Quotes I considered to be potentially useful/interesting:
"Tricks, tips, and dodges have their place and allow an animator to develop his or her animation skills to a certain degree. They will even allow a student to imitate work of others. However, if this approach is taken as the sole way of learning and creating animation, it can only lead to students developing their craft by rote, creating little other than formulaic animation."
"A collection of reference material is absolutely vital to the animator who wants to develop their craft."
"Timing gives meaning to motion."
"Although timing forms the basis for all performance-based animation, it does not provide that performance; it simply provides the believable movement that underpins acting. Timing gives meaning to motion, and without this meaning we are left with simple activity."
"If it looks right, it is right."
"Solid Drawing. This is a principle clearly more appropriate to animators who work in 2D classical animation."
"Pose-to-pose allows for more control. Straight-ahead often has more liveliness."
"Over use of squash and stretch will change the illusion of the material." "When taken to extremes it is less useful for naturalistic actions."
"Action does play a vital role in all animated performances and is a fundamental part of acting, but that's not to say that all animated performances depend on movement and action in the same way."
"What creates a good performance is open to interpretation, however." "It would be better to look at appropriate performances." "It is far better for us to consider both the animation and the performance as being appropriate to each of the work."
"Acting is undoubtedly a major part of a performance, but it is not the only part. Creating a good performance also depends on the standard of the directing, enhanced by design, sound design, music, staging, and overall production values."
"It is very important to acknowledge that the recognition of body language associated with any particular group can only ever provide a starting point for our study and understanding of body language." "Rely too much on body language we will create stereotypes."
"The observation of body language can provide a basis on which to build a performance; the use of body language alone may be enough to provide the animator with a basis for building a performance."
"In creating a performance, animators' work becomes more complex, considering the mood and temperament the individual character is required to display throughout the performance."
"The unspoken words and the thinking process are internal processes that not only drive action; they may be made visible through facial and body movement; pose, gait and timing." "Create the illusion of thought."
"Performances are based and built on the thinking process, and characters changing moods and emotional states and their interactions are a result of these thought processes."
"Many young animators make the simple mistake of over animating their characters."
"One way you could begin to analyze performance is to initially watch a film in its entirety and try to enjoy the experience as it was intended; as entertainment." "Try to identify the particular emotional traits and personalities of the characters." "...one with a dynamic arc that demonstrates a change of behavior or thinking in more than one character."
"Animators will probably find themselves dealing with two distinct types of motion: naturalistic action and abstract action. Each of these types of motion presents its own range of possibilities and, as one might expect, is own particular difficulties."
(- Naturalistic: Recognizable movements, organic or non organic, undertaken in a completely believable manner. As the audience can easily recognize the actual motion, anything deviating from the first-hand experience will be instantly identifiable as erroneous and the suspension of disbelief will fail
- Abstract: May be open to interpretation. some cases can't be easily measured against any 'real' equivalent. Believably maybe the attribution of weight. Momentum.)
"Often the outcomes you are trying to achieve determine the approach you will take and indicate the level of knowledge of the laws of physics you will need."
"Divide animated motion into three separate categories of movement: Simulation, representation, and interpretation."
(- Simulation: High degree of accuracy. In its replication of naturalistic actions. Movement is replicated 'exactly'. Used for highly naturalistic movements of objects/figures and effects such as water. Suspension of disbelief must be total.
- Representation: Doesn't have the same constraints as Simulation. It demands less accurate movements that can be strictly evidence in the actual behaviour of the subject. May pass as 'real', even if the actual movements themselves can not be evidenced as such, for example Dinosaurs. we can consider the weight, shape, size, and flexibility of the creature and look to existing subjects with similar qualities to use as a guide.
- Interpretation: More creative use of animation. Personal expression. Does not depend on either naturalistic or believable movement, though it is not limited to abstract forms.)
Four A's of Animation: Acting, Animation, Action, Activity.
"Not an alternative to the principles of animation, rather they offer a useful addition."
"Identify the nature of movements in various subjects."
- Activity: The simplest. Movements are extremely basic and describe a type of dynamic that can not be easily associated with any naturalistic movement. Examples include sparkles on moving water, neon signs and credit sequences. Moving text is clearly animated but has no form of movement that we can attribute to the image itself.
- Action: Identifiable movements of an object or image that are natural to that object. "Subjects move without the intention to move at all, let alone in any given way; it is simply in their nature to move the way they do." "The intention to move is the topic that takes us one step higher in the hierarchy of action."
- Animation: All movements - naturalistic or otherwise - that are generated from the subject itself. Some variations are down to the choices the animal makes; others are a result of physical and behavioural dissimilarities. Define the type of action. They demonstrate a choice in their movement, and that is the key to animation in this context. Intention.
- Acting: The highest form of action in animation. "For the performance to be believable, it must transcend the manipulation of the physical and deal with mood, temperament, personality, and thought."
Objectives of movements; Balance, locomotion (move from A-B), projection (eg. throwing), manipulation, effort.
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