3d solid drawing of steamboat willie
All about animation: from history to the 12 principles
Rules to create the magic of moving objects and characters
The term "blitheness" refers to the procedure of designing and drawing sequences of images, which, through their rapid succession, create the illusion of movement in the viewer.
The modern entertainment manufacture makes extensive use of these techniques, not only for movies and television, but too for presentations or multimedia videos on the web.
And, in footstep with the evolution of technology, the mode of functioning of the animator has besides changed: if once he was forced to put himself at the drawing board to patiently realize i frame at a 
time, today he must be able to to primary all the tools offered past the software, which take opened new frontiers in his work.
Depending on the technique used, therefore, we accept come up to distinguish different types of animation including: the traditional (or "cel blitheness", from the proper noun of the acetate sheets on which the various frames were individually drawn), the 2D 1, the 3D, motion graphics and cease move, (made with physical models instead of drawings).
Merely everyone must respect the sacred twelve principles that have been valid since the time of the commencement Disney cartoons. We'll list them all, i by i.
History of animation
Identifying the very showtime blitheness of history is a more than complex task than it might seem, because it depends on the definition given to this word.
After all, nosotros said that animating simply means creating the illusion of motility through the rapid succession of still images.
And if we start from this supposition, then nosotros can trace this technique dorsum to thousands of years ago: to the Rock Age rock paintings showing animals in activity, whose images were superimposed in different positions to make them appear in the running, when they were looked at the flickering torchlight.
So, over the centuries, the technologies have naturally been refined: in the nineteenth century the first devices were born, the so-called kinetoscopes, fenachistoscopes or zoopraxiscopi, which allowed to animate the images fatigued on disks or films that were rotated by hand.
In practice, the forerunners of modern cinema projectors.
And it is with the era of the movies that animation took the forms with which nosotros know it today.
The outset pioneering experiments in the creation of animated brusk films date back to the beginning of the 20th century (an important instance is "Gertie the dinosaur", from 1914), while the first feature-length flick created with traditional animation techniques is "El Apòstol", a drawing animated by political satire made in 1917 in South America, 70 minutes long (with a reproduction frequency of every bit many every bit xiv frames per 2d!) and which also achieved a fairly successful audition
To change forever the history of the world of animation, even so, was obviously the birth of a minor studio based in Los Angeles: Walt Disney Studios .
Within a few years, Disney created his first sound drawing ("Steamboat Willie", 1928), the outset in color ("Flower and Trees", 1932), and finally the first feature picture show ("Snow White and the Seven Dwarfs", 1937).
To attain the adjacent primal turning point in the history of animation we must make a jump to 1995: the date in which Pixar adult "Toy Story", the first animated motion-picture show completely realized in computer graphics, which started the exponential growth of the CGI animation of these years.
Today this has get i of the existent aureate mines of the film industry: animation is in fact the genre that guarantees more profit margins (52%, according to a recent enquiry by the Japanese group Nomura, compared to 40% of action, xxx% of the dramatic ones and 22% of the comedies).
The 12 principles of animation
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- Squash and stretch (schiaccia e allunga)
It is considered the fundamental principle because, when applied, it gives to the characters or to the animated objects the illusion of gravity, weight, mass and elasticity. The reaction must be the aforementioned as a safe billowy ball when it is thrown into the air: as it moves upwardly or down, it stretches, and when it hits the ground, it crushes. Of course the focal betoken is the volume, which must e'er be kept coherent: consequently, an object that stretches must also become thinner, and on the reverse when it squashes at the same time it widens. - Anticipation (anticipazione)
To brand the activity more realistic, the viewer must be prepared for what is about to happen. For example, it never happens to run across a person jumping without first bending his knees, or throwing a brawl without first pulling his arm dorsum: it would non only look unnatural, just even physically incommunicable. In the same way, an animated movement without its anticipation appears to be off and lifeless. - Staging (messa in scena)
Similar an actor performing on stage, even an animator is responsible for drawing the viewer'south attention to the crucial parts of the scene. In other words, you have to go along what matters in the center and the less important objects in the background. - Straight Alee & Pose to Pose (azione diretta o da posa a posa)
There are 2 ways to manage an blitheness, each of which has its advantages and disadvantages, then much so that they are often combined with each other. The directly action is to draw a frame at a time from beginning to cease, and is the best selection if you are looking for a smooth or realistic movement. With the technique to pose to pose, withal, you depict first the initial frame, then the terminal one and some key frames in betwixt. Merely so will you go back and complete the residue: in this manner you get more than control on the scene and you increase the dramatic result. - Follow through (inseguimento) e overlapping (sovrapposizione)
When an object moves, not all of its parts movement at the same speed, and when the movement stops, non everything stops at the same time. For example, if our grapheme runs from one side of the scene to another, the arms and head will motion at a dissimilar pace from the head (this is the overlapping activeness) and, when information technology stops, the hair will probably proceed to move for a few frames after the head is blocked (this is the pursuit). - Slow in due east wearisome out (rallentamento in entrata e uscita)
The all-time way to sympathize this principle is to call back about how a automobile accelerates or decelerates: the change from zero to i hundred kilometers per hour is not immediate, simply it takes some time to reach cruising speed, just similar when presses the restriction pedal the car does not finish immediately, just gradually. By carefully monitoring changes in the speed of objects, our blitheness can be fabricated more credible. - Arcs (curve)
The animation must respect the laws of physics. And then, when y'all throw a brawl into the air, you take to take into account its natural parabola, the trajectory in a curved line that will follow because of the Earth's gravity. - Secondary activity (azione secondaria)
Information technology serves to support or emphasize the master action, and to give greater depth to our animation. For example, we refer to the slight motion of the hair while the character walks, or to a uncomplicated facial expression that can make yous sympathize what you are thinking. - Timing (temporizzazione)
This principle also aims to apply the laws of physics observed in the natural world to animation. If you movement an object too quickly or likewise slowly, in fact, this activity will not be apparent. Instead, by using the times correctly and consistently, it is possible to communicate certain characteristics or reactions of our objects or characters: for example, something that moves more than slowly will exist perceived as heavier. - Exageration (esagerazione)
It'due south okay to exist realistic, but not likewise much! If you exaggerate, our blitheness could appear static and irksome. Some exaggeration added hither and there makes our characters or objects more dynamic: therefore, do not be agape to push yourself, from fourth dimension to time, beyond the limits of the possible. A bit like what happened to the actors of the silent cinema that, without existence able to count on the dialogues, only on the opposite having to transmit all the emotions only through facial expressions, they were oftentimes forced to excessively accentuate their acting, expressions and body gestures. - Solid Drawings (disegno solido)
Never forget the bones principles of three-dimensional design: shape, anatomy, weight, volume, lights and shadows. Even in this case we tin can button across the limits of realism, but we must remain consistent: if in our animated world the doors wobble or the perspective is deformed, this situation volition remain for the entire animation, otherwise the sense of continuity. - Entreatment (attrattiva)
The characters, objects and the world in which they alive must concenter the attention of the spectator: therefore their design must be easy to read and pleasant to look at, and their personality interesting and charismatic. There is no unmarried scientific formula to realize this principle, but here lies the art of the animator.
- Squash and stretch (schiaccia e allunga)
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Source: https://www.nutscomputergraphics.com/en/all-about-animation-from-history-to-the-12-principles/
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