February 6, 2014
Some good tips on simplified drawing for animation
January 27, 2014
Character Design
When creating a new character please think about the shapes that go into that design. Sketch out basic shapes and build up your design as you go. Don't worry about detail until the very end. Watch these videos to see how interesting characters can be created from very simple shapes.
This videos where done by Luigi Lucarelli
If you watch these videos and send me an email comment I will give you extra credit.
January 22, 2014
Hotkeys
F5: Add Frames
F6: Copy Frames
F7: Blank Key Frame
B: Brush Tool
Q: Transform Tool
K: Paint Bucket
V: Move Tool
A: Subselection
January 8, 2014
Emotion and Animation
-When you animate you are trying to tell a story through your drawings. Animation needs to show what it is to be alive. On a daily basis we all have mannerisms or movements that are unique to ourselves.
-As you begin to design your characters make sure you think about individual personalities and how everyone one you encounter has their own qualities that make them stand out.
-Please read the packet I posted under google docs labeled simplified drawing.
By Wednesday, January 15, 2014 You Will Need To Have:
*10 Thumbnail designs for you next animation project
*10 Drawings using the methods and techniques from simplified drawing.
-Keep the drawings small and easy to read.
-Have each drawing be a daily activity you do (walking, talking, eating, brushing your teeth, Etc.)
Also watch the videos below for ideas.
December 4, 2013
Walk Cycle
1. Contact (The ball of the front foot makes contact with the ground)
2. Recoil (The weight of the front foot come down and the back leg begins to come forward)
3. Passing (The front leg straightens out with all the weight being put down and the back leg continues forward)
4. High-Point (The front foot now is completely behind the back foot, all the weight of the character is moving forward)
-Make sure that head of the character is moving in a wave like motion.
-Make sure when you are drawing out your walk to remember the weight of the foot stays in one place while the upper body moves forward.
November 14, 2013
[Storyboading]
PB&J In the computer
-Take your note cards and redraw them in Adobe Flash
-Each note card should represent one frame of animation
-Keep all drawings loose, but easy to read
-Once all your note cards are entered then scrub through your frames and see if your idea needs more frames to tell the best story possible
-F5: Add Frame
-F6: Copy Frame
-F7: Create Blank Key Frame
This will help with a more natural drawing in the computer
This will be due on November 19, 2013
October 17, 2013
[Storyboarding Assignment]
PB&J
-You are going to create 16 storyboards on the subject of making a peanut butter and jelly sandwich.
-Your storyboards should show how to make a PB & J using only illustration and no text.
-The storyboards need to be clear and easy to understand.
-You may create the storyboards in any drawing style of your choosing.
-You must use index cards to complete this project (If you can not get note cards please let Mr. Martin know as soon as possible)
-Make sure each storyboard is numbered in correct sequence.
-Once your storyboards are done you will present them to the class.
Due Date: Thursday, October 31, 2013 (At the beginning of class)
-THIS WILL BE WORTH A PROJECT GRADE
October 16, 2013
[Storyboarding]
Please watch the videos and take notes on them by friday. This will count as a quiz grade.
September 18, 2013
[Flash Quick Keys and Help]
F5- Add Frames
F6- Copy Frames
F7- Create Blank Key frame
O- Oval Tool
R- Rectangle Tool
B- Brush Tool
Q- Transform Tool
L- Lasso Tool
V- Move Tool (Move tool can also shape your objects)
September 16, 2013
[Transform Animation]
This week you will begin working on your transform animtion. You will take your ball from your previous animation and turn it into another object, creature, or person. Keep your transformation simply and easy to manipulate.
Project 1.2
[Ball Transformation]
Due: September 23, 2013
Objectives:
1. Use the transform tool to manipulate objects on screeen
2. Use the move tool to bend and shape.
3. Learn about the line and brush tools
September 11, 2013
[Intro to Timeline and Quick keys to frames]
September 2, 2013
[Principles of Animation]
1. SQUASH AND STRETCH
This action gives the illusion of weight and volume to a character as it moves. Also squash and stretch is useful in animating dialogue and doing facial expressions. How extreme the use of squash and stretch is, depends on what is required in animating the scene. Usually it's broader in a short style of picture and subtler in a feature. It is used in all forms of character animation from a bouncing ball to the body weight of a person walking. This is the most important element you will be required to master and will be used often.
2. ANTICIPATION
This movement prepares the audience for a major action the character is about to perform, such as, starting to run, jump or change expression. A dancer does not just leap off the floor. A backwards motion occurs before the forward action is executed. The backward motion is the anticipation. A comic effect can be done by not using anticipation after a series of gags that used anticipation. Almost all real action has major or minor anticipation such as a pitcher's wind-up or a golfers' back swing. Feature animation is often less broad than short animation unless a scene requires it to develop a characters personality.
3. STAGING
A pose or action should clearly communicate to the audience the attitude, mood, reaction or idea of the character as it relates to the story and continuity of the story line. The effective use of long, medium, or close up shots, as well as camera angles also helps in telling the story. There is a limited amount of time in a film, so each sequence, scene and frame of film must relate to the overall story. Do not confuse the audience with too many actions at once. Use one action clearly stated to get the idea across, unless you are animating a scene that is to depict clutter and confusion. Staging directs the audience's attention to the story or idea being told. Care must be taken in background design so it isn't obscuring the animation or competing with it due to excess detail behind the animation. Background and animation should work together as a pictorial unit in a scene.
4. STRAIGHT AHEAD AND POSE TO POSE ANIMATION
Straight ahead animation starts at the first drawing and works drawing to drawing to the end of a scene. You can lose size, volume, and proportions with this method, but it does have spontaneity and freshness. Fast, wild action scenes are done this way. Pose to Pose is more planned out and charted with key drawings done at intervals throughout the scene. Size, volumes, and proportions are controlled better this way, as is the action. The lead animator will turn charting and keys over to his assistant. An assistant can be better used with this method so that the animator doesn't have to draw every drawing in a scene. An animator can do more scenes this way and concentrate on the planning of the animation. Many scenes use a bit of both methods of animation.
5. FOLLOW THROUGH AND OVERLAPPING ACTION
When the main body of the character stops all other parts continue to catch up to the main mass of the character, such as arms, long hair, clothing, coat tails or a dress, floppy ears or a long tail (these follow the path of action). Nothing stops all at once. This is follow through. Overlapping action is when the character changes direction while his clothes or hair continues forward. The character is going in a new direction, to be followed, a number of frames later, by his clothes in the new direction. "DRAG," in animation, for example, would be when Goofy starts to run, but his head, ears, upper body, and clothes do not keep up with his legs. In features, this type of action is done more subtly. Example: When Snow White starts to dance, her dress does not begin to move with her immediately but catches up a few frames later. Long hair and animal tail will also be handled in the same manner. Timing becomes critical to the effectiveness of drag and the overlapping action.
6. SLOW-OUT AND SLOW-IN
As action starts, we have more drawings near the starting pose, one or two in the middle, and more drawings near the next pose. Fewer drawings make the action faster and more drawings make the action slower. Slow-ins and slow-outs soften the action, making it more life-like. For a gag action, we may omit some slow-out or slow-ins for shock appeal or the surprise element. This will give more snap to the scene.
7. ARCS
All actions, with few exceptions (such as the animation of a mechanical device), follow an arc or slightly circular path. This is especially true of the human figure and the action of animals. Arcs give animation a more natural action and better flow. Think of natural movements in the terms of a pendulum swinging. All arm movement, head turns and even eye movements are executed on an arcs.
8. SECONDARY ACTION
This action adds to and enriches the main action and adds more dimension to the character animation, supplementing and/or re-enforcing the main action. Example: A character is angrily walking toward another character. The walk is forceful, aggressive, and forward leaning. The leg action is just short of a stomping walk. The secondary action is a few strong gestures of the arms working with the walk. Also, the possibility of dialogue being delivered at the same time with tilts and turns of the head to accentuate the walk and dialogue, but not so much as to distract from the walk action. All of these actions should work together in support of one another. Think of the walk as the primary action and arm swings, head bounce and all other actions of the body as secondary or supporting action.
9. TIMING
Expertise in timing comes best with experience and personal experimentation, using the trial and error method in refining technique. The basics are: more drawings between poses slow and smooth the action. Fewer drawings make the action faster and crisper. A variety of slow and fast timing within a scene adds texture and interest to the movement. Most animation is done on twos (one drawing photographed on two frames of film) or on ones (one drawing photographed on each frame of film). Twos are used most of the time, and ones are used during camera moves such as trucks, pans and occasionally for subtle and quick dialogue animation. Also, there is timing in the acting of a character to establish mood, emotion, and reaction to another character or to a situation. Studying movement of actors and performers on stage and in films is useful when animating human or animal characters. This frame by frame examination of film footage will aid you in understanding timing for animation. This is a great way to learn from the others.
10. EXAGGERATION
Exaggeration is not extreme distortion of a drawing or extremely broad, violent action all the time. It¹s like a caricature of facial features, expressions, poses, attitudes and actions. Action traced from live action film can be accurate, but stiff and mechanical. In feature animation, a character must move more broadly to look natural. The same is true of facial expressions, but the action should not be as broad as in a short cartoon style. Exaggeration in a walk or an eye movement or even a head turn will give your film more appeal. Use good taste and common sense to keep from becoming too theatrical and excessively animated
11. SOLID DRAWING
The basic principles of drawing form, weight, volume solidity and the illusion of three dimension apply to animation as it does to academic drawing. The way you draw cartoons, you draw in the classical sense, using pencil sketches and drawings for reproduction of life. You transform these into color and movement giving the characters the illusion of three-and four-dimensional life. Three dimensional is movement in space. The fourth dimension is movement in time.
12. APPEAL
A live performer has charisma. An animated character has appeal. Appealing animation does not mean just being cute and cuddly. All characters have to have appeal whether they are heroic, villainous, comic or cute. Appeal, as you will use it, includes an easy to read design, clear drawing, and personality development that will capture and involve the audience¹s interest. Early cartoons were basically a series of gags strung together on a main theme. Over the years, the artists have learned that to produce a feature there was a need for story continuity, character development and a higher quality of artwork throughout the entire production. Like all forms of story telling, the feature has to appeal to the mind as well as to the eye.
Hopefully these tips will help you understand more about the process of animation and spark your interest in the field of The Fine Art of Animation.
Information taken from http://www.animationtoolworks.com/library/article9.html
Please refer to the website for more information
August 26, 2012
Some good tips on simplified drawing for animation
January 27, 2014
Character Design
When creating a new character please think about the shapes that go into that design. Sketch out basic shapes and build up your design as you go. Don't worry about detail until the very end. Watch these videos to see how interesting characters can be created from very simple shapes.
This videos where done by Luigi Lucarelli
If you watch these videos and send me an email comment I will give you extra credit.
This Friday, January 31:
Please bring in a clip of your favorite animation and be prepared to present it to the class. The clip can be no longer than 5 min.
Be able to explain what you like about the clip and your reasons for picking it.
January 22, 2014
Hotkeys
F5: Add Frames
F6: Copy Frames
F7: Blank Key Frame
B: Brush Tool
Q: Transform Tool
K: Paint Bucket
V: Move Tool
A: Subselection
January 8, 2014
Emotion and Animation
-When you animate you are trying to tell a story through your drawings. Animation needs to show what it is to be alive. On a daily basis we all have mannerisms or movements that are unique to ourselves.
-As you begin to design your characters make sure you think about individual personalities and how everyone one you encounter has their own qualities that make them stand out.
-Please read the packet I posted under google docs labeled simplified drawing.
By Wednesday, January 15, 2014 You Will Need To Have:
*10 Thumbnail designs for you next animation project
*10 Drawings using the methods and techniques from simplified drawing.
-Keep the drawings small and easy to read.
-Have each drawing be a daily activity you do (walking, talking, eating, brushing your teeth, Etc.)
Also watch the videos below for ideas.
December 4, 2013
Walk Cycle
Image taken from www.idleworm.com
-There are four main poses in a walk cycle1. Contact (The ball of the front foot makes contact with the ground)
2. Recoil (The weight of the front foot come down and the back leg begins to come forward)
3. Passing (The front leg straightens out with all the weight being put down and the back leg continues forward)
4. High-Point (The front foot now is completely behind the back foot, all the weight of the character is moving forward)
-Make sure that head of the character is moving in a wave like motion.
Image taken from animator's survival guide
-Make sure when you are drawing out your walk to remember the weight of the foot stays in one place while the upper body moves forward.
November 14, 2013
PB&J In the computer
-Take your note cards and redraw them in Adobe Flash
-Each note card should represent one frame of animation
-Keep all drawings loose, but easy to read
-Once all your note cards are entered then scrub through your frames and see if your idea needs more frames to tell the best story possible
-F5: Add Frame
-F6: Copy Frame
-F7: Create Blank Key Frame
This will help with a more natural drawing in the computer
October 17, 2013
[Storyboarding Assignment]
PB&J
-You are going to create 16 storyboards on the subject of making a peanut butter and jelly sandwich.
-Your storyboards should show how to make a PB & J using only illustration and no text.
-The storyboards need to be clear and easy to understand.
-You may create the storyboards in any drawing style of your choosing.
-You must use index cards to complete this project (If you can not get note cards please let Mr. Martin know as soon as possible)
-Make sure each storyboard is numbered in correct sequence.
-Once your storyboards are done you will present them to the class.
Due Date: Thursday, October 31, 2013 (At the beginning of class)
-THIS WILL BE WORTH A PROJECT GRADE
October 16, 2013
[Storyboarding]
Please watch the videos and take notes on them by friday. This will count as a quiz grade.
September 18, 2013
[Flash Quick Keys and Help]
F5- Add Frames
F6- Copy Frames
F7- Create Blank Key frame
O- Oval Tool
R- Rectangle Tool
B- Brush Tool
Q- Transform Tool
L- Lasso Tool
V- Move Tool (Move tool can also shape your objects)
If when you select an object and you get this thin square around your object then you will need to ungroup the object to be able to select the object and manipulate it.
Go To>Modify>Ungroup
After you do this you should be able to use the lasso tool to manipulate the object and cut it into pieces.
Continue to work on your project, if you have questions please let me know on friday. Also refer to the Advanced animation students for help.
Also, watch this pretty animation.
September 16, 2013
[Transform Animation]
This week you will begin working on your transform animtion. You will take your ball from your previous animation and turn it into another object, creature, or person. Keep your transformation simply and easy to manipulate.
Project 1.2
[Ball Transformation]
Due: September 23, 2013
Objectives:
1. Use the transform tool to manipulate objects on screeen
2. Use the move tool to bend and shape.
3. Learn about the line and brush tools
September 11, 2013
[Intro to Timeline and Quick keys to frames]
September 2, 2013
[Principles of Animation]
1. SQUASH AND STRETCH
This action gives the illusion of weight and volume to a character as it moves. Also squash and stretch is useful in animating dialogue and doing facial expressions. How extreme the use of squash and stretch is, depends on what is required in animating the scene. Usually it's broader in a short style of picture and subtler in a feature. It is used in all forms of character animation from a bouncing ball to the body weight of a person walking. This is the most important element you will be required to master and will be used often.
2. ANTICIPATION
This movement prepares the audience for a major action the character is about to perform, such as, starting to run, jump or change expression. A dancer does not just leap off the floor. A backwards motion occurs before the forward action is executed. The backward motion is the anticipation. A comic effect can be done by not using anticipation after a series of gags that used anticipation. Almost all real action has major or minor anticipation such as a pitcher's wind-up or a golfers' back swing. Feature animation is often less broad than short animation unless a scene requires it to develop a characters personality.
3. STAGING
A pose or action should clearly communicate to the audience the attitude, mood, reaction or idea of the character as it relates to the story and continuity of the story line. The effective use of long, medium, or close up shots, as well as camera angles also helps in telling the story. There is a limited amount of time in a film, so each sequence, scene and frame of film must relate to the overall story. Do not confuse the audience with too many actions at once. Use one action clearly stated to get the idea across, unless you are animating a scene that is to depict clutter and confusion. Staging directs the audience's attention to the story or idea being told. Care must be taken in background design so it isn't obscuring the animation or competing with it due to excess detail behind the animation. Background and animation should work together as a pictorial unit in a scene.
4. STRAIGHT AHEAD AND POSE TO POSE ANIMATION
Straight ahead animation starts at the first drawing and works drawing to drawing to the end of a scene. You can lose size, volume, and proportions with this method, but it does have spontaneity and freshness. Fast, wild action scenes are done this way. Pose to Pose is more planned out and charted with key drawings done at intervals throughout the scene. Size, volumes, and proportions are controlled better this way, as is the action. The lead animator will turn charting and keys over to his assistant. An assistant can be better used with this method so that the animator doesn't have to draw every drawing in a scene. An animator can do more scenes this way and concentrate on the planning of the animation. Many scenes use a bit of both methods of animation.
5. FOLLOW THROUGH AND OVERLAPPING ACTION
When the main body of the character stops all other parts continue to catch up to the main mass of the character, such as arms, long hair, clothing, coat tails or a dress, floppy ears or a long tail (these follow the path of action). Nothing stops all at once. This is follow through. Overlapping action is when the character changes direction while his clothes or hair continues forward. The character is going in a new direction, to be followed, a number of frames later, by his clothes in the new direction. "DRAG," in animation, for example, would be when Goofy starts to run, but his head, ears, upper body, and clothes do not keep up with his legs. In features, this type of action is done more subtly. Example: When Snow White starts to dance, her dress does not begin to move with her immediately but catches up a few frames later. Long hair and animal tail will also be handled in the same manner. Timing becomes critical to the effectiveness of drag and the overlapping action.
6. SLOW-OUT AND SLOW-IN
As action starts, we have more drawings near the starting pose, one or two in the middle, and more drawings near the next pose. Fewer drawings make the action faster and more drawings make the action slower. Slow-ins and slow-outs soften the action, making it more life-like. For a gag action, we may omit some slow-out or slow-ins for shock appeal or the surprise element. This will give more snap to the scene.
7. ARCS
All actions, with few exceptions (such as the animation of a mechanical device), follow an arc or slightly circular path. This is especially true of the human figure and the action of animals. Arcs give animation a more natural action and better flow. Think of natural movements in the terms of a pendulum swinging. All arm movement, head turns and even eye movements are executed on an arcs.
8. SECONDARY ACTION
This action adds to and enriches the main action and adds more dimension to the character animation, supplementing and/or re-enforcing the main action. Example: A character is angrily walking toward another character. The walk is forceful, aggressive, and forward leaning. The leg action is just short of a stomping walk. The secondary action is a few strong gestures of the arms working with the walk. Also, the possibility of dialogue being delivered at the same time with tilts and turns of the head to accentuate the walk and dialogue, but not so much as to distract from the walk action. All of these actions should work together in support of one another. Think of the walk as the primary action and arm swings, head bounce and all other actions of the body as secondary or supporting action.
9. TIMING
Expertise in timing comes best with experience and personal experimentation, using the trial and error method in refining technique. The basics are: more drawings between poses slow and smooth the action. Fewer drawings make the action faster and crisper. A variety of slow and fast timing within a scene adds texture and interest to the movement. Most animation is done on twos (one drawing photographed on two frames of film) or on ones (one drawing photographed on each frame of film). Twos are used most of the time, and ones are used during camera moves such as trucks, pans and occasionally for subtle and quick dialogue animation. Also, there is timing in the acting of a character to establish mood, emotion, and reaction to another character or to a situation. Studying movement of actors and performers on stage and in films is useful when animating human or animal characters. This frame by frame examination of film footage will aid you in understanding timing for animation. This is a great way to learn from the others.
10. EXAGGERATION
Exaggeration is not extreme distortion of a drawing or extremely broad, violent action all the time. It¹s like a caricature of facial features, expressions, poses, attitudes and actions. Action traced from live action film can be accurate, but stiff and mechanical. In feature animation, a character must move more broadly to look natural. The same is true of facial expressions, but the action should not be as broad as in a short cartoon style. Exaggeration in a walk or an eye movement or even a head turn will give your film more appeal. Use good taste and common sense to keep from becoming too theatrical and excessively animated
11. SOLID DRAWING
The basic principles of drawing form, weight, volume solidity and the illusion of three dimension apply to animation as it does to academic drawing. The way you draw cartoons, you draw in the classical sense, using pencil sketches and drawings for reproduction of life. You transform these into color and movement giving the characters the illusion of three-and four-dimensional life. Three dimensional is movement in space. The fourth dimension is movement in time.
12. APPEAL
A live performer has charisma. An animated character has appeal. Appealing animation does not mean just being cute and cuddly. All characters have to have appeal whether they are heroic, villainous, comic or cute. Appeal, as you will use it, includes an easy to read design, clear drawing, and personality development that will capture and involve the audience¹s interest. Early cartoons were basically a series of gags strung together on a main theme. Over the years, the artists have learned that to produce a feature there was a need for story continuity, character development and a higher quality of artwork throughout the entire production. Like all forms of story telling, the feature has to appeal to the mind as well as to the eye.
Hopefully these tips will help you understand more about the process of animation and spark your interest in the field of The Fine Art of Animation.
Information taken from http://www.animationtoolworks.com/library/article9.html
Please refer to the website for more information
August 26, 2012
Take a look to see what we will be doing in this class!
(Read all the way to the end because there will be a question, you will need to answer!)
[Introduction to
2D Animation]
Course Overview:
Course Outcomes:
Upon completion of this course, the students will have:
The following materials are required for successful completion of the course:
Programs and equipment to be used during course:
Grebler, Eric: Flash Animation for Teens, Thomson Course Technology. 2007
Recommended Reading:
(Ask teacher if a free digital copy is available)
Williams, Richard: The Animator’s Survival Kit, Faber & Faber. 2002
Blair, Preston: Cartoon animation, Walter Foster Publishing. 1995
Respect in the classroom:
Things to consider once you walk into the classroom:
1-3 hours per week depending on assignment.
Sample Grading policy for this class:
A= 90%-100% Projects 50% of Grade
B=80%-89% Class Participation 10% of Grade
C=70%-79% Sketchbook 20% of Grade
D=60%-69% Blog Participation 10% of Grade
F=Below 59% Final Project 10% of Grade
Sample Grading Rubric:
-POST A COMMENT: What do you want to learn most from taking this Class?
2D Animation]
Mr. Martin
kstarmart@gmail.com
Course Overview:
This class provides students with the basic understanding of two-dimensional animation sequences with the use of the personal computer. Students use two-dimensional animation software to draw cells and overlays, to produce onscreen animation
Course Outcomes:
Upon completion of this course, the students will have:
- Knowledge of specific animation techniques and principles used in creating cell animation.
- Understanding of the animation process including; storyboarding, timing and composition.
- Basic knowledge of the history of animation.
The following materials are required for successful completion of the course:
- Pencils and Pens
- Sketchbook
- Flash Drive (at least 8g)
Programs and equipment to be used during course:
- Imac Computer
- Adobe Flash
- Adobe Photoshop
- Adobe Illustrator
- Wacom Tablet
Grebler, Eric: Flash Animation for Teens, Thomson Course Technology. 2007
Recommended Reading:
(Ask teacher if a free digital copy is available)
Williams, Richard: The Animator’s Survival Kit, Faber & Faber. 2002
Blair, Preston: Cartoon animation, Walter Foster Publishing. 1995
Respect in the classroom:
Things to consider once you walk into the classroom:
- Since we are working on really expensive equipment, please no food or drink while in the classroom.
- When you are in the classroom please come in with a learning mind. Leave the phones, texting, and facebook at the door. “People need to be made more aware of the need to work at learning how to live because life is so quick and sometimes it goes away too quickly.” Andy Warhol
- While in class I will not ask you to do anything I would not do myself, and that includes talking out of turn, or ignoring what you have to say. Please make this a place where we can learn from one another.
- Come in to be challenged and leave with some knowledge.
1-3 hours per week depending on assignment.
Sample Grading policy for this class:
A= 90%-100% Projects 50% of Grade
B=80%-89% Class Participation 10% of Grade
C=70%-79% Sketchbook 20% of Grade
D=60%-69% Blog Participation 10% of Grade
F=Below 59% Final Project 10% of Grade
Sample Grading Rubric:
4
|
3
|
2
|
1
|
0
| |
Criteria | Completed project on time. Demonstrated a level of craftsmanship needed to fulfill project. Shows an understanding of the source material. Invested time into final end result of project. | Completed project on time. The project shows time invested into project and concepts are understood. | Fulfilled most of the project criteria. The project shows promise that the student has the ability to comprehend and execute the given task content. | Did not fulfill the project criteria. Shows little effort and/or personal investment. | Did not attempt to fulfill the project criteria. Did not do the assignment. Shows no personal investment |
Artistry | The student demonstrates a strong knowledge and understanding of the elements of animation. The final project commands attention. | The student uses the principles of animation to improve readability and function. The final project is well organized and put together in a viewable format. | The student attempts to use the principles of animation and shows promise and potential in completing project. | The student attempts to use the principles of animation but demonstrates little understanding of how the principles are put into practice. | Did not attempt to use the principles of animation and shows no knowledge of their use. |
[Animation]
Calendar
Semester 1, Cycle 1
Week 1: Aug 26-Aug 30
Week 2: Sept 2-Sept 6
Week 3: Sept 9-Sept 13
Week 4: Sept 16-Sept 20
Week 5: Sept 23- Sept 27
Week 6: Sept 30-Oct 4
Week 7: Oct 7- Oct 11
Week 8: Oct 14-Oct 18
Week 9: Oct 21-Oct 25
Calendar
Semester 1, Cycle 2
Week 1: Oct 29-Nov 2
Week 2: Nov 5- Nov 9
Week 3: Nov 12- Nov 16
THANKSGIVING BREAK (NOV 19-23)
Week 4: Nov 26- Nov 30
Week 5: Dec 3- Dec 7
Week 6: Dec 10- Dec 14
Week 7: Dec 17- Dec 21
WINTER FUN TIME BREAK (DEC 24-JAN 4)
Week 8: Jan 7- Jan 11
Calendar
Semester 1, Cycle 1
Week 1: Aug 26-Aug 30
- Topic: Introduction to Animation
- Meet the teacher
- Meet the students
- Introduction to programs
Week 2: Sept 2-Sept 6
- Sept 3: Labor Day (NO SCHOOL)
- Topic: 12 principles of Animation (Squash and Stretch, Anticipation, Staging)
- Project: Flip Book Animation
Week 3: Sept 9-Sept 13
- Topic: 12 Principles of Animation (Straight Ahead & Pose to Pose Animation, Follow through & Overlapping Action, Slow-Out and Slow-In, Arcs, Secondary Action)
- Project: Flip Book Animation (Continued)
Week 4: Sept 16-Sept 20
- Topic: 12 Principles of Animation (Timing, Exaggeration, Solid Drawing, Appeal)
- Project: Bouncing Ball (Traditional)
- Using Tracing Paper, creating a traditional 2d animation
Week 5: Sept 23- Sept 27
- Topic: Introduce Flash Tools
- Project: Bouncing Ball (Continued)
Week 6: Sept 30-Oct 4
- Topic: Stage, Frames, and Shapes
- Project: Bouncing Ball (Flash)
- Using Flash Students will recreate the bouncing ball assignment in Flash.
Week 7: Oct 7- Oct 11
- Topic: Solid Drawing with the use of shapes
- Project: Takes
- Create a character take expression emotion and movement
Week 8: Oct 14-Oct 18
- Topic: The Animators Survival Kit (Squash and Stretch with character)
- Project: Takes (Continue)
Week 9: Oct 21-Oct 25
- Topic: The Animators Survival Kit (Timing for Personality)
- Project: Takes (Continue)
- Harvest Fest Week
- Oct 25- Early Release
Calendar
Semester 1, Cycle 2
Week 1: Oct 29-Nov 2
- Topic: Model Sheets and Turnarounds
- Project: Flour Sack Model Sheets
- Show three different emotions.
- Show one type of action
Week 2: Nov 5- Nov 9
- Topic: Giving objects a personality
- Project: Flour Sack Model Sheets (Continued)
Week 3: Nov 12- Nov 16
- Topic: Creating backgrounds for animation
- Project: Story board Flour Sack Animation
THANKSGIVING BREAK (NOV 19-23)
- EAT TURKEY AND DRAW FUNNY PICTURES
Week 4: Nov 26- Nov 30
- Topic: Storyboarding and camera angles
- Project: Story board Flour Sack Animation
Week 5: Dec 3- Dec 7
- Topic: Putting it all together
- Project: Finish up Storyboarding or begin on Final animation
- Create a 15 flour sack animation
- Shows personality and dynamic action
Week 6: Dec 10- Dec 14
- History of Animation (Disney)
- Project: Flour Sack Animation
Week 7: Dec 17- Dec 21
- History of Animation (Warner Bothers)
- Project: Flour Sack Animation
- DEC 21- EARLY RELEASE
WINTER FUN TIME BREAK (DEC 24-JAN 4)
Week 8: Jan 7- Jan 11
- History of Animation (Anime)
- Project: Flour Sack Animation
- Putting it all together
- Project: Show final project
Very creative information about the 2d animation and its work. Thank you so much for sharing this precious information. 2d animation
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