I Got Blisters on Me Fingers!

After all the posts about animation studies and work on mime tests, you might notice that there has been a bit of a shortage of updates over the past week or so. Last week was one of those weeks where there was just no time to get any work done, and this week eczema has kindly decided to set up shop on my hands, making any kind of meaningful drawing impossible.

I’m trying to use my time away from the animation desk wisely though, reading a couple of books to try to learn a few new things. They’re great so I thought I’d recommend them here.

First is The Mime Book by Claude Kipnis.

This was lent to me by a colleague, clearly as I’m working on a short film about a mime. The book has a lot of useful information about miming which I can make use of in my film, but the reason I’m recommending it is that it’s generally good stuff animation-wise. It’s really interesting to read a different point of view on situations that will be familiar to animators.

It talks about things from both biomechanical and emotional points of views, and really makes you think about how you move your body.

 

 

 

Second is Human Anatomy for Artists: The Elements of Form by Eliot Goldfinger.

I have owned several anatomy books over the past couple of years, some of which have been better than others, and none of which have been an all-encompassing book. I think I have spoken before about my other current anatomy book of choice, The Atlas of Human Anatomy for the Artist, but I have often found it difficult to identify the muscle groups under the skin of a real human. Human Anatomy for Artists: The Elements of Form goes a long way to solving this problem with labelled photographs along-side the drawings, making it nice and clear what the different muscles look like under skin. There is a lot this book doesn’t teach, but simply from the point of view of identifying muscles on a live model it is well worth the money.

Finally, as I work on the Lego video games in my day job, I thought I’d share a great new Lego Star Wars animated TV show that was aired on Cartoon Network a couple of days ago, called Lego Star Wars: The Padawan Menace. This was not made by our company, but was instead the creation of Animal Logic. The only version of it I can find on YouTube is filmed off a TV screen:

You can find the other parts on YouTube. I can’t wait for it to come out on Blu-ray!

A 2nd Mime Test: Part 6

I don’t have anything to show you mime-wise tonight, but I thought I’d write a bit of an update anyway.

Tonight I threw a tantrum.

Over the past couple of evenings I had been breaking down the 2nd mime test, but I found it to be a very rigid experience. If you saw the beginnings of my 3rd test, you will see that I attempted something much more loose. Going back to the 2nd test after this felt forced and uncomfortable. When I scanned in my drawings to see them in motion I was horrified with the result. I think it’s probably the least pleased I’ve been with my efforts in a long time.

The problem? My incessant habit of trying to draw too much too soon. It’s a real thorn in my foot. On the 3rd test, which was animated digitally on a Cintiq, I managed to approach the work in a much more fluid and free way. I didn’t bother with detail, trying to follow the feedback I’ve had from numerous people’s comments on this blog, and it helped massively. So going back to the detailed 2nd test was a very constricting experience in comparison.

So I think I’m going to start the 2nd test again. Some of the poses I have drawn I quite like and I was thinking about trying to just work loosely around them. However after a bit of consideration I think I might be better starting the animation again, just using these poses as guides along the way. One anonymous commenter said I should try doing supplementary drawings for poses that I’m having trouble with, so maybe what I’ve already done can act as such. I’m going to attempt to be more fluid as I go, concentrating on movement rather than detail. I was having a look back through some posts on Andreas Deja’s blog, and really started to look at some Bill Tytla drawings of the dwarfs on there, one of which I have reproduced here. Just look at how beautifully scribbly it is. It’s not even close to approaching something that you’d see in the final version. I guess, like thumbnail sketches, the animation at this stage really needs only to be understandable to the animator. It is one part of his initial exploration of a scene. This is something I need to think about when I’m working.

 

How does this apply to CG?

As a brief aside, my discovery of the importance of not letting things get in the way of movement started me thinking about the connotations of this in CG animation (my day job). I have advised colleagues in the past to pose every part of a character out for each pose. It was my belief that since the whole body contributes to the feeling communicated by a pose, the whole body should be posed out completely for the pose – fingers, face and everything. However I’m rethinking my stance on this now.

The most recent colleague and friend that I gave this advice to did manage to produce a lovely piece of animation while following it, and now swears by it (I should note that this advice is not my own, but given to me by another colleague with feature film experience). I think that was more to do with his skill though rather than any wisdom I might have imparted!!

But I’m thinking now…..what is the CG equivalent of super-rough 2D animation? Is it perhaps hiding the details of a character until later in the animation process (assuming the rig allows it)? Or is it best to do the Jason Ryan thing, drawing out the animation in 2D first and then matching the CG model to it? Basically, how can the CG animator focus his/her attention on the movement with all that detail floating around?

A 3rd Mime Test: Part 1

I really didn't plan on starting a new animation test today, and I may not continue this one. I haven’t given up on the 2nd test, but I was doodling on my Cintiq tablet today and just spontaneously started animating. In the comments section in my last post of the 2nd test, one anonymous commenter offered me a load of great advice, and I’ve tried to put one of his/her suggestions into practice here….drawing super-rough. The time taken to get this far is two hours.

With it being completely out-of-the-blue, I did no planning, and just drew whatever my mind wanted to draw. Therefore there isn’t really any thought process behinds the character’s actions so I’m not sure I can even call this a ‘character animation’, which is why I may not continue it.

That said, I’d still appreciate any thoughts on it! :)

A 2nd Mime Test: Part 5

This is part of the following series of posts:

A 2nd Mime Test: Part 1
A 2nd Mime Test: Part 2
A 2nd Mime Test: Part 3
A 2nd Mime Test: Part 4
A 2nd Mime Test: Part 5

Over the past two evenings I've started drawing out the keys for my second mime test animation. I'm only about half-way through his initial pass, but I thought I'd show my progress anyway. You can see my intentions for the whole animation in part 3. I’m trying to take my time with it, making sure I get it right.

As usual, all feedback is very much appreciated! :)

Painting Study 1: The Massacre of the Innocents

I’m going to try varying things up study-wise, taking a look at art forms other than animation to see what can be learned from them. I’ll start with a painting called The Massacre of the Innocents by Peter Paul Rubens. I saw this on a TV programme a few nights ago about the ten most expensive paintings in the world. It was the only painting that I thought was worth the millions paid for it!

The subject matter is clearly rather unpleasant, depicting the killing of young children in order to try to do away with the young Jesus. My knowledge of the story is limited to that so again I will shy away from speaking about it in any depth here.

The major thing to note is the powerful sweeping movement through the whole painting, feeling like a gust of wind from a hurricane ploughing through this collection of women and children:

Then note the the twisting spiral pattern wrapping around this sweeping movement, like debris being pulled around a twisting tornado:

See how the figure and block on the far right act as a rigid barrier, giving the big sweep something to act against, giving it strength:

Note also the presence of strong geometric shapes in the architecture in the background. This isn't just scenery, it works in contrast with the organic shapes in the mass of figures, adding strength to the composition. It gives stability, preventing the picture from becoming just an amorphous mess.

Take a look at the figure holding the sword. While pulling the sword back in anticipation, he's also pushing the woman away from him. This kind of opposing movement can be powerful and is well worth noting for use in animation:

The raised figure at the front holding a baby aloft has a strong twist in his torso, adding tension to his pose:

Notice how a strong triangular shape directs our attention:

And again:

In fact, these arrows can be combined with the spiral pattern noted above, extending the spiral so it hooks up to itself in a figure eight. The combination of straights and curves gives the picture strength and beauty.

The straights and curves principle can also be seen on smaller scales:

Also note the complexity of the curve above compared with the simplicity of the straight. This contrast of simple versus complex is another powerful design principle.

The soldier with the sword is another focal point, but what makes him stand out? Well firstly his line of action manages to oppose that of the other figures around him without disrupting the whole flow of the picture:

But secondly, take note of the armoured soldier behind him. His dark appearance strengthens the silhouette of the man with the sword, making him stand out more than the other figures around him:

Look at the children on the floor....I see them as debris thrown out from the wave of destructive action, tumbling out in turbulent currents.

Look at the big patch of red cloth, pouring out like a torrent of blood:

Now let your eye wander to the edges of the painting. If you wander to the right, this woman is a blockade stopping you from going any further, pushing your eyes back quite literally:

Notice that her hands also direct you around the figure eight pattern noted above, so she’s not just stopping your eyes from progressing off the picture, but she’s directing you where to look next.

If you wander to the left, all the lines of action are very strongly leaning right, making it difficult to look left. I see it as being like walking against the wind in a big storm. Even the perspective line of the buildings against the sky is telling you to look right:

So that’s it! This post is an amalgamation of emails between myself and a couple of colleagues, so I hope it makes sense! I’m astounded by Rubens’ ability to weave so many elements together into a unified piece of brilliance like this. I’d love to hear your thoughts on the painting!

A 2nd Mime Test: Part 4

This is part of the following series of posts:

A 2nd Mime Test: Part 1
A 2nd Mime Test: Part 2
A 2nd Mime Test: Part 3
A 2nd Mime Test: Part 4
A 2nd Mime Test: Part 5

For the past three weeknights I’ve tried getting going on with my second mime test, but for one reason or another my efforts have been scuppered.  On Friday I started animating, but let the character go so off-model right from the word go that I had to scrap it. I put that down to tiredness. Then last night and tonight I’ve been stopped by a stomach ache and a headache respectively!

The bottom line is I have very little to show. In a desperate attempt to show some progress, I offer a couple of small things. First is a very scribbly layout of sorts that I did on Friday to try to decide on the space the scene will occupy.

Second is the one key pose I kept out of the bin from tonight’s drawings. I should point out that he’s still not proportioned correctly. I seem to be drawing him a bit stumpy for some reason. Anyway I was relatively happy with the pose, so I kept it with the intention of trying to redraw it tomorrow with the correct proportions.

The thing is that I quite like the proportions of him here, which I guess is why I keep making the mistake of drawing him like this. However I also like the leaner design he is supposed to have (see here and here), particularly as it fits his somewhat pathetic nature.

Animation Study 12: Lilo and Her Doll

Today's animation study is a scene from Disney’s Lilo and Stitch and shows Lilo trying to fit in with the other kids. I think this is a situation many of us can relate to and I think that for me it's the saddest scene in the film (it’s also my favourite). Andreas Deja supervised the animation of Lilo, but I'm not sure whether he animated this scene himself or not.

 

At the start of the clip I like how Lilo's mouth kind of leads her head movement. Her head goes up and she opens her mouth to take a breath, which leads with fluidity into the downwards head movement and the closing of the mouth again.

Note the tiny movement of the curl of hair on her forehead as she moves.

 

 

I like how in the following shot of the other girls, although they move in unison, each girl has a different way of acting.

 

 

 

 

Then when we see Lilo reach into her bag, note the lack of significant anticipation. There is a very small antic on her right hand, but mostly there's nothing. Here the animator has started the body's movement to the right but has delayed Lilo's actual reaching action. The pre-emptive core body movement gives us enough time to absorb what is about to happen before the reach takes place, in effect doing the same job as an anticipation.

 

I love the separation of the girls from Lilo as they react to her home-made doll, it's a great graphic divide that speaks volumes about what's going on:

I love the little twirl of her finger as she says "so I pretend a bug laid eggs in her ears". I really like how she gets completely involved in this flight of imagination, not noticing the kids have gone.

Note how when she turns to face the kids, her head movement is a turn to screen-right, and then a vertical move upwards. This may not seem significant, but it is to me as I have a habit of making movements too smooth. If I had animated this I might well have had the head follow a smooth arc, but having a kink in the path adds a little extra something to this.

As Lilo throws her toy on the ground, the way she pulls up the strap of her back is lovely.

The little steps she takes as she walks down the hill are so cute, making you feel sorry for her even more.

 

 

So far so good (or so sad), but the next bit just breaks my heart every time I see it. The timing of the pause before she reappears, the quick movements as she approaches the doll and then the motionless hug are all just beautiful.

 

 

 

And then finally her walk away is so cute again. The level of pathos in this scene is through the roof!

As a colleague of mine pointed out, it’s great that she keeps holding the doll tight as she walks away rather than holding it down by her side or anything, continuing to drill home her emotion even as her back is turned.

 

So there we have it, another animation study done! What do you think of this scene?

Animation Study 11: Mickey Mouse in ‘The Pointer’

Today's clip is a step away from feature films for a moment. It's one of the most famous Mickey Mouse performances, taken from 'The Pointer'. Mickey is out hunting for bears with Pluto, when Pluto gets side-tracked and his place is taken by the bear. Animated by Frank Thomas, and voiced by Walt Disney, this is Mickey at his absolute best.

I love the flustered movements as Mickey jumps backwards, startled by the bear. There's a bit of all sorts going on in there, but just watch his hands:

Look at the double point he does as he says "it's you". I love how his body leads into the first point, with his head going down towards his hand.

 

 

 

 

 

 

Then on the second point his body arches back, his head moving away from the hand, contrasting nicely with the first one.

 

 

 

 

 

 

There are so many little touches like this hand gesture that make the scene exquisite.

 

 

 

 

 

 

He laughs nervously as he's talking, with quick frantic movements, but as he says "it IS you", Frank has put in an appropriately large gesture that both suits the audio perfectly, and also contrasts well with the nervous quick motions.

 

 

 

 

 

I love how Walt has him correct his grammar, like a little nervous schoolboy, saying "I mean, isn't it".

 

 

 

 

 

I love the bit where he says “I thought you were Pluto”. Just after the word “Pluto” he does the subtlest of head shakes followed by a nervous laugh:

Combined with the head movements prior to that sentence, this is about the subtlest animation that I think I’ve ever seen.

I love how when he says "I'm Mickey Mouse", his fake confidence comes across perfectly.

 

 

 

 

 

 

Then of course there's probably the most famous bit of the clip, when Mickey does a "little" gesture as he says his name. I don't think I really need to explain this to anyone who is into animation, but the story goes that when Walt was doing the voice recording, he made this gesture and for the first and only time gave an indication of just how tall Mickey was supposed to be.

 

 

 

By the time he says "I hope you've heard of me....I hope", we as an audience are completely captured. While the preceding animation is absolutely beautiful, I believe that it is at this moment that the true "illusion of life" is created and we completely forget that Mickey Mouse doesn't exist. It's a moment where animation and vocal performance come together in perfection.

 

 

 

I really like how when Mickey trips over his gun, it's not just a simple trip, the gun gets wedged between his feet.

 

 

 

 

 

 

Just watch Mickey clamber to keep his hat on, repositioning his hands a number of times on it.

 

 

 

 

 

 

I like then how this crouched position leads into his "HEY!" pose.

 

 

 

 

 

 

Finally I love how Mickey's hand and head move in different directions before swinging back towards each other:

I'll leave my analysis there I think, but there's more in the clip to enjoy. So enjoy! :)

From the Horse’s Mouth: Frank Thomas & Ollie Johnston

Mickey’s reaction to seeing a bear right before him is “pure Disney,” unique, spontaneous, fresh, and funny. No one but Walt would have thought of that dialogue, or stretched out the situation to so much footage, or expected the animator to sustain the predicament with nothing but personality. But what personality! This is no ordinary, “Oh, Hi, Mr. Bear.” Right from the first nervous gasp of recognition, while he is struggling to gain his composure, he is the Missouri farm boy living out a fantasy. “Oh….It’s you…that is, it is you – ain’t it? I mean, isn’t it? Uh, I thought you were Pluto, but you’re not Pluto….You’re you, aren’t cha? Uh…well, I’m Mickey Mouse….Y’know? Mickey Mouse? I hope you’ve heard of me – I hope?…” This gave the animator strong changes of attitude and texture in the acting that are seldom found in normal dialogue.

Walt had been so funny in the story meetings acting out Mickey’s confusion that we asked if we could shoot a film of him as he recorded the lines. Mickey’s voice was always done by Walt, and he felt the lines and situation so completely that he could not keep from acting out the gestures and even the body attitudes as he said the dialogue. This was before he had worked in front of a camera, and he was reticent. Doing a good job of recording the voice with all the shading and timing and expression that were required was enough creative effort for anyone, especially when restricted to an unnatural falsetto voice for Mickey.

Walt was sceptical of live action at that time and not too sure of how we would use it, but our enthusiasm won him over. Reluctantly he agreed, but with restrictions: “Well…if you keep the camera in the booth – not out on the stage, mind you – and if I don’t know when you’re doing it; and….” On that day he wore the baggiest clothes and his favourite old felt hat, which did not give him a crisp appearance but did make him feel comfortable and relaxed. The camera was set up so far away from Walt that our image on the film was very tiny, but still it captured the essence of his acting. While the animator nearly went blind trying to chart the timing and to sketch from the action, it paid off in a memorable little sequence that reflects Walt’s thinking completely.

At the point in the recording where he said, “I’m Mickey Mouse….Y’know? Mickey Mouse?” Walt instinctively reached out his hand to denote the height of a little kid. It was the only time we ever knew just how big Walt considered Mickey to be. In spite of the help it gave us, he never let us put a camera on him again; and years later, when we wanted to look at that film once more, it had disappeared. No one knows what happened to it.

The above section of text was taken from Frank & Ollie’s The Illusion of Life, page77 (thanks to my girlfriend Sian for typing it out while I dictated!). In the top corners of pages 93-123 is a flick book of part of the sequence.

So what are your thoughts on the scene?