12 Principles of Animation & History Test

Paleolitic Cave paintings

-Earliest animations When you flashed them with torches they looked like they were moving

Pre-Mickey Animation

-Muybridge- produced 100,000 images of animals and humans in motion capturing 24 frames a second, what the human eye could not distinguish as separate movements

-Kinetoscope-

-conceptualized by thomas Edison Not a movie projector but worked in the same convention -shifting a strip of perforated film bearing sequential images over a light source with a high shutter speed an electric lamp illuminated the film and revolving shutter permitted only a brief flash of light and contained a peephole with a magnifying glass on top, horizontal-vertical

Slow in and slow out

Adds more frames near the beginning and near the end of a movement, and fewer in the middle, to make the animation appear more realistic. This principle applies to both characters moving between two extreme poses and inanimate, moving objects. Starts slowly with more frames close together and then gains momentum with less frames and then then brakes are initiated and the car slows down with more frames closer together

Squash and Stretch

Considered the most important principle. Gives a sense of weight and flexibility to drawn objects, In realistic animation, the most important aspect of this principle is the fact that an object's volume does not change when the effect is applied. If the length of the ball is stretched vertically, its width needs to contract correspondingly horizontally. ex) ball hits ground and smooshes and comes back up. keep volume consistent

Appeal

Corresponds to what would be called charisma in an actor. Helps the view to feel the character is real and interesting. -proportions of a character to make them look good and funny

Staging

Directs the audience's attention and makes it clear what is of greatest importance in a scene. Presents the idea in a complete and unmistakable method. Keeps the focus on what is relevant and avoids unnecessary detail. ex) using good camera angles and pointing the viewer in the right directions for vision& close up is good for expressions & adding pauses

Exaggeration

Especially useful for animation as a perfect imitation of reality can look static and dull. Level of this effect depends on whether one seeks realism or comedy. Can involve the supernatural or surreal, alteration in the physical features of a character, or elements of the story-line itself. overdoing certain parts of the animation to make certain actions more present -ex making a baseball players swing wrap around his body before happening

Timing

Essential to both physical realism and the storytelling of the animation. On a purely physical level, makes objects appear to abide to the laws of physics. Can also be used as a device to convey deep emotions or communicate aspects of a character's personality. less frames is fast and more frames is slow -the amount a frames can make the difference between someone getting hit in the neck and them looking over their shoulder standard frame rate for moves is 24/sec(drawing on ones) 12/sec(drawing on twos)

Follow through and overlapping action

Follow through- moves of a antenna after the car has stopped moving overlapping action- offset of main body and its other parts Helps render movement more realistic and gives the impression that characters follow the laws of physics. Exaggerated used of the technique can produce a comical effect, while more realistic animation must time the actions exactly to produce a convincing result. ex) body parts and appendages dragging behind someone

Secondary Action

Gives a scene more life and can help to support the main action. They emphasize, rather than take attention away from the main action. If this effect does take away from the main action, it is best left out. for example if walking angerly the primary action would be the anger footsteps and the secondary action would be the angry look on his face licking lips after taking a bite

Solid Drawing

Means that the same principles apply to an animator as to an academic artist. Animator must understand the basics of anatomy, composition, weight, balance, light and shadow, etc. -add curves and make the drawing look good like a piece of art. don't mirror every action

Straight ahead action and pose to pose

Two different approaches to the actual drawing process. Straight ahead draws out a scene frame by frame from beginning to end.It is best for creating a more fluid, dynamic illusion of movement, and is better for producing realistic action sequences. good for unpredictable actions Pose-Pose involves starting with drawing a few key frames and then filling in the intervals later.It is best for dramatic or emotional scenes, where compassion and relation to the surroundings are of greater importance. keeps things consistent

Arcs

Used to make the movement of most human and animal actions appear more realistic. Can apply to a moving limb by rotating a joint or a thrown object moving alone a parabolic trajectory. The exception to this is mechanical movement, which typically moves in straight lines. ex) a person walking naturally has arc because of the way their arms move and bounce. Also when you throw a ball it has arc

Anticipation

Used to prepare the audience for an action and to make the action appear more realistic. For example a dancer jumping off the floor has to bend his knees first; a golfer making a swing has to swing the club back first.

-Fantasmagorie

a French animated film by Emile Cohl earliest examples of animation, drawing each frame on paper and then shooting each frame on negative film giving the film a blackboard look(animated on 2s) made up of 700 drawings -2 mins long

Magic mirror

a disk of bronze, light onto disk and the screen an image is visible on the screen

Camera Obscura-

a tiny hole in window shutter, inverted image of the outside world would appear on the white wall opposite the hole

POV- Persistence of Vision-

brain retains the impression of light for 1/10th of a sec after the light is removed from the eye

scratch art

can be used to enhanse music videos

Registration marks

cross marks to visually align animation drawings on translucent paper -Windsor McCay used this method on Gertie the dinosaur

Silhouette film

cut out figures of characters, put together with wire and rolled out flat, the animation is made with a backlighting and stop motion

Keyframes

drawing that defines starting and ending points of action or transition, timing is measured in frames on a strip of film. keyframes, bookends of action are filled with inbetween action

Magdalenian Bone discs

drawings on both sides indicating that they had been used for animations

-Lumiere brothers

first filmmakers in history used cinematograph motion picture film camera served as a film projectors

Multiplane camera

has layers that are photographed with character and background in different spots to create an animation, the layers can move in various directions independently

Phantasmagoria show

horrific images were projected onto the walls behind a translucent screen with smoke and people got scared

Magic lantern

images painted on glass that light is shined through to create small animations that project

Windsor McCay

made a film Gertie the dyno- first animated film to employ modern techniques like keyframes, registration marks, tracing paper and animation loops

Phi Phenomenon-

mental bridge the mind forms to complete the gaps between the frames

Cyclical Animation

repeating/looping action -starts and stops in an exact same location -saves time -a walk cycle, repeats but never stops

Phenakistoscope

spinning disk attached to a handle, slits cut into it and you look into a mirror and the images burr together to make one image

Zoetrope-

strip of pictures placed around the inner surface of a spinning cylinder, had an inner circle of mirrors so the pictures appeared more or less stationary in position as the wheel turned

parallax

the effect whereby the position or direction of an object appears to differ when viewed from different positions, e.g., through the viewfinder and the lens of a camera.

Experimental Animation

use of reference footage can be used to build a more realistic animation

rotoscoping

used by max Fleisher- out of the inkwell -device with a film projector and easel as an aid for achieving realistic movement Rotoscope would project motion picture film through an opening in the easel covered by a glass pane serving as a drawing surface, the image on the projected film was traced onto paper advancing the film one frame at a time as each drawing is made -Originally, animators projected photographed live-action movie images onto a glass panel and traced over the image to create an animation

Egyptian murals

used sequences of images in succession to show wrestling and combat

-pinscreens-

using a screen of pins and pushing them in to create animations based on shadows with a camera

-pixilation-

variant of stop motion animation where actors are used as subjects in frame by frame animated film