Animation Fundamentals : Project 2 : ACTION ANIMATION
Animation Fundamentals GCD61104
NAME: Sea Hirayama
I.D: 0347596
COURSE: Bachelor of Design in Creative Media / Taylor's Design School
●Instructions
●Lectures
Week 9 :
This week, we got the instruction of Project 2 after the lecture which show the animation principles.
Five specific steps in animation production
Step 1: Thinking about the concept
The first step is to think about the concept of the work.
Mainly, this involves deciding on the theme and volume of the story, the world view, the setting, the characters and items, etc.
Step 2: Storyboarding
Next, a storyboard is created, which shows the general flow of the work in simple pictures and text.
The storyboard should include the composition of each scene, the movements of the characters, camera work, dialogue and sound effects, the number of seconds in the cut, scene numbers and cut numbers, etc.
Draw each piece of information in an easy-to-understand and pinpoint manner.
Step 3: Creating original drawings
After the storyboard is completed, it is time to create the original drawings that will form the basis of the animation.
The number of original drawings actually drawn depends on the movements to be expressed, so it is necessary to decide on the flow and detail of the movements.
Step 4: Creating the middle section
Following the original drawing, the process of creating the middle section begins.
The number of panels depends on the movements of the characters and backgrounds to be expressed.
The number of pictures varies according to the movements of the characters and the background.
Step 5: Make a video using editing software
Finally, use editing software to convert the original picture and the middle section into a moving image. Decide on the number of seconds in a frame and place the pictures within that frame.
Add dialogue, sound effects and background music as necessary.
Three key points when creating an animation
Point 1: Adjust the frame rate.
The frame rate is an important point when producing an animation. The frame rate is a numerical value representing the number of frames (still images) used in one second of animation, and the unit used is the FPS.
The higher the FPS, the more detailed and smoother the movement of the work appears.
Normal animation is produced at 24 FPS.
This uses 24 frames per second, but the emphasis is solely on the depiction and natural movement required for the work.
Don't get caught up in the concept of 24 FPS per second, but adjust the frame rate to suit the camera work and direction.
Point 2: Learn the laws of motion.
There are always physical and inertial laws of movement for people and objects.
Even if it is a simple movement, movements of people, items and backgrounds that ignore these laws are extremely unnatural and give the viewer a sense of discomfort.
In animation production, it is necessary to focus on these laws while creating smooth, uncomfortable movements.
In particular, the creation of original drawings, which are the key to expression, is a task that cannot be completed without an understanding of the laws of movement.
For this purpose, it is also important to study and refer to images of standing, walking and sitting, and learn the laws of various movements, which is also an important point in animation production.
Point (iii) Knowing the importance of creating the mid-section
In animation production, the quality of the work is greatly influenced by the quality of the mid-section creation.
The key to the action is determined by the original drawings, which are the basis of the animation, but the creation of the mid-section that connects the original drawings must not be neglected.
This is because the smooth movement and dynamism of the original drawings, which complement the characters, items and backgrounds, depend on the accurate depiction of the mid-section.
If you cut corners in this process, there is no doubt that the movement will be rattled.
The creation of the middle section, which may seem monotonous, is the heart of the work, so knowing its importance is an indispensable part of animation production.
7 ways to move characters effectively
1. follow-through
This is a method of adding a time delay to movement in order to produce soft movement.
For example, if you delay the movement of hair or clothing after the character has finished, it will look natural and flexible.
2. anticipation
This is a preliminary movement necessary for the desired movement, such as "bending the knees before jumping up".
This expression adds reality to the movement and makes the original movement stand out.
3. staging
This is a method of changing the situation on the screen, such as the size and position of people, items and backgrounds, according to the scene to be shown.
This is so-called staging.
4. slow-in/slow-out
This is a method of slowing down the movement.
The speed of movement gradually accelerates or conversely decelerates, with an awareness of physical laws, to give the movement a realistic and crisp expression. 5.
5. squash and stretch
This is a method of adding flexibility and dynamism to movement.
For example, squashing and stretching the ball at the moment it hits the wall can be used to express the active movement characteristic of animation.
6. arc (motion curve)
Basically, people and animals draw slight curves, for example when their heads move back and forth.
This is a method of incorporating such movements into the artwork in order to express these natural movements.
7. appeals
This refers to the ability to appeal to the individuality and appeal of characters.
Specifically, it is a method of giving characters such as heroes and villains their own design and movement to make their roles stand out.
When shooting video, in addition to camera settings such as frame rate, aperture and shutter speed, you also need to decide "how to shoot?" You also need to decide on the shot, which is 'how you want to take the shot'.
Close-up and wide shots come to mind, but there are many other types of shots.
Shots are what determine 'how the subject is to be photographed?' that determines how the subject will be photographed. The advantage of utilising different shots of the same subject is that they can give different effects and impressions.
It can be used for large-scale productions such as films and commercials, as well as smaller productions such as YouTube videos and corporate VPs, so it is one of the techniques that those interested in cinematography should learn.
Although such shots can also be used in photography and painting, video has the advantage of being able to create a different kind of expression from still images by adding 'movement'.
Framing and shots
Before we talk about Shots, let's talk about Framing, which is the same but slightly different.
Framing is the 'composition' of where to place the subject and at what angle to take the shot. Basically, framing is often decided first, and then the shot. This can be a little confusing, but a simple summary is as follows.
Framing - deciding where to place the subject. Rule of thirds or sunset composition. The angle at which the subject is shot = camera angle, etc.
Shot - how the subject is shot (pull, lean), movement, etc. (focus feed, gimbal, etc.).
These two are similar but not the same, but a good understanding of them is recommended for a smoother shooting experience.
How to call a shot
Shots can be divided into two main categories: wide and close-up, but in between there are a number of graduated shots that lead from wide to close-up.
Wide shot
The Japanese term is Long Shot (LS), Full Figure (FF) or Full Shot (FS), Knee Shot (KS) and Waist Shot (WS), in order of distance from the subject. Overseas, in order of distance from the subject: wide shot (WS), full shot (FS), medium wide shot (MWS), medium shot (MS).
Close-up shot
Japanese designations are Bust shot (BS), Up shot (US), Close-up, detail (CU) or Extreme close-up (ECU), in order of distance. Overseas, it is simpler: medium close-up (MCU), close-up (CU) and extreme close-up (ECU) in order of distance.
Long shot / English: Wide shot
This type of shot is used when shooting building exteriors and landscapes, etc., to give a dynamic feel to the subject. Disadvantages include the inability to grasp the facial expressions and fine details of people, and the fact that the wide angle shot does not allow for the recording of dialogue.
Full Figure / English: Full shot
A shot in which the whole image of a person or object is visible. In the case of a person, this is useful when you want to capture all of the person's movements, as the entire person from feet to head can be completely contained in the frame. If the legs are not in the frame but above the knees, the shot is called a 'knee shot' or, in English, a 'medium wide shot'.
Waist shot / English: Medium shot
This shot is mainly used when photographing people and covers the area from the waist to the head. While it allows the photographer to recognise the facial expressions of the subject, it limits the range of movement of the subject and the camera.
Bust shot / English: Medium close-up shot
A shot taken even closer than the waist shot (medium shot), so that the subject's head is included from the chest area. This can be used in a variety of situations, such as action shots, as it allows the movement of the hands to be seen.
Up shot / English: Close-up shot
A shot in which a person's head is captured from the shoulders. This is equivalent to a close-up shot in other countries.
Close-up shot shot
In Japan, a close-up shot is taken of a person's face, but overseas, a close-up shot is taken of a person's shoulders. Close-up shots are shots that clearly show a person's expression, but the term close-up shot is also used when shooting close up to objects or props.
Detail / Extreme close-up shot
Extreme close-up shots are used to capture the smallest details of a person, such as the eyes, nose or fingers. Although these shots are useful because they can capture even the smallest movements, they may not show facial expressions if there is dialogue in the shot.
Over-the-shoulder shot / English: Over the shoulder shot
Used mainly in scenes where two or more people are talking to each other, this is a method of photographing the first subject while including the shoulders, head or hips of the other subject in the frame. It can also be called this because the same effect can be achieved by simply putting something in the foreground other than a person.
Point of view shot
A method in which the camera acts as the subject's eye (subjective eye) when shooting. In other countries, the term 'point of view' is used, but it is also sometimes called 'POV shots' (POV Shots). Besides people, it is also possible to give subjective shots to animals, insects and objects.
Focus feed / English: Racking focus shot
A method of shooting in which the focus is adjusted from subject A to subject B using the focus ring on the lens. While this is convenient as there is no need to take separate shots for each, it can sometimes be difficult to get the timing and subject in focus.
Reveal shot / (English: Reveal shot)
Reveal shots are not a type of shot, but are used as a shooting and editing technique. The camera lens is hidden by a body or wall, and the location or person appears as the camera moves. Some shots can be edited using a combination of masks and other techniques, such as moving to a different location.
Secondary Action
Secondary means "secondary to", "derivative of" or "subordinate to". Secondary Action is, as the name suggests, an action that is secondary to and complements the main action.
It is often seen in animation with some exaggeration.
A hungry character may rub his hand over his stomach.
Angry characters pull up their shoulders. There are also a number of 'secondary actions' that can be seen not only in animation but also in the real world.
When walking, the character will make a spontaneous arm waving motion. If it is cold, they will put their hands in their pockets or blow on them to try to warm them up. All these movements are 'secondary actions'.
These movements help to explain more clearly what the character is thinking and what emotions he or she is feeling. There are some points to be aware of when incorporating these 'secondary actions' into your movements. Secondary actions are only secondary, i.e. they are attached to the main movement. They should only be used to enhance the main movement and should not interfere with it. Secondary actions are there to enhance the main action, but as the book says, if they are suppressed too much, they become weak. It is important to design the 'secondary actions' to be in balance with the main action and to make the main action stand out more.
Exaggeration.
As the name suggests, this principle involves exaggerating a character's actions.
Exaggeration can be expressed in various ways, such as making a character's eyes pop out when they are startled, or making them burst into flames when they eat spicy food.
By having characters perform exaggerated movements that could not happen in the real world, the movements can be made more memorable.
In animation, as in comics, you can draw any kind of bullshit as long as the expression is interesting.
A famous example of animation using exaggeration is Tom & Jerry. Most of the movements in Tom & Jerry incorporate exaggeration. The strength of hyperbole is that even if there is no story, the movements alone are interesting.
Hyperbole is basically an expression unique to animation, as it is a movement that could never happen in real life, but there are live-action films that use this expression. The film Mask is a comedy film that incorporates a lot of comic-like overacting into live-action footage. In the scene below, the eyes and tongue pop out to exaggerate surprise.
The more exaggerated the exaggeration, the more comedic it becomes.
Therefore, it is not enough to exaggerate everything.
What if, when you see a ghost in a horror film, the character's eyes pop out of their head in surprise, as in the scene above? I think the emotion is stronger in that surprise than in the fear of the ghost, which is amusing.
If it's a comedy film, it works, but if you want to scare the audience, this expression is not appropriate. It depends on the degree of exaggeration, but basically, "strong exaggeration" should not be used in any genre other than comedy films.
Hyperbole should thus be in keeping with the atmosphere and worldview of the film.
Hyperbole is like a portrait
A good example of Disney's idea of hyperbole is portraiture.
The portrait artists' drawings you see on the street are drawn as deformed characters. Although they are not as realistic as drawings, it is easy to tell at a glance who the drawing is based on.
This is because it captures the features of the model.
Portraits can convey without being realistic because they push out the important aspects that characterise the model. The term 'caricatured realism' that Walt Disney was looking for, which is also mentioned in the book, is written in the original text as 'caricature of realism'. The word 'caricature' is derived from the Italian word 'caricare', which means 'to exaggerate', and means 'a portrait in which the character or features of a person are exaggerated or distorted in order to make them stand out'. The kind of pictures drawn by portrait artists are also called 'caricature'.
In other words, Disney's concept of exaggeration is the same as that of portraiture. By pushing out the essence of the important parts of a character's movements and exaggerating them, it is possible to exaggerate the movements without losing reality and make the expression more effective.
Exaggeration of expression is a matter of conception.
The other 12 principles are more about bringing movement closer to the real world. Therefore, the movements will vary slightly from animator to animator, but they will generally be the same.
Exaggeration, on the other hand, can be completely different depending on the animator's ideas. Therefore, the creator's sense and originality come out in the movements.
It is important to note that the exaggeration must not be mistaken. Even if you use unique exaggeration to differentiate yourself from others, if it is not conveyed well to the audience, it will not only be meaningless, it will also have a negative impact. It is important not to lose reality (persuasiveness) as well as ideas when using exaggeration. If the expressions are too exaggerated, some people may feel uncomfortable. Although it is not possible to make a blanket statement, as each person has their own ideas and feelings, it is important for animators to use exaggerated expressions that the audience will find appropriate. However, it is important for animators to use exaggeration that the audience perceives as appropriate.
What is pause-to-pause?
One of the typical production procedures used in animation.
It is a technique in which several posed pictures that are important for the movement are created first, and then the pictures in between are connected by a middle split.
For example, if a running motion is created using pose-to-pose. In this way, the poses necessary for running are prepared in sequence.
Advantages.
The following is a summary of the advantages of creating pose-to-pose.
Easier to determine the scale and tempo
Because you plan how many Fs you want the pose to take and how many Fs the total length of the movement should be, it is easy to manage the number of Fs.
In game motion, the specifications of the movement may be set, such as "how many F to hit" or "how many F to land within". In animation, the 'total length of the cut is how many F' is decided in the storyboard.
In work, movements are often made according to such a set length and timing, so it is easier to start making them pose-to-pose.
You can create from rough motion.
Because you create from a minimum number of key poses, you can proceed with designing the motion with fewer keyframes.
Even animation beginners find it easy to work with, as they can roughly create a motion to check the direction, or gradually build it up after the full range of movement has become clear.
Things to keep in mind
The following is a summary of points to note when creating pose-to-pose animations.
The timing of movements can easily become simultaneous.
Because the style is to hit a key for each pose, it is easy for all body parts to appear to move at the same time.
If the whole body moves at the same time, it looks mechanical and the movements look stiff.
This means that the timing of the movements of each part needs to be shifted and fine-tuned during the creation phase in order to achieve soft movements.
Swaying motion requires getting used to.
Expressions such as the fluttering of skirts, hair, tails and other so-called 'swaying objects' can be a little difficult to get used to.
It is necessary to add supplementary poses (breakdowns) between key poses or use other techniques such as a layered approach.
Basic Pause to Pause procedure
The rough flow of the process is as follows.
1. Create the poses required for the movement
2. Adjust the timing and tameness of each pose
3. Adjust the centre of gravity, grounding and trajectory of the lower body (centre of gravity - feet)
4. Adjust the trajectory of the upper body
5. Add expressions of leaving and overshooting to each part of the whole body
6. Adjust the movement of each part while looking at the whole body
Blocking and brushing up
- Blocking: Design the animation of the whole body roughly.
- Brushing up: develop detailed movements for each body part.
Blocking is used to prepare the foundation for the overall movement, and brushing up is used to flesh it out.
In the following video, a kicking motion is created following the Pose to Pose procedure.
Pose → timing → lower body → upper body → shaking... You can see the gradual process of fleshing out the motion.
First step - blocking
The blocking process roughly creates the rough shape of the movement. It is an important process as 70% of the quality is determined by the quality of the blocking.
The following three points should be kept in mind while creating the blocking.
- Posing
- Timing
- Tames and claws
Posing
Key poses are created for the important poses that are always necessary in the movement. It is important to choose which moments to cut out as key poses so that the movement can be expressed with a minimum number of key poses.
Timing and timing
The length (scale) and tempo of the animation is determined from the key poses created. At this point, do not worry too much about the details, but focus on the overall flow and tempo of the movement, aiming for a pleasing animation.
Blocking is complete when the key poses and timing have been adjusted and the direction of the movement is clear.
Phase 2 - Brushing up
Based on the full-body animation created in blocking, the movements of each body part are adjusted from here onwards.
This is the process of adjusting detailed and unnatural movements that are not fully expressed in the blocking process.
Personally, I am conscious of the following five elements when brushing up.
- Shift of the centre of gravity
- Ground contact
- Trajectory
- Leaving
●Project 2 : ACTION ANIMATION
The instruction
1. Choose an action reference from https://www.youtube.com/c/motionactorinc
Examples:
2. Save the video to your hard drive as mp4 format.
Open the video using a quicktime pro player. You can select and cut a specific duration from the clip if the clip is too long. The motion should be around 5 to 10 seconds clips.
Quicktime 7 Pro installation instructions:
3. Create a project in Adobe Animate. Set the setting as 24fps, 16:9 aspect ratio with 1280 x 720 (HD720p) resolution.
4. Import the video as Embed H.264. Analyse the motion by identifying the key, extreme and breakdown poses with the correct timing. Observe the anticipation, follow through and overlapping of the action throughout the process. Plot the poses to pose animation and apply the right spacing (Slow in, Slow Out, Favouring, Third).
5. Using the same character that you did in exercise 4, animate the rough animation of that action. The rough animation process should be using a sketchy stroke.
Example of Rough:
6. The animation should show the quality of appeal, fluid, flexible and clear.
7. Output the rough animation as video with any of these format, *.mp4 format or quicktime *.mov.
8. Create tie down drawing using a cleaner stroke.
9. Output the Tie Down animation as video with any of these format, *.mp4 format or quicktime *.mov.
Example of Tie Down Animation:
10. Label each progression clearly as “Rough” and “Tie Down” respectively and compile both as one reel and output it as compilation video.
11. Upload progress and final work on your e-portfolio and update the link on MYTIMES platform as submission.
12. Deadline for submission is by next Wednesday 10th October 2022, 12.00am (2 weeks)
Week 9-10 :
So this week, I tried to analysis about the movement with learning some tool.
What is the animation technique rotoscope?
Rotoscope is an animation production technique. How it is created is by producing animation based on live-action footage. By tracing the movements of live-action footage, more realistic animations can be created. It is necessary to spend an enormous amount of time tracing live-action footage piece by piece. For this reason, it is not a very mainstream animation production technique. However, the technique of tracing live-action footage allows for the creation of unique and tasteful animations. Rotoscoping only the background, rather than all of the animation, can add depth to the work.
How to make rotoscope animations
Prepare video material.
Rotoscoping is a technique for tracing live-action video footage. It is therefore necessary to prepare live-action video material for the animation. You can shoot your own live-action video or prepare materials from Photoshop or other sources.
Cut out the video of the production part.
Some animation materials are not used in the animation or are wasted scenes. Cut out the animation material of the production part of the animation material to be used.
Organise frames
There are approximately 30 frames per second in live-action video, even if you only use the production part of the video material, and it is very hard work to draw up all the frames one by one. Therefore, you should delete a layer for every two or three frames of the video material. However, although reducing the number of frames makes it easier, it also makes the animation look more hideous. On the other hand, if you don't reduce the face, the animation will be very smooth. Therefore, decide whether to reduce the number of layers according to the quality of the animation you want to create.
Drawing
This is where the animation production begins in earnest. Tracing work is carried out based on the animation material that has been processed until the frames have been organised. There is no major difference from normal animation production except that the tracing is done on live-action film. In order to bring out the best of the animation in the tracing process, the live-action is either completely copied or slightly disrupted to create a tasteful animation. The degree of disruption should also be determined according to the quality of the animation you want to create.
Organising layers
After finishing the drawing work, organise the layers. The impression of the animation may differ from that of the frame organisation of the video material, or the smoothness of the movement may differ from that of the drawing. Organise these gaps with the live-action footage here to create the ideal animation.
After I learned about this, I decided the reference video for this project 2 from youtube.
After I download the video, I learned how to move in animation in Adobe Animate. And then I prepared the base draft sketch, then tried to tie down it.
Action animation tips
Be aware of the muscles in the character's movements
Humans move their bodies by contracting their muscles, and sometimes even express their emotions and personalities. Therefore, "by reproducing muscle movements, it is possible to create animation that is more human-like". Furthermore, it can be applied not only to humans, but also to the movements of all animals that have muscles.
An important thing to know about muscles is their joints. This is the connection between bones, and each joint has at least two pairs of muscles that support movement. These muscles work to move the joints and regulate their speed. For this reason, it is important to be aware that in character animation, the muscles are moving, not the bones and joints".
Muscles 'work by contracting'. For example, when you bend your arm, the inner muscles "work and contract", while the outer muscles are stretched in the opposite direction. Muscles do not stretch themselves, but are stretched by an external force, such as a weight, even when they are relaxed.
This muscle function can be used to bend two or more joints, giving the character different impressions. For example, bending a joint into the shape of the letter "C" gives the viewer the impression of strength, ruggedness and hostility. The "S" gives the impression of suppleness, softness and deception.
The second is the "law of action-reaction". This is a pairing of pushing and being pushed back, and "if used well, it can produce balanced, beautiful movement and powerful attacks," says Motome. Also, without this law, it would be impossible to move or even stand.
When humans jump, they push the ground with their feet (action). The ground then acts as a reaction and pushes back, he says. This reaction force enables humans to jump. The force of the reaction is of the same magnitude as the force of the action and works in the opposite direction to the action.
For example, in the case of a right straight punch, the left hand is pulled back quickly to cause an 'action', and the right hand is then launched quickly using the reaction. For a right front kick, the right arm is held out in front of the body in advance, the right arm is pulled backwards to create an action, and the right foot is brought forward strongly using the reaction. If the timing of the reaction is not right, it can feel uncomfortable.
This law also applies not only to linear movements, but also to rotational movements. For example, if you sit on a chair with castors and hold your feet in the air, extend your arms horizontally and move them in the same direction to the left and right. A reaction force will then act, causing the chair to rotate in the opposite direction. Also, the body is not stable.
However, when both arms are extended and crossed at the same time, the reaction force of the right arm and the reaction force of the left arm cancel each other out, so the chair does not rotate. The body is also stabilised and the arms can be swung powerfully. ...... 'To stabilise the body and exert a powerful rotational movement, it is important to get the opposing pair of forces to work well together.'
Daring to act in the opposite direction immediately prior to a 'reactionary action'.
"Reaction movement". This is a preparatory action taken in the opposite direction to the intended one, just before a jump or strike. If used well, it "can express convincing and powerful attacks and superhuman moves without discomfort". It is useful for jumps and general attack motions.
For example, when jumping, a standing posture only provides a reaction to the body weight and does not allow the character to fly. If you quickly crouch down in the opposite direction to the direction of the jump, your body floats in the air at the moment you start crouching. In addition to your body weight, you also get a reaction force from the fall. The force of this reaction makes it possible to jump higher than before.
At the same time, the muscles can also exert great force. The back of the thigh contracts and the muscles of the front thigh are stretched during the crouching action. At this time, spring-like 'elastic energy' is stored in the muscles of the front thighs, allowing them to exert greater force when standing up.
This can be applied, for example, in the case of a striking attack, by twisting the body in the opposite direction to that in which you want to strike, just before launching the attack. Incidentally, it is said that rapidly stretched muscles have the tendency to reflexively contract, irrespective of intention. For this reason, the reaction movement must be performed immediately before the blow to be effective. Extending the time of a so-called 'tame attack' does not make it stronger in reality.
By understanding the recoil action, once the design of either the recoil action or the blow is determined, the work of the other muscle is determined. Therefore, says Motome, "you can design a pose under defined conditions". He also introduced 'footwork' as a form of movement that repeats this reactionary movement. This recoil movement is the reason why it is possible to move quickly from footwork to movement and strikes.
Controlling the speed of rotation
Rotation speed can be freely controlled by moving rotating parts such as arms, legs, the entire body and weapons closer to or further away from the axis of rotation. Using this, "even complex rotational movements can be made to look natural".
Incidentally, the 'moment of inertia' is a numerical value that expresses how easy it is to rotate, and if the turning radius is halved, the ease of rotation is increased by a factor of four.
In what situations should it be used? For example, in the case of the right rotational kick, as soon as the foot leaves the ground, the knee is folded and the 'heel' is brought closer to the hips. This shortens the radius of rotation around the hips, which increases the speed of rotation and allows the right foot to move forward quickly. When the rotation speed is fast enough, the elbows and knees are extended for impact.
Rotation control in the air was also explained. When a rotational attack is performed with the upper body in the air, the reaction is to rotate the lower body in the opposite direction, making it unstable and preventing a strong attack from being launched. Therefore, by extending both legs to increase the moment of inertia and make it difficult to rotate, the lower body is stabilised. This makes it possible to launch a strong attack.
Stopping from the root enables fast operation.
The fifth is the 'kinetic chain principle'. This is the movement involved in all strikes and is also known as the kinetic chain. It is a rational movement that combines the items introduced in this article, and by knowing it, "you can perform high-speed movements that cannot be produced by muscle contraction alone".
Motome explains this law using the example of a striking attack with the right arm. Even in punching, the movement starts with the lower body. The left foot moves forward, sets on the ground and stops. At this point, a reaction force is generated in the left leg and the knee speeds up as the foot stops at the same time. When the knee stops, the speed of the hips increases, then the chest and shoulders ......, and so on, with force and speed being transmitted over time. This force and speed is eventually transferred to the fists, allowing for more powerful punches.
The trick to creating this kinetic chain is twofold. First, you need to build a solid centre of strength. 'If the lower body and torso, which form the foundation, are not strong enough, the final strength will also be weak,' says Motome. The second is to fix the joints with muscles at the right time. When the next part accelerates, the part in front must decelerate and stop to support the reaction". This is the same as "building a wall", as in boxing punches or baseball batting.
After I finish tie down version animation, also I put color on it to show clear.
●Final design : Project 2 : Action Animation
●Feedback
Week 9-10 :
General feedback :
I could enjoy this session after independent learning week. We got the instruction and tutorial of the progress in Adobe Animate for Project 2. I'm really looking forward that I can explore the skill of creating animation, but I would be almost died...because there's a lots assignment.......
Week 9-11 :
General feedback :
It took a lot of time and is so hard but I could learn how to move in animation and how to draw to express the movement smoothly as well.
●References
Experience :
This experience is really important for me to get used to draw simple movement with walking animation for exploring the animation skill. I really enjoyed drawing and exploring the skill in Adobe Animate as well.
Observation :
This opportunity was really good for me to understand the fundamental of walking animation with body shape. Especially, I could know the how the leg move, face, hand and so on. Also I just realized that I need to practice to draw the character each perspective to express more interesting.
Findings :
Particularly, the movement of feet was more simple animation than I expected. Although I should draw and draw to explore the animation skill.
References :
The Human Figure in Motion
This is not a systematic book.
It is an overseas animation resource that does not use animation but uses continuous photographs to reproduce human movement.
A grid is drawn on the background, and the detailed frame-by-frame movements can be seen in the realistic photographs.
There is a mountain of frame-by-frame footage of walking alone.
For example, it features not only normal walking scenes, but also scenes of people holding things and walking up and down stairs.
Male and female nudity, different height differences, and shots taken from the front, back and side, can be used as a reference for various animation patterns.
It can be used as a reference material for converting a series of movements into animation, and the ability to split the frame rate and mid-frame rate from the frame rate is also a big advantage!
gentle portrait painting
Easy Portrait Painting is the definitive introduction to illustration.
This is one of the art teaching books praised in Japan as 'Dr Loomis'.
It features comprehensive explanations of the differences between male and female skeletons, how to take proportions, perspective and how shadows fall.
The book was written by the overseas artist 'Mr A. Loomis'.
It explains the philosophical elements of Mr Loomis's ideas on the beautiful promotion of the human body and techniques for success in the business of painting.
It is recommended to keep a copy on your desk as a sub-book, rather than learning and copying from the Loomis book in earnest.
'How big are the six heads?' 'How would the shading fall if the light shone here?' How do you draw a beautifully proportioned woman?" and use it to check points of concern at key points and points of interest.
Techniques for a successful painting career.
This book is also authored by Loomis.
The original easy-to-understand portraits were difficult to explain and the Japanese translation was difficult to understand.
A reference book that has been duplicated for Japanese readers in an easier-to-understand format is Techniques for Success in the Work of Drawing Pictures.
I can't help but agree with the 5 P's and 5 C's approach advocated by Mr Loomis.
The supervising illustrators and drawing directors are as follows.
Supervision by Ms Sachiko Kamimura
Editing: Mr Tsubura Kakumaru
Translation: Ms Hideko Miyamoto
The content is mainly about perspective of background drawing techniques.
The parts of the perspective explanations are partly coloured, which makes the content easier to read and more complete.
A power-up version of Easy Portrait Drawing can be thought of as a reference book for successful techniques in the job of drawing pictures.
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