimic impression of the character’s inner feelings –

the character’s inner feelings –why why it moves as it moves as well as

well ashow how . Your emotional interpretation will be. Your emotional interpretation will be different from the next person’s if you use

different from the next person’s if you use YOURYOUR emotions and do not imitate those of others in emotions and do not imitate those of others in animated ﬁlms or

animated films or animated textbooks.animated textbooks. The animated character, like a human actor, The animated character, like a human actor, does not stand alone. It is influenced by its does not stand alone. It is influenced by its background and its relationship with other background and its relationship with other elements in the scene.

elements in the scene.

This is where animated acting begins. This is where animated acting begins.

An exercise ﬁgure An exercise ﬁgure T

Take a look ake a look at the simple at the simple humanoid characterhumanoid character shown in Figure 1.7: it contains no design details shown in Figure 1.7: it contains no design details such as hair or clothing that could determine such as hair or clothing that could determine age, sex or cultural context. The ﬁgure (let’s call age, sex or cultural context. The ﬁgure (let’s call it Sam, a name that can be used for

it Sam, a name that can be used for male andmale and female characters

female characters) is a ) is a blank slate that has bblank slate that has beeneen used to demonstrate animation exercises in a used to demonstrate animation exercises in a variety of books and is also available as a rigged variety of books and is also available as a rigged CGI ﬁgure. It has no determining characteristics – CGI ﬁgure. It has no determining characteristics – it can be young or old, male or female.

it can be young or old, male or female. Sam is easy to draw, but is not particularly Sam is easy to draw, but is not particularly interesting. In the words of

interesting. In the words of Børge Ring, ‘YouBørge Ring, ‘You must

mustmakemake it in it interesting!’teresting!’

So we will follow Børge Ring’s advice. In So we will follow Børge Ring’s advice. In FigureFigure 1.8, I give Sam a

1.8, I give Sam a prop prop to work with. to work with. 1

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1.7 1.7

A

A simple simple humanoid humanoid ﬁgureﬁgure This

This humanoid humanoid ﬁgure ﬁgure is is simple simple to to draw, draw, and and offers offers a a blankblank slate for the

slate for the animator to develop into a character.animator to develop into a character.

1.8 1.8

A A propprop

A ball is a basic prop used in many beginning exercises A ball is a basic prop used in many beginning exercises for animation.

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1.1 Character acting with a prop

EXERCISE EXERCISE

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1.9 1.9

Thumbnails

Thumbnails are are always always ‘rough’‘rough’ Show

Show construction construction lines lines and and don’t don’t be be afraid afraid to to drawdraw fast and rough.

fast and rough.

< An introduction to thumbnails · Good actors: Designs that

< An introduction to thumbnails · Good actors: Designs that animate · An introduction to dialogue animation >animate · An introduction to dialogue animation >

22 22

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Developing a a personalitypersonality A

A character character with with no no obvious obvious characteristics characteristics starts starts toto develop a personality through his body attitudes and mental develop a personality through his body attitudes and mental relationship toward an object.

relationship toward an object.

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1.2 Exercises with attitude

EXERCISE EXERCISE

Design changes

TIP TIP

You may ﬁnd that your own character does not portray You may ﬁnd that your own character does not portray some emotions in this

some emotions in this exercise as easily as Sam does.exercise as easily as Sam does. This may be due to the basic design, which might This may be due to the basic design, which might contain too much ‘pencil mileage’ –

contain too much ‘pencil mileage’ – details that candetails that can obstruct clear poses or take too much time to draw. obstruct clear poses or take too much time to draw. (There is a reason why Sam has no clothing, hair, or (There is a reason why Sam has no clothing, hair, or other distinguishing marks!) It is normal for

other distinguishing marks!) It is normal for animatedanimated characters’ designs to be reworked once they have been characters’ designs to be reworked once they have been tested in motion. At the Walt Disney Animation studio, tested in motion. At the Walt Disney Animation studio, character model sheets were never finalised until an character model sheets were never finalised until an entire scene of test animation was produced and keys entire scene of test animation was produced and keys from that scene were often used for the action model from that scene were often used for the action model sheet. If you find that some details on the

sheet. If you ﬁnd that some details on the charactercharacter interfere with a pose, try

interfere with a pose, try leaving them off and workingleaving them off and working for good silhouette value. Then revise the character for good silhouette value. Then revise the character designs, using some of the

designs, using some of the ‘acting’ poses as rough‘acting’ poses as rough model guides. The result will be

model guides. The result will be a stronger design anda stronger design and a character that is

a character that is easier to animate.easier to animate.

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< An introduction to thumbnails · Good actors: Designs that animate · An introduction to dialogue animation >animate · An introduction to dialogue animation >

24 24

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1.11 1.11

Different

Different performanceperformancess Sam

Sam performs performs a a simple simple ‘ball ‘ball toss’ toss’ differentlydifferently, , dependingdepending on his/her attitude toward the ball.

on his/her attitude toward the ball.

;1<6$ >"/ 9:6)E7 -"++ F ;1<6$ >"/ 9:6)E7 -"++ F )6 1)9B)6 1)9B G G >>..99**# # H H 55))1199""CC9 9 ..II9966..//. . H" H" ""11, , HH- - ""66. . --66..""JJ,,))EE117 7 99::""9 9 <<) ) ..KK..1 1 LL""6699::..66 9:"1 9:. C)19"C9 .I96./. 9:"1 9:. C)19"C9 .I96./. M ;190C0#"90)1 .I96./. M ;190C0#"90)1 .I96./. N "1, O "6. -6."J,)E17 7:)E01< N "1, O "6. -6."J,)E17 7:)E01< )K.6+"##01< "C90)1 "7 -),$ #"697 )K.6+"##01< "C90)1 "7 -),$ #"697 /)K. "9 ,0LL.6.19 6"9.7 /)K. "9 ,0LL.6.19 6"9.7 P P 007 7 66..CC))KK..66$ $ Q Q C*C*77::00))117 7 001199))!!1"+ #)7. R1"+ #)7. R Next > Next >

Next, we will learn how Next, we will learn how dialogue animation was dialogue animation was handled in the past and handled in the past and how techniques have how techniques have changed today. changed today. 1.12 1.12 CGI CGI A

A CGI CGI ape ape performs performs the the exercise exercise differently differently to to a a hand-drawnhand-drawn character, but the same thought processes are used for the character, but the same thought processes are used for the animated performance.

animated performance.

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Caricature

(n.) a picture, description, or imitation of a person in

which certain striking characteristics are exaggerated in order to

create a comic or grotesque effect.

An introduction to

dialogue animation

< Good actors: Designs that animate · An

< Good actors: Designs that animate · An introduction to dialogue animationintroduction to dialogue animation

26 26

The drawback to this system is that the The drawback to this system is that the

caricatured references may not remain relevant as caricatured references may not remain relevant as the ﬁlm ages. If

the ﬁlm ages. If the original performance is good,the original performance is good, this should not create a problem. The caricature this should not create a problem. The caricature of Rowan Atkinson as Zazu the Hornbill in of Rowan Atkinson as Zazu the Hornbill inTheThe Lion King

Lion King(1994) is amusing, but the caricature is(1994) is amusing, but the caricature is not essential to the performance; Zazu will remain not essential to the performance; Zazu will remain amusing even if the audience is not familiar with amusing even if the audience is not familiar with the actor’s other work.

the actor’s other work.

Then there are occasional instances where a Then there are occasional instances where a nondescript or ordinary voice track does not nondescript or ordinary voice track does not provide any obvious reference points for the provide any obvious reference points for the animator. I once worked with a famous actor at animator. I once worked with a famous actor at the end of their career when their voice was not the end of their career when their voice was not at its best. I had the character moving in an even at its best. I had the character moving in an even sprightlier manner than usual to cover the fact sprightlier manner than usual to cover the fact that the voice track was not particularly strong. that the voice track was not particularly strong. The animation helped the voice acting, rather The animation helped the voice acting, rather than the other way around.

than the other way around. Character actors

Character actors

It has been said that a good voice actor can It has been said that a good voice actor can create 50 per cent of the animated performance. create 50 per cent of the animated performance. This is particularly evident when an animated This is particularly evident when an animated character is designed as a caricature of the actor character is designed as a caricature of the actor who provides the voice. It is a relatively simple who provides the voice. It is a relatively simple matter to analyse the actor’s characteristic matter to analyse the actor’s characteristic

movements and incorporate a caricatured version movements and incorporate a caricatured version into the animated character’s performance. Many into the animated character’s performance. Many excellent animated characters have done this excellent animated characters have done this very thing.

very thing. 1

Caricature

Some animated performances incorporate the Some animated performances incorporate the caricatured appearance and movements of the voice caricatured appearance and movements of the voice actor. You should not rely too much on pop culture actor. You should not rely too much on pop culture references since the passage of time and cultural shifts references since the passage of time and cultural shifts will often date them. British audiences got the will often date them. British audiences got the ‘in-joke’‘in-joke’ of Rowan Atkinson’s avian caricature, but the actor was of Rowan Atkinson’s avian caricature, but the actor was relativel

relatively unknown in y unknown in the USA whenthe USA whenThe Lion KingThe Lion King was was made. Zazu the character was amusing even without made. Zazu the character was amusing even without this knowledge.

this knowledge.

TIP TIP

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1.13 1.13

Rowan

Rowan Atkinson Atkinson and and Zazu Zazu the the HornbillHornbill

Rowan Atkinson was the voice for Zazu the Hornbill in Rowan Atkinson was the voice for Zazu the Hornbill inThe LionThe Lion King

King and his large facial features were caricatured in the bird’s and his large facial features were caricatured in the bird’s design. The voice actor may a

design. The voice actor may also provide reference for the physicallso provide reference for the physical appearance and characteristic mannerisms and movements of an appearance and characteristic mannerisms and movements of an animated character.

animated character.

The Lion King

The Lion King© Disney Enterprises, Inc.© Disney Enterprises, Inc.Four Weddings and a Funeral Four Weddings and a Funeral © © Polygram/Channel 4/Working Title/The Kobal Collection.

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28 28

An introduction to dialogue animation An introduction to dialogue animation 1

Mouthing off: Mouthing off:

Full body acting and dialogue animation Full body acting and dialogue animation

When sound ﬁlm became the standard in the late When sound ﬁlm became the standard in the late 1920s there was a lengthy period of trial and error 1920s there was a lengthy period of trial and error where animators attempted different methods where animators attempted different methods of portraying mouth movement for dialogue of portraying mouth movement for dialogue scenes. The Max Fleischer Studio usually scenes. The Max Fleischer Studio usually post- post- synched

synchedtheir dialogue to the animation. Jacktheir dialogue to the animation. Jack Mercer and Mae Questel would ad-lib Popeye the Mercer and Mae Questel would ad-lib Popeye the Sailor and Olive Oyl’s amusing voice tracks after Sailor and Olive Oyl’s amusing voice tracks after the ﬁlm had actually been animated – and the the ﬁlm had actually been animated – and the characters’ mouths did not move. Other cartoons characters’ mouths did not move. Other cartoons from this period tended to feature over-analysed, from this period tended to feature over-analysed, carefully pronounced dialogue that bore little or carefully pronounced dialogue that bore little or no resemblance to actual human speech. Mouth no resemblance to actual human speech. Mouth movement was seen as

movement was seen as primary primary , or, orthe mostthe most important

important action in action in a dialogue scene. Each moutha dialogue scene. Each mouth shape was treated as a separate design and shape was treated as a separate design and drawn in laborious detail. As a result every mouth drawn in laborious detail. As a result every mouth shape was

shape was emphasised equally emphasised equally and handled and handled independently from the body action, which led independently from the body action, which led to grotesque facial distortions (see Figure 1.14). to grotesque facial distortions (see Figure 1.14).

Animated performance took a quantum leap Animated performance took a quantum leap forward when animators at the Walt Disney forward when animators at the Walt Disney Studio discovered that dialogue animation was in Studio discovered that dialogue animation was in fact

fact secondary action secondary action, and that , and that dialogue deliverydialogue delivery was ‘put over’ by body movement and attitudes was ‘put over’ by body movement and attitudes rather than over-analysed mouth shapes.

rather than over-analysed mouth shapes. The change is apparent in a speciﬁc scene in an The change is apparent in a speciﬁc scene in an early Mickey Mouse cartoon. In

early Mickey Mouse cartoon. InThe Delivery Boy The Delivery Boy (1931) Minnie Mouse ﬂirts with Mickey Mouse (1931) Minnie Mouse ﬂirts with Mickey Mouse in front of an upright piano. ‘Go on and in front of an upright piano. ‘Go on and play play something’, she says winningly while leaning something’, she says winningly while leaning over the side of the piano. Mickey inhales deeply over the side of the piano. Mickey inhales deeply and replies, ‘…I have to be

and replies, ‘…I have to becoaxed! coaxed! ’ – and his’ – and his awkward, knock-kneed pose perfectly portrays awkward, knock-kneed pose perfectly portrays his amused shyness. Minnie walks up to him with his amused shyness. Minnie walks up to him with a feminine swing of her hips and bats her eyes as a feminine swing of her hips and bats her eyes as she says,

she says,‘ ‘ Well… I’m coaxin’ ya!’ Both characters’Well… I’m coaxin’ ya!’ Both characters’ movements are naturalistic and beautifully timed movements are naturalistic and beautifully timed to the dialogue. The body action is used to create to the dialogue. The body action is used to create the character performances. The mouth shapes the character performances. The mouth shapes are underplayed and were clearly added after the are underplayed and were clearly added after the action was blocked in. The dialogue in the rest action was blocked in. The dialogue in the rest of the ﬁlm is handled in a more standard fashion. of the ﬁlm is handled in a more standard fashion. Surprisingly, over-animated mouths continued Surprisingly, over-animated mouths continued to be produced well after

to be produced well afterThe Delivery Boy The Delivery Boy was was made. It took more trial and error before the made. It took more trial and error before the animators learned to let the body movement animators learned to let the body movement carry the bulk of the acting. (

carry the bulk of the acting. (The Delivery Boy The Delivery Boy can be viewed on

can be viewed onThe Walt Disney Treasures:The Walt Disney Treasures: Mickey Mouse in Black And White volume 1 Mickey Mouse in Black And White volume 1 DVD.) DVD.)

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