By Preston Blair
Книга посвящена мультипликации и, в частности, созданию оригинальных мультипликационных персонажей, каждый из которых должен обладать уникальным характером и своеобразными манерами.
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Additional resources for Cartoon Animation
YOU WOULD SEE THESE DRAWINGS ON THE SCREEN FOR TWO FRAMES - OR 1/12 OF A SECOND (SEE PAGE 196). Chapter 2 - Introduction Chapter 2 : CHARACTER MOVEMENT Once the character has been developed, the animator must consider the types of actions that are appropriate for it. A character´s basic design should contain a sense of movement to convey a message to the viewer about the character´s actions and intended actions. One way to accomplish this is to use the "line of action" that is the basis for rhythm, simplicity, and directness.
Chapter 1 - Page 64 BIRDS THE NATURAL SHAPE OF A BIRD´S WING CAN BE CHANGED TO A MODIFIED (OF SUGGESTED) ARM AND HAND FOR CERTAIN ACTIONS, THEN CHANGED BACK TO THE NATURAL SHAPE. Chapter 1 - Page 66 OWLS HERE ARE SOME ROUGH SKETCHES OF AN OWL TO SHOW YOU HOW ITS WINGS CAN BE HANDLED. THEY CAN BE STRAIGHT OR THEY CAN TAKE ON THE CHARACTERISTICS OF A HAND WITH THE FEATHERS AS FINGERS. Chapter 1 - Page 68 MORE BIRDS NOTICE THE HEAD SIZES. THESE CHARACTERS DIFFER GREATLY IN PERSONALITY AND SHAPE DUE TO THEIR PROPORTIONS.
START YOUR ANIMATION WITH A LINE OF ACTION. THEN DRAW THE SKELETON AND THE DETAILS. (download long image) FINALLY ... ANIMATE ALL THE DETAILS. Chapter 2 - Page 94 RHYTHM AND DESIGN IN CARTOON ART RHYTHM AND DESIGN ARE THE SECRET FORMULAS BEHIND THE APPEAL AND CHARM OF GREAT CARTOON AFT. ARTISTS HAVE INSTINCTS THAT TELL THEM THESE THINGS. THE FOLLOWING ABSTRACTACT DESIGN BASIS SHOULD HELP YOU. THE BASIC "S" CURVE OF RHYTHM AND THE OPPOSING ARCS (SECOND FROM LEFT) HAVE GREAT VALUE FOR YOUR DRAWINGS.