30 animated notes from the phantom of life (all)

30 animated notes by Ollie Johnston, Phantom of life (all)

 

(Ollie Johnston and Frank Thomas have co-authored the famous animated book "sion of Life)

John Lasseter, Pixar

Compilation: luonaldo (see him again)

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"When I was working as an animator at Disney, I had a copy list of some simple notes from one of Disney's greatest animators, Ollie Johnston, I ordered it on my drawing desk. This list was originally developed by Glen Keane, another great Disney animator, who has been an assistant to Ollie for many years ."

"These notes have become a source of inspiration for me over the years. Even if it was written to hand-drawn animation at the time, I believe it applies to the current computer animation ."

 

1. Do not interpret speech or mechanical movements, or interpret thoughts or thoughts with attitudes and actions.

    

2. Squeeze and stretch the whole body according to the attitude.

 

3. If possible, there should be clear changes in the rhythm and expression when changing from one attitude to another.

 

4. What is the role thinking?

 

5. The thinking and environment behind behaviors make behavior interesting. For example, a man moves to a mailbox, casts his letter into it, and then walks away. Or, a man who loves his girl carefully sends out a letter that has poured out his painstaking efforts.

 

6. When you draw a conversation scene, pay attention to the wording. (Simplify the conversation to display the main vowels and synced with the sound, especially in quick conversations .)

 

7. The physical attitude should be put in place four frames before the conversation (but the same mouth-style rhythm as X sheet should be used ).

 

8. Changes in the expression and the main voice of the conversation are a point of interest. Do everything possible to complete this change in one pose. If your role's header is too fast, you will not be able to see this change.

 

9. If there is no purpose, do not move anything.

 

10. Focus on it, rather than draw it clearly.

 

11. Don't be careless.

 

12. Everything has its function. Don't draw things you don't know what to do.

 

13. Attach the body language to the facial expression.

 

14. Get your best picture through sample and exploration.

 

15. Analyze a role's posture to find out which area is best suited for displaying extrusion and stretching, keeping these areas simple.

 

16. When you draw a picture, first outline it in your mind.

 

17. The entire role should be considered comprehensively, rather than just the head or eyes. Maintain a balance between all parts of the screen.

 

18. Divide the painting into good stages for the most effective painting.

 

19. After a while, draw a contour for your work. The contour is usually easier to see if the proportion of your face is appropriate.

 

20. What is associated with the usual frown lock is the eye's high focus.

 

21. The eyes are pulled by the muscles of the eyebrows.

 

22. The face must be plastic-cheek, mouth, and eye.

 

23. Smooth movements are achieved through the rhythm of the body in your picture.

 

24. Keep the animation shape simple.

 

25. It is hard for the audience to notice what happened at the first 6-8 frames in a scenario.

 

26. do extra actions contribute to the performance of the main ideas in the scenario? Is it a lottery or a mess?

27. Do not animation for the sake of animation. Think about what the role is thinking and how the scene needs to make the scene coherent.

 

28. behaviors can be omitted and cleverly divided into scenarios. As long as this behavior simplifies the picture you want to display without disturbing your audience.

 

29. Spend half of your time planning your scenario, and the other half for animation.

 

30. How can we animated an animation with four-legged animals performing a combination of walking? First set the performance mode, including squeezing and stretching the trunk, neck, and head; then go back to animation its limbs, and finally adjust the ups and downs of the trunk according to the movements of the legs.

 

(Original) animation notes from Ollie Johnston

 

Reference: these notes come from course 1 at Siggraph 94, "animation tricks ".

 

 

When I was an animator at the Disney Studios, I had a xeroxed list of simple notes from one of the great Disney animators, Ollie Johnston, pinned to my drawing table.

 

 

The list was originally written down by another great Disney animator, Glen Keane, after working as Ollie's assistant for a few years.

 

 

These notes have been an inspiration to me for years. Even though they were meant for hand-drawn animation, I believe that they still apply to computer animation.

 

1. Don't parse strate words or mechanical movements. Duplicate strate ideas or thoughts, with the attitudes and actions.

2. squash and stretch entire body for attitudes.

3. If possible, make definite changes from one attitude to another in timing and expression.

4. What is the character thinking?

5. It is the thought and circumstances behind the action that will make the action interesting.

Example: A man walks up to a mailbox, drops in his letter and walks away.

A man desperately in love with a girl far away carefully mails a letter in which he has poured his heart out.

6. When drawing dialogue, go for phrasing. (simplify the dialogue into pictures of the dominating vowel and consonant sounds, especially in fast dialogue.

7. Lift the body attitude 4 frames before dialogue modulation (but use identical timing on mouth as on X sheet ).

8. change of expression and major dialogue sounds are a point of interest. do them, if at all possible, within a pose. if the head moves too much you won't see the changes.

9. Don't move anything unless it's for a purpose.

10. Concentrate on drawing clear, not clean.

11. Don't be careless.

12. Everything has a function. Don't draw without knowing why.

13. Let the Body Attitude echo the facial.

14. Get the best picture in your drawing by thumbnails and keep ing all avenues.

15. Analyze a character in a specific pose for the best areas to show stretch and squash. Keep these areas simple.

16. picture in your head what it is you're drawing.

17. think in terms of drawing the whole character, not just the head or eyes, etc. Keep a balanced relation of one part of the drawing to the other.

18. Stage for most valid tive drawing.

19. Draw a profile of the drawing you're working on every once in a while. A profile is easier on which to show the proper proportions of the face.

20. Usually the break in the eyebrow relates to the highpoint of the eye.

21. The eye is pulled by the eyebrow muscles.

22. Get a plastic quality in face-cheeks, mouth and eyes.

23. attain a flow thru the body rhythm in your drawing.

24. Simple animated shapes.

25. The audience has a difficult time reading the first 6-8 frames in a scene.

26. Does the added action in a scene contribute to the main idea in that scene? Will it help you it or confuse it?

27. Don't animate for the sake of animation but think what the character is thinking and what the scene needs to fit into the sequence.

28. actions can be eliminated and staging "cheated" if it simplifies the picture you are trying to show and is not disturbing to the audience.

29. spend half your time planning your scene and the other half animating.

30. how to animate a scene of a four-legged character acting and walking: Work out the acting patterns first with the stretch and squash in the body, neck and head; then go back in and animate the legs. finally, adjust the up and down motion on the body according to the legs.

 

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30 animated notes from the phantom of life (all)