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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Extra resources for Cartoon Animation
IT IS BEST TO DEVELOP THESE LITTLE FELLOWS WITH ROUNDED FORMS. Chapter 1 - Page 78 ELVES Chapter 1 - Page 79 DWARFS A MOTLEY CREW OF LITTLE MEN ASSEMBLES TO PLAY NINEPINS ON AN ANIMATION LAYOUT DRAWING (IN PENCIL). " Chapter 1 - Page 82 KIDS KIDS COME IN ALL SHAPES AND SIZES. YOUNG CHILDREN HAVE LARGE HEADS AND SHORT LEGS, AND THEIR DOVES ARE SLIGHTLY PEAR-SHAPED WITH A PROTRUDING TUMMY (LIKE "THE CUTE CHARACTER", SEE PAGE 32). AS KIDS GROW OLDER, THE PROPORTIONS CHANGE, THEY ARE MORE LANKY AND AWKWARD LOOKING.
THE POSITION AND ANGLE OF THE EYES CHANGE WITH THE HEAD MOVEMENT, THEY MUST BE DRAWN TO LOOK IN THE DIRECTION SPECIFIED BY THE HEAD POSITION. HERE THE CHANGE IS FROM A 3/4 FRONT VIEW TO A 3/4 BACK VIEW WHERE THE EYES APE NOT SEEN AT ALL. USE THE RULES OF PERSPECTIVE AND FORESHORTENING TO ACCOMPLISH THESE TRANSITIONS ACCURATELY (SEE PAGE 74). MODEL SHEET DRAWINGS, LIKE THE ONES ON THIS PAGE, ARE ISSUED TO THE ANIMATOR AS A GUIDE WHEN HE OR SHE PICKS UP THE SCENE FROM THE DIRECTOR. DRAW THE BASIC FIGURE BY USING THE CHART FROM ABOVE.
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.