The Animation Bible: A Practical Guide to the Art of Animating, from Flipbooks to Flash

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The Animation Bible: A Practical Guide to the Art of Animating, from Flipbooks to Flash

The Animation Bible: A Practical Guide to the Art of Animating, from Flipbooks to Flash

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Now Adam knew Eve his wife, and she conceived and bore Cain, saying, “I have gotten a man with the help of the Lord. A third, related technique is "drag", where a character starts to move and parts of them take a few frames to catch up. The Animation Bible" covers every conceivable animation process and technique, explaining and exploring their use through case studies of eminent and cutting-edge animators of the past and present. Adding secondary actions to the main action gives a scene more life, and can help to support the main action.

Its purpose is to direct the audience's attention, and make it clear what is of greatest importance in a scene; [12] Johnston and Thomas defined it as "the presentation of any idea so that it is completely and unmistakably clear", whether that idea is an action, a personality, an expression, or a mood. The level of exaggeration depends on whether one seeks realism or a particular style, like a caricature or the style of a specific artist. She has taught animation production for more than ten years and is presently on the faculty of the Department of Film and Video of the California Institute of the Arts in Valencia. Disney's twelve basic principles of animation were introduced by the Disney animators Ollie Johnston and Frank Thomas in their 1981 book The Illusion of Life: Disney Animation.The important thing about secondary actions is that they emphasize, rather than take attention away from the main action. They want to know that your idea is a strong one, that is has a strong premise, that it has "legs" - meaning that your story is big enough to span a full series and, further potential series. a] [1] The principles are based on the work of Disney animators from the 1930s onwards, in their quest to produce more realistic animation. In realistic animation, however, the most important aspect of this principle is that an object's volume does not change when squashed or stretched. The son shall not suffer for the iniquity of the father, nor the father suffer for the iniquity of the son.

A good pitch is like throwing out a hook, helping your potential investors and partners to understand the context of your idea and build excitement about its potential. A dancer jumping off the floor has to bend the knees first; a golfer making a swing has to swing the club back first.The righteousness of the righteous shall be upon himself, and the wickedness of the wicked shall be upon himself. Overlapping action" is the tendency for parts of the body to move at different rates (an arm will move on different timing of the head and so on). Taken to an extreme, a figure stretched or squashed to an exaggerated degree can have a comical effect. All Scripture quotations, unless otherwise indicated, are taken from The Holy Bible, English Standard Version. In baseball, a fastball would tend to move in a straighter line than other pitches; while a figure skater moving at top speed would be unable to turn as sharply as a slower skater, and would need to cover more ground to complete the turn.

The essence of this principle is keeping focus on what is relevant, and avoiding unnecessary detail. The 1981 edition published by Abbeville Press ( ISBN 0896592332) used better quality paper and consequently possessed higher image quality than either the 1988 edition or the revised edition from 1995 ( ISBN 0-7868-6070-7) (published by Disney's Hyperion with the inverted title The Illusion of Life: Disney Animation). This principle applies to characters moving between two extreme poses, such as sitting down and standing up, but also for inanimate, moving objects, like the bouncing ball in the above illustration.

And when they say to you, “Inquire of the mediums and the necromancers who chirp and mutter,” should not a people inquire of their God? This can be done by various means, such as the placement of a character in the frame, the use of light and shadow, or the angle and position of the camera. There are several tricks for making a character connect better with the audience; for likable characters, a symmetrical or particularly baby-like face tends to be effective.



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