Graphics Reference
In-Depth Information
They must identify and then use the most appropriate methods for their
particular needs. Often this will be simply referencing a text such as this one;
occasionally it will involve other very specific processes.
Gaining an in-depth understanding of motion is clearly best done through
actually making animation; this is experiential learning. As with most things
in life, having a good instructor or mentor will ensure that you learn at a
faster rate and at a deeper level. When I first began animating in the early
1980s, I had absolutely no idea what I was doing, and I knew it. The one thing
I was sure of was that to progress within the industry, I had to learn my craft.
Learning the principles of animation and the mechanics of the production
process was difficult enough, but compared to learning the intricacies and
subtleties of human movement, these things were a breeze. When it came to
mastering performance and acting, I am still learning after 20-odd years. In
this regard I firmly believe that we never stop learning.
I was lucky enough to study under two first-rate but little-known animators,
Chris Fenna and Les Orton, within a studio environment. For the best part
of two years I studied their drawings, their animation timings, and the way
they handled dynamics, which gave me a great start in developing my own
understanding. It also enlightened me to the fact that different animators are
suited to different kinds of performance. This level of first-hand experience
is invaluable to the trainee animator who wants to come to grips with the
demands of animation and the importance of the study of motion.
A collection of reference material is absolutely
vital
to the animator who
wants to develop her craft. These days there is so much material available to
the serious student of motion and animation as to be a little confusing; books,
DVDs, animation, live-action film, Web sites, and online learning material
all have their parts to play. Much of this material was unavailable to me as a
young animator, though there were some good texts. One of the very best
was the classic
Timing for Animation
, by Harold Whitaker and John Halas.
I couldn't aford my own copy, so I made copies of nearly the entire topic
using the studio photocopier; then, with my first paycheck, I bought my own
copy, which I still treasure
and use
to this day. Now there are plenty of texts
that provide good insight into processes of animation, and the Focal Press
catalogue provides perhaps the greatest range of texts on all manner of topics
from major contributors.
Watching and studying animation, not simply as a member of the audience
being entertained but as part of your serious study of animation, will
bring major rewards. You will find that going through parts of an animated
sequence that is of interest to you a single frame at a time will help you
analyze the movement. Begin by looking at the overall results in real time,
then slowly focus your attention on the individual elements of the movement.
Then, by single-framing the action, you will find that you gain a deeper insight
into the separate actions and the way they interrelate. You will need to do
this over and over again, checking each part of the motion in turn. This kind
