L7-12-q2-other animation workflow and drawing animals and props.pptx

ANIMATION

1. L7: ANOTHER ANIMATION WORKFLOW

2. Traditional Cum Digital

3. Traditional Cum Digital Paperless animation is the most recent 2D animation process. It consists of digitally drawing all of the images of an animation. It is similar to the traditional animation technique. This method is entirely digital; it does not involve any materials other than virtual tools. However, the animator still must draw each frame individually.

4. Traditional Cum Digital This method of animation allows significant control over the drawings, a possibility for greater quality and an infinite number of complex poses and rotations for the animated characters and objects. It also eliminates the paper used in traditional animation and gives you the opportunity to instantly see a line test. Paperless animation allows you to easily cut and paste parts of a drawing, undo actions in case of mistakes, and zoom in and out of drawings.

5. Western and Japanese Animation

6. Western and Japanese Animation Generally, the term anime refers to a style of animation originating from Japan. As Japanese Animation called anime became increasingly popular, Western Animation studios began implementing some visual stylizations typical in anime- such as exaggerated facial expressions and “super deformed” versions of characters.

7. Western and Japanese Animation Western Animation (often simply called “cartoons”) is a general term used to describe animated media that comes from the Americas, Western Europe, Australia, and New Zealand. Though it’s called western animation, in the present most of the actual animation is outsourced to Korea, but the rest of the process is done in the west. Though its main demographic is young children, there have been plenty of shows and films targeted towards adults and teenagers.

8. Western and Japanese Animation WORKFLOW

9. A. Pre-Production This process depends on who’s pushing for an idea and who is backing it up, it can be animation studios themselves along with sponsors, but many anime are adaptations of manga or light novels.

10. A. Pre-Production When the core staff is arranged, they meet and plan out the project. Creating staff as Character Designers. One of the most crucial staff is the Director, they dealing with the animators who make the character’s movie. He is one responsible in making decisions in order to manage the schedule, budget and quality of an anime.

11. A. Pre-Production Following the early panning sessions, designs of characters, costumes, etc. are then created. Once the story and design are mapped out, the first episode is tackled.

12. B. Production The first step is to write the episode scripts. Following the episode’s synopsis/plans, the full script is written. The script is reviewed by the director, producers, and the author of the original work before being finalized. This stage is expressed as a storyboard and marks the beginning of actual animation production.

13. B. Production 1. Storyboarding - it is created by the director but usually separate storyboard artist is used to actually draw them. It is drawn on A-4 paper and contain most of the vital building blocks of anime- the cut numbers, actor movements, camera movements such as zooming and panning, the dialogue, the length of shot.

14. B. Production 2 . Layouts - is the beginning of art production. Developing a layout is about positioning the cels that will be used in cut and the background art that will be needed.

15. B. Production 3. Animation - it is initially drawn by hand, there are some animators who draw 2D animation directly onto computer, but in anime this is largely restricted to in solo animation production rather than commercial anime. Here’s how animation is done:

16. B. Production a. Based on the storyboard, the key animators start working on the Key Drawing or Key Frames guided by the layout drawing. b. We have approved key frames, but we need to complete the animation to make the moves fluidly, more drawings have to be completed to go between the key frames. This is called In-between animation. It is handled by less experienced animators called assistant animators which is the in-between artists.

17. B. Production c. Clean up the drawing d. Line testing the animation e. Scanning the cleaned-up drawings f. Digital Painting/ coloring g. Adding special effects h. Compositing and editing

18. C. Post-Production Voice recording Sound effects Film developing Dubbing e. Editing

19. Drawing Animals and Props

20. ACTIVITY

21. Drawing Animals and Props When designing animal characters, first you need to address the balance between human animal attributes the character will display it its personality and behavior. Knowing your character is more like an animal or a human will help you in what animal design should be a realistic or a cartoonish one. If you prefer the animal-like, then you will naturally design realistic anatomy, but if the character has a lot of human characteristics, then you will design the animal in an anthropomorphic way.

22. Drawing Animals and Props Here are varying levels of human and animal elements and anatomy. To show the difference between anthropomorphic and realistic anatomy, you can combine these characteristics in many different ways.

23. Realistic Lion slightly simplified, would move and act like animal it is. This characteristic could not speak.

24. Feature Film Lion could speak and act a bit, since the human eyes and eyebrows are expressive. With this realistic body, the character would move like a lion and the gesture with the paws as if they were hands

25. Simplified Lion has a somewhat realistic body and head, but the features and anatomy have been simplified and stylized. This character probably would not stand on two legs but would not look unnatural doing some humanlike gesturing with its paws.

26. Cartoon Lion has a mane, pawlike hands and feet, and a tail, but in other ways is a human. This character will walk, talk, eat, and often even wear human clothing.

27. Anthropomorphic Lion has many of the attributes of a real lion, but it stands on two legs just like a human and can point and make other human style gestures with its hand like paws and opposable thumbs.

28. Importance of Anatomy in Drawing Animals

29. Importance of Anatomy in Drawing Animals Anatomy is very important in drawing animals. Everything will start with a realistic design and simplified and as you got a better grasp of the anatomy of the animal and what could be stylized.

30. Importance of Anatomy in Drawing Animals Most traditional cartoon animal character construction is based on circles and pear-shapes, as these tend to be easier to turn around and more fluid to animate. It doesn’t necessarily mean all shapes slosh around without any anatomy underneath however, unless you’re working for cute characters tend to have larger heads in relation to the rest of their bodies.

31. Importance of Anatomy in Drawing Animals Posture is a good place to start for good acting and poses. It’s good to start with a simple line of action which establishes attitude on which you can built the character. Although these simple shapes can be animated fluidly be aware of at least a simple skeletal structure underneath on which the fleshy bits hang.

32. Importance of Anatomy in Drawing Animals Drawing Animals are very popular cartoon characters that make up the cartoon world. This is some steps in drawing common and typical cartoon animals.

33. PETA EXPLANATION