CHAPTER 1 INTRODUCTION TO 2D ANIMATION - ALPAIalpai.wikispaces.com/file/view/chap+1+2D_animation.pdf · CHAPTER 1 INTRODUCTION TO 2D ANIMATION ... Model animation process thus involves

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BASIC CONCEPTS OF 2D ANIMATION INTRODUCTION TO 2D ANIMATION

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CHAPTER 1 INTRODUCTION TO 2D ANIMATION INTRODUCTION Welcome to the world of 2D animation! Are you familiar with the term ‘animation’ or ‘2D animation’ in particular? Do not be alarmed if you do not know what the terms mean. In this chapter, we hope to enlighten you with some introductory information on the topic. Animation in general is divided into 2 main categories. They are 2D animation and 3D animation. The use of animation as a way of communication in entertaiment dates back to the early years of Walt Disney and some other pioneer cartoonists. In those days, the skill of producing animation requires a lot of talent, hardwork and dedication. Today, the use of computers and the application of softwares have made it possible for more enthusiasts with basic creativity and dedication to produce impressive and creative animation. This chapter provides some introductory information on animation, its brief history and various concepts related to animation which will lead towards a better understanding of the subject matter.

OBJECTIVES By the end of this chapter, you should be able to:

1. gain some general overview and insights into the definition of animation in general, and 2D animation in particular;

2. describe the brief history of animation; and

3. identify the key concepts, characteristics and skills in animation.

1.1 WHAT IS ANIMATION?

‘Animation is not the art of drawings that move but the art of movement that are drawn: What happens between each frame is much more important than what exists on each frame...’ (Norman McLaren). What is your opinion on animation?

We will begin by looking at the definition of animation. What do you understand by the term animation? If you are not too sure what animation means and what it entails, you should become more familiar with the topic by the end of this chapter. We also hope you will gain a better understanding of the concepts, principles and characteristics of animation at the end of this chapter.

Animation is generally defined as the creation of an illusion of movement by assembling a sequence of still images. It consists of imagining and representing action.

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Think of the events you wish to portray, and then find the means to represent them. It is however important to note that the art of animated film is in the action! The quality of the sequence is thus more important than the quality of the images. Of course, each creator’s vision will guide the sort of image which is used to convey the action, but it is the sequence of events which is the primary matter to be conveyed to the viewer. The nature of the image is the means of conveying that matter. Different from many art and craft technique, no animation in itself produces a complete object. Instead, each one contributes to a whole, which is the completed product. Animation thus involves many elements as shown in Figure 1.1 and Table 1.1.

Figure 1.1: Drawn animation process Source: Adapted from Richard Taylor, The Encyclopedia of Animation Techniques

(pg. 10-11)

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Table 1.1: Steps of Drawn Animation Process

Steps of Drawn Animation Process

1. The idea/story structure 13. Trace movement drawing onto cells

2. The storyboard 14. Paint or colour cells

3. Sound is recorded 15. Cells and background come together

4. Analyse sound length in number of frame 16. Cells and background combined on film

5. Sound analysis entered on dope sheets 17. Exposed negative sent to lab for processing

6. Layout for scene drawn up 18. Sound and pictures edited

7. Director uses layout and dope sheet to plan movement and timing 19. Soundtrack mixed in dubbing studio

8. Background painted on paper 20. Negative to lab for cutting, with cut print and final sound

9. Movement drawing on paper 21. Lab makes final print

10. Complete drawing entered on dope sheet 22. Print projected to audience or…

11. Movement drawings tested on line tester 22a. Film transferred to DVD/VCD/Tape

12. Correct drawing and timing

Comprehending and co-ordinating these techniques is the job of the creator or director of the animation project. The making of animation thus requires a large volume of work and technical processes of some complexity. The use of computers has made the animation job much easier and more efficient and creative. The rationale behind the use of computers is reflected in the following:

However, it is important to emphasise that the basic ingredients of animation, namely story-telling, designing and controlling of movement, are not products of a machine but of imagination and intelligence. The computer can help to execute the work but the work itself must be conceived and designed by creative minds that employ effective skills! It should also be noted that an animated work is designed and created for a purpose. The three main functions of animation in films, for example, are basically:

• to entertain, • to educate, or • to inform.

“Today anyone with a PC and copy of Microsoft Word has, in effect, a printing press of their desktop. This same phenomenon is happening to the world of film making; as for the first time in history extremely powerful, extremely high-quality film making tools become available on a mass level” (Cheevers, 1999).

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This practical function of animation, employing, as it does, images, words and music, makes animation a true art.

1.2 HISTORY OF ANIMATION Before we move deeper into the topic of 2D animation, we will look briefly at the history of animation, which has triggered its earlier development. The development of motion picture projector began in 1872 when a bet started on whether a horse could ‘fly’. A racehorse owner insisted that there were times when all four hooves of trotters were in the air at the same time. A talented photographer, Edward Mobridge was brought in to confirm or deny the claim of the owner. Mobridge placed dozens of trigger wires along the racetrack connected to evenly spaced cameras so as to snap a photograph whenever they were tripped. When the photographic series was played back, the audience were surprised because the horse did indeed “fly”. In 1911, Windsor McKay, a cartoonist, became the first animator. He laboriously drew frame after frame of the animation “Gertie the Dinosaur”. McKay combined live action with animation when he interacted with Gertie in each choreographed performance as shown in Figure 1.2.

Figure 1.2: Gertie the dinosaur Figure 1.3: Hanna-Barbara

To animate means to bring to life and communicate feelings through storytelling.

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William Hanna and Joseph Barbara brought animation to television just when the major picture studios were closing down their own animation department due to the great expense of animation. Hanna-Barbara style and cost-contained factors really influenced the field and led to modern day look and story content as shown in Figure 1.3.

For those with internet access, check out the following websites on history of animation: http://www.digitalmediafx.com/Features/animationhistory.html http://shopping.animazing.com/gallery/timeline.htm http://www.privatelessons.net/2d/sample/m01_02.html

1.3 WORLD OF 2D ANIMATION

After looking at the origin of animation, let us look into the world of 2D animation. What do you know about 2D Animation? Although you might not realise it, you might have been exposed to 2D animation. Let us see whether you can recall any exposure you have of 2D animation in the past.

In a creative world that seems obsessed with 3D, it is a surprise to realise that a flat, 2D cel-animation is responsible for a staggering array of entertainment output. From old-school children’s cartoons in the shape of Captain Caveman, Scooby Doo, and Spiderman, through to more adult-centric viewing with The Simpson’s, South Park, and King Of The Hill. Cartoons represent both important cultural touchstones and a creative career path for a talented artist. Yet, 2D animation can be a complex and exhaustive procedure, involving various stages. For example, treating a cartoon is traditionally a multi-step process: first, the idea for a cartoonist is fleshed out into a detailed character and story breakdown; second, a script is created and the voice talent recorded to lay down the animation soundtrack; then artwork is created and synced to the audio track, before being output to tape or film.

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Figure 1.4: Model animation process Source: Adapted from Richard Taylor, The Encyclopedia of Animation Techniques

(pg. 13) Model animation process thus involves many elements as shown in Figure 1.4 and Table 1.4.

Table 1.4: Steps of Model Animation Process

Steps of Model Animation Process

1. The idea 8a. Record to tape

2. The storyboard 9. Negative sent to lab for processing

3. Sound is recorded 10. Sound and pictures edited

4. Analyse sound length in number of frame 11. Tracks mixed in dubbing studio

5. Design puppet and sets 12. Negative to lab for cutting, with cut print and final sound

6. Make puppet and sets 13. Lab makes final print

7. Animate puppet on set 14. Print projected to audience

8. Record to film 14a. Copy to DVD/VCD/Tape

Artwork was traditionally drawn by hand, along with backgrounds, and colour palettes created. Exposure sheets detailing the production order were then drawn up, pencil tests conducted, scenes composited, and post effects added. All this used to be created with paper, pencils, bristles, plastic cels and cameras without any undo buttons.

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Today, much of the artwork stage is now handled digitally. Not only you do get the bonus of the undo button, but many digital 2D cel-animation packages offer tools catering for the entire workflow. This module provides you with the opportunity to develop skills in the development and production of two dimensional computer animation. The module explores current trends in film, television and the Internet. The module also embraces the creative, structural the technical issues related to creating 2D digital animation i.e. scripting, story boarding and use of software tools such as Toon Boom Studio and Adobe Premier. All these will be looked into in the chapters that follow.

1.4 CHARACTERISTICS OF ANIMATION Let us now move on to the characteristics of animation. Do you have any idea what are some of the characteristics? Let us go through it in brief. The chief characteristic of animation is the liberty it gives to choose any theme, presented through any image. However, although the images of live action are gathered from the events of the world, animation invents its world. An animated film can link images and follow a train of thought without regard to the logic of factual observation or real time. It often operates with symbols, analogies and allegories. For example, Donald Duck films are not about ducks; they are about people. Although Donald represents neither a duck nor a person, he serves to remind us of human characteristics in a way which could not be done either by a live actor or by a drawn character with a human appearance. However, in recent years animated filmmakers have broadened their scope and are introducing new themes expressed in realistic images. It is now possible to envisage portraits of individuals made in animation, but the action would have to be imaginatively structured to give life and point to the portrait if it is to achieve more than can be done with live photography. Keys to Animation It would also help if you understand a few key elements in animation in order to produce a good animated work. Can you guess what are some of the keys to animation? Here are some of them apart from what you have identified as shown in Figure 1.5.

Quality two-dimensional animation communicates better than a series of related still drawings.

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Figure 1.5: Keys to animation

1.4.1 Anticipation This is the clue that characters give the viewers that something is about to happen as shown in Figure 1.6. For example, the character’s eyes may follow a pestering bee, or may fix to a ball almost reaching the goal post. This prepares the audience to the next thing that is about to happen.

Figure 1.6: Anticipation

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1.4.2 Exaggeration The charm of animated characters is that they are not supposed to be real. Everything about them is meant to entertain the viewer. Exaggerating the character’s movements, expressions and reactions is a proven device to keep the audience entertained as shown in Figure 1.7. For example, a happy character’s smile is much larger than their head.

Figure 1.7: Exaggeration

1.4.3 Illusion As mentioned earlier, animation involves the process of assembling a sequence of still images to create an illusion of movement. The quality of the sequence is more important than the quality of images. The art of animated film is in the action and this is what makes animation unique as show in Figure 1.8.

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e.g.: http://www.ulead.com/learning/ga4/images/ga-onionui-big2.gif

Figure 1.8: Illusion

1.4.4 Representation Animation entails the representation of action of the images you wish to portray. The sort of image to be portrayed will be guided by the creator’s intention. The sequence of events used to convey the action is the primary means of conveying the matter to the audience.

1.4.5 Movement Animation is not making drawings move. It is, in essence, drawing movement. What the animator does on each frame of film is not as important as what he or she does ‘in between’. How the image or drawing is being moved, is more important than what moves. When describing animation techniques using the form of a book, it would be at a disadvantage because it is possible to use only still images as illustration and what happens ‘in between’ can get little or no visual demonstration except for written explanations.

1.4.6 Techniques No animation technique can, by itself produce a complete object. Instead each technique has an important role to play and will complement one another. Each technique of story structure, storyboarding, design, filming, editing, etc. is usually practised by a specialized craftsman.

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1.5 SKILLS IN ANIMATION

“An animator is an actor with a pencil, not a draughtsman that acts”. What kind of skill that you think that an animator need?

We will now look at some of the skills required in animation. Certain skills are expected in animation work before one can indulge effectively in the exercise. Do you have any idea what are some of the skills required in animation work? Basically, the skills in 2D animation are needed to undertake the following as shown in Figure 1.9.

Figure 1.9: Skills in animation

1.5.1 Planning a Story The first stage in creating an animation is planning what will happen. An animator produces a series of sketches on paper of the main events in an animation. These sketches are then arranged in sequence and are called storyboards. The storyboard helps to get a visual interpretation of the flow of the story. Storyboards can be done using hand sketches, paper cut outs, or computer sketches using 2D image editing softwares like Adobe Photoshops etc. There are softwares for planning, developing and constructing a story on the computer, for example:

(a) Scriptware - story writing (b) Storybuilder - story development (c) Storyboard quick - storyboard

A more detailed explanation on the storyboard will be given later.

1.5.2 The Story Animation is not only a depiction of actions and events; there must be an underlying logic - a narrative pattern which is essential. Specific actions will arise from the theme you have

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chosen. One action or event must follow another and there must be some logic, which connects them. This logic is what we call the story. Story does not necessarily mean only narrative. The term "story" would equally apply to the sequence of action in a film employing purely abstract shapes and colours.

1.5.3 The Storyboard The storyboard is initially the way in which you find out by drawing pictures on how you are going to develop the action. However, although this is its first function, it also provides a "blueprint" for other people involved in the making of the film as shown in Figure 1.10. As you go along, you will discover the problems in making clear what is happening, or in finding satisfactory ways of presenting your theme. What will also emerge is the shape of the film – that is, how much time will proportionately be devoted to each sequence.

Figure 1.10: Sample of the storyboard (I)

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Although some development between storyboard and finished film is inevitable, the storyboard is where you compose the final edited picture. Besides creating the framework for each scene, you are also choosing at what point in the action you are changing will appear in a different view, or cutting to an altogether different location. This constitutes the basic editing of the picture. Once you have sketched the storyboard and are clear in your own mind that everything in there is in the best of order, and more or less framed right, you could be ready to start into production. Those working with you need complete details of each scene in the film - background, action, framing and camera moves - and this leads on to another vital function of the storyboard. The timing of the film can be calculated by visualising the action, as noted on the storyboard. This will give you both the length of each individual scene, as well as the total length for the film. All such timings should be entered on the storyboard. Where there is dialogue, the time taken to speak the words gives a partial guide. But it is the action which should determine the true timing. Timing the action is particularly important in the case of commercials, which have to be fitted to an exact time. At this stage, it is useful to draw on detachable sticky labels or separate sheets, so that the frames of the storyboard can be changed, added, taken away or rearranged. This sample of storyboard can be seen in Figure 1.11.

Figure 1.11: Sample of the storyboard (II)

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For additional information on storyboarding, visit the website http://www.powerproduction.com

1.5.4 The script A "script” usually means a dialogue script derived from the storyboard as shown in Figure 1.12. A detailed written description of the action of an animated film rarely exists independently from the storyboard. In making series for television, episodes are sometimes prepared in the form of written scripts, but these are probably written within a context where the style and the characters are already established. Thus, one of the most important element in a narrative is getting the situation established. For example, in the story of Red Riding Hood and the Wolf, we can start by the Mother equipping Red Riding Hood with goodies for grandma, and sending her off by warning her of the wolf. By doing this, we have established and mentioned all the main characters and creating the danger posed by the Wolf character. The story now turns to the Wolf. The Wolf demonstrates both his deception, and atrocity by tricking his way into Grandma’s cottage and eating her. The tension is heightened because we know that Red Riding Hood is now heading for trouble. The tension is built up further before Red Riding Hood gets eaten, which is the climax. Through these turn of events, the audience’s attention is established and sustained.

Figure 1.12: Sample of the script

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1.5.5 Treatment A "treatment” is a brief written description of a proposed film. In writing a treatment, you are trying to convey the impression the film will give, but before you have worked out the form or the detail of the action fully. Some sponsors or commissioning editors like to receive a written treatment of this kind, but it can present problems because you are describing the manner of a film before you know whether such a manner and such a film is feasible. Wherever possible you should expect to present a practical storyboard rather than hypothetical one. Test your understanding by attempting the exercise below.

Exercise 1.1 1. List out a sample of a creative and production team in a small TV

commercial computer animation team. 2. Name two of the most famous animation studio in Hollywood.

SUMMARY You have finally reached the end of Chapter 1. We hope that you now have some general overview of what animation is, specifically 2D animation. Based on the introductory information we have given, we also hope you are now familiar with some of the concepts, characteristics and principles related to the topic. These insights would prove useful before we indulge further into the topic of 2D Animation in much more detail. Let us now move on to the next chapter.

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CHAPTER 1 INTRODUCTION TO 2D ANIMATION - ALPAIalpai.wikispaces.com/file/view/chap+1+2D_animation.pdf · CHAPTER 1 INTRODUCTION TO 2D ANIMATION ... Model animation process thus involves