Books*************************************
Animation Art FormThe Illusion of LifeFrank Thomas, Ollie Johnston
Animation HistoryCartoons:
One Hundred Years of Cinema animationGiannalberto Bendiazzi
Personal AccountsChuck AmuckChuck Jones
Talking Animal's and Other PeopleShamus Culhane
The Flair of Mary BlairJohn Canemaker
How-TosThe Animation BookKit Laybourne
Animation from script to screenShamus Culhane
Art Of'sToy Story
The Nightmare Before Christmas
Spirited Away
Before the Animation BeginsJohn Canemaker
Links*************************************
Summer Studio's Computer Animation Website:
http://babel.massart.edu/~nettrice/animationCartoon Brew
http://www.cartoonbrew.com/notes: kinda like the New York Times of animationHere are the links that we looked at in last weeks class:
Character Design Blog:http://characterdesign.blogspot.com/Fosters Home for Imaginary Friends Production Blog:
http://fosterstv.blogspot.com/The Illustration, Animation...Inspiration blog-Drawn:
http://www.drawn.ca/1 on 1 Animation Website
http://1on1animation.com/inspiration-flip.htmnote: scroll down on this page to see pencil tests
from the
Nine old Men. and others!
Character Design Blog
http://characterdesign.blogspot.com/note: a blog that introduces Character Designers with interviews and expamples of work.Teaching Simple Animation:
Fun With Thaumatropes and Other Big Words
http://www.youthlearn.org/learning/activities/multimedia/animation.aspnote: basic thaumatrope and animation info with links
History of the Phenakistoscope
http://courses.ncssm.edu/gallery/collections/toys/html/exhibit07.htmnote: Shows movies of Pscope from the 1800's, beautiful.Make your own Zoetrope
http://www.groeg.de/puzzles/zoetrope.htmlPrinciples of Animation*************************************
The Disney Studio developed a number of principles of animation. These principles are:
1. Squash and Stretch – the animator needs to define the rigidity and mass of an object by distorting its shape during an action.
2. Timing – the animator should space actions to define the weight and size of objects and the personality of the character.
3. Anticipation – the animator creates anticipation through the preparation of action.
4. Staging – the animator presents ideas that are clear.
5. Follow Through and Overlapping Action – the animator terminates one action and establishes its relationship to the next action.
6. Straight Ahead Action and Pose-To-Pose Action – these are the two contrasting approaches to the creation of movement.
7. Slow In and Out – the animator needs to consider the spacing of the in-between frames to achieve subtlety of timing and movement.
8. Arcs – this is where the animator creates a visual path of action for natural movement.
9. Exaggeration – the animator should accentuate ideas via the design and the action of the objects and characters.
10. Secondary Action – the animator considers the action of one object/character which results from another object/character’s action.
11. Appeal – the animator must create a design or an action that the audience enjoys watching.
Adam Phillips: Bitey's Castle
