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Cartoon Animation by Preston Blair.pdf
Chapter 1 : CHARACTER DEVELOPMENT
1 / Chapter 1 • Introduction • Chapter 1 : CHARACTER DEVELOPMENT
2 / Chapter 1 • Page 10 • CARTOON CONSTRUCTION
3 / Chapter 1 • Page 12 • BODY BUILT FROM CIRCULAR AND ROUNDED FORMS
4 / Chapter 1 • Page 14 • MORE CIRCULAR AND ROUNDED FORMS
5 / Chapter 1 • Page 16 • THE SKELETON FOUNDATION
6 / Chapter 1 • Page 18 • CONSTRUCTION OF THE HEAD
7 / Chapter 1 • Page 19 • EGGHEAD MODEL METHOD
8 / Chapter 1 • Page 20 • MORE HEAD CONSTRUCTION
9 / Chapter 1 • Page 22 • MORE HEAD CONSTRUCTION
10 / Chapter 1 • Page 24 • FACIAL EXPRESSIONS
11 / Chapter 1 • Page 26 • STRETCH AND SQUASH ON HEADS
12 / Chapter 1 • Page 28 • HANDS
13 / Chapter 1 • Page 30 • MORE HANDS
14 / Chapter 1 • Page 32 • THE CUTE CHARACTER
15 / Chapter 1 • Page 34 • THE CUTE KITTEN
16 / Chapter 1 • Page 36 • CUTE PUP
17 / Chapter 1 • Page 38 • GOOSE GANDER
18 / Chapter 1 • Page 40 • ROWDY RABBIT
19 / Chapter 1 • Page 42 • LITTLE WOLF-HUNTER PIG
20 / Chapter 1 • Page 44 • CUTE RABBIT
21 / Chapter 1 • Page 46 • SQUIRRELS
22 / Chapter 1 • Page 48 • MORE CUTE CHARACTERS
23 / Chapter 1 • Page 50 • THE SCEWBALL TYPE
24 / Chapter 1 • Page 51 • GOOFY CHARACTER
25 / Chapter 1 • Page 52 • THE HEAVY, PUGNACIOUS CHARACTER
26 / Chapter 1 • Page 54 • MORE ANIMAL CHARACTERS
27 / Chapter 1 • Page 58 • MUSICAL WOLF
28 / Chapter 1 • Page 60 • WOLF HEADS
29 / Chapter 1 • Page 62 • LIONS AND TIGERS
30 / Chapter 1 • Page 64 • BIRDS
31 / Chapter 1 • Page 66 • OWLS
32 / Chapter 1 • Page 68 • MORE BIRDS
33 / Chapter 1 • Page 70 • THE BELLIGERANT BULLDOG
34 / Chapter 1 • Page 72 • BULLDOG SAILOR
35 / Chapter 1 • Page 74 • FORESHORTENING - PERSPECTIVE
36 / Chapter 1 • Page 76 • GNOMES
37 / Chapter 1 • Page 78 • ELVES
38 / Chapter 1 • Page 79 • DWARFS
39 / Chapter 1 • Page 80 • WICKED WITCH
40 / Chapter 1 • Page 82 • KIDS
41 / Chapter 1 • Page 84 • THE YOUNG HEROINE
Chapter 2 : CHARACTER MOVEMENT
42 / Chapter 2 • Introduction • Chapter 2 : CHARACTER MOVEMENT
43 / Chapter 2 • Page 90 • LINE OF ACTION
44 / Chapter 2 • Page 92 • LINE OF ACTION IN ANIMATION
45 / Chapter 2 • Page 94 • RHYTHM AND DESIGN IN CARTOON ART
46 / Chapter 2 • Page 96 • MOVEMENT OF BODY MASSES
48 / Chapter 2 • Page 100 • THE BASIC BOUNCING BALL ACTION
49 / Chapter 2 • Page 102 • MOVEMENTS OF THE FOUR-LEGGED FIGURE
50 / Chapter 2 • Page 104 • FRONT AND REAR VIEWS OF FIGURE MOVEMENTS
51 / Chapter 2 • Page 106 • THE DIFFERENCE BETWEEN WALK AND RUN
52 / Chapter 2 • Page 107/108 • THE WALK & THE RUN
53 / Chapter 2 • Page 109 • THE FAST RUN
54 / Chapter 2 • Page 110 • THE SNEAK
55 / Chapter 2 • Page 112 • THE SKIP
56 / Chapter 2 • Page 114 • THE STRUT
57 / Chapter 2 • Page 118 • FOUR-LEGGED ANIMALS - CONSTRUCTION AND MOVEMENT
58 / Chapter 2 • Page 120 • MORE FOUR-LEGGED ANIMALS
59 / Chapter 2 • Page 122 • THE FLIGHT OF BIRDS
60 / Chapter 2 • Page 124 • CYCLES IN COLOR
Chapter 3 : ANIMATION
61 / Chapter 3 • Introduction • Chapter 3 : ANIMATION
62 / Chapter 3 • Page 128 • SKETCHING BASICS - A SHORTHAND ART
63 / Chapter 3 • Page 130 • BALANCE AND TILT IN MOVEMENT
64 / Chapter 3 • Page 132 • BALANCE AND TILT - CONTINUED
65 / Chapter 3 • Page 134 • STRAIGHT-AHEAD AND RHYTHM ANIMATION
66 / Chapter 3 • Page 136 • ANTICIPATION - ACTION - REACTION
67 / Chapter 3 • Page 138 • STRAIGHT-AHEAD ANIMATION
68 / Chapter 3 • Page 139 • POSE-PLANNING DRAMATICS
69 / Chapter 3 • Page 140 • ARCS - CURVES - PATHS OF ACTION
70 / Chapter 3 • Page 141 • MULTIPLE ACTION PATHS IN BOUNCE-STRUT
71 / Chapter 3 • Page 142 • THE WAVE PRINCIPLE
72 / Chapter 3 • Page 144 • DELAYED SECONDARY ACTION
73 / Chapter 3 • Page 146 • FAST ACTION - IMPACT - SPEED
74 / Chapter 3 • Page 148 • THE CARTOON "TAKE"
75 / Chapter 3 • Page 149 • SURPRISE REACTION
76 / Chapter 3 • Page 150 • EXPRESSING AN ATTITUDE
77 / Chapter 3 • Page 152 • EMOTION - GESTURE - REACTING
78 / Chapter 3 • Page 153 • THE BODY LANGUAGE ACTOR
79 / Chapter 3 • Page 154 • WEIGHT-RECOIL EFFECTS
80 / Chapter 3 • Page 156 • THE SQUASH AND STRETCH PRINCIPLE
81 / Chapter 3 • Page 158 • DANCING HIPPO
82 / Chapter 3 • Page 160 • ALLIGATOR BALLET
83 / Chapter 3 • Page 164 • HIPPO AND ALLIGATOR BALLET
84 / Chapter 3 • Page 168 • WOMEN
85 / Chapter 3 • Page 170 • BUILDING AN ACTION
86 / Chapter 3 • Page 172 • A DANCE KICK
87 / Chapter 3 • Page 176 • BACK-GROUND CONTROL
88 / Chapter 3 • Page 178 • COMPOSITION - STAGING - DRAMA
Chapter 4 : DIALOGUE
89 / Chapter 4 • Introduction • Chapter 4 : DIALOGUE
90 / Chapter 4 • Page 182 • DIALOGUE EXPRESSIONS - POINTERS
91 / Chapter 4 • Page 184 • DIALOGUE CHARACTER ACTING
92 / Chapter 4 • Page 186 • DIALOGUE - VOWELS & CONSONANTS
93 / Chapter 4 • Page 188 • MOUTH ACTION - PRONUNCIATION
94 / Chapter 4 • Page 190 • THE HECKLER
Chapter 5 : TECHNICAL
95 / Chapter 5 • Introduction • Chapter 5 : TECHNICAL
96 / Chapter 5 • Page 196 • TIMING AND SPACING PATTERNS
97 / Chapter 5 • Page 198 • ACCENTS - BEATS - SCENE TIMING
98 / Chapter 5 • Page 200 • CYCLES-PLANNED ANIMATION
99 / Chapter 5 • Page 202 • LIMITED ANIMATION - CUTOUTS
100 / Chapter 5 • Page 204 • MAKING AN ANIMATION CEL
101 / Chapter 5 • Page 206 • COLORING THE CEL
102 / Chapter 5 • Page 208 • THE CARTOON STORYBOARD
103 / Chapter 5 • Page 212 • BACKGROUND LAYOUT DRAWINGS
104 / Chapter 5 • Page 214 • STILL BACK GROUNDS. TRUCKS. AND FIELDS
105 / Chapter 5 • Page 216 • PAN BACK GROUNDS. OVERLAYS. CELS
106 / Chapter 5 • Page 218 • CAMERA AND TECHNICAL
107 / Chapter 5 • Page 220 • HOW CARTOONS ARE MADE
108 / Chapter 5 • Page 221 • POINTERS ON ANIMATION
109 / Chapter 5 • Page 222 • HOW TO MAKE A CARTOON FILM
110 / Chapter 5 • Page 224 • OTHER BOOKS ABOUT ANIMATING
Chapter 1 - Chapitre 1: Introduction
Chapitre 1 : ÉLABORATION des PERSONNAGES
It can be an exciting experience to create and develop an original cartoon character. Constructing and
developing a character is not merely a matter of drawing the figure, each character also has its own shape,
personality, features, and mannerisms. The animator has to take these qualities into consideration to make the
characters seem lifelike and believable. For example, there are various personality types such as "goofy,"
"cute," and "screwball". Think about the type of character you wish to design, then use the diagrams and guides
shown in this chapter to begin your drawing. When creating a character, you should begin by drawing rough
"idea" sketches. These will give you a direction for the type and nature of the character you wish to create.
Develop the basic shape of the figure, then add the features and other details.
This procedure should be followed whether the character you are developing is a human, an animal, or an
inanimate object you wish to bring to life (for example, drawing a face on a computer and making it dance).
After you have developed the character and the proportions arc to your liking, develop the movement
expressions of the body, head, and hands. Hands can tell a complete story with just a simple pose. Study and
practice drawing the hands shown on page 28, then create some hand positions of your own. Also, the "line of
action" section is a big help in creating attitudes in posture and movement. This chapter is the starting point to
a world of exciting cartoon animation.
Chapter 1 - Page 10
CARTOON CONSTRUCTION
PROPORTION IS ONE OF THE MOST IMPORTANT FACTORS TO CONSIDER WHEN CONSTRUCTING A CARTOON
CHARACTER. THE ANIMATOR MUST KEEP IN MIND THE RELATIVE SIZES OF THE BODY PARTS, BECAUSE
SPECIFIC PROPORTIONS ARE USED TO CREATE CHARACTER TYPES. FOR EXAMPLE, THE HEAVY, PUGNACIOUS
CHARACTER HAS A SMALL HEAD, LARGE CHEST OR BODY AREA, HEAVY ARMS AND LEGS, AND THE JAW AND
CHIN NORMALLY PROTRUDE, THE CUTE CHARACTER IS BASED ON THE PROPORTIONS OF A BABY WITH A
LARGE HEAD IN PROPORTION TO THE OVAL BODY, A HIGH FOREHEAD, AND A SMALL MOUTH/EYE/CHIN AREA,
"SCREWBALL" TYPES HAVE EXAGGERATED PARTS AND FEATURES (DETAILED INFORMATION ON CHARACTER
TYPES BEGINS ON PAGE 32).
CARTOON STUDIOS OFTEN USE HEAD SIZE TO MEASURE THE HEIGHT OF A CHARACTER - FOR INSTANCE, A
CUTE BEAR MAY BE THREE HEADS HIGH, AND A PUGNACIOUS BEAR MIGHT BE FIVE OR SIX HEADS HIGH. THIS
INFORMATION HELPS THE ANIMATOR TO KEEP THE PROPORTIONS AND HEIGHT OF A CHARACTER CONSITENT.
STUDY THE CHARACTERS ON THIS PAGE, AND MEASURE EACH ONE IN "HEADS."
WHEN ANIMATING, YOU´LL ALSO FIND IT HELPFUL TO MAKE A REFERENCE DRAWING OF THE CHARACTER ON
A SEPARATE PIECE OF PAPER. THIS WAY, THE ANIMATOR CAN REFER TO THE PROPORTION GUIDELINES WHEN
DRAWING THE CHARACTER IN DIFFERENT POSES AND ACTIONS.
THE PROPER USE OF CARTOON PROPORTIONS MAKES A CHARACTER, SO ANALYZE THE PROPORTIONS OF
YOUR ANIMATED ACTOR BEFORE HE OR SHE GOES ON STAGE-UP ON THE SCREEN.
STANCE (SOLID MASSES) - DRAW A "LINE OF ACTION" THROUGH THE THREE-DIMENSIONAL PARTS TO
ORGANIZE AND SET THE ATTITUDE OR ACTION. CONSTRUCT YOUR DRAWING AS IF YOU WERE FITTING
TOGETHER THE PARTS OF A PUPPET AT THE JOINTS ACCORDING TO A CHARACTER FORMULA. THUS YOUR
CHARACTER BECOMES BELIEVABLE , AND HE ACTS, THE AUDIENCE EMOTIONALLY RESPONDS.
Chapter 1 - Page 12
BODY BUILT FROM CIRCULAR AND ROUNDED FORMS
THE ANIMATED CARTOON CHARACTER IS BASED ON THE CIRCULAR, ROUNDED FORM. IN A CARTOON STUDIO
SEVERAL PEOPLE MAY WORK ON THE SAME DRAWING AND THE ROUNDED FORM IS USED BECAUSE OF ITS
SIMPLICITY - IT MAKES ANIMATION EASIER. ALSO, CIRCULAR FORMS "FOLLOW THROUGH" BETTER ON THE
SCREEN.
Chapter 1 - Page 14
MORE CIRCULAR AND ROUNDED FORMS
THE PARTS OF THE CHARACTER FIT TOGETHER AT SOCKET POINTS. THESE EXAMPLES DEMONSTRATE THE
EFFECTIVENESS OF COMBINING CIRCULAR AND ROUNDED FORMS. THE ROUNDED, PEAR-SHAPED BODIES
SUPPORT THE CIRCULAR HEADS AND ADD INTEREST TO THE OVERALL CHARACTER.
THE SKELETON FOUNDATION
BUILD THE CARTOON FROM A ROUGH SKELETON, BUT DON´T EXPECT TO ALWAYS GET THE SKELETON RIGHT
ON THE FIRST TRY - NOBODY CAN DO THAT! EXPERIMENT… DISCARD... MAKE SEVERAL DRAWINGS, THEN
PICK THE BEST ONE. BE SURE TO WORK LOOSELY WHEN CONSTRUCTING THE CHARACTER.
WORK OUT A SKELETON, CONSTRUCT BODY MASSES AROUND IT, AND THEN BUILD DETAIL OVER THE MASSES.
Chapter 1 - Page 18
CONSTRUCTION OF THE HEAD
THINK OF THE HEAD AS A ROUNPED MASS: IT IS EITHER BALL-SHAPED, PEAR-SHAPED OR EGG-SHAPED. IN
ANIMATION THE HEAD SHAPE MAY CHANGE PERSPECTIVE AND FORM MANY TIMES DURING A SCENE. TO
SIMPLIFY MATTERS, A FRAMEWORK IN PROPER PERSPECTIVE MUST BE DRAWN FIRST, THEN THE DETAILS ARE
CONSTRUCTED OVER THIS FORM.
1/ THIS CHARACTER STARTS WITH A BALL SHAPE.
2/ DRAW AN ELLIPTICAL GUIDELINE AROUND THE FIRST SHAPE THAT WILL DIVIDE THE FACE IN THE MIDDLE
LENGTHWISE. THIS DETERMINES THE TILT OF THE HEAD.
3/ DRAW THE EYE GUIDELINE AT RIGHT ANGLES TO THE SECOND CIRCLE. THIS SETS THE FACE UP OR DOWN.
4/ THE BASE OF THE EYES AND THE TOP OF THE NOSE TIE INTO THE EYE LINE. THE PERSPECTIVE MAKES THE
LEFT EYE BIGGER THAN THE RIGHT EYE.
5/ NOW THE DETAILS ARE DRAWN OVER THE FRAMEWORK.
START WITH AN EGG SHAPE DRAW GUIDELINES AROUND IT, AND THEN DRAW THE FACE. TURN THE EGG IN
VARIOUS POSITIONS A ND DRAW THE SAME FACE. ANIMATION PRESENTS THE SAME CHALLENGE!
ADD A FEW DETAILS AND DRAW THESE HEADS IN EVERY POSITION USING THE EGG AS A GUIDE. CARTOON
STUDIOS OFTEN MAKE SMALL CLAY MODELS TO HELP THE ANIMATOR DRAW DIFFICULT CHARACTERS FROM
DIFFERENT ANGLES.
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