PENCILMATION
This "Pencilmation" page is where we will explore the work that goes behind the final footage. To do that we will feature some of the top 2D animators' favorite pencil test. In so doing we will... i) feature the original pencil test of their action, ii) see the individual frames that made up that action and iii) learn of any additional thinking that has gone behind the creation of the scene in question. Hopefully this will allow us to get into the minds of those master animators who create such amazing action.
This "Pencilmation" page is where we will explore the work that goes behind the final footage. To do that we will feature some of the top 2D animators' favorite pencil test. In so doing we will... i) feature the original pencil test of their action, ii) see the individual frames that made up that action and iii) learn of any additional thinking that has gone behind the creation of the scene in question. Hopefully this will allow us to get into the minds of those master animators who create such amazing action.
01) TONY WHITE: Favorite pencil test ~ "Tired Walk with Staff"
https://www.artstation.com/tonymation
Tony White's favorite pencil test is "Tired Walk with Staff". Tony was required to animate the walk of a tired character using a staff to help them. The actual character's final design was not finalized at the point when this sequence was animated. So Tony used his generic "Arnie" character to work out the logistics of the action. (Something Tony often does when under time constraints apparently.) Tony also directed a friend to act out the action for him first, so that it could be analyzed and replicated in a 2D environment more accurately. Therefore, here is the final pencil test walk in question, followed by the original reference footage used...
https://www.artstation.com/tonymation
Tony White's favorite pencil test is "Tired Walk with Staff". Tony was required to animate the walk of a tired character using a staff to help them. The actual character's final design was not finalized at the point when this sequence was animated. So Tony used his generic "Arnie" character to work out the logistics of the action. (Something Tony often does when under time constraints apparently.) Tony also directed a friend to act out the action for him first, so that it could be analyzed and replicated in a 2D environment more accurately. Therefore, here is the final pencil test walk in question, followed by the original reference footage used...
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And here are the "Key" drawings and "Breakdown" drawings that made up the cycled action. Note the charts indicating the placement of "Inbetweens"...
Animator comments:
" I would say that without shooting reference footage of this first I could not have created the action I did. Therefore I strongly advise all young animators to NOT animate using their imaginations alone for 99% of the time. Instead shoot the action they plan to animate to first, to understand what is really going on. (And not what they think is going on!) Shooting reference footage is so easy to do with modern phones - meaning that if you can shoot "selfies" then you can certainly shoot "reference footage".
When you have your reference footage, go through it frame-by-frame and analyze the "key" positions. Remember, a "key" is usually the beginning and end of a particular action, as well as any important changes of direction with the action being considered. When you have identified that actions, draw on separate sheets of animation paper "rough poses" of those positions, using the character you are working with.
With those done, shoot a "Pose Test" of the action - that is, film them on "holds" for as many frames as you think they need when the inbetweens are added to link all the key positions. Review the video and adjust your pose timing as required.
When your pose test is looking good, note the number of frames linking your drawings, then number and "chart" the inbetweens from one key to another. You can see my charting on the "key frames" above. Note that the inbetweens will rarely be "even" in their placement as most action is just not like that. As you'll see, I have used a lot of "slowing-in" and "slowing-out" on my inbetweens - meaning that there are more inbetweens added at the beginning or end of a chart, depending on whether I wanted to accelerate to and from the keys in question.
(Note: There are lots of references to "slowing-in" and "slowing-out" on my various animation books if you want to learn more. them)
Finally, I would also strongly advise that you "rough-in" your inbetweens first. Then shoot them. With this "rough pencil test" playback you can very quickly get a feel if the animation is doing what you want it to, or not. Adjust as necessary.
Once the action is as you want it, clean it up and shoot it again to test your cleaned up action. All being well, this will be fine and it can move on in the process. If not, adjust as necessary - usually just adding an extra inbetween here and there, or perhaps removing one or two.
Ultimately, this should all give you an excellent, smooth and well-timed sequence of movement."
Happy animating folks!
Tony. :)
" I would say that without shooting reference footage of this first I could not have created the action I did. Therefore I strongly advise all young animators to NOT animate using their imaginations alone for 99% of the time. Instead shoot the action they plan to animate to first, to understand what is really going on. (And not what they think is going on!) Shooting reference footage is so easy to do with modern phones - meaning that if you can shoot "selfies" then you can certainly shoot "reference footage".
When you have your reference footage, go through it frame-by-frame and analyze the "key" positions. Remember, a "key" is usually the beginning and end of a particular action, as well as any important changes of direction with the action being considered. When you have identified that actions, draw on separate sheets of animation paper "rough poses" of those positions, using the character you are working with.
With those done, shoot a "Pose Test" of the action - that is, film them on "holds" for as many frames as you think they need when the inbetweens are added to link all the key positions. Review the video and adjust your pose timing as required.
When your pose test is looking good, note the number of frames linking your drawings, then number and "chart" the inbetweens from one key to another. You can see my charting on the "key frames" above. Note that the inbetweens will rarely be "even" in their placement as most action is just not like that. As you'll see, I have used a lot of "slowing-in" and "slowing-out" on my inbetweens - meaning that there are more inbetweens added at the beginning or end of a chart, depending on whether I wanted to accelerate to and from the keys in question.
(Note: There are lots of references to "slowing-in" and "slowing-out" on my various animation books if you want to learn more. them)
Finally, I would also strongly advise that you "rough-in" your inbetweens first. Then shoot them. With this "rough pencil test" playback you can very quickly get a feel if the animation is doing what you want it to, or not. Adjust as necessary.
Once the action is as you want it, clean it up and shoot it again to test your cleaned up action. All being well, this will be fine and it can move on in the process. If not, adjust as necessary - usually just adding an extra inbetween here and there, or perhaps removing one or two.
Ultimately, this should all give you an excellent, smooth and well-timed sequence of movement."
Happy animating folks!
Tony. :)
REQUEST: If you have a sequence of top drawer, hand-drawn animation you would like to share - or see on this page - let us know! It may not always be possible for us to feature your work, or reach the animator you would like to see the work of. But if we can we definitely will. (Note: That animation featured has to be of the highest quality for inclusion and will need animator notes to explain their techniques in achieving what they did. We also don't want to duplicate certain actions once one is published. But animation is such an infinite subject that hopefully we will have lots of new and exciting things to show you here in the future!)