These are now usually processed and digitally scanned. The drawings can also be taken directly from the camera, and it can be drawn on paper, but any drawing or painting technique is not only possible with a pencil. In the simplest version, these are stick figures, as they like for flipbooks are used. As " Stick Figure Theatre "stick figures were parodies of movie classics part of the '80s MTV show Liquid Television , today they are often referred to as vector animation in Flash or other programs created.
Sand-on-glass animation
At a light table is strewn sand, which appears black in the image. By hand or with tools, the sand will move one frame, which creates very soft forms and movements and is particularly good for the morphing is.
Needle board animation
This special technique was developed by Alexandre developed. Thousands of needles stuck in tight close to a board can be pushed or pulled. Illuminated from the side of their shadows create an image similar to engraving.
Oil-on-glass animation
Similar to the sand on glass animation is done on a light table. With oil paint is painted directly onto the glass. The color stays soft long can wash away or painted over and are processed with tools. The results stand in their shade effect of the real oil paintings by little.
Drawing or scratching directly on film
With foil or paint pen is drawn directly on film or bare scratched with a needle or knife on black film. The results are usually very rough and shaky. Even the sound track can be edited directly, which leads to scratching and crackling noises.
Examples: Norman McLaren Blinkity Blank or vertical lines, scenes from Hideaki Anno's Neon Genesis Evangelion.
Rotoscoping
Existing real footage is on a focusing screen and endorse projected frame by frame.
For example, films of Max Fleischer (Gulliver ), Georges Schwizgebel or Richard Linklater .
Cut-out animation film (even cutout animation called)
Cut out shapes, mostly body parts (like a jumping jack) will be worked out under the camera.
Examples: the animations of Terry Gilliam in the films of Monty Python . - The series South Park makes use of the cut-out animation, aesthetics , but is complete with a computer program to produce 3D animation.
Silhouette Film
A special form of cutout animation in which the elements as in the shadow just as dark silhouettes are visible.
Examples: the films of Lotte Reiniger .
Experimental animation
This includes all other techniques, such as time manipulation ( slow and fast motion ), creating animations from existing, recycled footage ( found footage ), a large portion of abstract film, but also (still) unnamed trends and fashions of the motion graphics , as they play in advertising and TV design currently a major role.
Drawing techniques
The prevailing techniques of traditional animation are the Pose to Pose and Straight Ahead method. In the pose-to-pose technique, the animator first sets called Extremes of which represent the extreme phases of motion, usually starting and ending point. Between the extreme phases are then Breakdowns created that defining the path of extremes to extremes more accurately. To illustrate the movement of liquid eventually, will last between Extremes and Breakdowns between phases (In-betweens inserted). This step is generally not the animator, but one of his assistants or assigned Inbetweener done.
The pose-to-pose method enables the subscribers the best possible control over timing, movement and details of the figures and makes their task sharing a particularly economical way of working your dar., however, have a mechanical component, leading to inexperienced signatories to stiff, lifeless animation can.
In the straight-ahead method, the animator draws all the frames in sequential order. So it is possible, especially with fast eccentric movements to create movement patterns from the falling frames that create a dynamic overall impression. Design, details and timing of the so-drawn figures are more difficult to control and errors tend to accumulate in the course of the scene, or aggravating.
Therefore, it is true to the straight-ahead method, the main task of the wizard, the visual continuity of Rohzeichnungen of the animator.
In general, a professional artist tend to use both techniques and partly to mix. The methods require great understanding of drawings and the ability to assess the effect of many different frames to depict movement. Also in the 3D animation are both application methods, but the computer takes over the duties of the assistant and interim phase signatory.
Principles of animation
Published in 1981, Ollie Johnston and Frank Thomas, the book The Illusion of Life: Disney Animation . In this they took the experience of leading animators from The Walt Disney Company, together, created since the 1930s for creating believable animations. From this they deduced twelve principles, which are essential for creating the illusion of vivid characters and worlds.
First Squash & Stretch (stretching and squeezing)
The shapes of the pieces are pressed together or pulled into the length, which must remain the overall volume of forms received. This is the representation of weight or external forces acting on the figure.
Second Anticipation (swinging back or anticipating)
The main character is a movement initiated by a counter-movement, such as the arm before the start-up company or a litter before a jump. Thus, the actual movements are easier to read and look more natural.
Third Staging (Staging of poses)
Affects both the arrangement of figures within the scene as well as designing distinctively recognizable poses. As a control, this is the silhouette of the figure. Ideally, the body language to be understandable also if you would only see the outline of the figure.
4th Straight Ahead & Pose to Pose
The sequential generation of still images and animation to the construction of motion defining extreme phases around. Straight ahead is more dynamic animation, Pose to Pose animation controlled.
5th Follow through & Overlapping Action (secondary and overlapping movement)
Follow time-delayed follow-through is often used to describe how non-living elements of figures (such as hair or worn fabric) with violent movements of the limbs of the main motion, then the endpoint of this motion shoot out, and only then fall back to its resting position. Through Overlapping Action is stated that not necessarily all members of a movement to run concurrently or bring to an end. The definition of boundaries between Follow Through and Overlapping Action are often blurred.
6th Slow In & Slow Out (acceleration and deceleration)
A principle that explains that natural movements usually begin slowly, then accelerate to the end and will slowly return. Specifically, this means that are used at the beginning and end of a movement more frames than in the middle.
7th Arcs (arcs of motion)
Limbs generally rotate around a joint. Therefore, their movements are more curved than linear. The animator must define the arcs of motion within individual movements and ensure a smooth transition between movements.
8th Secondary Action (secondary or supportive movement)
Simultaneous movements of a character which support the main motion to accentuate, such as the swinging of arms while walking or gestures, the dialogues.
9th Timing (exercise duration)
Describes both the duration of movement as well as the period between movements. This aspect is strongly dependent on the nature of the figure and is based on the experience of the signatory. One must be aware of how quickly or slowly a figure can move her body due to how quickly or slowly they will do it because of their attitude and how many frames are required for the representation of the period.
10th Exaggeration (hyperbole, caricature)
To make the poses and movements of characters drawn very clearly, it is often necessary to exaggerate their appearance and their movements. This is to check that the exaggeration of the movement makes neither too hectic nor too vague statement and the scene is appropriate.
11th Solid Drawing (Drawing solid)
Describes the basic assets of signatory, consistent characters to draw. They should be properly proportioned and correct perspective and not lose these qualities in the movement.
12th Appeal (charisma, charm and appeal)
Describes pleasing that both the appearance and design of the characters and their poses and movements, and the character of the figure should be reasonable. Here too there is room for interpretation: an evil figure may seem nice, but by her acting reveal their true character as a nasty character by their appearance may also be lovable. Appeal does not necessarily mean beauty but the inner qualities of figures effectively represent.