Graphics Reference
In-Depth Information
It would be a mistake to think that there is no place for exaggeration in
more naturalistic actions. The important point here is that the use of a little
exaggerated motion will make the animation
appear
to be naturalistic. A
little bit of squash and stretch on a falling object may just add that touch
more spark to the action and give it a little more snap. When used well, this
level of exaggeration is
felt
within the action rather than seen. Without it the
movement may seem a little flat.
Animators will exaggerate the action either for obvious visual effect or simply
to make an action a little more readable and apparent to the audience.
The first may be cartoon-like and stylized, the second may be less obvious
but have no less impact for all that. Used with intelligence, appropriately
exaggerated action will enhance almost all animation.
Solid Drawing
The term
solid drawing
refers to an approach to making drawings that
deals with form, volume, weight, balance, space, and surface values. Many
of the pioneers of animation dealt with a much simpler form of animation
drawing that didn't have to demonstrate that the characters were anything
other than flat, graphical representations. They had few if any three-
dimensional qualities, and the use of perspective drawing was minimal.
The volume and shape of early characters would often change in even the
shortest of animated sequences, which may well have suited the stylistic
fashions of the day but did little to address more naturalistic drawing or
animation.
As the art form began to develop and a more naturalistic approach to
animation began to emerge, animators became aware that movement and
timing were supported by a higher level of drawing. Academic drawing
skills that could encapsulate intricate forms capable of suspension of
disbelief were needed if the animation was to imitate nature. Character
design, then, needs to be undertaken in such a way as to allow a character
or a figure to make naturalistic actions. Heavily stylized designs may be
very interesting and attractive, but they offer far less potential for natural
action. Consideration must therefore be given to the possibility of animated
movements when we're designing characters, and an understanding of
basic anatomy will certainly help in this regard. The ability to draw well is an
obvious advantage in making 2D classical animation that uses naturalistic
figures and characters.
Appeal
The principle of
appeal
deals with the relationship the animation creates
between an audience and the characters on screen. This is not a mere
matter of design, though it is with character design that the process
begins. Through good design, appropriate animation, good staging, and
