Animation art book pdf

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Artbook for Amano, featuring art from throughout his career. Dango Collection vol. Topics: gaogaigar, brave, yuusha, the king of braves gaogaigar, zoids, sunrise, xebec, watercolor, Though originally intended to apply to traditional, hand drawn animation, the principles still have great relevance for today's more prevalent computer animation. No one will care whether or not you know this list.

If you do, it will show automatically in your work. It can be applied to simple objects, like a bouncing ball, or more complex constructions, like the musculature of a human face. Taken to an extreme point, a figure stretched or squashed to an exaggerated degree can have a comical effect. In realistic animation, however, the most important aspect of this principle is the fact that an object's volume does not change when squashed or stretched.

If the length of a ball is stretched vertically, its width in three dimensions, also its depth needs to contract correspondingly horizontally. The technique can also be used for less physical actions, such as a character looking off screen to anticipate someone's arrival, or attention focusing on an object that a character is about to pick up.

Staging This principle is akin to staging as it is known in theatre and film. This can be done by various means, such as the placement of a character in the frame, the use of light and shadow, and the angle and position of the camera. The essence of this principle is keeping focus on what is relevant, and avoiding unnecessary detail. On the other hand, it is hard to maintain proportions, and to create exact, convincing poses along the way.

Combination of the two techniques is often used. The use of computers facilitates this method, as computers can fill in the missing sequences in between poses automatically. It is, however, still important to oversee this process and apply the other principles discussed. Follow Through and Overlapping Action Follow through and overlapping action is a general heading for two closely related techniques which help to render movement more realistically, and help to give the impression that characters follow the laws of physics, including the principle of inertia.

A third related technique is "drag", where a character starts to move and parts of him take a few frames to catch up. These parts can be inanimate objects like clothing or the antenna on a car, or parts of the body, such as arms or hair. On them human body, the torso is the core, with arms, legs, head and hair appendices that normally follow the torso's movement.

Body parts with much tissue, such as large stomachs and breasts, or the loose skin on a dog, are more prone to independent movement than bonier body parts. Again, exaggerated use of the technique can produce a comical effect, while more realistic animation must time the actions exactly, to produce a convincing result.

The "moving hold" animates between similar key frames, even characters sitting still can display some sort of movement, such as the torso moving in and out with breathing. Slow In and Slow Out The movement of the human body, and most other objects, needs time to accelerate and slow down. For this reason, animation looks more realistic if it has more drawings near the beginning and end of an action, emphasizing the extreme poses, and fewer in the middle.

Ball Fast to slow Slow out Pendulum Slow In Arc Most natural action tends to follow an arched trajectory, and animation should adhere to this principle by following implied "arcs" for greater realism. A tentative classification As definitions by themselves may not give a clear picture of the differences between Animation and motion graphics, one option was to tabulate comparative attributes of both fields, many of which have been exaggerated for argument sake and may be easily refuted, however may help us create a framework for discussion.

Comparative attributes of Motion Graphics and Animation As the task of defining motion graphics may still be unconcluded at this point, one may resort to understand and define motion graphics as an independent discipline by tracing its history. A Brief History Motion graphics or typographical animation has been used by the film and television industry for decades in order to present and promote movies and TV shows, while this industry has adopted traditional animation techniques in its arsenal of tools, it is also known for pioneer research and development of new techniques, mainly in computer graphics.

In the first half of the 20th century the field was not considered a subject itself, being identified with experimental work of artists, animators and programmers. There is no doubt that Saul Bass is the most influential designer pioneering the use of moving graphics applied to film titles, his work still inspires generation after generation, consolidating the art of the title sequence as part of the film culture.

Binder is known for the opening credits for James Bond movies, landmark icons of film history. Titles sequences can be considered an art form in itself. Technical advances in the s such as motion control and optical effects took the art of film graphics to a new level. The Quantel Paintbox became the landmark platform for the production of television graphics in the s, it was a very expensive system, so with the exception of music videos and advertising, there was a lack of creativity in the period, especially in network TV.

British designer Martin Lambie Nairn, was a notable exception, and took broadcast design profession to a new level. His work for the BBC, Channel 4 Lambie Nairn, , and many other networks was conceptual and highly well executed, raising the bar for a whole generation. One of the most important changes came with the introduction of Cable TV, opening the doors of the stations to a new generation of designer.

In the s desktop video systems revolutionized the market. Today motion graphics has established itself as a field of work, its boundaries with animation, special effects and user interface design are loose, while dialoguing with all these fields, and it has consolidated as a design discipline that has become more ubiquitous as we see motion involved in electronic displays surrounding us.

In , I began offering a motion graphics course to design students at FAU USP, an architecture school with a modernist orientation at the same university and I was impressed by how the output from the design students was completely different from the film students, even though the subject matter was the same. Time proved me wrong, the sequence of the courses made no difference in the final output or the ability of the students to produce the final project.

Film students at ECA USP the Communication and Arts School, seemed to prefer to concentrate on illustrating a story, choosing techniques and styles based on the selection of references they shared collectively or that I presented in class and rarely set themselves to research new forms of visual language. On the other hand, design students have more difficulty with story telling and the temporal aspects of audiovisual communication, a fact that is countered by a broader visual arts repertoire that allows for more opportunities for experimentation.

The design school does not fully comprehend the importance of motion graphics within the design curriculum and tend to place the field within the realms of Graphic User Interface Design, while the Film and Television Department where I teach at the communication and arts school either see it as part of the postproduction process emphasizing the technical aspects.

The University is highly compartmentalized and even though there are theoretical discussions emphasizing the importance of an interdisciplinary curriculum, the practicality of cooperation between departments and schools is very limited. Conclusions Teaching motion design and animation to both film students and graphic design students, I have realized that the background in audiovisual production of one group and the design skills of the other are equally important.

Integration of academic curricula of both programs is much needed in order to advance education in the field. The same can be said regarding the cooperation of research conducted by animation professionals and motion graphic designers, to do so, it would be helpful to better define these disciplines. I have found that motion graphic artists venture into visual experimentation as a response to the objective aspects of communicating and displaying information inherent to the work.

The rational aspect of the message can be easily displaced from context and is free from narrative, this can be perceived both in professional work as seen in a historical examples and from my experience with undergraduate students.