Download How to Make Animated Films. Tony White's Masterclass on the by Tony White PDF

By Tony White

Unfortunately the times of the normal studio apprenticeship in animation are long past yet this publication permits the reader to discover the following neatest thing, observing and watching a grasp Animator at paintings. develop into Tony White's own animation apprentice, and event the golden period of the nice Disney and Warner Brothers studios correct on your own residence or studio. Tony White's Animation grasp type is uniquely designed to hide the center ideas of lively circulation comprehensively. It deals a DVD with lively video clips and filmed excerpts of the writer at his drafting board to demonstrate the ideas because the paintings is being created. Tony White's Animation grasp category bargains secrets and techniques and particular ways just a grasp Animator may possibly percentage. The publication comes out of the author's six years of real-world specialist adventure educating animation, and 30 years adventure.

Whether you need to turn into a professional animator of second, 3D, Flash or the other type of animation, Tony White's foundations convey you toward that target.

The DVD is beneficial, in that readers will not be in simple terms taught rules and ideas within the e-book, they can see them proven in motion within the videos at the DVD.

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Read or Download How to Make Animated Films. Tony White's Masterclass on the Traditional Principles of Animation PDF

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The Bouncing Ball Note that a ball will require increasingly diminishing bounces that become lower and lower before it comes to a halt, possibly preceded by it rolling. Key Positions Next we need to establish our key positions along the designated path of action. In the illustration below they are numbers ‘1’, ‘11’, ‘19’, ‘27’ and ‘31’. With any bouncing action, the main key positions will be at the contact point with the ground and at the apex of the upward arc. However, if we leave our key ball positions in the air and on the ground perfectly round, there would be no life or rubbery feel to the ball—it would merely appear like a cut-out shape moving up and down across the screen, with no life at all.

That means that more drawings need to be added to and from the uppermost key position, as we have already established that more drawings mean less speed. 38 The Bouncing Ball If we assume that our two up key positions on the ball are 1 and 21, and the down (squash) position is 11, then these charts clearly show that the ball will accelerate downward at the beginning and decelerate to the next up position at the end. The actual impact moment on the ground is pretty instantaneous when the high-velocity ball hits, and the bounce back upward again is fast too, depending on the height and speed of the bounce before it.

This is the part of any stride where the free leg is most closely passing by the contact leg, from behind to forward. I often refer to this position as the “number 4 position,” as this is the shape that the legs actually make at this point in a stride. For our example, we will number this as drawing 5, which, in keeping with all breakdown drawings, will need to have a parenthesis around it. a. number 4) position. Note that with a passing position the body area, or in this case the pelvic area, is always raised up higher than its position on the two key “stride” positions.

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