My intention when setting out to write this book was to concentrate on the underlying principles of animation and animation timing that are common to all forms of animation.
The principles of animation that are covered within these pages are never reliant on technology or the latest piece of software. I have seen far too many students fixating on the technical aspects of animation production, how much memory their computer has, if they have the latest version of the modelling software, what render engine they use and the use of collision dynamics, somehow seeing these issues as a substitute for an understanding of animation timing and creativity. It cannot be denied that the technical developments over recent years have dramatically affected the development of the art form, and enabled animators and film-makers to achieve rather stunning results hitherto impossible. This book purposely avoids any detailed discussion about any specific animation software or hardware, as developments in these areas are made at an alarmingly fast rate while the principles of animation remain timeless. There are numerous texts already available that cover such technical issues in great detail, though often these only skim across the principles of animation. This book is designed to complement those texts, not replace them. This text will concentrate on specific fundamental aspects of animation that are central to the art and craft of animation, regardless of which discipline the animator is working in. It covers those principles that all animators adopt when making their characters move: animation timing, overlapping action, follow-through and drag, and squash and stretch. While it also deals with aspects of characterization, design, acting and production management, these subjects are such specialist aspects of production (along with other areas not covered: writing for animation, finance and marketing) that I suggest you seek other texts that specialize in these areas. A number of these appear in the suggested reading list at the back of the book.
Methods for producing 2D classical animation have been documented for quite a long time. The first available textbook, written by Edwin George Lutz, was Animated Cartoons; How They Are Made, Their Origin and Development, published in 1920, and interestingly it is still in print to this day. Since those early days, the formation of major animation studios, particularly Disney with their vast commercial output, has meant that animators had to find ways of passing on their knowledge and skills to a large body of workers who needed to develop skills to a high level. For many years the Disney studios have received a level of criticism for the content of their films, but love them or loathe them (I love them; well – some of them), it would be difficult to deny that this one studio has done more than any other organization in developing the craft of animation. For decades they have provided an environment where top animators can take seriously the analysis of movement, and it was early on in the studio’s life that they began to challenge and question what they were doing as animators, and in doing so began to identify ‘rules’ and guiding principles by which they worked. Most of these principles apply equally to computer animation and stop-frame or puppet animation as well as 2D classical animation, as they are derived from the scientific study of movement, the effect of gravity, friction and force on masses. There are a number of very valuable sources available to the ‘would-be’ or professional animator today, though I would suggest that there is no single definitive work that will serve all animators in all disciplines. To this end, I have listed a number of texts in the appendices that you may wish to seek out.
As animators we are in an incredibly privileged position in that we now have at our fingertips an incredible source of readily available material for the aspiring animator and professional alike, not only in the form of texts such as this one, but an extensive range of animation of many types, live action video footage, an enormous archive of our cinematic history, ready access to television and the Internet. The early pioneers had nothing of this, yet despite the absence of such material, some of the work they produced was outstanding and to this day is worthy of serious study for those aspiring to achieve great things. I would strongly urge all students to become familiar with the work of Winsor McCay. Those early animators gave us some of the most endearing and enduring examples of animation that few have equalled, even today. Some of the work was simplistic, most of it was formulaic, but it still threw up more than a few classic examples that remain worthy of study – Girtie the Dinosaur, The Skeleton Dance, Felix the Cat, Popeye the Sailor, the queen in Snow White, all stand out as landmarks in animation.
Like it or not, the Disney studio has become the hallmark of animation quality and it is worth briefly contemplating how this was achieved. While Walt Disney may not have been a great animator himself, there is no doubting his brilliance as a producer, and part of his success was due to the fact that he was quick to exploit the potential of animation by embracing two distinct factors – technology and animation training. This was coupled with an understanding that the medium was fuelled by novelty. His use of synchronized sound in Steamboat Willie (1928) did much to place the studio on the road to success. Then again, with the release of Flowers and Trees (1932), the studio exploited technological innovation through the use of the Technicolor process that gave it a distinct advantage over its competitors. While this was an important factor in the Disney studio’s success, it was Disney’s (and the animators’ at his studio) desire to improve standards that has really made a lasting impact upon the study and teaching of animation. Instigated in 1932 and run by Don Graham, the drawing classes not only improved the animators’ drawing and animation skills, but became the template for animation training for generations to come. Now a new generation of studios and animators has appeared, and the tradition of animation training and development is in the hands of others, though the lineage is there for all to see. The great animator John Lasseter (Luxo Junior, Tin Toy, Toy Story, A Bug’s Life) first learned his craft as a 2D classical animator at the Disney studio and it is clear to see he has adopted those self same principles within his work, placing the emphasis firmly on characterization, animation timing and performance.
The aim of this book is to build on the tradition of those principles and training initiatives, and it is my firm belief that good training and a firm knowledge of guiding principles are the basis for all good character-based animation. Understanding is everything.
THE EXERCISES
The exercises within the book are only intended to cover the basic principles of animation and many of the animated actions that you will need to master, such as the walk cycle. They cannot cover all the variations that are possible – no book or programme of study could. They are intended to help you develop skills. The amount of effort you put into your work is down to you the individual and the exercises are as easy or as tough as you make them. As with most things in life, the more you put in, the more you get out.
AND FINALLY
Be aware of what you are doing; don’t just do things – THINK! Take pride in your work, be professional in your approach, be economic with your efforts and resources – you should not scrimp but nor should you simply throw time and money at the problem. The real solution is to be creative. As technology advances and production processes and methodologies change, you will be increasingly dependent upon your knowledge of the fundamental principles of animation and your own creativity. Neither this book nor any book, for that matter, will make you creative; it is simply intended to assist you with developing your skills and understanding of the principles of animation, and through those help you develop your own personal creativity.
To become a true artist is the work of a lifetime – be in no hurry, grow.