Click here for the needed files to complete. We’ll practice breaking a shot down into actions which are represented by extremes or keys. Thumbnails and animation timing diagrams help us prepare to animate the scene effectively. These will eventually be turned into keyframed poses in Maya where the timing and spacing will be tweaked via the graph editor for the best look. (In this particular example, too, we are going to look at using our scanned thumbnails to help us space the keys throughout our frames as we would on the dope sheet to plan our animation. We can do a similar thing with frames from a video to plan our animations).

To sculpt your character maquette, you’ll need some clay, materials for an armature, and some tools. Most supplies can be found locally — Super Sculpey works well for basic moquettes and may be baked for durability when finished. About 1 or 2 of the 1-lb boxes should work for a small maquette. This, other clays, and armature wire, as well as small pieces of wood (that would work well for a base) are sold at A.C. Moore and Michael’s as well as other places. Plant and hardware sections often have wire that can work to make the armature to hold the clay’s main character shape. (Other options such as coat-hanger wire or other around-the-house items may work, too). Usually a thicker wire works well for the main body frame, and smaller wire may be used to wrap sections which can also be filled-out using aluminum foil. (Don’t use anything in your armature that could burn when baked). Two-part epoxy in clay form can be used to strengthen joints of the maquette. Another, perhaps nicer, clay that may be difficult to find locally is NSP (Non Sulphurate Plasteline) by Chavant. American Fine Arts Supplies carries these and other materials. They have NSP blocks for a decent price, but it tends to be sold in bulk — you may consider getting a few people together to order if desired. Aside from the armature and clay, you may find a small set of sculpting tools useful, but you can probably make due without this using small utensils, silverware, etc. from around the house. We’ll discuss this more in class, but in the meantime, you may find these links useful: Demon Sculpt Maquette with two-part tutorial, Building Armatures for Polymer Clay, and Sculpting Tutorials.

 

Related to wrapping up our class discussion of the Golden Age of Animation, here’s a link to Fleischer Studios. The studios actually moved to Miami, FL in 1938 and continued to operate for several years there during the decline of animation. Several of their early works have recently been restored for release on DVD.

As discussed this past Tuesday and Thursday, there will be a test this Tuesday (Feb. 21) covering the introductory material from the past few weeks.  This will include techniques and principles for animation, narrative structure, visual storytelling, basic film grammar, etc.   A full review guide is posted here to help you remember all that we have covered in class. Also, do not forget the notes (particularly on narrative and visual storytelling) on the resources page of this site.

 

If you do not remember certain people (or concepts) from class or the documentaries, most of these will have ample information on Wikipedia and other websites to help you review.  You may also find these Wikipedia overview entries on animation particularly interesting and useful:  The Golden Age of American Animation and History of Animation (also, particularly History of United States Animation). [Although you have already studied some more recent history for 220, for this test, you do not need to study any of the history that we have not discussed in class or the documentaries for now -- such as foreign animation or animation more recent than the "Golden Age."]

 

There will be a written part of the test and also an animation practicum where you will complete a short animation in Maya to submit.  The test will count for two “quiz” grades.

Here’s a very basic example of a walk-cycle, a fundamental animation exercise. We’ll practice with the flour sack and also look at more examples soon. Read through Chapter 3 or so in your character animation text.

Here is a simple rig to practice some character animation. We’ll work with this a bit as we move into more advanced character animation and rigging.

Perhaps some of you may be interested in tailoring your story ideas for this contest as they may naturally fit. Click the image for more information!