看12 Principles of Animation的笔记

https://www.youtube.com/watch?v=uDqjIdI4bF4
视频原作者保留一切权利，本文禁止商业目的转载。(噗。。。)

直接看原视频比我的笔记生动1万倍，笔记方便速查而已。-_-

在动画专业的人看来肯定是非常浅显基本的东西，不过我这个外行看来还是非常有意思的。

1 Squash and Stretch 压缩与伸展
Animated object will get longer or flatter to emphcise their
Speed,momentem ,weight and mass

More squash and stretch means softer

squash and stretch for facial expresssions

Keep the volume of the object consitent

Practice : start with square ,and then cube

Don't need to stretch all the time

2 Anticipation 预判
让关键动作有个准备动作，使观众能够预判接下来要发生什么。
比如起跳动作就先做个下蹲蓄力，
用拳头打人就先做个把手臂往后摆的动作，(注：抡圆了)

上面提到的人物表情的Squash and Stretch 也是一种 anticipation，squash 是后面 stretch 的准备

3 staging 分期/分阶段/布置舞台

Acting
Timing
Camera angle & position
setting(场景)

You want to have full control of what the audience is looking

Far away is good for big actions while close up is good for expressions

Conveying ideas
If the character is sad, you want to make sure that viewers knows that and feels that.

4, straight ahead & pose to pose
两种画动画的方法，
Straight ahead:直接一张一张画.
Pose to pose : 先画下主要pose之前和之后的样子，再添上中间张。

在大多数动作中，Pose to pose 更常用。可以在很少的张数下看出动作的大概效果。
这样也有利于前期修改pose。在确保少量张数下的动作正确之后，再去补全中间张。
而straight ahead 很可能画到最后才发现全都画错了。还可能导致每张的错误形变和位移一直积累。

Straight ahead 一般用于画很难预测的东西，比如火焰、水花、烟雾、爆炸等(注：粒子效果能搞定的东西？)
这里使用straight ahead是因为其中都有物理定律在一定常量之下运作。可以一张一张的预测，却很难用pose to pose 来预测。

两种方法可以一起利用，比如人物大体动作用pose to pose ，然后ta身上的软体(兔耳朵、尾巴、衣服、头发)用pose to pose 来画

Pose to pose volcabulary
Keys : main poses
Extreames : secondary poses
Breakdowns : further broken-down poses

Draw keys first ,then extreames ,then breakdowns then in-betweens
Like pose to pose with in pose to pose

5 follow through and overlapping actions
The technique of having body parts and appendages dragged behind the rest of bodyand continue to move when the body stops.

(注： 因为惯性)
Follow through : the way parts of the body continue to move after the body is stoped
Overlapping actions : the offset between the timing of the main body and its other parts
Drag : delaying the movement of body parts in relation to de main part.

The amount of follow through shows something about its mass

6 slow in & slow out 慢入慢出
This principle applies to almost all movement starts slowly build the speed and finishes slowly.
(注：表现生活中真实的速度曲线，很多动作碰巧是由静到动，加速，减速，再到静)

Its very unrealistic for a cherecter to go from completely still to super fast
并非所有的速度曲线都是slow in & slow out
比如子弹，自由落体等
7 Arcs 曲线
Very few organisms are capable of movements that have a mechanical in and out or
up and down precision.
Most living creatures will move ina circular path——arc
人体的曲线运动 （注：The Human Machine Bridgman）
抛物线
When objects are moving fast,you can add arcs in the form of a smear.

8 Secondary Action 第二动作/小动作
Gestures that support the main action to add more dimension to the character animation

9  Timing 计时

The personality and nature of an animation is greatly affected by the number of frames
Inserted between each main action.
More darwings = slow
Less drawings = fast
Draw on ns,draw after every n frames.
Its very common to draw on twos rather than ones for afew reasons:
Ø Less drawing ,less work
Ø Make slow actions look smoother.And also make fast action more lively.
But drawing on ones is necessary when there's a very fast action

10  Exaggeration 夸张

Exaggeration doesn't mean more distorted but more convicing.

Since it's hard to tell how much room you have for exaggeration,
A good rule to follow is push the exaggeration level until it actually becomes too much.
Then wind it back until you are satisfied.
11  Solid drawing
Volume weight balance in 3D space.
When drawing cube, avoid making parallel lines.
Lines should be bent towards the vanishing point.
Be very minded to overlap
Avoid symmetry,symmetrical lines look flat.

12 Appeal
Characters should be somewhat pleasant to look at.
Dynamic desion
1,Variety of shape
Every good charater design starts with a clear shape.
2,Play with proportions
Cartoon often magnify the things we find interesting and shrink the ugly and boring parts.
3,Keep it Simple