types
of animation
frame
rates
Production Cycle
animating for the Web
introduction
squash
and stretch
exaggeration
staging
straight ahead action and
pose-to-pose
timing
arcs
anticipation
follow through and overlapping
action
secondary action
slow in and out
appeal
personality
introduction
timeline
computers, animation and cinema
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These pictures do not really move -- they are composed of a series of static images that affect the eyes at the rate of 12 to 24 images per second. The illusion of movement is caused by a physiological affect known as 'persistence of vision'. |
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Animation, then, consists of the imagining and representation of movement -- the quality of the sequence, the movement, is more important than the quality of the individual images. The sheer amount of physical and creative labour and the complexity of techniques intrinsic to producing animations has encouraged its development as a group or collaborative endeavour -- a form of commercial industrial design with three main purposes -- to entertain, educate or to inform. Its major producers have been studios. (image, left: 19th century Magic Lantern tin toy) |
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This is not to say that many creatively and conceptually important animations have not been produced by individuals or small 'non-commercial' groups -- simply that what is available in the way of resources to produce such works is comparatively limited and must affect the outcome. It would be ludicrous, for example, to think of making 'Toy Story' on your home computer. As an individual animator it is important to plan well in advance -- plotting, scripting, storyboarding and producing key frames to minimise the waste of your time and resources. Animation did not just spring into being fully formed. Some film historians trace the roots of animation as far back as Egyptian hieroglyphics, the Bayuex Tapestry and medieval manuscript illumination. Many people contributed to make animation what it is today, and to make computer animation at all possible. Many steps had to take place, first to make moving images possible, and then to develop techniques for creating animations. The nineteenth and twentith centuries, in particular, have seen major technological a,d conceptual developments, including, most recently, the developement of CGI (computer generated imagery) and 3D animation. Perhaps, however, the most logical place to begin looking for the precursors of animation as we know it, is the seventeenth century. Europe was awash with new discoveries and new ideas which a newly-created reading public had access to. Optics were a wide-spread interest and were central to advances made in many areas, most notably astronomy. Refinements in techniques for grinding lenses and prisms, and improved mathematics (especially calculus), made it possible to study light and motion with a new accuracy. Science was not solely the realm of specialists and interest in scientific advances was widespread with new discoveries almost as likely to be made by talented amateurs as by dedicated 'professionals'. ---> historical timeline |
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