DIRECTOR OF ANIMATION 'WHO FRAMED ROGER RABBIT' A MANUAL OF METHODS, PRINCIPLES AND FORMULAS FOR CLASSICAL, COMPUTER, GAMES, STOP MOTION AND INTERNET ANIMATORS To Imogen, my co-conspirator and wife, without whom this book would certainly not exist - and the author might not be around to write it. I want this book to put over what I have found to be the best working methods, so that animating becomes better and easier to do. There are lots of formulas, principles, cliches and devices here to helpr but the main thing I want to pass on is a way of thinking about animation in order to free the mind to do the best work possible. I learned it from the best in the business and I've boiled it all down into a systematic working order. It transformed my work - I hope it will be useful to you. vi A coimmttrciaJ I did based on a Frank Frarctto po^er CONTENTS 1 WHY THIS BOOK? 11 DRAWING IN TIME 23 TIME TO DRAW 35 IT'S ALL IN THE TIMING AND THE SPACING 41 LESSON T 46 ADVANCING BACKWARDS TO 1940 47 History of the Chart and Inbetween 48 Extremes and Breakdowns 57 Keys 61 Three Ways to Animate 68 Testing, Testing, Testing 70 The X-Sheet 75 Came the Dawn ... 76 The Best Numbering System 78 The Great Ones and Twos Battle 80 The Top and Bottom Pegs Battle vii 84 MORE ON SPACING 88 Classic Inbetween Mistakes 90 Watch Your Arcs 92 Getting More Movement Within the Mass 96 The Elongated Inbetween 99 The Major Beginner's Mistake 99 The 'Ruff' Approach 101 How Much Do We Leave To The Assistant? 101 Take The Long Short Cut 102 WALKS 106 Getting the Weight 109 Set the Tempo 111 The Passing Position or Breakdown 115 TWo Ways to Plan a Walk 118 The Double Bounce 120 Loosening it Up 128 Digging Deeper into Walks 135 There's Nothing Like Trying It 136 The Heel 136 Foot Action 142 Normal Walk Spacing 146 Weight Shift 147 The Belt Line 148 Arm Movements 156 Counteraction 163 The Recipe 167 Sneaks 173 The Tip Toe Sneak 176 RUNS, JUMPS AND SKIPS 189 The 4 Drawing Formula Run 192 The 3 Drawing Run 195 The 2 Drawing Run 200 The Recipe 201 RunP Jump, Skip and Leap 209 Skips 212 Jumps 213 Weight on a Jump vlli 217 FLEXIBILITY 218 The Breakdown 223 Simple Overlap 226 Overlapping Action 230 Simple Counteraction 231 Breaking Joints to Give Flexibility 246 Flexibility in the Face 249 Overlapping Action in the Face 251 Instant Read - Profiles for Readability 256 WEIGHT 262 Pressure and Weight 264 How Much Effort Do We Have To Expend? 269 Dancing 272 Rules of Thumb On Synchronising Action 273 ANTICIPATION 282 Surprise Anticipations 283 Invisible Anticipations 285 TAKES AND ACCENTS 295 A Hard Accent Bounces Back 295 A Soft Accent continues 297 TIMING, STAGGERS, WAVE AND WHIP 297 Stagger Timings 299 The Side to Side Vibration Formula 301 Whip Action 301 Wave Action 304 DIALOGUE 305 Phrasing 310 Picture and Sound Sync 311 Accents 314 Attitude 314 The Secret 315 ACTING 320 Change of Expression 321 Look for the Contrast 323 An Acting Point ix 324 Body Language 324 Symmetry or 'Twinning' 325 Steal It! 325 Eyes 327 ANIMAL ACTION 328 Live Action Reference 330 Basic Animal Walk Pattern 333 DIRECTING 334 The Brief 334 The Leica Reel 334 Separate the Characters 335 Best Foot Forward 335 Casting Animators 335 Making Changes 335 'Say! Say!' 335 Voice Recording 335 Hook Ups 335 Research 335 Editing 335 Believe in Your Material 338 REVfEW 338 The Procedure 339 The Ingredients 342 Acknowledgements c & " E E w M c | E c < ^ -a ■I % S o 8 I II 1 i-I* K 3 RICHARD WILLIAMS ^^SSSttSJte FRAMES ROGEH RAH BET X WHY THIS BOOK? When I was ten years old I bought a paperback book, How to Make Animated Cartoons, by Nat Falk, published in 1940. It's now long out of print but I used it as a handy reference guide for 1940s Hollywood cartoon styles when f designed the characters and directed the animation for Who Framed Roger Rabbit i More importantly for mer however, the book was clear and straightforward; the basic information of how animated films are made registered on my tiny ten-year-old brain andr when I took the medium up seriously at twenty-two, the basic information was still lurking there. I was living and painting in Spain when the incredible possibilities of what animation coufd do engulfed my mind. I planned my first film and took the money I had left from portrait painting to London. I starved for a bit, finally found work animating television commercials and managed to self-finance 77?e Little island - a haff-hour philosophical argument without words which won several international awards, The Little Island, 1958 Three years later, when I'd finished the film, the unpleasant realisation slowly crept up on me that I really didn't know very much about animation articulation, that is, how to move the stuff. To train myself I traced off the animation that Ken Harris had done of a witch in a Bugs Bunny cartoon (Broomstick Bunny - 1955F directed by Chuck Jones). Doing this only confirmed how little I understood about movement. White I was making The Little island I had seen a re-release of Bambit but since IFd considered myself a revolutionary in the field of animation, rd rejected the film as conventional. But when I finished my film, I saw Bambi again, and almost crawled out of the theatre on my hands and knees. JHow did they ever do that?' I'd learned just enough to realise that I really didn't know anything! 1 Animation master Ken Harris and wannabe. 1969 Sor how and where to get the expert knowledge? f was working in England as an independent and didn't want to go into the Hollywood cartoon mill. I wanted it both ways. I wanted my artistic freedom but I also wanted the knowledge. Preston Blair's How to Animate Film Cartoons was available, but because I was put off by the squashy-stretchy 1940s cartoon style, it was harder for me to grasp the underlying principles I was after - although it's a solid book and Preston was a very good animator from the Golden Age. It's ironic that forty years later I would become best known for my work on Who Framed Roger Rabbit - drawing in precisely the same style that had put me off learning from Preston, Much later, I was able to work with Ken Harris, the first 'real' master animator I met, and whose witch in Broomstick Bunny I had traced off. It's generally agreed that Ken Harris was the master animator at Warner Bros. Certainly he was director Chuck Jones's lead man. In 1967r I was able to bring Ken to England and my real education in animation articulation and performance started by working with him. I was pushing forty at the time and, with a large successful studio in London, I had been animating for eighteen years, winning over one hundred international awards. After seven or eight years of working closely with Ken, he said to me, JHey Dick, you're starting to draw those things in the right place/ 2 JYeahr I'm really learning it from you now, aren't l?r I said. 'Yes/ he sard thoughtfully, 'you know • . . you could be an animator.' After the initial shock I realised he was right. Ken was the real McCoy whereas I was just doing a lot of fancy drawings in various styles which were functional but didn't have the invisible 'magic' ingredients to make them really live and perform convincingly. So I redoubled my efforts (mostly in mastering head and hand accents') and the next year Ken pronounced, jOKr you're an animator/ A couple of years after that, one day he said, jHey, Dickf you could be a good animator/ When he was eighty-twor I would go out to Ken's trailer home in Ohair California and lay out scenes with him that he would later animate. He'd often take a half-hour nap and I'd keep working. One day he conked out for three hours and by the time he woke up, I had pretty much animated the scene. 'Sorry, Dick/ he said, jyou know ... I'm just so god-damned old/ (long pause) 'Oh ... I see you've animated the scene .. / 'Yeah,' I said, 'I didn't know what else to do'. JMice drawings .. / he said, then pointed. JHey, that's wrong! You've made a mistake.' And of course he was right. 'Dammit Ken/ I said- 'I've worked with yon for thirteen years and I still can't get your "thing". I'm afraid it's going to die with you/ JYe-e-aaahhhhh . . .' he snickered, then said, 'Well, don't worry, you've your own pretty good thing going.' Then he snickered again. Ken was a very fast worker and I was always squeezing him for more and more footage and getting hrm to animate even when the taxi was ticking outside waiting for him to catch a plane home to the States. When he died in 1982 at eighty-three, my real regret was that when I was a pallbearer I didn't have the guts to tuck a blackwing pencil into his hand in his open coffin. He would have loved that. When I first started working with Ken, we had just completed the animation sequences which occur throughout Tony Richardson's epic film The Charge of the Light Brigade and I thought I was getting pretty proficient. When Ken saw it in the theatre he said, jGod, Dick, how did you guys ever do all that work?' (pause) "Course it doesn't move too good . . / But I'm still not ashamed of our work on that film. After that we went to see The Beatles' feature cartoon The Yellow Submarine, Though I liked the designer Heinz Edelman's styling, the 'start-stop, stop-start' jerky quality of most of the animation meant that after a half hour much of the audience went to the lobby. No matter how stylish or inventive - jerky or bumpy animation seems only to be able to hold the audience for about twenty-five minutes. While The Yellow Submarine had an enthusiastic cult following from the advertising agencies and university crowd, the general public avoided the film. It killed the non-Disney feature market for years. 3 My animated sequences from Tb,ny Richardson's epic film. The Charge of the Light Brigade, 1968, 4 A top United Artists executive who distributed The Yellow Submarine told me, 'This is the Beatles at the height of their popularity and still people stay away from non-Disney animation.' Film executives at that time always said of animation, 'If it doesn't have the Disney name on It no one will go see it/ But the real point isr it wasn't just the Disney name - it was the Disney expertise that captivated the audience and held them for eighty minutes. Almost the same week Disney's The Jungle Book came out and was an instant hit. I went along to see it reluctantly thinking (as I still considered myself an innovator) that though there might be something interesting, it was probably predictable stuff. That's how it started - with standard-issue wolves adopting the 'good housekeeping seal of approval' cutesy baby I remember the boy Mowgli riding a black panther moving and acting in a clfch£d way - until he got off. And suddenly everything changed. The drawing changed. The proportions changed. The actions and acting changed. The panther helped the boy up a tree and everything moved to a superb level of entertainment The action, the drawing, the performance, even the colours were exquisite. Then the snake appeared and tried to hypnotise the boy and the audience was entranced. I was astonished. The film continued at this high level, and when the tiger entered weighing eight hundred pounds and was both a tiger and the actor who did the voice (George Sanders), I realised I didn't even know how it was done - let alone ever be able to do it myself. I went back to my studio in shock and, through the night, I wrote a long fan letter. In those scenes I thought I had recognised the hand of the great Disney genius Milt Kahl, who Ken Harris had raved about The first name on the directing animator's credits was Milt Kahl, so I assumed the work that stunned me had been Milt's. And it turned out that it was - except for one shot that was by Ollie Johnston. Johnston and Frank Thomas had done lots of other marvellous work in the picture. So I wrote to Milt saying that I thought The Jungle Book was the absolute high point of pure animation performance and that I didn't think it would ever be possible for anyone outside the Disney experience to reach that pinnacle. It turned out Milt said It was the best letter they ever had - and even better, that he knew my work a bit and wanted to meet me. Irrepressible ambition made me change my opinion that they alone could attain such heights; I figured, I think correctly, that given talent, experience, persistence - plus the knowledge of the experts - why should everything not be possible? I couldn't stand it any more. I had to know everything about the medium and master all aspects of it Cap in hand, I made yearly visits to Milt and Frank Thomas, Ollie Johnston and Ken Anderson at Disney. One of the most important things Milt said was: 'Our animation differs from anyone else's because it is believable. Things have weight and the characters have muscles and we're giving the illusion of reality/ 5 A powerhouse of animation knowledge. From the left - Ken Harris, Grim Natwick and Art Babbitt, with students Richard Purdum and me outside my Soho Square studio in London, 1973. But how to make it believable? I didn't go there to drink Milt's bathwater or to find out what Frank Thomas had for breakfast. I would fire my carefully prepared list of questions at them and later write down everything they said. These wonderful virtuosos became my friends and were incredibly generous with their help. As Milt saidr If you ask questions you find out what you want to know, if you're lucky enough to ask someone who knows.' I was also fortunate enough to enlist the marvellous legendary animator Art Babbitt as a collaborator and teacher. Babbitt had developed Coofy and animated the Mushroom Dance in Fantasia. He 'dumped his kit' of knowledge by giving several month-long in-house seminars as well as working with me in my London and Hollywood studios for several years. fn 1973,1 hired the eighty-three-year-old - but still brilliant - Grim Natwick as a live-in' tutor in my London studio. Grim had made his name designing Betty Boop and animating most of Snow White herself in Snow White and the Seven Dwarfs. I also worked closely with Emery Hawkins who Ken Harris regarded as the most imaginative animator. Emery was wildly creative and rotated in and out of every studio. I was also able to work for a short time with Abe Levitow, Gerry Chlniquy and Cliff Nordberg. Dick Huemerr one of the first New York pioneer animators, and later a key Disney story director (Snow White and the Seven Dwarfs, Dumbo, Fantasia and all the early Disney features) also gave me a very clear picture of the early days of animation. Most of them are gone now but this book is full of their accumulated knowledge and craft. 6 « \ I scribbled this of Milt when he was lecturing us at my studio. Milt is saying, JDon't listen to Dickr he's too technical.' Milt was always encouraging me to do my own personal, more unconventional work, which he liked - but I wanted the knowledge first. Two geniuses at once tutor the author - Frank Thomas standing and Milt Kahl at the desk, early 1970s. Used by permission from Disney Enterprises, Inc 7 The Arthurian Legend' was a formidable professor who regarded the professional skills of the animator as being equivalent to those of a concert pianist. Art in action; his first month long seminar at my London studio was like water in the desert for us. 8 In the three-day masterdasses I've been giving lately, some experienced professionals initially feel that we're running over material that they're quite familiar with. Then about half way through the seminar things deepen and on the last day it all suddenly knits together. Some even describe it as an epiphany. Well, it sure was for me when I finally 'got it'. So please read the whole thing. Animation is just doing a lot of simple things - one at a time! A lot of really simple things strung together doing one part at a time in a sensible order. The movie actor, Scott Wilson sat through my three-day San Francisco masterclass. To my surprise he came up at the end and said, JOf course you realise, Dickr that this whole thing has been about acting/ I said, 'What?' and Scott said, JThese are the exact equivalent methods, exercises and analyses we actors do in our acting workshops/ So acting is intrinsically part of the whole. And if you can't draw or articulate movement how are you ever going to do the acting? Someone once asked AAilt Kahl: JHow did you plan out the counteraction you used on that character?' Milt blew up: 'That's the wrong way to look at it! Don't think of it like that! I just concentrate on giving the performance - that's what's important! The play's the thing. You'll get all tangled up if you think of it in a technical way!' Of course he's right. If a musician knows his scales, he can concentrate on giving the performance and bringing out the ideas inherent in the music. But if he constantly has to think of the mechanics of what he's doing - then he can hardly play, Therefore, if we know and understand all the basics - then we've got the tools to create. Only then we can give the performance! This book is an anatomy course in animation. Just like an anatomy course in life drawing, it shows you how things are put together and how they work. This knowledge frees you to do your own expression. It takes time,! didn't encounter Ken Harris until I was nearly forty and he was sixty-nine. I had to hire most of my teachers in order to fearn from them. I hired Ken in order to get below him and be his assistant, so I was both his director and his assistant. I don't know if this is original, but I finally figured out that to learn or to 'understand' I had to 'stand under' the one who knows in order to catch the drippings of his experience. There's a tale about a decrepit old Zen master wrestler. A very fit and brilliant young wrestler begs the old master to take him on and show him the master's ninety-nine tricks, The old man says, 'Look at me, I'm old and decrepit and I'm not interested/ The young man keeps pestering the old man who says, 'Look, son, I'm fragile now and when I show you the ninety-nine tricks, you'll challenge me, they always do - and look at me, you'll make mincemeat of me/ 9 The Charge of the Light Brigade, 1968 'Please, oh please, master/ pleads the powerful young man, 'I promise I will never challenge you! Oh please teach me the ninety-nine tricks/ So reluctantly the old man teaches him until the young man has mastered the ninety-nine tricks. The young man becomes a famous wrestler and one day takes his master into a room, locks the door and challenges him. The old man says, 1 knew you'd do this - that's why I didn't want to teach you in the first place/ 'Come on, old man, there's just me and you in here,' says the young one, 'Let's see what you're made of.r They start and right away the old man throws the young fellow out of the window. The crumpled-up young man moans up from the street below, 'You didn't show me that one!' 'That was number one hundred/ says the old man. This book is the ninety-nine tricks. The hundredth trick is called talent. I became a repository for various strands of animation lore and I've taken all this stuff and given it my own twist. The goal here is to master the mechanics in order to do new things. Get the mechanics into your bloodstream so they just become second nature and you don't have to think about them and can concentrate on giving the performance. I remember once saying to Emery Hawkins (a wonderful, unsung animator), 'I'm afraid my brains are in my hand/ Emery said, 'Where else would they be? It's a language of drawing. It's not a language of tongue/ So everything I know about animation that I can put into words, scribbles and drawings is here in this book. 10 DRAWING IN TIME Why animate? Everyone knows it's a lot of hard work doing all those drawings and positions. So what's the hook? Why do it? Answer: Our work is taking place in time. We've taken our 'stills' and leapt into another dimension. Drawings that walk: seeing a series of images we've made spring to life and start walking around is already fascinating. Drawings that walk and talk: seeing a series of our drawings talking is a very startling experience. Drawings that walk and talk and think: seeing a series of images we've done actually go through a thinking process - and appear to be thinking - is the real aphrodisiac. Plus creating something that is unique, which has never been done before is endlessly fascinating. We've always been trying to make the pictures mover the idea of animation is aeons older than the movies or television. Here's a quick history: Over 35,000 years ago, we were painting animals on cave walls, sometimes drawing four pairs of legs to show motion. 11 In 1600 BC the Egyptian Pharaoh Rameses I! built a temple to the goddess Isis which had 110 columns. Ingeniously, each column had a painted figure of the goddess in a progressively changed position. To horsemen or charioteers riding past - Isis appeared to move! As far as we know, the first attempt to project drawings onto a wall was made in 1640 by Athonasius Kircher with his 'Magic Lantern'. 12 Kircher drew each figure on separate pieces of glass which he placed in his apparatus and projected on a wall. Then he moved the glass with strings, from above. One of these showed a sleeping man's head and a mouse. The man opened and closed his mouth and when his mouth was open the mouse ran in. Although photography was discovered as early as the 1830s, most new devices for creating an illusion of movement were made using drawings, not photos. In 1824 Peter Mark Roget discovered (or rediscovered, since ft was known in classical times) the vital principle, 'the persistence of vision'. This principle rests on the fact that our eyes temporarily retain the image of anything they've just seen. If this wasn't so, we would never get the illusion of an unbroken connection in a series of images, and neither movies nor animation would be possible. Many people don't realise that movies don't actually move, and that they are still images that appear to move when they are projected in a series. Roget's principle quickly gave birth to various optical contraptions: The Thaumatrope: A cardboard disc mounted on a top - or held between two pieces of string. A birdcage drawing is on one side and a bird on the other. When the top is spun or the strings are pulled the disc twirls, the images merge and the bird seems to be in the cage, The Phenakistoscope: Two discs mounted on a shaft - the front disc has slits around the edge and the rear disc has a sequence of drawings. Align the drawings with the slits, look through the openings and as the discs revolve we have the illusion of motion. 13 The 'Wheel of Life' (or the Zoetrope): Appeared in the USA in 1867 and was sold as a toy. Long strips of paper with a sequence of drawings on them were inserted into a cylinder with slits in it. Spin the cylinder, fook through the slits and the creature appears to move, The Praxinoscope: Devised by the Frenchman Emile Reynaud in 1877, He was the first to create short sequences of dramatic action by drawing on a 30 foot strip of transparent substance tailed 'Crystaloid', This opened the way for the tremendous advances to come. The Flipper book: In 1868 a novelty called 'the flipper book' appeared worldwide and it remained the simplest and most popular device. It's just a pad of drawings bound like a book along one edge. Hold the book in one hand along the bound edge and with the other hand flip the pages and Jsee fem move'. The result is animation - the illusion of continuous action. Drawings in time. 14 This is the same as school kids making drawings in the corners of their math books and flipping the pages. Today the 'classical' animator stifl flips his drawings the same way as a flipper book before testing it on the video or film camera. He places the drawings in sequence, with the low numbers on the bottom, then flips through the action from the bottom up. Eventually he should get good enough at it to approximate actual screen time and spot any errors or drawings that need altering. Now that we have the video camera with its instant playback of the drawings at film speed, not everyone learns to flip. In 1896 a New York newspaper cartoonist James Stuart Blackton interviewed the inventor Thomas Edison who was experimenting with moving pictures. Blackton did some sketches of Edison, who was impressed by Blackton's speed and drawing facility and asked him to do some drawings in a series. Later, Edison photographed these - the first combination of drawings and photography. In 1906 they publicly released Humorous Phases of Funny Faces. A man puffed a cigar and blew smoke rings at his girl friend, she rolled her eyes, a dog jumped through a hoop and a juggler performed. Blackton used about 3000 'flickering drawings' to make this first animated picture - the forefather of the animated cartoon. The novelty brought explosions of laughter and was an instant hit. 15 A year later Emile Coh! made and showed his first animated film at the Follies Bergeres in Paris. The figures were childlike - white lines on black - but the story was relatively sophisticated: a tale of a girl, a jealous lover and a policeman. He also gave lampposts and houses intelligence and movement, with emotions and moods of their own. Cohl's work prefigures the later animation dictum, 'Don't do what a camera can do - do what a camera can't do!' Winsor McCay, brilliant creator of the popular comic strip Little Nemo in Slumberlandr was the first man to try to develop animation as an art form, inspired by his young son bringing home some flipper books, he made 4000 drawings of 'Little Nemo' move. These were a big hit when flashed on the screen at Hammerstein's theatre in New York in 1911. As another experiment he drew a bizarre short film, How a Mosquito Operates, which was also enthusiastically received. Then in 1914 McCay drew Gertie the Dinosaur and McCay himself performed 'live' in front of the projected animation, holding an apple in front of Gertie and inviting her to eat. Gertie lowered her long neck and swallowed the fruit - astounding the audience. This was the first personality' animation - the beginnings of cartoon individuality. It was so lifelike that the audience could identify with Gertie. It was a sensation. 16 In McCay's words: 'I went into the business and spent thousands of dollars developing this new art. It required considerable time, patience and careful thought - timing and drawing the pictures [my italics]. This is the most fascinating work I have ever done - this business of making animated cartoons live on the screen/ McCay also made the first serious dramatic cartoon, The Sinking of the Lusitania, in 1918. A war propaganda film expressing outrage at the catastrophe, it was a huge step forward in realism and drama - the longest animated film so far. It took two years of work and needed 25r000 drawings. Later, as an older man being celebrated by the younger funny-cartoon animators in the business, McCay lashed out at them saying that he had developed and given them a great new art form which they had cheapened and turned into a crude money-making business done by hack artists. This well defines the endlessly uncomfortable relationship between the pioneering artist/idealist and the animation industry - working to comfortable and predictable formulas, + Still doth the battle rage ... In the twenties Felix the cat became as popular as Charlie Chaplin. These short Felix cartoons were visually inventive, doing what a camera can't do. But more importantly a real personality emerged from this flurry of silent, black and white drawings and Felix himself connected with audiences worldwide. The Felix cartoons led straight to the arrival of Walt Disney, and in 1928, Mickey Mouse took off with his appearance in Steamboat Willie - the first cartoon with synchronised sound. 17 The brilliant Ward Kimball, who animated Jiminy Cricket in Pinocchio and the crows in Dumbo, once told me, JYou can have no idea of the impact that having these drawings suddenly speak and make noises had on audiences at that time* People went crazy over it/ Disney followed Steamboat Willie with The Skeleton Dance. For the first time, action was coordinated with a proper musical score. This was the first Silly Symphony. Ub Iwerks was chief animator on both films and a lot of the sophisticated action of The Skeleton Dance still holds up today. Disney leapt forward again in 1932 with Flowers and Trees - the first full colour cartoon. 18 Then he followed it one year later with Three Little Pigs, This had a major impact because of its fully developed 'personality' animation - clearly defined and believable separate personalities acting so convincingly that the audience could identify with and root for them. Another first. Astonishingly, only four years after that, Disney released Snow White and the Seven Dwarfs, the world's first fully-animated feature-length film, raising cartoon drawings to the level of art and holding the audience spellbound for eighty-three minutes. A truly staggering feat accomplished in an incredibly short space of time. (It's said that many of the artists booked themselves in advance into hospital to recover from the effort of completing the film.) The tremendous financial and critical success of Snow White and the Seven Dwarfs became the foundation of Disney's output and gave birth to the 'Golden Age' of animation: Pinocchio, Dumbo, Bambi and Fantasia, as well as the Silly Symphonies and Donald Duck and Mickey Mouse shorts. 19 Surrounding the potent Disney centre were the satellite studios: Max Fleischer with two features - Gulliver's Travels and Mr Bug Goes to Town - and Pop eye shorts; Warner Bros' Looney Tunes and Merrie Melodies with Bugs Bunny, Daffy Duck, Porky Pig; MCM with Tom and Jeny, Droopy and the great anarchic Tex Aveiy shorts, and Walter Lantz with Woody Woodpecker, Fed as they were by the knowledge and expertise emanating from the Disney training centre, their much wilder humour was often in reaction to or in rebellion against Disney realism' and 'believability'. But after the Second World War the situation changed. The arrival of television and its voracious appetite for rapidly produced product demanded simpler and cruder work 1950s stylisation gave birth to UPA studios in Hollywood who created Mr. Magoo and Gerald McBoing Boing, UPA's approach was regarded as more graphically sophisticated than Disney and used more limited' and much less realistic animation. At the same time there was a worldwide flourishing of personal, experimental and Jart house' animated films made in new ways with many different techniques and with very different content to the Hollywood product Animators were reinventing the wheel stylistically but were ignorant of the structural knowledge developed in Hollywood's Golden Age. This knowledgef though residing in the hands of the originators, was generally ignored as being 'old hať or was forgotten in the following thirty years. However, in the last few years, the renaissance of animation as a form of mass entertainment is giving rebirth to the old knowledge. The startlingly successful innovations of computer animation are helping to transform animation in all it's multi-faceted forms into a major part of the entertainment mainstream. Alongside this, there is also the explosion in the computer games industry. if drawn 'classical' animation is an extension of drawing, then computer animation can be seen as an extension of puppetry - high tech marionettes. Both share the same problems of how to give a performance with movement, weight, timing and empathy. The old knowledge applies to any style or approach to the medium no matter what the advances in technology. Most of the work methods and devices in this book were developed and refined in the Hollywood animation studios between 1930-1940, I've co-ordinated what I've learnt from various approaches and I'm presenting it here in a form based on my own experience in this medium - with its limitless possibilities of imagination. Emery Hawkins said to me, The only limitation in animation is the person doing it. Otherwise there is no limit to what you can do. And why shouldn't you do It?' 20 I meticulously painted this poster for the 1981 London Film Festival. Everybody said, 'Oh, I didn't know you did collage.' 21 22 TIME TO DRAW This section is really for classical animators. However, I haven't been surprised to find that most of the leading computer animators draw rather well, so it may be interesting to them too. It certainly helps enormously to be able to put down your ideas - even rn stick figures. For the classical animator it is crucial-Drawing should become second nature, so that the animator can concentrate on the actual actions and the timing of them and give the performance life. When yourre doing cartoons all the timer it's very easy to slide into formula drawing. During the making of Who framed Roger Rabbit I found this pinned up on our notice board: rH(S FtOrtM*LA Fob. TfcA&tc k Aft ITS r Life drawing is the antidote to this. When you're doing life drawing, you're all alone. One of the main reasons animators - once they become animators - don't like to spend their evenings and spare time life drawing is because it's not a collaborative operation. Animation is usually a group effort, and one has the stimulus of constant interaction, both competitive and co-operative, with the cut and thrust, highs and lows, political factions of complaint and inspiration, all the tensions and anxieties, rewards and excitement of group production. 23 With life drawing there's no one to admire your efforts - rather the reverse. It's always shocking to find you're not as advanced or skilled as you thought you were, and since it's about the hardest thing to do with no rewards other than the thing itself - It's no wonder few do It or stick at it Most animators are exhausted at the end of a day's work and have families to go to. Also, one has to do a lot of life drawing to get anywhere - not just a bit at a time here and there. But the fact remains that there is no replacement for the hard work of solid life drawing, There is one payoff and it is substantial - the gradual and fundamental improvement of ail one's work, Winsor McCay once said: Mf I were starting over again, the first thing I'd do would be to make a thorough study of draftsmanship, I would learn perspective, then the human figure, both nude and clothed, and surround it with proper setting/ And Milt Kahl said: *\ don't think it's possible to be a top notch animator without being an excellent draftsman. You have to try for the whole thing, you know, got to know the figure. Know the figure well enough so that you can concentrate on the particular person - on the difference - why this person is different from somebody else- The ability to draw and be able to turn things and the ability, the knowledge that enables you to caricature and to exaggerate in the right direction and emphasise the difference between things is what you're doing ail the time. Any time you're doing a strong drawing of anything well, your drawing is strong because you're depicting why this is different from something else, You need that figure-drawing background in order to sharpen, Every animator should have this background and unfortunately they don't! You just can't know too much. If you're going to lampoon something, or do a satire - you have to understand the straight way. It gives you a jumping-off point. It gives you a contrast. You just do it and do it.., and do ft!' 24 Art Babbitt is blunter: Jtf you can't draw - forget it. You're an actor without arms and legs/ But we can team to draw, There's the myth that you are either a born draftsman or not Wrong! Obviously, natural talent is a great help and the desire is essential* but drawing can be taught and drawing can be learnt. Its best to have done a ton of It at art school to get the foundation in early. But it can be done at any time- Just do it Here are three pieces of drawing advice that were given to me - and which stuck. When S was fifteen years old and really keen on being an animator, I took a five day*and-night bus trip from Toronto to Los Angeles, and walked up and down outside the Disney Studio fence for days hoping to get inside. Finally an advertising friend of my mother's saw my drawings and rang up the Disney PR department and they took me into the Studio for two days; they were very kmd to me and even did a press story on me. It was there that I received my first piece of great advice. Richard Kelsey (Disney story artist and designer/illustrator) said, 'First of all, kid, learn to draw. You can always do the animation stuff later/ I desperately wanted to become an animator and I produced my sketches of Disney characters, which were kmd of at the Roger Rabbit level since 1 was a precocious little bastard. Dick Kelsey looked at them and said, 'Yes, but I mean really leam to draw/ 25 ard Keisey with eager beaver. Disney studios, 1948. My commercial work, age 17. Weeks later when I was getting on the bus to go home to Toronto, I rang Dick up and asked again, JWhat do you think I should do?' - 'Learn to draw!' he said. One great regret I have in my life is that forty years later, when I was animation director on Who Framed Roger Rabbit, I saw Dick in the Disney canteen out of the corner of my eye, but I was so caught up in the production politics I didn't break away to go over and thank him. I never had another chance. After my trip I went straight to art school and received the second piece of advice, from a great teacher and superb draftsman, Eric Freifield, then teaching at the Ontario College of Art He looked at my life drawings and said, 'Weil, here's a clever little fellow who's never seen anything/ I said, 'What should I do?' He said, 'Go to the library and look at Albrecht Dürer for two years/ I did. And not surprisingly my Interest in animation vanished for years. I paid my way through art school by knocking off Disneyesque dog food ads like the one above - at the same time doing 'realismo social' like this lithograph of a revival meeting 'Where the healing waters flow'. After that I lived in Spain for a couple of years doing paintings like these until a totally unexpected affliction by the animation bug got me. Forty years later a top executive on Who Framed Roger Rabbit kept referring to me as 'artsy craftsy' or 'artsy fartsy'- How did he ever know? He must have smelt it as there was no sign of it in my animation, 26 430713 27 The third piece of drawing advice came many years later - ( was fifty - when I was pretty accomplished, and it came from a much younger man. My talent is primarily linear', which makes cartooning easy. However, since animators have to enclose their shapes, there is a tendency to end up just drawing outlines - like colouring-book figures. In other words, animators don't usually draw from the inside-out, like a sculptor does* Sculpture had been my weakest subject - although I'd done a lot of life drawing and had a grounding in basic anatomy. John Watkiss - then a twenty-three-year-old, self-taught brilfiant draftsman and anatomist -held his own life drawing classes in London* (Recently he was one of the principle designers of Disney's Tarzan.) I used to hire John periodically to do presentation artwork and we were friendly- I went to John's evening life classes for a while and one day John, who is ruthlessly honest pointed to my drawing and said, JHey! You missed a stager I felt like a butterfly pinned to the wall. He was right I knew exactly what he meant* I was weak from a sculptural point of view. I was too linear. Years later, when I had dropped out of the 'industry' part of animation, I re-studied my anatomy and worked on drawing from the inside-out i advanced backwards and filled in the ;;HTmj;$sirig: stage. 28 I showed my ex-illustrator mother several of these life drawings when she was bed-bound just before she died, Tve been working at reconstituting myself, Mom, doing all these drawings/ She looked at them carefully for some time, then said, 'Very nice, very nice ... Nothing new/ Advice from the inside - from one's family - somehow doesn't have the same impact as from the outside. However my mother had once said, 'When you go to art school, you'll find everybody sitting around practising how to do their signature/ and sure enough, there they were, some of them doing just that She also gave me this great advice: 'Don't try to develop a style. Ignore style. Just concentrate on the drawing and style will just occur/ Of course there's an opposing view to all of this 'you've got to learn to draw' stuff. The great Tex Avery, master of animation's ability to do the impossible and make the unreal spring to life - and the first director of Bugs Bunny and Elmer Fudd - said: -l was never too great an artist. I realised there at Lantz's that most of those fellows could draw rings around me . . . I thought, Brother! Why fight it? Ill never make it! Go the other route. And I'm glad ! did, My goodness, I've enjoyed that a lot more than I would have enjoyed just animating scenes all my life/ 29 Tex stopped animating and became a great, original and innovative director. The biographer John Canemaker said: 'While Disney in the 1930s was trying to convince the audience of the "reality" of his characters in his film world, by creating his JJillusion of life", Tex went in the opposite direction, celebrating the cartoon as cartoon, exploring the medium's potential for surrealism/ He never let audiences forget they were watching an animated film. Tex had a twenty-year run with his wildly funny approach to the medium, but he found it impossible to sustain. Tm burned out/ he said. His colleague, animator Mike Lah said, JHe didn't have any more space. He used it up.' [ love Tex Avery's cartoons - his drawings and character designs. His Droopy is my favourite cartoon character. One of the nice things about doing Who Framed Roger Rabbit was to emulate Tex Avery's humour - *But not so brutal!' were my instructions. Though, as Milt saidr 'You have to try to have the whole thing.' I am convinced that if an animator's drawing foundation is strong, he wilf have the versatility to go in all the different directions possible at his fingertips. He'll be able to draw anything -from the most difficult, realistic characters, to the most wild and wacky. And it's not likely hell exhaust his resources and suffer burn-out. Because of his strong drawing ability, Milt Kahl was usually saddled with animating 'the Prince' or Disney's 'strarghter' characters - which of course are the hardest ones to do. Whenever anyone criticised his work, he'd say, JOKf you can do the Prince/ And they'd soon vanish. Word spread among the more 'cartoony' artists that, JMiIt draws beautifully but he can only do the straight stuff and he can't handle zany stuff at all/ Then, between features, Milt animated most of Tiger Trouble, a 'Goofy' short, Everybody shut up, and stayed shut up. His work is a classic of broad and crazy animation. "If you can draw funny that's enough' is an animation myth that's been around a long time, and still seems to persist This is because a few of the early animators lacked sophisticated drawing skills - but nevertheless were very inventive and excellent at getting the essence of the drama and performance. The myth was that all they needed was to have a good draftsman as an assistant to do the final drawings and everything would be fine. But in the mid thirties, when the new wave of young animators with better drawing skills came on the scene and learned from the old guys, the ground was soon littered with out-of work animators who couSd only handle the cruder cartoons, The new breed of better draftsmen took their jobs away from them. If the present boom in this medium ever contracts it's certain that the more skilled artists will be the survivors. Bill Tytla - famous for his animation of Stromboli in Pinocchio, the Devil in 'Night on Bald Mountain' from Fantasia, and Dumbo with his mother - once said: 'At times you will have to animate stuff where you can't just be cute and coy. Those are the times when you'lf have to know something about drawing. Whether it's called form or force or vitality, you must get it into your work, for that will be what you feel, and drawing is your means of expressing it.' 30 31 Obviously all this doesn't apply so much to computer animators since the Jmaquetter of the character is already planted inside the machine, ready to be manipulated- But since most of the leading computer animators draw rather well, many work out their positions in small sketches, andr of course, the planning, layout and story artists and designers draw exactly the same as their classical equivalents. I had an unnerving experience in Canada when a friend asked me to give a one-hour address to a large high school gathering of computer animation students. They had a very impressive set-up of expensive computers but, from what I could see of their work, none of them seemed to have any idea of drawing at all. During my talk I stressed the importance of drawing and the great shortage of good draftsmen. A laid-back greybeard professor interrupted to inform me, 'What do you mean? All of us here draw very well.1 Words failed me. At the end of the talk, I showed them how to do a basic walk, and as a result got mobbed at the exit, the kids pleading desperately for me to teach them more. I escaped, but Tm afraid that's what the situation is out there - a lack of any formal training and no one to pass on the 'knowledge'. You don't know what you don't know. One of the problems rampant today is that, in the late 1960s, realistic drawing generally became considered unfashionable by the art world, and no one bothered to learn how to do it any more. The Slade school in London used to be world-famous for turning out fine British draftsmen. A distinguished British painter who taught at the Slade asked me, 'How did you learn how to do animation?' I answered that I was lucky enough to have done a lot of life drawing at art school, so without realizing it [ got the feeling for weight which is so vital to animation. Then I said, JWhat am I telling you for? You're teaching at the Slade and it's famous for its life drawing and excellent draftsmen.' Mf the students want to do that,' he said, 'then they've got to club together and hire themselves a model and do it in their own home/ At first I thought he was joking - but no! Life drawing as a subject went out years ago. It wasn't even on the curriculum! i had a boyhood friend who became a bigwig in art education circles, He ran international conferences of the arts. About sixteen years ago he invited me to Amsterdam to a conference of the deans of the leading American art colleges. He knew me well enough to know I was bound to say controversial things, so i was invited as his wild card. In my talk I found myself lamenting the lack of trained, talented artists and that I was hampered in my own studio's work because I couldn't find trained disciplined artists to hire, The applicants' portfolios were full of textures, abstract collages, scribbles, often nude photos of themselves and friends. No real drawing. I didn't realise how strongly I felt about this and as I talked I found myself nearly in tears. 32 My advertising campaign design for Mike Nichols The Graduate. A foundation of life drawing was invaluable when 1 had to draw this simple teg for this movie logo. 33 I harangued the deans of the art schools for failing in their duty to provide proper skills to their students. Surprisingly, when i finished, the deans called an emergency meeting to which I was invited. 'Look Mr. Williams/ they saidr 'you're right, but we have two problems. Number one: since classical drawing was rejected years ago, we have no trafned teachers who can draw or teach conventional drawing as they never learned ft themselves. And number two: our mostly rich students - on whom we count for our funding - don't want to learn to draw. They would rather decorate themselves as living works of art - and that's exactly what they do/ So ( said, 'Look, all I know is that 1 can't find people to hire or train; but otherwise I don't know what you can do/ They said, 'Neither do we/ Lately things have improved somewhat So-called classical drawing seems to be coming back, but with a hyper-realistic photographic approach because skilled artists are thin on the ground. Shading isn't drawing, and it isn't realism. Good drawing is not copying the surface. It has to do with understanding and expression. We don't want to learn to draw just to end up being imprisoned in showing off our knowledge of joints and muscles. We want to get the kind of reality that a camera can't get. We want to accentuate and suppress aspects of the model's character to make it more vivid. And we want to develop the co-ordination to be able to get our brains down into the end of our pencil. Many cartoonists and animators say that the very reason they do cartoons is to get away from realism and the realistic world into the free realms of the imagination. They'll correctly point out that most cartoon animals don't look like animals - they're designs, mental constructs. Mickey ain't no mouse, Sylvester ain't no cat They look more like circus clowns than animals. Frank Thomas always says: 'If you saw Lady and the Tramp walking down the road, there's no way that you are going to buy that they're real dogs/ But to make these designs work, the movements have to be believable - which leads back to realism and real actions, which leads back to studying the human or animal figure to understand its structure and movement What we want to achieve isn't realism, it's believability. While Tex Avery released the animator from the more literal approach in order to do the impossible, he was only able to do it so successfully because his animation was mostly done by Disney drop-outs who already had 'the Disney knowledge' of articulation, weight, etc. So, ironically, his rebellion, his 'going the other route', had its basis in an underlying knowledge of realism. But don't confuse a drawing with a map! We're animating masses, not lines -So we have to understand how mass works in reality. In order to depart from reality, our work has to be based on reality. 34 IT'S ALL IN THE TIMING AND THE SPACING I met Grim Natwick (born Myron Nordveig) in a Hollywood basement when he was in his eighties. Grim was the oldest of the great animators, being already in his forties when he animated eighty-three scenes of Snow White in Disney's Snow White and the Seven Dwarfs. Previously, herd designed Betty Boop for Max Fleischer, for which he received nothing and was furious about it 'til the day he died, aged 100. I'll never forget the image of this big Norwegian American sitting in the golden twilight, extending his long arms and spatula hands saying ... IN THE T/M/A/G-----A-A-A/VP /Al--- . $r&ay-y<~y~ n-ng b .. that fm TO WORK THI£ OUT.. 35 The bouncing ball says it all. The old bouncing-ball example is often used because it shows so many different aspects of animation, A ball bounces along, \ \ / \ f \ 1 \ \ \ t / \ $OfHK -o and where it hits - the 'bornks' - that's the timing. The impacts - where the ball is hitting the ground - that's the timing of the action, the rhythm of where things happen, where the 'accents' or 'beats' or 'hits' happen. And here's the spacing. The ball overlaps itself when it's at the slow part of its arc, but when it drops fast, it's spaced further apart. That's the spacing. The spacing is how close or far apart those clusters are. That's it. It's simple, but itrs important. The spacing is the tricky part, Good animation spacing is a rare commodity. 36 So we have: The two basic elements of animation. To experience this, take a coin and film it in stages under a video camera. First plot out the timing- where you want the ball to hit the ground. Then push the coin around -taking a picture at each frame - and see what looks right or wrong. Try it with different timings and spacing. You're already animating. You're already dealing with the important fundamentals and you haven't even made a single drawing. You're doing pure animation without any drawings, 37 Hidden in this simple test Is the weight of the ball - how it feelsr light or heavy; what it's made of. Is it large or smallr moving fast or slow? This will all emerge if you do several tests - which only take a few minutes to do. The importance of the timing and the spacing will become obvious. Because you did it, a certain amount of personality will creep into the action - whether the ball is deliberate, slow, jaunty, erratic, cautious, even optimistic or pessimistic. And all this, before youVe made a single drawing. This reveals how important and dominant the timing and the spacing is, Even if the ball positions were drawn in detail by Michelangelo or Leonardo da Vinci, the timing and the spacing of the drawings will still dominate. Another interesting way to experience the difference between timing and spacing right away is this: Let's put a coin under the video camera and move it across the page (or screen) in one second - 24 frames of screen time. That's our timing. We'll space it out evenly - and that's our spacing. Now we'll keep the same timing - again taking one second for the coin to move across the page. But well change the spacing by slowly easing out of position number 1 and easing gradually into position number 25. It still takes one second for the coin to get over there. It has the same timing - but there is very different movement because of the different spacing. Both start together - and both hit the middle together - but the spacing is quite different. And so the action is very different. 38 You could say that animation is the art of timing. But you could say that about all motion pictures. The most brilliant masters of timing were the silent comedians: Charlfe Chaplin, Buster Keaton, Laurel and Hardy* Certainly for a film director, timing is the most important thing, For an animator, It's only hatf the battle. We need the spacing as well. We can have a natural f eel for timing, but we have to learn the spacing of things* One other thing: The bouncing ball example is often used to show animation 'squash and stretch' - that Is, the balf elongates as it fails, flattens on impact with the ground and then returns to its normal shape in the slower part of its arc. tt might squash and stretch this way if it was a very soft ball with not much air in it, but what I've found fs that you can get a good enough effect with a rigid coin-provided the spacing of it was right - so tills added technique is not always necessary. Certainly a hard golf ball isn't going to bend all over the place. In other words, if you do this squishy squashy thing too much, everything comes out a bit *sploopyr, like it's made of rubber. Life ain't like that. At least most of It ain't More about this later. Golf bal! bounce, 1951 Having established all this, let's go to lesson one: 39 Stills from Charles Dickens* A Christmas Carol. 1972. We're starting to get better. I got my first Oscar for this half-hour film made originally for TV. You wouldn't think a lot of this was drawn by Bugs Bunny animators! ft couldn't have been clone without Ken Harris who carried the load on Scrooge. Towards the end, Chuck Jones (the Executive Producer) lent us Abe Levitow, a great unsung animator with majestic qualities. We also had help from Disney alumni George Nicholas and Hal Ambro. My own stalwarts were Richard Purdum. Sergio Simonetti and Roy Naisbitt 40 LESSON ONE UNPLUG! Unplug! Take off your head phones! Turn off the radio! Switch off the CD! Turn off the tape! Close the door, Like many artists, I had the habit of listening to classical music or jazz while working. On one of my first visits to Milt Kahl I innocently asked: Mfuf, PO YOU UST£N TO CLASSICAL MUSIC WiL&YOURB WOfctfitie? 41 Since it came from a genius, this made quite an impression on me- After this J learnt to face the silence and think before swirling my pencil around. My animation Improved right away. This has been the case with many artists when I've passed this wisdom along* Recently, two previously sound-addicted computer animators were shocked to find that their plugged-in colleagues instantly made them objects of ridicule for not having wires coming out of their ears. They were even more surprised at the startling improvement in their work. ♦.. end of lesson one* Portrait of the artist after receiving lesson 1 45 ADVANCING BACKWARDS TO 1940 Let's advance backwards to approach where animators were during the 'Golden Agef. And then go forward from there - so we can do new things. The thing you are going to build on must be basic. Everyone wants to decorate their house with interesting pieces before putting in the cornerstones and supports. Everyone wants to jump ahead to the sophisticated bit - glossing over the d u 11 r old support work. But it's the thorough understanding of the basics that produces real sophistication. As Art Babbitt said: The knowledge that went into making fittle drawings come to life is in the early Disneys, Nobody taught us how to articulate these fanciful characters. We had to discover the mechanics ourselves and pass them around amongst each other. There are many styles but the mechanics of the old Disney animation remain/ They had it all worked out by 1940, around the time that Pinocchio was released, It was a wonderful system - precise and simple. First we'll take it bit by bit - and then we'll put it all together. 46 m&l&P-Y CF-j% 7 9 -k 9 Ken Harris always called it 'cushioning' - which is a nice way to think of It. Master animator Eric Larson - who became the Instructor of the younger Disney animators says that what animation has to have is a change of shape. So, let's change from a closed hand to a pointing finger. *5 If we 'ease ouf of number 1 in order to point - number 5 - the chart will be: O-- Jr^to/AIG o\rr cut Alternatively, if we 'snap ouf or 'speed out' of the closed hand and 'ease in* or 'cushion inr to the pointing finger the chart will be: \ S 4, f SAsiN* 'N For a more relaxed, slower action we could add more inbetweens and ease out of the closed hand, and speed through the middle, and then ease in to the pointing finger. / 3 4- 5 £/AJG- our T It* 51 The animator can get away with just drawing the two extreme positions and making a chart for the assistant to put in all the inbetween positions. I was spoilt by being taught by marvellous, hardworking, top Hollywood animators and 1 had a few shocks when I worked with some of the lesser mortals. Here's how a Hollywood hack animator might duck the work: A character enters screen left. ♦ * and goes out screen right To walk across the screen it's going to take 4 seconds - 96 frames. So the animator does drawing number 1 and drawing number 96 and gives this chart to the assistant and goes off to play tennis. He wanders back in next day and blames the assistant for the terrible result This may seem far-fetchedr but It does happen. Moving on - we know the extremes and the breakdowns are crucial to the result but the inbetweens are also very important The genie in the computer creates perfect Inbetweens, but for 'drawing' people - getting good inbetweens can be a real problem. Grim Natwick constantly intoned, 'Bad inbetweens will kill the finest animation/ In 1934, when the novice Milt Kahl - having just started work at Disney - first met the great Bill Tytla, he told Tytla that he was working in the inbetweenfng department Tytla barked, 'Oh yeah? And how many scenes have you screwed up lately?' 52 Like most people starting outr I did all my own inbetweens* Then I got my first 'official' job animating for UPA in London. They gave me an inexperienced assistant who drew well, but this is what happened: We had a simple character of the period, a little girl called Aurora who was advertising Kta Ora orange drink. 'Where's the Kia Ora, Aurora?' She looked like this, I drew drawings 1 and 3 and 5, my assistant put in inbetweens 2 and 4. z 4 K-l Mlltl+W^T..-.- 4- j S He had ambitions as a designer and he didn't like egg-shaped eyes like this: He liked circular eyes like this: So the inbetweens all went in like this: ( 00 ! The result on the screen, of course, is this; Wobble, wobble, wobble. ^ 53 As is common in production when racing to meet the deadline, we end up hiring anybody off the street who can hold a pencil. And this is what happens: Say a live actor is holding an animated coffee cup - The fnbetweener from the streets doesn't understand simple perspective - so the curved top of the cup gets put In straight on the inbetweens. ■ - J. 5 4- / 5 Result: Trying tonight/ Wobble, wobble, wobble, And if it's this wobbly with a simple thing, just imagine what it's going to be like when we are dealing with complex drawings* All the shapes will be doing St Vitus's dance. So the assistants' or inbetweener-s job is really volume control. A lot of assistants worry about the quality of their line - matching the animator's line quality. I always say never mind the line quality - just get the volumes right Keeping the shapes and volumes consistent - volume control! When the thing Is coloured in, it's the shapes that we see - It's the shapes that dominate. 54 Whenever we were under the gun and short of skilled helpers, we found if we outnumbered the dodgy inbetweens by three good drawings to two bad ones - we just scraped through with an acceptable result. §O0X> £OCP ^5 I--r----f 3AD BAD When we only had two good ones with three bad ones in between them - the bad ones out-numbered the good ones and the result was lousy. \ BAD BAP SAD (5 coD 5 If the breakdown or passing position is wrong, all the inbetweens will be wrong too. (Iran GrCcO i 2 $ 4- & & 7 BAP SAP BAD HAP When we're not accurate, here's what happens: The animator supplies a chart and wants equal inbetweens. This is putting them in the right place. / z 3 4~ I ^^^^^^fn^m^s r^^^^^n^^^^^m ^^^^^a^^^" ■ ■ ■ I m^^m But let's say the assistant puts the breakdown or passing position slightly in the wrong place / .4- 55 4 5" f NOT OK- ?tt&42 IN HSf^ So: Number 4 is wrong- 3 compounds it. 2 compounds it more. And instead of ending up with fluid actions like this - - we'll get this all-over-the-place kind of thing. o o °o°- o 9x One thing an animator should never do is to leave his assistant to make 'thirds', If we need to divide the chart into thirds - f 2 + A- - the animator should make one of the inbetween positions himself 3 4 4 I - in order to leave the assistant to put in the remaining position in the middle. 56 Leaving thirds to the assistant is cruel and is asking for trouble - but it's fair to make a chart like this, calling for an in between very close to an extreme: / z 4-J MAKE OK£ itk&mt CLOSER To 5 z mak? me igrwN cuxzfc to And now we come to the Great Circling Disease. For some reasonr animators just love circles, We love to circle the numbers on our drawings. Maybe it's because, as old Grim Natwick sard, 'Curves are beautiful to watch,' Or maybe it's just a creatively playful thing. I once worked with a Polish animator who circled every single drawing he made! 'Is animation, man! Circle! Circle! Circle!' You'll notice that so far I haven't circled any extreme positions. In this clear working system and method developed by the 1940s, the extremes are not circled, but the key drawing is. The drawings which are circled are the 'keys', Question: What is a key? Answer: The storytelling drawing. The drawing or drawings that show what's happening in the shot 57 If a sad man sees or hears something that makes him happy, werd need just two positions to tell the story. These are the keys and we circle them. These are the drawings we make first. How we go interestingly from one to the other is what the rest of this book is about. Take a more complex example: Let's say a man walks over to a board, picks up a piece of chalk from the floor and writes something on the board. If it was a comic strip or if we wanted to show what's happening on a storyboard, we'd need only three positions. Well keep it simple and use stick figures so we don't get lost in detail. These three positions become our keys and we circle them. The keys tell the story. All the other drawings or positions well have to make next to bring the thing to life will be the extremes (not circled): the foot 'contacts', the passing positions or breakdowns and inbetweens. 58 if we time this action out with a stopwatch, we might find that our first key position at the start will be drawing 1. Say it takes him 4 seconds to walk over and contact the chalk on the floor -we'd circle the second key drawing as 96. And when hers stood upr stepped over and written his stuff, it might take another 4 seconds - so our third key could be the last drawing in the shot -192. The whole shot would then take 8 seconds. Of course, we don't need to time it all out first but before we dive into animatorland with all that stuff, we have to clearly set out with our keys what it is we're going to do - and we can test our three drawings on film, video or computer. We haven't dealt with how he or she moves - whether the character is old or young, fat or thin, tall or short, worried or happy, beautiful or ugly, rich or poor, cautious or confident scholarly or uneducated, quick or slow, repressed or uninhibited, limping or fit, calm or desperate, lazy or energetic, decrepit or shaking with the palsy, drunk or frightened, or whether it's a cold-hearted villain or a sympathetic person - in other words all the 'acting* stuff, plus all the trimmings -ciothes, facial expressions etc- But what we have done is made it very plain what happens in the shot before we start. if we were to make a diagrammatic chart of the whole scene, it would end up looking something Hke this; 59 Important animators are called key animators, and word got round that they just draw the keys - anything that they draw is a key - and slaves fill in the rest according to the little charts provided by the key animators. Wrong. A key animator is simply like a key executive -an important one. Many good animators call all their extremes 'keys' - I sure used to. But it makes life so much clearer and easier if you separate the keys from the extremes. Actually, I never heard Ken Harris ever call a drawing a keyr but he would say, 'Draw that one first. That's an important drawing/ And ft was a key, really. i Ve worked every system, good, bad or half-baked, and experience has convinced me that it's best - even crucial - to separate the storytelling keys from the extremes and all the other stuff. (Of course, as in our example above, the three keys will also function as extremes.) Separating them out stops us getting tangled up and missing the point of the shot, as we vanish into a myriad of drawings and positions. There may be many keys in a scene - or maybe just one or two - it depends on what it is and the length of the scene, its whatever it takes to put it over, to read what's to occur. Yoti can spend time on these keys. I remember once visiting Frank Thomas and he was drawing a cat. 'Dammit/ he said. 'I've been working all day on this damn drawing - trying to get this expression right/ I was shocked. All day! Wow! That was the first time i ever saw anyone working so hard on a single drawing. How was he ever going to get the scene done? Finally, the penny dropped. JOf course, stupid, its his key\T It's the most important thing in the scene! He's got to get that right! And it was encouraging to see anyone that great struggling to get it right! We just start drawing and see what happens - like a kid drawing in the page corners of a schoolbook - stick the numbers on afterwards. Disney director-animator Woolie Reitherman said, 'When 1 didn't know what 1 was doing in an action, I always went straight ahead. I'd just start on ones. Half the time I didn't know what I was doing. To me, it's fun. You find out something you wouldn't have found out otherwise.' Advantages WE <3&TA NATURAL- EEOW OF FWIP( SPONTANEOUS ACVON. ITH&lkL VITAPf/OF IMPfZOVtSAVOH. its very '^cr&twz'- m&> ww The FlOW -TAKim All CFile Action starts to kick in* Em authors SAY I HQ THEI& CHABACtER- TELES THEM WHAT? GOlMG lt> HApPEN- i t can FwwcE suwpm -jvmc'. ITS FUN. PiKADVANTAGfZS - Tf{lM<3£ 8TAJ2T TO WAN PER. ~ 77M|= -SWtff^ shot &et& LONGER &d longer-- CHARACTERS G£0\N ^ SHRINK- we caw tehoid #/ss tfe point OFTke SHOT 2^ NOT ARRIVE AT TUe. WGHT PLACE AT%t £iGHTTlMe. ~7k PiREOOR. haizq OS g£C4«S£ ■ /rs LOTS OF worn TO CEEM up -Tilt MESS AFTEZWAEpS - W tUS HARP TO ASSIST. ITS EWEUSNm ~~tUe P&DDQCEIZ IT cm BE HA$£> OH ibtKER/FS - MAP ARTIST 3«J NE&YCUS g&AK-pqwh VM£ AS WE CREATiVEEY LEAP IN 2*d TftHAW APOVNP \H Wt VOID - ESPECJAUX WtW IOOMIN& P&tf>LtHES. 61 2. The planned way, called First we decide what are the most important drawings - the storytelling drawings, the keys -and put them in. Then we decide what are the next most important positions that have to be in tite scene. These are the extremes and we put them in - and any other important poses. Then we work out how to go from one pose to another - finding the nicest transition between two poses. These are the breakdown or passing positions. Then we can clinically make dear charts to cushion and ease in and out of the positions and add any finishing touches or indications for the assistant. To illustrate how effective the pose to pose method is, the brilliant Disney art director-designer Ken Anderson told me that when he was making layout drawings of characters for animators working on Snow White and the Seven Dwarfs, he drew lots and lots of key poses of Grumpy for each shot. Ken's drawings were then given to one of the Grumpy animators. Ken found out later that the guy fust put charts on the drawings, handed them to his assistants and went off to lunch, and took the credit, for what in effect, was Ken's fine animation. ÁPVAHTAG&Z W0 GET CMg/ry "lie TOIhiroFltft IS NCB lit STČUOUWb, CAL&ÁCA7W, lOGlCAC m CAN GPTHICČ W ilk IH ~1tit Ul&ttTTHMQS HAPPEN at1%&~ ni0iT T(ME cHxd IN lie PiRWrcfr u>m us, its f3VSY1£>ASSIST ITS A QUICK WAY TO WORK *J f£č=č£ us up 7ó PO MOB? SC#V£S. W£ mep swč, oun HAift isn't Slr\H£>lMG ON mu>. We ea&i morf money as wears Sf£W To BE #23 PDfimu= PčOffé <3wl Ci^ARlY NOT MM>ňfZrt£f$. TfbPuc&s (¥kp to v&JvmOHTÍMF sté on M much as &fi\jA&wTf. i sflPK řfm ?xyéRt&c£ YSO£KfN<9 BOTH £/Pí£ CFiíe F&K£> "Wf Pctir PfrV MS fVfCMfič&ttfé/ f*Y P££- PEi-iYSfZy. DISADVANTAGES ?tfTV AMD fík A BIG BUT:- -íhz, ACTiOH can BBA WrCHOřPf A Bit un naťukal* AA(Í> iFmCO^&^"THATWAWiHC A ioT oř o mOAPMH& řCnoH 76 ti íTCAH 6oem}p/1tteOTtt&Z wav 2ul &t= nu fis^y Squish y - ITCM bp tóo UTÍRAL - a BIT WRč&éšI&e MAGICE 62 So it's pretty obvious the best way to work is going to be: Tht COMKiNAVOH Of STRAlQHT AHEAP W To P apfpocm irk A gAPAMCB B&TN££ti ITS A Bfsmmt Colt) BlCOWPNfSSS W PASS/ON. none THAT / know of,. 63 Let's take our man going over to the blackboard again. What do I do first? Answer: The keys - the storytelling drawings or positions that have to be there to show what's happening. Put it where you can see it. . . so it reads. What do we do next? Answer: Any other drawings that have to be in the shot. Obviously, he has to take steps to get over to the chalk - so we make the 'contact' positions on the steps where the feet are just touching the ground. There's no weight on them yet - the heel is just contacting the ground. As with the fingers just contacting the chalk - they haven't closed on the chalk yet if we act all this out we might find he takes five steps to get to the chalk and bend down. I notice that when I act it out, I automatically pull up my left pant leg as I bend down, then I put my hand on my knee before my other hand contacts the chalk. I would make an extreme where the hand just contacts the pant leg - before it pulls up the pants. These will be our extremes. We're working rough, sketching things in lightly - although we probably have made rather good drawings of the keys. (I haven't here, because I'm trying to keep it simple, for clarity). 64 We could act it outr timing the steps and putting numbers on the extremes or we could leave the numbering till later. I would probably put numbers on it now and test it on the video to see how the timing feels as his steps get shorter - and make any adjustments. What next? Well break it down, lightly sketching in our passing positions or 'breakdowns'. We won't get fancy about it now - the fancy stuff comes later in the book. For now, we'll just make the head and body raise up slightly on the passing positions of the steps - like it does on a normal walk* ■ 65 We'd probably have numbers on the drawings by now, and when we test it, we've got three or four positions for every second - so it's easy to see what our timing is. And to make any adjustments. And if the director wants to see how we're doing - it looks almost animated, Mow well make straight ahead runs on the different parts - using our extremes and breakdown positions as a guide - and altering them, or parts of them, if we need to as we go along. Take one thing at a time and animate it straight ahead. SBFAtWE FtiN OH f£FT Maybe he's mumbling to himself, or maybe he's talking - maybe his head just wobbles around with self love. Whatever it is, we'll treat it as a separate straight-ahead run, working on top of what we already have. We'll make another straight-ahead run on the arms and hands. Maybe they'll swing freely in a figure eight or a pendulum movement; or maybe they hardly move before he reaches for the chalk. Maybe he pulls up his pants as he moves along - or scratches or snaps his fingers nervously, or cracks his knuckles. When we arrive at our key, we might rub out the arm and alter it to suit our arm action. Or delay his head. Or raise it early to look at the board. We can do lots of interesting things with the legs and feet, but for now we just want them to function smoothly, (I'm avoiding the problem of weight at this stage because the up and down on the head and body that we have at the moment will be adequate for now, and the figure won't just float along.) When he writes on the board, we'll treat that as a separate run. If he has long hair or a pony tail, we'll do that as a separate straight-ahead run. His clothes could be a separate run, baggy pant legs following along. If he'd grown a tail, that would be the East thing we'd put on. 66 I've shown these things in different colours to be as clear as possible. In my own work I sometimes use different coloured pencils for the separate runs - then pull it all together in black at the end. I was delighted to find that the great Bill Tytla often used colours for the separate bits, then pulled them all together afterwards. To recap; Having made the keys, put in the extremes, then put in the breakdowns or passing positions. Now that we've got our main thing - we go again, taking one thing at a time. First, the most important thing. Then, the secondary thing. Then, the third thing. Then, the fourth thing etc. Then, add any flapping bits, drapery, hair, fat, breasts, tails etc. The general principle is: After you've got your first overall thing - go again. Do one thing at a time (testing as you go along), Then pull it all together and polish it up. Make clear charts for the assistant to follow up or do it all yourself. It's like this: STOW BOARD o& layouts (-ffMMghlAll- SKEITHfS ) 67 Of course, you can work any way you want There are no rules - only methods. You might feel like ignoring all of this and just work straight ahead or work from pose-to-pose, or start one way and switch to the other - why not? What's to stop us re-inventing the wheel? Lots of people are busy doing it. But on the other hand, why bother? This method of going at It was developed through concentrated trial and error by geniuses and it's a wonderful basis on which to operate. Having used just about every approach going -including no system - Irve found this is the best working method by far. Get it in your bloodstream and it frees you to express yourself Use this technique to get past the technique! Milt Kahl worked this way Near the end of his life I told himf 'Now that I've been working the same way, I really do think that - apart from your talent, brain and skill - fifty per cent of the excellence in your work comes from your working method: the way you think about it, and the way you go about it/ 'Well., / he said thoughtfully, 'you're right Hey, you've gotten smart!1 Milt often told me that by the time he'd plotted everything out this way, he'd pretty much animated the scene - even including the lip sync. Then he'd finish putting numbers on the drawings, add bits and make tittle clinical charts for the assistant - easing things in and out He complained he never really got to animate because when he'd finished plotting out all the important stuff - it was animated. He'd already done it. rest my case. I always use the video to test my stuff at each stage - even the first scribbles - time them and test them. In the 1970s and 80s, Art Babbitt used to get mad at me for It - 'GoddamIt you're using that video as a crutch!' 'Yes,' I'd say, 'but Is It not true that Disney first instituted pencil tests and that's what changed and developed animation? And don't you always say that pencil tests are our rehearsals?' Assenting grunt 'And what's the difference between rushing a test in to the cameraman at the end of the day when he's trying to get home, and if he does stay to shoot it, hang around the next day till the lab delivers the print and mid-morning interrupt the editor, who's busy cutting In the main shots, and then finally see your test - when we can use today's video and get a test in ten minutes?' Art would turn away, M am not a Luddite/ (Machine wreckers protesting the Industrial Revolution*) 68 Whenever Ken Harris had to animate a walk, he would sketch out a quick walk cycle test and weFd shoot it, pop the negative in a bucket of developer, pull out the wet negative (black film with white lines on it)r make a loop and run it on the moviola. I've done hundreds of walks/ Ken would say, Jali kinds of walks, but I still want to get a test of my basic thing before f start to build on It/ Bill Tytla saidr Jlf you do a piece of animation and run over it enough times, you must see what's wrong with it/ I actually think the video and computer have saved animation! Certainly the success of Who Framed Roger Rabbit contributed substantially to the renaissance of animation, and having the video to test everything as we went along was crucial to us. We had a lot of talented but inexperienced young peopler and with a handful of lead animators we were able to sayr Take that drawing out, change that one, and put more drawings in here' etc This enabled us to keep improving everything as we raced alongr so we were able to collectively hit the target. Milt always said he would never bother to look at his tests. 'Hell, I know what it looks like -1 did iti' He would wart to see several of his shots cut together in a sequence but only to see Jhow it's getting over'. But that was his way. I have never reached that stage and probably never will, I test everything as I go along and it really helps. We're building these performances, so why not test our foundations and structure and decorations as we proceed? And since it reveals our mistakes -mistakes are very important since we do learn from our mistakes - we make our corrections and improvements as we build. Of course, at this stage I wouldn't have a problem routining my way through a job without testing - but why? The video or computer is there, so let's use it. An interesting thing IVe noticed is that when animators get older their perception of time slows up. They move slower and animate things slower The young guys zip stuff around. So, the video is a useful corrective to us old bastards. And young ones when it's too fast 69 Before we dive into walks and all the articulation stuff, there are some other important camera techniques we should know about. XSheet) On the next page is a 'classic' exposure sheet called the X-sheet or dope sheet - the first sight of which is guaranteed to put any beginner or artist off the whole business. When I was a kid and first saw one of these I thought 'Oh no, I don't want to be an animator anymore. I'll just make the designs for other people to move around.' Actually, it's awfully simple when you make friends with it. It's just a simple and efficient form where animators write down the action and dialogue (or music beats) for a scene or shot - plus the information for shooting. Each horizontal line represents a frame of film. R_ 11 The columns 1 to 5 show five eel levels of animation we can use if we need them. (Usually you need just one or two.) ACTION DIAL 5 4 3 2 1 BG CAMERA 70 SEQUENCE The A&fiOU column is for us to plan out our timing-how long we want things to take. The DIAL column is for the measurement of the pre-recorded dialogue and sometimes the breakdown of music into beats etc. This 'classic' X-sheet is designed to hold 4 seconds of action (1 second = 24 frames). it has darker lines to show the footage, which is 6 feet of film (1 foot = 16 frames). Many animators always number the footage going down the page. I've also written in the camera dial numbers - the frame numbers in the camera column. Some animators time things out by thinking in seconds. Others think in feet = 2/3 of a second. Ken Harris thought in feet and would tap the end of his pencil every foot. I think in both seconds and feet but seconds is easier for me. Also, you can think in 1/2 seconds = 12 frames to a half second. That's march time, which is quite easy. SCENE BH(ET (Computer animators please bear with me here - you obviously have your own systems of timing,) Well plan out the action using the action column Ken Harris always said, 'Come on, now, you can have fun doing the drawings later, but do the important part first - time it all out/ So we'd use a metronome or a stopwatch and I'd act It out several times, and werd mark down on the sheet where things would happen, Let's take our man walking over to pick up the chalk: We've got him taking five steps to reach the chalk. When I act it out, the first two steps are leisurely -16 frames long (2/3 of a second). Then during step 3 he sees the chalk, and this step is slightly quicker -14 frames. His fourth step is quickest - 12 frames. On step 5 he slows up slightly -14 frames and he's already started bending down, which takes over 2 feet till his hand contacts the chalk, I've got him tucking up his pant leg above the knee as he goes down - which takes 8 or 10 frames. Of course, we can change all this as we work, but this becomes our guide and the points to aim for as we go along. Mow we can put the numbers of these drawings on ihe page as I've done here. Incidentally, although numbers 1 and 96 are keys and we've circled them, we don't circle the numbers on the X-sheet. 72 The five available jcel' levels on this X-sheet are there so we can treat each character or element separately, Why have different levels - why not draw everything on one level? Answer: You canr but what do you do if you want to change the timing on one or two parts of the action and leave the other bits as they are? However, it's a good idea to try to keep to just one or two levels for simplicity. If we wish to use all five levels, start with the main action on level 1. Say a man walks in from one side of the screen and a cat walks in from the other. We animate our main action man on level 1, and the cat on level 2, adding a jC after the cat numbers: 1 -Cr 2-C, 3-C etc.r so as not to confuse it with the man drawing. The man drawings, or main action, don't need an identifying letter. If a woman passes in front of them, we'd put her on level 3, adding a JW' behind her numbers. If a truck was to stop in front of them, we'd use level 4 for the truck and add a T to the truck drawings. If it's raining, we'd put the rain drawings on level 5f adding an JR' after the numbers. The X-sheet would look something like this: £4/A/ TfliCK Wcmti C/AT MAN DIAL B G CAMERA / - w I - c I 2. 4l 4- 4- 4 4- 4 s g 7 8 7 7 7 8 9 8 4fe 9 This system obviously enables the cameraman to stack his levels correctly - working from the bottom up - and take a frame of film with all the numbers across matching the dial number on his camera. But there is one very important thing here: A&a YOU A MEMBER OF k'h / A i —........—i \ | YzE*3 + I p 5 YZS-4A! J 7 ................. ............. .........1............. i -- i.......1....... LJ. TXB 1 A . .X-..X. . A A —Tii . .'A A 111 1 u Can you imagine trying to make any changes or improvements when yourre weighed down with numbers like this? It would be like re-numbering the Encyclopaedia Britannica. Not only were our numbers complicated, but our action went from two frames to three frames then to four frames, bumping along then back to two frames etc., giving a jerky stop-start result to the movements. When we had just one level of action - say it's a tiger - everyone would call the drawings T1-1 and T1-2 and T1-3 etc. One day I asked, JWhy are we doing this?' The answer from the head of the department came, 'So we know It's a tiger/ '8ut we can see It's a tiger! Why not number it simply 1 and 2 and 3?' Answer: That will just confuse the painting department/ And it's not just the English who can overcomplicate! I once saw the working sheets of an established American animator who's written two books on the subject, and his numbers looked like this: All smudged and rubbed out and re-entered , f - 74 16 4-- .....^U^>*\ ■ -"f\ a.' y (tO) :1 wm x-/ cmzim PAWN',., And then the first real live master animator arrived to work with us, On his first day Ken Harris lightly pencilled in simple numbers going down the page on 'twos', that isr two exposures per drawing. That was the first time I ever saw anyone go down the page on twos! Ken usually planned his action on twos: twelve drawings per second, shooting each drawing for two exposures, instead of working on 'ones', one exposure for each drawing, which is twenty-four drawings per second - twice the amount of work. Ken was from Warner Bros - used to tight budgets; the animators had to produce an average of 30 feet (20 seconds) a week or be fired. Since most normal actions work well on twos, Warner animators tried to avoid putting actions on ones. When he needed to go onto ones for fast actions (runs etc), he'd just number it in on ones, i.e. Then he'd go back on to twos 'Ok, Ken, but what do you do when you've worked it out on twos, but you find you want to add in ones to smooth it out more?' Answer: Add JA' drawings. Great, so now all this TXL-1 and PP-2 3/4 stuff goes out the window. We're not weighed down with meaningless technology. It becomes simpler to work and easy to make changes and improvements and we start getting better. 33 ..... - 3.TA & Ma a oa i ■ -- ■ a 15 JA.. n fe J ft.. 20 71 t4 ■■ ■ ..7:1.. ■ 2-1 io . 3/...... i i j ;zy ' 3$ An - — But there is an even better and simpler system! it SYSTEM AAilt Kahl called it his system, but I suspect that the good guys at Disney all discovered it around the same time - it's so logical. Just use the camera dial numbers for the drawings. Go down the page on twos but use odd numbers. Then if we do need to smooth something out or we need very fast action, we just add in the ones. Milt told mer 'Whenever I see my drawings with odd numbers on them, I know I'm on twos and when I see even numbers, f know I'm on ones.' I asked, JWhat do you do when you want to get into a hold - just indicate you're holding that drawing with a line? And when you come back in do you start again on the dial number?' Answer: JYes. Come back in on the dial number.' Not only does this make it easy for shooting, but It's easier when you do need several levels of action. We've now got the same dial numbers horizontally across the frame of film. s 4 3 2 i / - /2 / p / - c / / * \ \ ... t I A S 3 1 oM A Cl&Afc BOX W y £7VD Up/A) (/SmislVP C*W. 82 But how often do you really use the panning bars? Not too often, in my experience. One day about fifteen years ago I found layout artist and designer, Roy Naisbittr working on a big piece of white plastic Perspex (Plexiglass) with a peg bar just taped on to it. What a solution! You tape the pegs on wherever you want, top or bottom. Also, i keep a heavy metal disc with panning bars beside the desk for when I very occasionally need it for a mechanical pan. This also allows you to tape on taller pegs to carry more drawings if you're on top pegs. The shorter peg bars are OK for bottom pegs, but the drawings keep falling all over the floor. Again, an elastic band helps, lrm delighted to see that Royrs solution has spread through the industry, as I've seen several animators walking around in Hollywood with Perspex discs and a taped-on peg bar tucked under their arms. It works just fine. I animated the first close-up on Who Framed Roger Rabbit in a Welsh hotet room with a Perspex disc on my knee - and top pegs! I work both ways. Again, it's not only but also. Top pegs is great for drawing and bottom pegs Is great for rolling. Take your pick. L Obviously, computer animators are free from all this tactile nonsense - but I'm sure you have equivalent stuff to cope with. Having started out as a drawing animator, Jim Richardson, now a computer animator, told me that when he first switched over to the computer, he found it was like 'animating with a microwave'. 83 MORE ON SPACING Somebody once said an animator is something between an artist and a garage mechanic. Here's more nuts and bolts from the garage - but very interesting ones, and it really helps to know them. Ken Harris showed me this one: Say we've got a telephone pole moving up quickly in perspective. Where do we put our middle position? You'd put it in about here, right? Wrong. Even after fifteen years' experience f got it wrong. And nearly every professional I've asked since has gotten it wrong. Here's where the middle position is: Rule in the lines Tike this and the cross point tells us it's here. At least technically. And just keep doing it: This works well for fast moves. However, for more normal moves it's best to cheat it - split the difference - and come back about half way to where our first guess was. Do that throughout and you'll get a better result. 85 Ute SAMŕlfí/^ V/SV OF y uP Ar as - fast. Anp to Po wnyitte ^amb sort of thmg r Take 4 posnrats op a sau- r&o^ihg Azouhd a Central- point - Top VOM APO /N 16 é. AŕÉXT M/£> ftasmo/YS auMSe flUßTHper OíVtS Wí-Ú ALMOST G9W?£ UP IS«, C'^SíOP S^i^S. A D/SC í S SP/M/N& t/P /vi / ö POINT "lÄô ft? WHS THAT lie. £MCd& OF "ft* í n B&rm&ts w/w- Ci.tízr&&. at 16& fo&s C-riííí SW*2 AJ2CWD 86 So when we're going to turn a head, it's going to be the same kind of thing: A if w&jusr /n between /r- £ WOE" 4 ftXWP ttie HEAD WHIUZ -tfie HEAD REMAPS StATVC - SO WE DISPLACE TtfE FOSITIOH TO MAI IT CONVINCING- - ALsomrmbia ON A TURN. ncidentally - on a head turn, Ken Harris showed me this: Do it yourself or have somebody else hold up two fingers. Look first at one, relax, then turn the head round to look at the other finger. During the head turn, something interesting will happen. The person will blink. The eye, switching focus from one side to the other, will blink en route. (Unless they're frightened - then the eyes will stay open.) So PROBABLY 87 CLASSIC tNB£TW0&i MISTAKES^) i i.irir A MALLET HITS A NAIL-WHICH g£NPS ' A'VD l/VE WANT ONG ItiBFlfye&H Ou{tH&LF££f WHO 1$ PLUGGED /NTO A CP, PtfO/Vg OR-*IYW, / followed you a CH/Aerx/ F ...T 1 1 #2. lAT£f£ (SAME puts w a prop of WATER. BETWEEN TH£&£ TWO PDSffifONS. I r J ANP Pufe /r M[PPi_£—^ A&AlN Ttf£ change OHi-y TAKES PLACE OH THE CONTACT. QOTTO USE Common sense. - 88 OpT?M tyf&N PAC^D WITH HALF WAV g£TW^ 11#34-( / pUTtT K16HT iff ike-M1>01£ i-/K^ YOU ' PQUL' VAL-BNT OFTgN HA PP£HS Every drawing is important. We can't just have brainless drawings joining things up. in one sense there are no inbetweens - all the drawings are on the screen for the same amount of time. amp, t&uo&m 0u& T&z PHONZ PDU£ P&fHCiPLE„ *■ r—' Sufi Pur it , its motuhps- &OTTO THtNK IN T££Ms: OF MASSES / Ht1%A HARS> GOlif SAf4-~ AT The AAOMBNT GO SACK TO ITS of impact we Mt s#r own skap& wmfiti .P!ST£Ni> ike. .SWAP/E VtRV P&tt FIZAMEZ. 89 Ideally the inbetweener should understand and be able to complete eccentric actions. Most actions follow arcs. Generally, an action is in an arc. Most of the time the path of action is either in a wavelike arc or in a sort of figure 8: But sometimes it is angular or straight. Straight lines give power- I 0 N

£ řATH OFACT/O/V shquu> 8b. 7* 8« / / *4- 91 f IF IT / ( jF) ^ / MPAN,YOU COULPN't ( j s~s ^Lt-irwio-efigD ^j^\ have a msaw buiarp ^-^ ( ) tf PA<3 IT P^OPS - wohtit? \_j ball §LQWm up AS N—' /^\ O/r FALLS, COUSJ> YOU- \__J Q /• n AG*A% ITS ALL (H -ftt&tlMIMQ 3d ftf-tftfi vSPÄC-M/q/ BLtTfU!& IS &XACTVS WHATS (ma P&2-£NN(AUy G GETTING MORB MOVEMENT WlfUlN lue MASS Now we can start getting more sophisticated. We're going to keep finding ways to get movement within movement, action within action - getting more 'change', more bang for the buck. 92 Ken Harris showed me how to exaggerate a hit. Say a creature shoots through the air to hit a cfiff: WeFd need about five drawings - even spacing on the head - to get him over to the cliff. The figures overlap slightly to help carry the eye - on ones, of course, because it's a fast action. No in between between 5 and 6. To get more impact, more power to the hit, add in another drawing where he just touches the cliff, just contacting it before he's flattened on the following frame. This will give more 'change' - action within action. Now to give it yet more impact, we take out drawing number 5F throw it away, and stretch out the drawing that's touching the cliff. It becomes our new number 5. Now our action kind of leaps a one frame gap. We won't see it, but we'll feel it and it will give a much stronger impact to the hit There's an interesting thing here which takes us right back again to the bouncing ball. In 1970 I showed Ken an early edition of Preston Blair's animation book when I was questioning whether we need that amount of squashing and stretching of things. (You can gather by now that I'm not too keen on 'rubber duck' stretching around - although twenty-five years later that was what was required on Who Framed Roger Rabbit a cartoon of a cartoon.) I noticed that Ken, though famous as a broad action animator, used squash and stretch rather sparingly. 93 I had the page open on the bouncing ball. It was like this - which certainly works OK. Ken said, 'Yeah, sure, but wait a minute - never mind that. We can make this much better. We need to have a contact in here before the squash/ jAnd do we do the same when it takes off again?' Answer; JNot in this case - just when it contacts. You get the "change", then it's off again.' The animation grapevine flows like lightning: JDid you know Ken Harris in London has corrected Preston Blair's bouncing ball?' Preston's next edition came out like this: Perfect 94 This is not done to show disrespect for a skilled animator like Preston, who was the first classical animator to make real animation knowledge accessible, or to put him down in any way. Ken was just showing an important device to get more action within the movement- Ken continued, showing the same idea with a frog. 'Have him contact the ground before he squashes down. Then keep his feet contacting the ground as he takes off. That'll give more change to the action/ Next, a jumping figure. 'Have at least one foot contacting the ground before the squash down, then leave at least one leg still contacting the ground as he takes off again.' This is great because we're getting more 'change' - more contrast - straight lines playing against curves. We're doing it with bones as well as round masses. We can use straight lines and still get a limber result More on this later. We don't have to be stuck with rubbery shapes to get smooth movement This will also free us from having to draw in a prescribed cartoony style because it 'suits animation' and is 'animatable'. I'm using crude drawings here because I want everything to be crystal clear. I just want to show the structure and not get lost in an overlay of attractive detail. 95 In the 1930sr when animators started studying live action film frame by frame, they were startled by the amount of transparent blurs in the live images, In order to make their movements more convincing, they started using stretched inbetweens. Ken used to call them long-headed inbetweens'. For a zip turn - on ones - although ft also works for two frames: "feet H?W CN A -F^Sr W£r CAW Cfc&ffe AN OYFfZLAP, Let's take these drawings of pounding a door. Shoot the inbetween (2) on ones. This is one of the very few cases where you can shoot the sequence in reverse. It will work on ones - or with just the inbetween on ones and the extremes - (1) and (3), on twos. ( 96 !n the late 1930s when tracing and painting the drawings on to eels was all done by hand, many painters became very adept at Jdry brushing' the desired transparent live action blur effect, Animators indicated the blur on their pencil drawings and the 'dry brushersr would cleverly blend the colours together to simulate the transparency in the blur After the 1941 animators' strike and World War I!, budgets shrank and so did the use of skilled backup painters. But a lot of animators just kept on indicating blurs and it became a cartoon convention to just trace this in heavy black lines - ignoring the fact that the dry brush artists were long gone. Now it's become a cartoon cliche, A cartoon of a cartoon: Wfth characters just vanishing from the screen, Ken told me: "We'd have this witch up in the air laughing and then she's gone. Instead of making a blur we just used to leave hairpins where she was/ *We learned that from the Disney guys in a fish picture. They'd have these little fish swim-lining around and something would scare them and they were gone - that's all - with just a few bubbles for the path they took/ * * o &»t t-c* Qti OoO »f j 3i4 « o * * 97 In the early days, speed lines were a hangover from old newspaper strips: i Then they were used in animation to help carry your eye. But they're still around now when we don't really need them. You don't even need to show the arrow entering. We have nothing and then it's just there - maybe with the tail vibrating. H O ~T H I N Gr m JöAir tte&> 'sparks ' £(TWeß, IF -rtio,ANIMATION WAS PÜW#£ W(2 WOHTM&E> LiTfLtz BUCK LiN£$ AßCH//Vf3 \T To &iv& ir£>meN<3m. However, I find the elongated or 'long-headed' inbetween is very useful - not just for a zippy cartoon effect, but also for use in realistic fast actions: 98 Again, we're returning to the original purpose - emulating the transparency of broad, live action blur movements. It's especially suitable with jsoft edge' loose drawings - where the outlines aren't sharp and enclosed [ike colouring book drawings. Doing too much action in too short a space of time, i.e. too great arm and leg swings in a run. The remedy: go twice as slow. Add in drawings to slow it down - take out drawings to speed it up. Ken Harris told me that when Ben Washam was starting out at Warner's, he became famous in the industry for 'Benny's Twelve Frame Yawn'. Ben drew well and made twelve elaborate drawings of someone going through the broad positions of a yawn - an action something like this: Then he shot it on ones. Zip! It flashed through in half a second! So then he shot it on twos. ZZZip! It went through in one second! So then he inbetweened it (twenty-four drawings now) and shot it on twos. ZZZZZZ! It went through in two seconds - almost right. Then Ken showed him how to add some cushioning drawings at the beginning and end - and bingo, Ben's on his way to being a fine animator. lie "jcllFF11 APPROK®-! Some animators want to save themselves a lot of the work so they draw very rough, ('Ruff' -!ft€y don't even want to spend the time spelling 'rough'. Too many letters in it to waste our valuable time , . .) And they leave lots and lots of work for the assistants. I've never understood why some people in animation are so desperate to save work, if you want to save work, what on earth are you doing in animation? It's nothing but work! 99 In the early days at The Disney Studio, when animatfon was being transformed from its crude beginnings into a sophisticated art form, they used to say, take at least a day to think about what you're going to do - then do it One old animator, writing about the subject forty years later, advises that we should spend days thinking about it. He's read up on Freud and Jung and the unconscious mind and he writes seductively about how you should ruminate until the last minute and then explode into a frenzy of flowing creativity. He told me that in a week's work he'd spend Monday, Tuesday, Wednesday and Thursday thinking about Hand planning it in his mind. Then on Friday hefd do it. The only problem is that it then takes three weeks for somebody else to make sense of it ] knew this guy pretty well - and he made it sound so creatively attractive that though I felt it was artistic b,s„ I thought I better try it out { managed to ruminate, stewing and marinating my juices for about a day and a half and then couldn't stand it any more. I exploded into creative frenzy for a day, drawing into the night like a maniac. The result was pretty interesting, but it really did take three weeks to straighten it all out afterwards. And I don't think it was any better than if I had worked normally - maybe just a bit different I think Milt Kahl has the correct approach: Jl do it a lot, I think about it a lot, and I do it a lot.' Ken Harris worked intensely from 730 am till noon, relaxed at lunch, hung around doing bits for a while, went home to watch TV (or play tennis when he was younger) and thought about what he was going to do the next day - then came in early, avoided social contact and did it He worked carefully and thought very hard about his stuff. He said he was surprised when he saw some of Ward Kimball's working drawings because they were exactly the same as his -very neat - very carefully done - usually something on every drawing In the shot. When I first saw Milt's work on his desk I was startled by how much work he did. His drawings were finished, really. There was no 'clean up' - just 'touch up\ and completing details and simple inbetweens or parts of them. Ditto Frank Thomas, ditto OIHe Johnston, ditto Art Babbitt, The two exceptions to this were Cliff Nordberg, a marvellous 'action' animator who worked with me for a while, and Grim Natwick, Cliff did work very roughly - so he was awfully dependent on having a good assistant and it always caused him a lot of concern. And Grim was a law unto himselt There's an animation myth about the assistant always being able to draw better than the animator. (I never met one who did.) The myth is that the animator creates the 'acting' and the fine draftsperson improves the look of everything and nails it all down. Well, there aren't that many fine draftspeople around and if they're good enough to nail all the details down and draw well, they really should be animating - and probably are, (An exception to this is the assistant 'stylist' on commercials where the look' of the thing is it's raison d'etre. There are a few excellent ones around,) Rough drawings have lots of seductive vitality, blurs, pressure of line, etc, But when they're polished and tidied up you usually find there wasn't that much there to begin with. 100 As we go along through this book it'll be apparent how much work we have to do to get a really interesting result. No matter how talented ~ the best guys are always the ones that work the hardest. But hang the work, It's the unique result that we're after. Every time we do a scene, we're doing something unique - something nobody else has ever done. It's a proper craft. ([HOW MCH DO WE jL£4V£ Toltte ASSISTANT? Milt KahPs answer: 1 do enough to have iron clad control over the scene/ Ken Harris's answer 1 draw anything which is not a simple in between/ Milt again: 'I don't leave assistants very much. How much can I get away with leaving and still control the scene? If it's fast action, I do every drawing/ The purpose of the assistant Is to free the animator to get through more work by handling the iess important bits - but as we have seen, he/she can't be just a brainless drawing machine. The computer produces perfect inbetweens, but obviously has to be programmed to put in the eccentric bits that give it the life. Here's my tip on saving work - my rule of thumb: TAKE the, i-OHQ SHOfZT CUT, The long way turns out to be shorter. Because: something usually goes wrong with some clever rabbit's idea for a short cut and it turns out to take even longer trying to fix everything when it goes wrong. I've found it's quicker to just do the work, and certainly more enjoyable because we're on solid ground and not depending on some smart guy's probably half-baked scheme. And again, If you don't want to do lots of work, what are you doing in animation? One of the things I love about animation is that you have to be specific. If a drawing is out of place it's just wrong - clearly wrong - as opposed to *Art' or Tine Art* where everything these days is amorphous and subjective. For us, it's obvious whether our animation works or not, whether things have weight, or just jerk about or float around wobbling amorphously, We can't hide in all that 'unconscious mind' stuff- Of course, we can dress up and act like temperamental prima donnas - but we can't kid anybody with the work. It's obvious whether K*s good or bad* And there's nothing more satisfying than getting it right! 101 WALKS Advice from Ken Harris: A walk is the first thing to learn. Learn walks of all kinds, cause walks are about the toughest thing to do right/ Walking is a process of falling over and catching yourself just in time. We try to keep from falling over as we move forward. If we don't put our foot down, well fall flat on our face. We're going through a series of controlled falls. We lean forward with our upper bodies and throw out a leg just in time to catch ourselves* Step, catch. Stepr catch. Step catch. To f-CAA/ 'Al A WALK- 102 Normally we lift our feet off the ground just the bare minimum. That's why itrs so easy for us to stub our toes and get tipped over. Just a small crack in the pavement can tip us over. ciS£(-6S&{?) BuX)H-mmiH9 $a£NX\f\t iHfofrmrt&u oh walks; PlP YOU KNOW W£ PUT a RO»W OF WflfiHf ON OJR, FfET £acu pay? Gam up UP POM < "Ti.....*t £WH AEM /VW£ W A£ we £>IP KJWN OF Ifie WdWC> CU£ A£/KS AftMr yv//>gT Ft#r concekvm*, Wte wprojie foot Ar we ftfl£up r #t(£ fOO' r?£ A SOFT PcgSNr help you men wmn yougmskb* to animate th* waik OP A SAD BUf HAPPY MAiv/ - 0f£ POES IT? Mp.CAuVE$ ffcft air iip70 (740 wwis). __ii i SuTj J\n WALK? Age DjFF££SftT NO TWO people IN TH£ WOelP WALK TC£ ACTD&s 7RV TO 6£T tfOtD OF A CHAPTER sy FfOi&Ms- our wow mfcuzl it wa my From then on the first thing I always look for is how much up and down action there is on the head. The amount of up and down is the key! WOfr\m OFT0 TAKE SHORTIH A STRAIGHT LINE - LEGS CLOSE TO&m&Z = LfTrlB UP ^ COM CM TklSfflY miUIUHiln nc*!1"1 in"Tmi»ililiLilF« ft--m AS opposzp to MiST&z macho: % 105 Women mostly walk with their legs close together, protecting the crotch, resulting in not much up and down action on the head and body. Skirts also restrict their movement. Mr Machor however, because of his equipment, has his legs well apart so there's lots of up and down head and body action on each stride. TfctfDS c 3j He££ TfcA/N - (gar) MASCUUMB WALK INTO AN EFFEMINATE ONE C GETTING 1MB W&GUT m p*Wr q^t whisht gy a $t^om j^y#- vovmznr. When we trace off a live action walk (the fancy word is rotoscoping), it doesn't work very well. Obviously, it works in the live action - but when you trace it accurately, it floats. Nobody really knows why. So we increase the ups and the downs - accentuate or exaggerate the ups and downs - and it works. ii$ rm ur and pom kzwch WOTON -tin CoNrtCT PccmottAs mbpR.m$ Wfe CAN AS we p&ca&o BUT we THE NORM WE <>TA\ZT ME3.SIN& Af&Vttb. 107 Někt m Putin Ttte up FDšítíow - -Thp pm 'OFF Tht-FcoTřUStíiHQ OFF ßcpy a*J H£Ao up To its Highest FOSinosi •Ttí&Hfíit led ^THROWN cut to cato-t US cm contact řešenou - So rV£ PCHTfall c,n quiz face ■ L^TS SPl&AP IT ÔUTANp £xag$FßÄT£ ii" a LíTTLě MCfzp so /ťs CLEARER.,., CC-NTACT POWM up CCKTŕCT SO, INA NÖHMAL* (ZĚAIJSr&WM-K pown) "up JUST AFTER fŕuľ -jia^rAFT&ZTlu. COOPCC CONTACT P&íTM A6fciK - . UP) I* up 108 S&T WP TEMPO J "the FIRST Jhm To tQ IN A WALK /S S£T A SBAT GtfflE&Wf P£OPl£ WALK OH I2JQ -MAPCHVME [ rwo%^m^^ND^) Bur LAZY ANIMATOR OoNT LIKE To Lo irai L^S. Its BAgp TO t>N\D£ UP. YOU MV£ To USEs THtRPS'—THfNK PA&Pf IN 7hi&P&. Trte iN BPWmi^ A£p Gatm- To S£ OK 7H<££>s. OoPS - /yotf WHERE "Do WE puT Tkz£t>WH Ofi UP! tf&i, Ttf* 12 6ETI1N& HAZO -^f^C/AUV WHeSY W£ 6cf WTC> TK£ A£MS |4SA£>, AtfD "MAINS' AHO P&KPspX — M4Yi3£ 7H£g£& AN 4/M £AS/{=£ IW - HAVE Him/H&& WALK ON i&& — Cfc WALK ON 9'S. MUCH fAS/fiR TO WALK ON - ITS BA&V 7t? PIV/CE UP — §AN\£THING ON S'S. , (" hack 5nEP - % Sgc) ^5 ST£pS S£C. 01MU> BW,6(WP, ^ STEPS A S£C&H>. 109 SO, W&S&TABBAT; 4 FRAMES ~ A VefcY f^VST rjjn (i SWS A S£Ce*f£>) & FtAms — a W oe vjrgy WAtx (^-4 3rm a $&com>) 8 f£AM&s *- St0W ftUH OR, xCAf&6oH' WALK (3 SfA S&CONJ>^) \% FHAMBS * BRISK t BUSiN&ZS-Llhfc WALK-KNATU£A^ WALK Cl-SwP£A Sf=QoHb (6 mmzs ~ QXWLLIHG WALK - MORS L&Stt&P/ (% CFA$BC0M> 7-4 m/M^s — S^oiv $t£p (owe otp SECoHb) 32 FRAMES ~ „r$HOW M£lZf& WAYr„,TOGO ROMp'r^ The best way to time a walk (or anything else) is to act it out and time yourself with a stopwatch. Also, acting it out with a metronome Is a great help. I naturally think in seconds - "one Mississippi' or Jone little monkey' or 'a thousand and one, a thousand and two' etc. Ken Harris thought in feetr probably because he was so footage conscious - having to produce thirty feet of animation a week. He'd tap his upside-down pencil exactly every two thirds of a second as we'd act things out Milt Kahl told me that on his first week at Disney's he bought a stopwatch and went downtown in the lunch break and timed people walking - normal walks, people just going somewhere. He said they were invariably on twelve exposures - right on the nose. March time. As a result, he used to beat off twelve exposures as his reference point Anything he timed was just so much more or so much less than that twelve exposures. He safd he used to say 'Well, it's about 8s.' He said it made it easy for him - or easier anyway. Chuck Jones said the Roadrunner films had a musical tempo built into them. He'd time the whole film out, hitting things on a set beat so they had a musical, rhythmic integrity already built in. Then the musician could hit the beat ignore it or run the music against it. Chuck told me that they used to have exposure sheets with a coloured line printed right across the page for every sixteen frames and another one marking every twelve frames. He called them '16 sheets' or '12 sheets' I guess *8 sheets' would be the normal sheets. ! mentioned once to Art Babbitt that I liked the timing on the Tom and Jerrys. 'Oh yeah/ he said dismissivelyr 'All on 8s/ That kind of tightly synchronized musical timing is rare today. They calf it 'Mickey Mousing' where you accent everything - it's a derogatory term nowadays and considered corny. But it can be extremely effective. 110 In trying out walks, it's best to keep the figure simple. It's quick to do and easy to fix - easy to make changes. A LSO, IM POiHG TfiE&E WALKS - TAKB A F£W Sl7=PS dC£OSS %e PAGE Ot SCREEN- n"fiOflij I- --r---—— rj f£y to wozk our a cycle walking ih Pmc£ w/tw i£e fiee/ Sup/ng g^ek,Eic. Tfwr AW- BpooM&i Too Technical, wb waist our B£Ain ff&etc concentrate oh an IMW^TJNG walk f&OG££&S(NGr fdzward- WoBK out a o/clb fc&Hie. walk lM&l„. feftfWS JUST Tul Ttet 3wd £OE>y. but THEN a&ws a^iUt heap PERFORMING s^pAW^-V CYCLES AR£ AAECMAMlCAL W LOCK TuST L/K£ WtfAr THeV A££ - C/O^S - G^bWUGHT&Z SAY/N&, _ ^ Incidentally, if you are using colours as I am here, it works just fine when you film them. I often have a lot of colours going at first, and you still see the action clearly. Now we're going to start taking things out of the normal: e PASSING POSITION Ofl gg&\KLX>WN -"fcEJejfe a vmi simple way to &uut> a walk- Sta&T WrMJUSr 3 DRAWIH6S we make ou& •twc contact positions ' 111 THPM PitT IN "fte- MlPPL£ P0&IT7OH iki pacing pc&mcti Bvsg pes, WE'RE RAISING tr HlGti&Z. THAN m'&e it -nm up PcsmcH- -THZHiGH When we join these up with connecting drawings, the walk will still have a feeling of weight because of the up and down. We can make tremendous use of this simple three drawing device. £U7 LOOK Wt-iAT HAP&tiS jF m&C POWN GHW WSiJiCH. tXFFeREHT walk-A'carkcny' walk HOW 7m PA^ilHG PGZiTiCN IS THE low And tub cctn?cf& act as the high - £77«. G/V/A/5A feeling of weight r^f CRUCIAL TH.1N6 (S 7w/S M'OPl£ POSiTiOH AHO W/= ft/nr 112 7fte&£ CONTACTS A&ALLTHE -SAME &UT THBMiPPlE- fO&iTiOH UTrmX T}f£ WALK (owiot&w weu the \ in a S t&w stpp vws /vifSf/r<30 54/2 AS 1ms- ( TV/Mg jv ACCOMOCAT& j Aj-MOST A SNEAK. y&ROAP MOVfcS 1-lKfcTHtS J \nhat if th& f&sr&wws out sideways on in? passing positions? OK JUST TILT TH£ HEAP Am $HOUU>&£ S/pp WS OV W ^2 ft£ffic*fS - TH£ VARIATION AR£ £NDM=ss - 113 AND WHY Q\OWlb WE Bt STUCK WtTH W SMfg SHAPB? how about ttismhi> of izAi&rfe- The WHOUr ^Opl OH Th ?0S - $~rmw it: MM - gcta pot oh ttlf^- comv0fs-Y Tk wau< ~m^o (car. To my knowledge, I think Art Babbitt may have been the first one to depart from the normal walk or the cliche cartoon walks. Certainly he was a great exponent of the 'invented' walk. He became famous for the eccentric walks he gave Goofy - which made Goofy into a star. He even put the feet on backwards! He made it look perfectly acceptable and people didn't realize they were backwards! Art's whole credo was: Invent! Every rule in animation is there to be broken - if you have the inventiveness and curiosity to look beyond what exists.' In other words, 1 Learn the rules and then learn how to break them/ This opened up a whole Pandora's box of invention. Art always said, 'The animation medium is very unusual. We can accomplish actions no human could possibly do. And make it look convincing!' This eccentric passing position idea is a terrifically useful device. We can put it anywhere and where we put it has a huge effect on the action. And who says we can't put it anywhere we want? There's nothing to stop us. 114 For that matter, we can keep on breaking things down into weird places - provided we allow enough screen time to accommodate the movement. up Anywayr back to the normal; 2 WAYS TO PU\N A WAL-K iu± convex' METHOD' Contact fds» ttons WE PUT IN Hit WSSJWGr Position PASS pes Q O O Put in th£ lOW AHP in? Htm 115 I've found that this contact method is the one that gets you through - takes you home. It's especially suitable for natural actions - which is what we mostly have to do. I've found it to be the best way to do most things. Milt Kahl worked this way. Jln a walk, or anything, I make the contact positions first - where the feet contact the ground with no weight on them yet. itrs kind of a middle position for the head and body parts - neither an up or down. I know where the highs and lows are and then I break it down. Another reason I do it is because it makes a scene easy to plan.' M always start off with that contact because it's a dynamic, moving thing. And it's much better than starting with the weight already on the foot, which would be a very static pose!'* WHICH IS EXACTLY WAT TUB SECOND SYSTEM />0&^ -THIS is the WAY APT $ABBm OFf0\t FLANNW a WAlK-AHb ITHA& A VBfZY CVNNWG THING To it* Start off Z poWN PC^moMS for. want of a we 'u- call, tr v Method. 7 up NOW PUT IN PC&iTteN -- FOP-NOW, RIGHT IN THE o O O NOW WFVF GOT Both the UP AND THE POWN IN JUST 3 PRAV/iH6£ ANO Obi£ OF QUIZ NEXT MID -POSITIONS WILL EE THE CONTACT- Although its Kind of awkward TO C~FT3) TIONS this WAY - 116 The cleverness of this approach is that we've already taken care of the up and down in the first three drawings. Of courser we can put the passing position upr down or sideways - anywhere we want. But having the downs already set helps us invent; it gives us a simple grid on which to get complicated, if we want. We know it'll already have weight and so we're free to mess around and invent eccentric actions, or actions that couldn't happen in the real world. Againr we're not stuck with one method or the other. Why not have both? Not only but also ... I highly recommend the contact approach for general user but starting with the down position is very useful for unconventional invention. From now on we'll use both approaches. Its k/np ofacapemic, B^r if we take bow methods comer MPTtfOP pww ftx- Mmoo -WEGFTAU-lhCrLlPbd DOWN JfyASeS OF A NORMAL WAIK> lit %c sam£ -Wim* w£'(3e jkst STARVm off ohe p/ms£ EAZUeR c£ che pua^e lat^ 117 WW I ILI I ■ ■■■■pi-i"■-IF1TILLI»»' ■ " ^■LfeppflPppppppppBffp^pJ|UPafWi-paBiJaV*i 1Äe POu&l£ EOOHCB 'Truckin' on down.' The double bounce walk shows energetic optimism - the North American 'can do' attitude. They used this walk like mad in the early 1930s - lots of characters (bugs and things) all trucking around doing jazzy double bounces. JWt lp£A IS Z EOJMCZS tm STEP* y$U BOHtfOE TVWCg. YOjA GO DO WH up) 7W [Op. /N$T&At> OF Ot€f ID W 7kje (.ESS APA£f •WD /// Foot - ADC* iN THPAi^XTTWC? Ad»p- 118 / MADE WS PÔU6L& &OUMC£ WALK BY COMBINING The TWO APPROACHES, DibTtte STRAIGHT L-ßG CONTACTS FIRST, BLff ALSO MADE IHm W L-OW -ike2X>WN. 119 Weil- £TA£X OUT W ÍTW TÍHfí S ffAPLB CpCMéWALK -NCTWlNťS- FANCY YčT- Move oppos m= the í-&£ - ?UT £lMPjLY 5/ hAVlNÓ -thésho unpegs arm , l£ BACK Z' r^PcW Vl£W \ pww-in& j rApAftr ] MOW L-ĚTC -tjit -m SHOULPEř pop. ^OMř v/TAury- NOW AND AD{?\N& m THINGS To BUI/-PON -pi* SYSTEM- MOW leté PO &?MřWlK^ JO MAXř THli SíMpí-e fOWLA WAj-K !AOt& iNTČfLČS.WNé- CM Jvif 120 PASS R9£. 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Joint c* WA/ ft loa« vvŕipp ^\ioü6HJ run f we pěaw a &uít PAŕceg ohtopof \t( \ruccM> / _ /MST FW£. GOiNG Tb have A /-or 7% ÜHt>&H>fiN& /F Wř WWT To) PřRFFCny AccerPTAßJ£ - eřpFC/Auy 124 WHY AR£ W£POlN(S'THiS? eV&^yTHlMG Wefe doing- (STO SPTMO&z action W/ffM Ttf £ acvom. TO LiMgg£ THIN65 l/P- 6£T MO0= LIFE INTO (T, Grim Natwick said: 'We used to bet ten dollars against ten cents that you could take any character and walk it across the room and get a laugh out of it. 'We used to have about twenty-four different walks. We'd have a certain action on the body, a certain motion on the head, a certain kind of patter walk, a big step or the "Goofy" walk that Art Babbitt developed. 'While the opposite arm naturally moves with the opposite leg, we'd break the rules eight or ten different ways to make the walk interesting.' 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OHíé PAČT£oi& ŕ00VA2O AS Attorney pA£r BäíAíjCbS BY Going BACK- AS ANOTHER ßAlAMCES $y GpiH&powii. 230 MOW WE COME To OHEOF 1Uz MOŠT FASCINATING IN ANlAAATtON — \jTö &iv& flexis/lIty ) ZToiKJSlö FLEXIBILITY we keep ch t>o\n& it to i-oos&i thing? up. tré QttiVp A MOUTHFUL, p(oh£&& P/SAie/ANIMATOR T> ISCOVCZW this PŕWQE 3*J ALĽľU&GOOP GVYS WEßL wiho IT, SUTA^T ^A^BtlT W/^Jke. Om who GAVE ITA NAM£. Wnm i NOTICED milt KAHL PO/AÖ Tt I &pmapkep ON /í/bJ MILT SAID?Ott; YouVe got To PO THAT * rWHlK if i h -šAiO * OH, i NOTiCč THAT YodP-e ß V&AKM& 1fte, JOINTS imče successively IN opdf&To £iV£ FLeKlEiUTY," HČI>HAWTttROVM N\k out Or Kit, VOOIA, (Té NOT WHAT irr GALLED -&UT \A/UAT!$ IT? K3m^ WATCH' in flit ic(20$ G&ftk m&4t>, AUtMAlO&g.tU-NolAN PpVBLOP^^^LR HOSb' ANIMAToN, •IT was NOVELL FUNNY NO£OW HAL> ANY BON&& *j £VE@/THItf& FLOW LP with mDl&ss cu&/tm ACTIONS LOTS of i/A&ATJQtfc OH Fi&J&E 8 kt gOUNP FI&U&Z av&fi& fZDu m>FP actions . 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ACTICH SrA/SíS FPOHÍ tfŕS HlFQ- WČ HÁVE TOVš OF TmWAY To ACOrnniAte W &XAGG&2ATE J&/A/ÍS ßßCAMsc i T HAPPELS MťfitĹ. T/ME /Al RčATnV- 235 LeŔ keep oh h (TTlNG ik table ' lr'£ AN AWFUU-V QGOP EXAMPEe OF HoW WE CAN ACM\E\ÍF iUe SAME FEFKfSiUf/ AS1 FLUEFeF. HOSE' ANíMAVoN $y gRBAKíNG JotttTŠ WttEČ&EfL WßCAH - GtOtNG Up - -tit, EEBöW WS %é ikc 'HANO PEAGS. ■ike-ARM f5 ÍWAf BUTti^ FMíťS£R£ AgzSTtU- pnAzn=t>. 236 ONE MGfiř- T/Aif - SHOW (MG-tom SlMPlf, HOW tít& GOfNG To BANG HíS Fi&F ONfkeTA< - Bi-ßÖW up AfiU GOfS Pť?W/ HAiVp ///wo /$ snw- Otf)M& LiF as Fi-ECW NO AS Ort "Zřít FČpC-pČ&lNG pf&£ The, Fi~BOW MT£-ftit.TABuĚ FiFzr- FbFi-O^FO ßYJtie.. Pb&žAím íW rtS.T — MORE UNFOLPiNG. FH MP IFALĹ it\e,ANCFR pof3 - AND F&zpASTAiPč! TUßY'vß ONpV GOT STRAIGHT &ONES ■dij JOINTS. 7b WORK WľW -75 GIVF %£ (U-itSlCN OF CURVACEOUSt MCVčM&tT 237 1 DATING OH A ß4«s PRiM /ms A Vf&Y SIMILA& AQftON TO SMACKitiQ- The TA&1£. 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WHAT WE FßEE PisptACmENFOFtUet HFľ Ar čR&tctom as, ft&üoos AWQp HrWE0& ÖddÖLltP mVE OHE -pit Palm on Hm luz iv^/sr cout-t> ARkiYE E/físr 242 so we'o opam trims way, o&viousp/- shaikh FUWf^o F&zsoh CtApS ptFF£mttW> Tips cr FiyfGpps hit Palm fzom A ppjuhk or A friPLCMAT's WlFF-op- A baby- Birr The 'vp-ihqav-lf iq still- th& - A nuh$&z or joiuis shaking/ onf apt^RJwcmgz ffAUP GoNmois up AS E]-&>W (3<30 FCWV <£oW6~ UP a VlOL-lMW-PPA€S~ A /faAfP FLAPP(M& CA tA ITAUAN ) VmY P-APiPP/ OH ON£$ - 4- f 2- 4 5 243 c A ts 0?m THESE. FIH6&Z A ^t&sW mmwm fiawe up wowtb gem. SkTOH %o. WAY TXMH CAY HAAMffiHG A NML- '■-mriW- Goo& up AFfiltf: But AGAi^i WFCAti TAK£ AIT THIS Too FAR- Bur T^fh^e fs rb knowrrso mem asm ir wmi vmww (which wubeator) TAm S0/tf£O(#£ HAH£& v going Boopy <5oot>Y' jWg£ A/EjtST WAHT To im&iow&n it FAVoaesHGr Anticipate ~ ANt> IT would /r míght not &e A/ftysavzy t© ^ov&zanuvwz rr wwtgeoKpH jottfm -Bur awče its ocov. 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HOW A/VP tfOJY S/VWU-IT<^N APPEAR- AßT BAB® TT OFTEN TOLD OF HOW, ÁFTE& AH í MAXI tí G -ft e. K.EAÍÁTIFUL ßrfLQum/ MAG IC MI&RDILOti iU^ WALL-'SCENE !h *SHOW WHFE WPWARFS " (A ľm&E OF fl^MoM WAT ho ONE HAP &vm ATTEMPTS BEFO&, LETALOHČ SUOOEěP M AeWEVtNG,) HE &&M£ ttiH)ßtT&> WHEN AM/MATING CLOSE-UPS ON ike 7 PWA&S. HE GOT HELP fECM Tie OTHER- TOP MEN IN OAEJNe lb OOMPfeSS W P ISTENE H*t FACES, HE ALWAYS S4Ä>/SF PoŔT SB AFRAID To STRETCH Ife. FACE." MOUTH SQúllZMlHGi &TR&TU4 IT TO tAAXE AČDtttíO ' FLOATING IT AW INPA&T OH %c EACP OEIUtr FASE. TtfZR& A T&ZÁAZNPOUS AMOUNT OF ELASTICITY IN OUTFACE MUSCLES. A AW &MOKIH.& A TIPE' f l^AV/WS \ OUT } SUCKING- í N PUFFÍN6 OUT 247 8 wps OP W BACK To® CoUU> GO FROM AiiY OF TUPSe POSITIONS TO AMY OTffcZ w ANY EzQUFtfOz, VA&fN& IP He o*m caN pull- ifa a/os*s AH. 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HOW YOU CHOO&T& SroP-MAT KWP OF A STOP ~WhFTH££ttS AH AWKT SfOp A LA7Y OWE, CHCCSl/fc WH&& lb DO it is AM /MPOPTAMT CHOICE.- i HATE T6 SejEA FcOT Com twzou&h 2v6 LAND 2ul THEtt tiOftliHGi HAPPFWS" TO IT 11whk wh0n IT MWDS VVF Oi&HtID s Lír LESS" SrM^HT^ MFft A£ pep/ tč> copy Hl* pVW M* 267 A ŕVlAAf W (ľh Á HEAVY flAAU£ľ & &Oim Tb Tú&M ifOiAN AH V/t-' CP WH^ŕ HP> Tb Wir Ftťpí tor /*s Hěao Ano aôms weisses So we w To fw Aw^t& mčiots po^iBmri^ to cvmv w&ght VtSuAUX - cah WčVet-AY pakts ? FAST ANP> S/TVJ ľ BrW^-fht Joints p SHIFT iUe, VftHGHT? — AAi£> SELECT WHAT \NENEčD To PUT OVef^vltiAT^f^WAHT AMD mm Wě HAyB AU-TMS ^/^WO^^/^OP^^VH - CONCfíVrmTÉ OH fWŠONÁUTY. Ví ho K t>oW& IT tocé í h what StTUATiOi? 268 PWNHjG aJ To CHAHSč Pl&E&TlON SHONE WEiGHT IN TuMiHG A OcRNßß OtfAjEWr CtfW/ í>tf> A FAMOUS SKIPPING OK HOPPING? H f SkfPS KDLINP t<í C0&1F1Z iN A CUPYE atJ frWS O/Tik ÖWff^- !W 7'ř|W AflliMAWS cur. Ttfß FßET APE OrrStT OV 7Í»e //V gßVNc&S lb MAKE %t SKID- l ike /A miöRsiKß He leans into -ff» curve of tUtí^v. IN A NIMATIOH -IF HE Skits FOR A BOUT A SEZONU -A WAV TO PO THIS JS TO MAKE A SEPIEŠL OF PRAWNS^ FRPItt Z TO 2-4 (&/ENHUMEjsps) THEN MAHE ANOTHER SFßiFS, OFFSET SLteHWf, FEo/A 5 to 23 (Q&NtíM&PS) THm WČ iNTEfZlEAVE mm. f FOR. MOPE ON THIS Sm* VlBČAVONS') (pancimg) *T& ŕlNISH OFFTH& SEOHOti OH WEIGHT WE SHOttUo INCIÚ&E PANCim. ~{he, SEASON /£ THATTiL ßS&ENTlAP PAfT CF PANCIN6 IS NOT W/ATS HAPPEN/N^ To ifce F&T BUTWHATS, #AfR0VMrQTDßocy-7%e WEIGHT-T*e-UP WPOM/W OFlhe-BcPY* HEN HAPtZiS Tub APT BABBITT WERE BOTH £P)32aU/stS IN PANCE AN (MATtON TvdVity ßOTH SAlP £XACTEN -the SAMS THING-* ITS The, Up AN P POWN ONTts- &DŮY HANDS THAT /£ Hul MOST /MFCPTANT THINQ IN A PAPPE- ITS WHATS. HAPPENING To %t (SCPY WITH itte. WEICHT MOVING Up -mo VOWH IN PHSTHM-IN A TAP DANCE- (fw*> Wer) IF gŕ-OCK CííT TUe-FEET W 7fr#\/ v/e caa/ pur Tie fefton anYwheize. 269 l&jk App rWTJöA S/MILAK 14Pmá VOM BOty HAH. TÍie Bmris ON ITÍs (jHS Wem wmt-OHTWos) + -f +■ + 270 -H -h MC/S + + -z 3 -h PCttftT f + + + 17 SWT* + sb -21 i + nm x + OFUte SOpi. oh A DAxcz, (F W£ 6m Mcsr OFihe ßlG gpflflS &GHT-THEN WF CAN AUúCZT Ihe. UlUß &FATS OR SFCONPAfSy CN&. pont spRjp nm ON -ffe-e IN&tiľT&gML ' ANYTttiNQ tjSSS THAN ^- Fpm&£ wö/vreeAP. üFFikcAmUTHii^f zmr-Prnw Pioti- TtíFN SUPPORT TwiW SßCCNWW WHS CH -stuff. 271 ■NOTCB TK 1h&r Mihe. &HOUU>m& OFP0& i&e, TWCT t#. UP, HIP^M. KW AT DtFft&m AN6l€ 6£T wan CmnsaJs pssmoN Oft SYHCMi83ttiSIN& iUzAPrfOH To A MUSICAL B&T, THefrEARE % RmifS of 7MW ( rule op thumb * / /MWH&e- VJSMfU A'CC^/VT POSITION OCCUR, 2. AHBAO Op-fa*. ACTUAL- SOUND -PR&3E&N6 fteSOUNp BY 2- Sty irSA I I 1 H cf THWefzT) So m CAN mV&l ANIMATE Hit Hir 2- FRMifS /4HHU> OF Tte SXW© O/?, OM W/TW Ike SOOtiP *4 AWANCZiUe . IN ihe, SITING, LATER ad GETtrSO ITLCOjCS nM1KH fieff^THlS) many action educps often Mr-fa, vtmi- HirAHm> gy>^ 7&& i&m OPTUtOV&ALL B&T(Hrm A 12 F&AME- SmTThAii -f F&W£SAMuwcfK* SOW*) j 12-FRAME BfAT AS iv/ffl PIAWGOE, I.THlNKilte £££f way ft TO ANIMATE LpfeU WnN %jl SOUND ~Ttf#V F\\M£ WITH TfNTkt EDITING TILL IT LOOKS JUST Pi&tT, ALSO m lzaf-ti TH/NGG THIS way, At £Ql£g OF7HUM& At& only WHAT TH?YA8= ~n*#S OFTftmp, tfy IT dud see wmf wo&s sesc- maybe iTs eerm&cm pm^APVANCLO, maybeiwo, awyse s cz^h maybe its a^sri^vpu. Qrt Nm/mi Bisnm utk.) 272 ANTICIPATION IS TH&p.AtfXBCW WfO VCESNt- KNOW WHAT 7W(S GuYS: GOING TO PO? 1&& GRm ANIMATOR., BtlLTYUA W, " tflfPE A& OOP/ 3 T(i(H<3£ IN AHiMACTlON - /--■ / ANTICIPATION 2 ACTION 3 FACTION ANP TWeSer IMPLY TUt REST t£4£W 7D PC THe£ETyiN€& WBlL you <34a/ aninwf mu~. * CHA&tiB QHATUN SAW), r i Tbu Km what Youre sows To Do. ' 3 7EJ4_ 'BVt "THAT YOUVE PONE /T. 273 fíic G&ATF&HW M t MB, MARCEL MA&C&tU Sa/S, £/<3 ANTICIPATION f K/í Y? SřCMtrSř /r C£/M4W p^pohsp um sjwfwg gea/s oh a cap. op, Gprm&ppp3s0> m Know that wpihimkof somrnm fip&t-them ~poit. As with sp&ch, we know that our. bpain r/xes upotí Th sm&č of what it wants To say "THm Gem WTo a vzp-y comply zepm of muscle ščUčCricm to say it £0, anticipation: f& Tke PRßPAPATioH FcP Afi ^CXIOH, (which wé au,&ocghi& mm W£ NJ3Ě (v- ANTICIPATION TAKčS PlAC£ iti ALMCKT £Vč£V ACTiCN-W CcRZUNPf IN BIG ACTION* í \ i! : V fsic&tWL* A cvok - v t Berns d J Sferas -/Že AiUíCípATiOH is ALWAYS lit 1te> OPfOStm t>l&GtlCH 75 WHä^H^MAiN ACTtOi /S GDUé&Tb fíO. AHTIClpATßZ Action * Gate AHV ACTION /S STmmiENčD ßVmHQ p^OmOBP &/ ITS QPfQSiTč, for. what I \js W/r / 274 /PÁCTíOM /S H ike, ty HOF BOPi HH0tf Hr tíAYE Airrtot pátion of 7&em£npóus LArmtr Fcpee. USUAlEfiU&AtiHCiPATiON !s slower- í-ES2 VlOLmrtfiAHiheÁOncti GlOW ANTtCtřATlCN"Z/P/ = řTBT ACTYÖfV /Voje; aívo/vwh-tííyt^s otó wintere - vaiu-ftmtí wfflcur <$o BACK PčFofie GottiG Fvfty/ARP W0 GET A MUCH $moNGE& AOVCN Sfc> b£ £NHAAfCEP if there (s AM ANTiCIPATiOM BEFoREÜi We Go sack ěbfcre we 00 F&ßWAm. WE co forward seeöre WE go back. m go vom BßFöRw we go m we 60 up 8EFOR0 w£ go powh> 275 OF COUpSP, Wim A "CAdrcCH! CAÍOČOH - f •J) i FWtWpS Wusse rt\r :t.—nT■1 AfimctpAT&s h/s exit ANflCIPATON HAPPENS, Wffl SMALLER W UNP£ßSPTEt> MOVEMENTS. (S&TTlMô KP Tm A CHAliZ , WE GPSACjK gEEOČE WE QO fbßWAHE to) IXXitt jfo 6#9ßE Vi f GO UP. . , POWH ߣFOf&WßG0 UP A MAN ON A P/Vlftö PCWftD £ wer tv ítm Vťŕ5psr/t^3 ANTtCipflTß 277 WITH SM ALLER ACT? úN5 - TAH f A HANP WftffWS - SWT JOSr BY PUfTfN&ÍH A 3MAU- AHT'dPATE UP BčfV&z HÉ WíílpS - Ufr RR- "fte fiSJSSOAl TftitiWNG. Cj£ ^ CAA/ üSE FI-APAß3fAW TH&fôtQAL GE$TUpߣ AS ANtfCIPATtOH ■ SAY A SHOW&IZ WOWAH /S (SOMAS- TO ffcfT/fcR QY W^e (nŕ A rôhi^S ) 278 ANTICIPATION /S A MAGt&Afts STOCK IN HZA p£ 279 IF SO/H^CMFS G01N& To HIT SOMEONE HF WOUU> ANTlOPATF &ACK BEFOFE SWINGING FORWARP, "fiU ANTICIffilcN Tmz L£ FXACWf WHATk aomero Happen. m id^EARi-Y tm OF ANIMAVON Hke CONTACT WAS FlfKF HITTING A PaWlNG 'At Dewey's t lea&nep Now to pewse A punch ffchw a/Zt &aB£itt- A&TSAIO,s PON'T Fvm mON t&e. FAHP H (TrlN&The CHIN. SHoN Tun HAhiO AFTPR ITS PAST the CHIN 9mf 75e CHIN f/A£ MoK£D our CP pl^A&fi i " 1ft ^fr vtf& 4 FfcWgS. 1£wy WFJUZT SHOW 1fce RpCUMT wo /=&wr OFOONTKX. WE l&YECUT Tki CONTACT -The HAND HITTING PO)HT ' (o TIMES •itte. IMPACT KEN HA£Rf£ToFOME 7w&WffAT THE/ PipiH OU> WF^TFRN FtWS> THEN WOUEO ev\tout ike" FauroF contact' ffamez To just show Ha EE&MTof Me NIT put a EI6 BANS cn it £Q, WP PUTiUtSO(M> HtT WtffNThe Ft$TI$ pAzrltic FACE ~ WHFN Hit CHARACTER- i$P(SWP&&> TahiUARM Sty/N<3£Th/WJl6H> WF G£T-jte The ^Ttzm^tH fifcpM 1fc DiCPlA^FMENT Again; fhe ANTICIPATION fS - ff&pARE ftfcTtiz ACTION* WE BROADCAST WHAT We'FF GOllfeTb Do, OHPf TEOUP>\-F WITH ANTICIPATIONS IS THAT the/ CAN SE COWY. ^Uc AUDIENCE GOES*AUl SURF, i KNON) I $FE, NOV YoURE GOING lb JX> 'th(£ „ < &OftN£fr, GO THEN 1tte GREAT THlKGs /£ To DO SOMETHING V\FFEREMT~A SURPRISE -WHICH CAN BE VFRi FUNNY([o/t SHOOING.) J«Sr POliT TO WHAT& E^PECTET>. 280 WÉ£ ČoUU> SAY THAT Au ANTICIPATION IS AN EXPECTATION OF WHAT Wif^OOCMR. THE AUPt&NCß &cpectS SOMETHING To HAPP04 BEFORE IT A&UAU-Y HAPPENS* A SWfepeíSř GAG fVÖ£KS MW -fat AlApt&NCß Čj=A£>$ -fte ßXpFCTPmON W EKPpCfS A C&ZAlN THING TO HAPPEN ^ 7W ^Hffií? p/FřžRfNT HAPPENS- Hie fNHAtíĚ /£ ACTION SeSWW* 1fte, ANVOmoN JNHNč-'AtiTLCifftTlOti ACTION INHAIF "MOFF AT>gß ACúCN ANTICIPATION M0&£ /WfMAÉ /CnO/V PACTION McČE IßTWCGZ MO^AAmeiOTN q&Ě/sSuť-r m&rtoN FmerioN. 281 282 tM\fl$t£LF ANVCIPAVONS ) A WAV TO SET bNAP 'WHICH Atil/MTOfg ARE ALWAYS TALKING ABOUT /S THIS: CAY A c«/l^^^ Wf?//^ afM/Af£ LVOKS UP SptSHTL-Y- ia/e pt/r /am \w pAsr anticipavoh - a ppawin& o& tho m TU^ cws/te fX&crtoN FpCW (YE WANT TO GO- /fh Too FAST FOR- ikt m TO §FE (T - tlkji&T FOFL OHE 0£Tti)0 - ITk IN YlQ&Lp lb ite &YF BUT W£Fm~!V THIS (S/VES !Tlit& 8NAf? Say a soccp/^ goalie /s aom f& stop a ball wm a c^rcama^- foot flou/vsh - i 2 s 4- 5 6 7 8 f /© // OFComFSt, pit FOOT FUMplSp I7S&LF AN ANTICIPATION OF CATCHING T&M^- 283 IfiŕS PčtfCŕc3ŕV£S AN BC\TÄ rUHQU To AN act/oh SY INVISIBLY AtMCJfttTfNS MY A&HOfi. lit 16c same rum as a 'NATumľ anticipation - our (h Ha, ems -*mk..... 7 Wft 285 ßliT WHtU? Wß'ßF ATtTf WßCOüLP ST&ßHGMfrL OU(L gAštt W£ ÍŠVAPPl/íS W A SLIGHT UP ANTICi OF me pOWH ANTíCtPAVĎN AC r/£ W£S A CAUSES POCK- HARppfi LOOK AČQEHT ANriCffA-m sumrup ^ TO AtfTľ£tR*rp TÍi* AŕmClPAVON PcWN GOES, up Hpčá a popmula po£an omHAzy'ommr up ^)pöAiHV^fiM^i^r-%^' s VOYlH OH twos £mtLAm ' 2 3 4- S pÓWN^OřňS j_j—j—j—í 2 245 ■ I— POWttTo#I& Position í 6 7 8 j__i UP ON Gfif2š> IO 12, \

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BUT WE SHOQLO PmtM£F& WHATT&e, O&GitiAL YOLVm OF A CttA&CT&Z IS * AtiP NOT STPFICH CCWPR&S FOPGFTPNa THIS VOLUMP - SO 1HAF The, Oi^APTFR CHANGES OVFfZALL StTjS. MILT KAHL SAtP, " / /^P ^re SAM^ AMOUNT OF AAFAT IN A TAKF gar W CM Tu&H it ApOuHP ___- 289 SHOULDN'T AFRAID OF PISTOR.TION I Hike IHTE&£$LCFAN A&ION-Ottd P&\W«*3£ Cfr (MA&ES MAY U>oK SfftWQ^ ^ W JZ&UY ONpf SFElfeSpgTtod BtfP Hm^1ke.P!Sfc£TiOH WITH IN THAlt WHAT COUNTS. TH££E IS WU-t) 9\SCOfT{OH W l^H iM UVF ACTION W IV^ Q4A/ GO FUfOH&Z— @CtNQ t>ONH IHTO am AHTiC\PAT(Ctt YOti'p £vCR3CT AtiTtC, But i^k xmAY-Ute stomach ap&k stays AW Gees Grows- /tfrsawt Srf&rcH WHtCtt f S ANTICIFATIOH OF AW ANTIQPATtCN &FTTU3? iktsAm$> Cotitf> tfpVE //wd a FOSrrtOM TO TAXEikt Cg/gTjE AAff.C leaps* Follows S JV/tp, G^A^y IMS - fflzNWG Of A S^£5 OF GoMfiDUHPACfii mm Afftgr- a ofacvois ^ c umchativf &=&upn 290 A&T BAßßlTT HAP A GREAT ßMgeU-lSHlfä PENCE FO^Hte. HANCS Al1k END OFATaKě--WHICH Um OF ANIMATORS UTILISED' y A Ft f Z ~tt TAKE, WHERE HĚS O0MlN6ri>ACK To NORMAL (iE WE HAVE "Re TIME FcE.IT\ HAVEH& A£M& MAKE AN ELAßOEATE Fmß&f -ON ÖNß?. ■ VEßY FAST. ~THzA£M$ ĚACrí S WING AEOtiHP IN A CipCuE COUNTERING EAdH OTŮFEt ■ THEN CAN MAKE A FiC-iURß e as HONG as THE/ COUNTER FACH OTHßtZ - The Left arm does túe same as 1fe £\ghV- ßur stack later %j counters, it ANOTHFE urms REFINEMENT- 'tit AßM CciiEP KEEP KNOCKING HIS HAT OFF aj ON AGAIN- OTtffE Am Gems, up Iva KWOOiS -flit hat Tin óthee WAY -Oi^Pufälľ back OH. his. feeTEouu> -enples& varjations- 291 It's a ip&\ id look pot an mm xBm\m^hy- m , Lptk say a man sf&s scmmtm outpagfous »j Yíbuš wháAAAAat?!í PONK Ř«-J)í« ANtlQ- tff> Ptit> řOSiWtf *Tw WÍU. PO 1íf£ JOB OK - Sufkß-R LOOK P£>£ AMCW&Z g&AKCCWH - ANOTrlFPL FOšffioN imrwiLĽ smčNGíHčN ir^ áive us aiorb "change '-mope v muri' A&qir Anne. So m uvK ft>& Wfmr&féfš can ks mq&z úN/we? of shape wtmrn lha acvom l&rk PUT (n ANOTHFK ÖNß, tfAVß Hm Í&ok UP BßF&fiß iUx, PCW AHT1C\PA~FoU . AsSAIti, Wß AMTiCißArE iUs ANTICIPATION* ARt> MAYSč t^efe /rv c>ANc$ß cf aegAMtMA7irt& - of mtxm-iue uiy h£f*& - Sur fvs apwaYs mm smve ifthpPps ancwfR mömpni^Y pösit/ch pos&í/?lf tq Mopp ca/rpÁsr- mo& cnansf withih. (mam, yf&t&Ytrts-ir.j 292 having too MUCH ANTIC4&MQH cah ze COU4YSQMenMK *j CZATf tak& TaH££ I've em. §>mi was in a rm with sasil pathsohz as ife v/u*irt. ttA smack ittiUtsMiwie ctiti&anmMOoPE zch&h z^^k bbks given ihpcxaaatigh Sf A/V Alt>& WHICH AS FpQJ&i IH ifa. Mi lt>T>U£ VF 1u>e qc%£&n~ (% X$*£B& cwmp OVAL) his heap makes. a short, sharp ffiCHB up tueh QlSHDtfS TD fie, tmt> <5ces up ro44-(#t.M£m) MSft&el CttSHO/ifc BKCtTo^H ifiA WPrtW- HOU>. Tm -wa,fmif /e Srm^ tons with a Cushion pack. ^, •fc.sfKtN&ts h-M 7$ *t ++1 5b, IP WE DEFINE A TAKE M A SmWG TO SHOWSU&W&E OH. REACTION, HE'S SUCCEEDED WITHOUT Ml- CUIt ANtMtATfOH HfWCSS. tiOM&J&Z USEFUL TPEY APgTO US, UF£ vosh'tFoncm ontoouvmim animation rkmuus. (am-stuckahyuveaction) OmiHG AC&3V7S FIGHT WAS IkzTHlNG tHAT &AVE #£ifie. MO&TTflOU&Us tfi AH I MATING, I &EAUY HAP TO WOR.KATIT- IF IT WAS A SOFT /&&tT WftH A HEAD OP- A BODY-OH A SHARP, HARP 74? ACCENT OF A HAI0 OR FtUGER* ?U& HOW LOHG TO HOLD A HAHP> OIXPTH&E Topt&AP? +• 6 phs ems 4- £?#ti * / sec. t??y TO ?OINT "f IN A S£CO/W> - 4 ACCENTS, ifs pfimy HAKDTobO. 4 STATIC HOti>S OF 6 Fm& EACH - Ati£> HOW PO YOU 6PTFPOIA Oi£ TO ike, CM&tf ANYWAY, I'VE FbuW THAT You nm> ATtmr £>fram& t> £&b hHYAczmp. -TfSX AVm SAVS ITS SFZAMm. You Nm? A MINIMUM OF & P8AM0 To &rAD A\ HoU>. T&(k STUFF WENT ZD FAST THAT 16U&£ it WOf%$ AS moU&H OF A PAUSE iNihcCOMTBCr OF ALLTP$F£PE@>- 293 FINALLY / CAUGHT ON- AS USUAL, 1k* £H2££T /S Klhlb OF ITS JUST &ZTT1UG 7kn X»FFF$$UOF. B^TWFSN A HAU> AOCFNTOuJ A ACC£HT . a hazd Acxmr famous - it S ISAC Ity at) fowr HARP YOUR, FIHG0Z, HAl TO Bomce BACK, OP-GO up at torn at&m&a sit it won't stay static. a. SOFT ACCmr m&F-S OAi so/ai&. a WO- cu&hoh as IT SiOWS To a &®f? W(m A ttARb Accmir - IF W Flf AM AHVtL WITH A SmL HAMMBZ, -fa, AHYii /s OSV(OUSP/ MOT AfFECTFP 0>Y ikt HAmm W wfiFN ittz HAIM-F&. ODMtS JX>m ir BquMCfs Back. THIS %O0C& SACK The. SajNp ;c UtzFe* i mm Armz t^hit fop- i b>AM£ WW A tfAMM&Z HlTTlUd A HAIL - 72e ACC&lT /S HOT Wmi Ifo Comms ik&~ BOUNCE SACK - OA/r FSAMB AFfm Tkt comtacz ms. N ot zveN mscwe- A SOFT ACCENT WtU- K&EP OH GOING -WALTZ TEMPO ~ /-f£L tke. Acquit ZtdHuHAMP ON 294 A M AH řomm EMPHATICALLY- Gölm oar mr (O 9 8 j, „ , ^jr-iJa— BOUNdite &ACH <^ »—...........-..... We to Qaltnověm somiřAm a ittgpACxmt stops aSčcW—cr as a^mpfiv m írcAftj ofi A&Alty THINK OF COMMOTING A YIALTz.- lCiT^--iL.,v-r c^owe- oar -^ ACG&ff —,-£> m still spem into oa&MXLmr Buriü& /aovem&jp continue . 295 a KAgATe R&rf APTPdmppim oarf u>\pp Bourfcp$aqx m A HAfcb AQc&ft ( 3 5l°i apw& spm>IH& our tmo-Me, « -turn BMK I- & mmcr 7) rrS: 3 fOPfO^'g 7} 9 7 s -J W&-&&ritie SOUMO GT1ta &HOTAS ik& QN pops. SACK without My tNSerwmiS &d fmi oom zm^td uo&aai* 3 BOUtfCgS $P0< TO ORlStm* POSITION mpNx sack a HA^>^ocmr WNY TMPY 1 CW7MF~ " /as 7 ^ " 17 13 IB -*t4H Kt—H 4—- 1 A<^ AOmKARZtiP £££ Kt>lAlO&U£', 296 TIMING, STAGGERS, WAVE AND WHIP WE have The, ART THAT CAN PLAY M OST FREELY WITU TIME, WE PONT HAVE TO NO&h*AL time, WE can EITHER GO TOO R4ST-T0 GET spastic HUMOUfi b a@oundi%& WORLO of men ^ ANIMALS - NONE OF ITSHOT at NORMAL &PEE& \t was ah* INTENTION ally FILMFO Too FAST OR TOO BLOW. HE hap ELEPHANTS R.UNNING CIKE MICE ^ vice v&g&a, PEOPL&IN RELIGIOUS PHTUALS RACING APOUHO AS if PLAN INS TAB, PEOPLE KISSING IN BLOW MOTIONf etc. AFTER an HOUR. cf this YO0& MW£> TW£N£D tHSIOEOUT—GNlNG A KtNbOF £OdS EYE VIEW OF UF& AorioH' the& WAS, A SHOT OF A teamp ON A parx $&hch PUTTING A match&TlCK in HIS EAR. IT was F>LMEf> sugntlv IN SLOW motion( 30 C£ 32 frames A &&conp. /vs he EIWEEP with Ifo MATCH&TICK YOi SAW LITTLE rippling mhcclez OF PE&a&ugg spread acsoss tff£ face which YOU WOULt> never. see AT NCfcMAE Qpg£t>* strange, Bur compulsive viewing* SlHQE THEN I'VE ALWAYS TRIED To AVOlb normal TtNllNG, i ALWAYS T£N TO go JUXT A L tTTLE Too FAST u*) them switch To GOlNGJVSTA UTTL-E Too SAO W — COMBINE IT. GO FOP- ike, CHANGE, 1fa> CONTRAST. % OTikt usual- m Sk/p om ^ go FORWARD W then come back dc.- 5 OR SKIP-A£0 UN D fora mose Violent effect 4~ 3 ANP we're NOT L-IMlTEP TO JUST THAT FcB VARrgY Hoed some for FRAMES. to3 OTHERS fvRCm. ITZ AN ERRATIC &KPČ&um' IT PETmt& HOW VIOLENT we WANT IT TO Be. / V($EATtONS ALSO WORK ON TWOS'- jl 7 & Z 1 —i J.i UMlUUi" 4- 1.1 AMY COMBINATION CAN WORK 77//s /s TU^PRINOPLB of Staggered &cfo$vb£ Khio-mR- WAY- take a pning boat® vibrating áfte& 1kt, D/VjEřS isft IT WčMAKE Ilctl %*ä II i 7 15 WITH &JEN /gTW/rs : * ' s- íl j i I f I I t f IS 17 j± OF COUfigE WECAN MAKE AAOtE FLEXIBLE pASSvMS POSITIONS WITHIN The, EXTREMES tš t Z. íl S SURPRISING HOW MUCH YOU CAN REPEAT-mO-H^ *ITo#F?&t,t ANĽ> WHEN IT SLOWS To A SfDR IO 9 BUTtr WILL WORK WELL &ITHEJZ my. THESE- ARE ike, VtßRAWOKZ AOST ANIMA1ÖI2S u$ß" FOR LACK OF A NAME I GALE IT %elÁP ľ>OWN ' OR XŠACK FORTH' VißZATlON. 298 th& caw &e for. ummp. o& crxin& Ott shivering- wttH eou>. 17 up SHOIAi£>EE$ POWN S>iMppf ěčcau&ě Hit urns ektkemez a& Close Toemm- W Ike Wčř? FAR. APART WĚáer a v Antsy of s,paoh& ih-%.a<^cM- 7HF ONtf ?PO&\,m WW TMS MW jES THAT if TENpS to A BIT MECHANICAL--WE CDUEP BPEAK it UP sv PO IN& MOČE INTEßFSnNG PACING FOŠMONŠ WITH í H T. B>iíf He. RčAtuY Gčmr method is %± cm. pEVEHOřFO £y noeman fe^zon at d/Sa/éví. Km HA£pi& sHomo it to m -sJ mi got it from šhamus culhane who gotitfpoa FFPGUSDN. FOP- LACK OF A HAIÁF, lk ČA14-IM& IT itie &Í&F TO Stf>£ VlBPAVON FORMULA o sav WE WANTiSb t> HAVE A HEAP WO&UPFgOtA Sim TO&IPB- WE MAKE A SEPIES OF PgAWINGZ FKDfA í -b SAY, SS - 17 17 f A ita 'hen we 3h 4-A A é> ANP WE SET A SIDETO S/Ďf womit by having- z mips of Act (oh. 2- patt&m of action interleaved^ THEN WE MAKE A CARml TRACING OF*t 29Ó #32 jusrsuGtmy offset- we make A n&n &e&& of PfcAWMSS &ia to 32 A Going- uptu^ovhee s/dh. SA (NTmJFAVIKG TWO Sj^fö CFPm/lNGS GIVES ids APE KfNb§ of FöSSlßfUTfES Fo£ VtBiZATIMG ACTION. 299 7 /t? Km HA&IS AtíMArm a äcmz wh&čb TU chačapwr üaöah % Gomuem sovy fpok m Tom, to w§ «ss, w m sw. IT WO®® l(KB TW8- (M TzFLBAVtzp V FAmiMG in triüaw or 1(4 %m£f as y r (aNC> OF WPCAti gß Möge INYBN7N& WfTHČ>mřAS&8& FOŠWOt&id ßß&kpoMF WITH f N h-AOKM ÖO, ^^/04Uy ittjttSTItfô CFP&Wimš WNž 5BřAPmpf ttá lNTČ&m&> Wffl BACM OWČČ - GMHG FNt>FP£& fO$$tßtNTt& OF WóBBí^l jUDDĚ®, QUNBfŠ ^ S/#l/í£S. 3©0 WHIřAOTiON j MiMfc i mil I i il 1*11 I APltíi Ute OH ^H^i WAYBACVOtí ft/Y£> OF THING AS ikcWHip BUT WlWUT Ikt ŠUAP TŘÍBIT. Kßi HA&Z(Z U$8>'7H(S EXAMPLE: A MAMItáä OH A ROp£- •fie, ROPE Wôtitf> SĚfíH0> 90A WQMP&FtiL-UTTte LAVffl OH WYTlM. At PlHHEfZ ASF I Wgg& PFfAOpiSMG Tke WlN£ fvd I PATtIBD ON ABOUT HIS WORK%vd7lt,<$mT LAUGH HgO JukTOOHF, Am&M£>*W?U-tIMOAb y/ THAT YPAF& AGO KFtt HAP&S. SHOWED MF THAT WHIP PRINCIPLE AS A PATTERN fc&A IAU6H. "WHAT?' SHOW MB, SHOW im!'/mSfUM£L£!> BKKTbTfo^W0*d*8pSCt!B&l&> SOM&TMm * WHAT?" I BUp&L&P,*! WtiTGZTlZ, * COMMON, DICK, Ilk A WHIP PATTERN, "ux>k( l\kbth\s.r, ft TWtfk WHAT YOU D/D ON T/tfY TIM < WUlPACfiON ARFS LA!X<£N !£ON-f](& N&CT PA&F W IM IfClMOim ir TO £tfcWJV2r tfOW ZUSTLY thb&F £AS/C thm<3S. CAN 8£ tfS#>. TW, &HOULbF£& GO UP^S pouJhi WITH IN Ike-LAUGH YOU CAN JUST ABOUTzmiko, IMtfl? PA7TFR.N LtMPERL>/fA&> ikt ACTION, 302 303 DIALOGUE IMAGINE A HAN'tJSQME MM TALKlHG To A BEAUVEUL HOMW ^ THIS (2 WHAT HE S/^VS: / f LOOKS like HE!$ sayihg, t love YOUl, PO&HT IT? ttEk NOT. HE& SAYING, *£L-EPHANT juic£? £mY it Yf&fc OLD daughter. brought THIS HOm f/SOM SCfCOL^) TRY IT IT I LLU^TRAm tUe TO INT THAT ^E VONTHAVE STAH&AfcPtSEp MOUTH &HAf£$ EOTt EVE&V COHSOHAHT W VOWEL* W^^EALL PlFFEfcENT. OuEMOUTHS A^EHE DlfTBFENT ^ WE UÐEM VIEFEREHTLY THE&k NO $ET WAY TO F&EM MWlOUAE LETTERSM<) VOWELS>"Ue ACTO&, J//HCAR&Y,MO¥f& H& MOUTH PlFFEpEKTLY THAN 1UlMGim Qu&N. OF COURSE ALL CofcHOfflS Oft=N FOR, YOmiZ A,EI lr0, U.(aYi EE, EYE, OU(YOO. } ANO THEY CIC&B FDE%e CONSoMAm £,M, f> f, T, V, (g&, mfEE^, W W) V&E.) AUO Tk^TOHQDE IS. UP SEHINd TitTmrH FoZ N,t>, L,TH Tfrmm mDOTAiwm^Ert- But a lot oFiiz Fd&ivons in zeal eifeare: am&iyalentindividual. 304 HOW NOT TO DO MP WC- / HAD AN ENTHUSIASTIC fot WITH A W7PJFMOUTH FULL OF m& LARGE TEETH -SETOFF BY fcfiD L-lPBtfCK. EVEPY MO&tltiG SHE HAb US ALL $TAME> UP VEfcY SLOWLY EE- NUNN-SEE - AYTEH : MOO vah sule MOO vah bull ar,& thvh vehpee too tawk annnp BEHEST L-IPSS& SSSWG WfTHTHTti' fOLLOWZp &Y- vV OOOOO MOHRUNNING Too ^OOO, GOOOp MOHR.&NNIMG l&O YOOO-\A!&m oll INN OWP.R. PlAYYSET-Z- WITH SSUNNSHEYENEE faysse7-Z. OHHH, THISSS iZX THUH WAVEE TOO STAHfclZr AHH NEEYOQ PAY BE ^ SOMETIMES & HEP HAVE US SIT zwt) SAY ^p - CPUH) FOU A M/NOTB TfaJ t k/A/D OF ENJOYED HEARlHG Tk^ LITTLE EXPLOSIONS OF AIR. PEOPEE POHT TALK LIKE THIS ! WE SMUDGE P"/eo/H CHE WORP SHAPE To ik& OTHER.. ~Vtt AHIMATOZ& CALLED \T ( PHRASING^) LIKE IN MUSIC - YOU SMUbGEOYE&A FAST COMPLEX PARAGE HlTTlHG JUST ike MAW THMGS -YOU POHT HAVE TO MACHINE gun EVEfcf NOTE EQUALLY-YO* SLOP, OffiZ IT WHEH WE SPEAK WE POtlv APR TICK YOO EATEN EVEfcY LITTLE UU AH SUU-M LETTER -texd fOP SOME PEOPLE HARDLY MOVE THEIR- LIPS WHEN THEY TALK. Th^ THIHG fS To JHlHK OF ike, WO&>S, WORD SHAPES W PHPASES -NOTOF LETfEZS- OUZ MOUTHS A&E ALE PIFFE&ENT. MOST PEOPLE HAVEE/THEfclktTOP /gj) The. gOTfO/A TEETH TtrETH VISIBLE M OZT OFlk^VMB- 7 FEAWREP 305 -il&MCsr mi s\m haz> with lip sy/vc so par. was with v/ncent p&ceí voice - BECAUSE HE HAf> SUCH A mobile FAC$i MOUTH,Ä W THROAT fmé 1k ^E HE LOOKED ASYOl/b EYPEOT, RUT WHEN HE TORNEfr TO Tta FßONT HB ttüK& Um A FISH, ANO BECMSE HE Tlít, f ME TO AE^TICMLATE all-~ttit POPS, C#ACKLEQ( SLOW VONFLS 3rd CCWW/WľS^-(lIKF ߣlN<3 ßACK IN GRAPES/XT) YOU cqulo OVE&ANIMATE IT tá IT STILL LOOKED NATORAL. ftpStW WE HAVE ID HOLb DOWN OUfLMOWH ACTION, UNL&& WČ&E SHOUTiHG OH 1%, Important consonants AEg cu&ep mouth oMes - IM OÍ&ER- To READ THESE FO&moMS WENEEP AT Ua$T TNO FRAMES ■ ONE iSNT ENOUGH-(IF WE VON1 T A\AKE TH&SF POSITIONS Tkl VOWU- THAT FOLLOWS WILE w77a7hx) 306 fbt &0O0 CßZP O/APCGUč we £HOiAU> POP IfflO Oü& vowels- (no MBeTWČfHZ) DOmT cushion into m a&wm back mm accent. Hint big, mm Scfteh iz tttrtfi* UMO&ÜE ACCENT- U. *g frml* (op) we CguU> cuswou a btat-%% sorrm of tH pop- have a saw pop to -ř^ng* B TfrmfHwom *BM$Zou? wiry wo vowels - Hirik^ Ftpšr vomi mm&rHMlkT-d ß camion*** ß^ - vr#y yMOi^y W soft "Mr/agsb ok, mrrrSAU. A Birs&t*" U^Ě it^ AAIO0LE PC&mOtfS* SMACK mUT INT> (t W get much M0£& ViTAlMY. frč) DONTPc&čr Tb PtšmĎ tře- FHCC" - Srf&rCH ft HWCtf AWWeS <2tf£, AN/MÁTOH STIFF W ŠTííTEO, 307 "Ue IDEA 18 NCTTOŠFTůO ACTivE -GFTlkSHřPECFýit W0&) *JMAKč$očě mrn SBlgX WHAT& MFOÍiTAHT Sto) AW9IP FiA/WťS 1k,MD0l ABOVHĎ ÁHlMÁT(f& evtfZY L\T(l£ Tam. Aam FiTrim p/atcgoě fc&m films uircHWik accčutš *) gu$& atfUbMitm tium "TtíPY MATCtf %t řIČ&r VOW&- ATTh^ZTAjiT OF1U& SčNTfflCE Hn. MST AQWSTtfe ^HT0C£-3W WtíATk IN g&TW&FN WIU WC£K (cbTWb to wočk) TmKOFITTH($WY: TAKF 7fe WO$>*?o£TUM~č~ VOHT DO PO íftíS; jmrtišč a pdšitiokz. 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PUtouh^m' PPAW/NG Om FZAMEAH&D OFTkW SOUNfr *~ [ ^#7V 'ppAW\HG I FPM1E\ TPEFE /M C-pJPE ROLF OF THUMB THAT lTtiX>K9 BETTER W IWTtes P(OVP£ &M>tU& SOUND SY Z F£AM£S, BECAUSE OF A PLEASE SPRANG LIP SOMZ £DttD£S ^FTUP IhTY RAN NY THAT ANIMATORS MUST ANIMATE EVEPfWlNG 2 FFMAF& AttEAb OFH&Seolfc SO THE/ COULD J{Jt§T PLOP IN ftttrg&UlT<*td £b f(OM£, WfZoUQ. TttFRE IZUTjaST'QUE m£UUE. SOMETIMES L^VEE^YNC WO&& SgST- SOtfETim d BETTER WtTHTbn PlOfUPE OHeFRMZ AMAHOeP, OFTEN IT IS LETTER &FRAM&S AHEAP TktUSFASE) ^ SOMETIME^ ITS BETTER WITHike PICTURE &IeU 3 Ffe&MES Ati&Ab OF Hul^OJHC iF You AUW-S ANSWZfc, xTtk 2 FPAM& AttEAO* yOU GET A CRAZV S/7W7 wheps thm king f / / -? / J CoNCUU^iON- TheZE /S ONE PmSYtJC ^ THAT IS, LEVFL. & TYPEGF VOICE HOW We've tONE Ik&JbB. 310 c 0U> MASTfiB? PUTSHA& PHYSICAL ACTION HEAP AAOiEZ 3 OR.^ FpAMES AHEAD OF lb*, MODULATION — TH&N PLT ikz MOUTH ACTION ON tUe-NO&E - O a/vmnm cf&gwhs?) ifon one&- / 2- HBAJ> AVX*tT XT 3 ffiWK AHEAD A/ s / V SOUND AOONT x 7 / / ifon TWOS- y HEAD *X£WT X hi ! V 7 / ] , 9 1 // THFi Gerup imfie.£rpcw¥7w*) rcfii^kcastrr 3 «e 4 fts^s ea^y-thentfte mouth opeHs. oni*l axwi>. PtiTZIMPM - TW/sCfcVtq=av£ A 8&AWIFUL pzsaiT. thaw WTTOfi /r au- ATOfCZ OH MOOtUAWH X MOST OP TktTIME TfeHFAP ACCENT /S UP. 0 anticipate powh |) 7W^/ //MO ACCtfftS up 3) T?/eW £/PS OVTfte- VOWEL (l£ tfSitfuy A kDWSL 7W tttefef wmwe. w CAN W IT in ZwrnSE, BUT MOSTLY ITS StPOHOEpL GOING up- (&UT t%>wn \% Em,too.) Anyway, there & always am accent—mle&$ nb an utters BohinG per&gn s/Wff*. Ta/<^ u LAST YOUkB HOME! *= 3 ACQ&flS T "f T vowa. vows- ycwh- HITONM iJu VOWELS WHICH ARE iMfbPTANL <$LOS& OYEfclfo we w/r CEpmu accents when sp&kius w We Slup ovg? tu rsst. 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MOVmfflT. if wž GET ik^BOPy w> head IN TU. rightattfuďe m cm almost go WITWUTTt&aac(/lH&, %t MOUTH action can GO oh MST - th&/ can BČTkt. y§T TUlN&lb K/OČK on. Km HARm> up he Lmm?ih&MosTA8curup mc m&i he HtôTo animate ANmtm chawcier WO HAP NO MOUTH, THIS MEANT HB m TO GETTktHEAD ACCENTS RIGHT To ŕAAKE IT CONVINCING. ih plahninq we &HOVU> make SUPE we PONT HAW too MUCH gong on. howmmy jR££? fOR "tms SrnmCč- Top Ttflš THOUGHT? Aer f TOUT 3(3 so//. IT PO0 so //£ £(MpS^ K&£ frQ/Wč. We can only put cwbr. tdnething atavme Oustas, wecanonlyzayone wcwatatime, we can only project cn£ geofupß ata 77m& the whole pte show wpk tow® vcne wng. Ike secret J one EVENING IN TÄe fare/ 70s. i M/AS TALKING To milt hanl AgOUT 7&e SufEPB frOJTH'f shapes he ALWAYS got in ms ANIMATION. he SM>/ WATCH FOR MOUTH s/fAPES." f A&kfp, l)s there ANY FeALSECßFT to UP SYNo ?v HE LIT MP. *YoU WAHTife. secret7 1'iL TELL YOU The secret.1 You KnOWTHATJiM HeNSDN with HlSFFOS MUPPeT? well, HPS a GENIUS( Hß unperstanl& qdmfth/NG THAT FlfPPČfE&S NEVER- P\b before. UePE He'sJU&T got A SOCK OV£r tfS hand TffOU&i HE can nbve1č h\atcm Tat £omt> exactly, HE does A FAR BPTTFR Jog than MOST OF US aninwiöps, WW ALL Otf~t£CHNICAL resources, Y Oix watch WHfiT h£(£ doing! prog£ČŠ$lN& fk* action. Hfz Going somewhere wth that frog when h£s talking. ..........p *l LEAßN&P THIS BACK on{ 1ÖWAM& TU IT AS H£ SFOKZ *áW$ť% SECRET. <3ö SOME WHERE, ANYWHERE, /&YOU&eak." when (got &N2K to m&lanp t PJL&hw INTO henHAZR&mJ jumped UP vown, *IVE GoT-fUe. secret! TUil secret OF LIP NC i milt kahetolp m Tk^^BCSpfi Ken looked uř Quizzical^. i-fti& Secret! " i bupblep ,v' the secret izto pposress -tu action az You $peA£1. " HEMS ROLLEp HEAV&tWAPD^ WHAT TO YOU TH/nk (ms ßEEN T^YiN&fö TELEYA? * well, Tki Penny propped Cfinam) md i never, looked čack. tots it. 314 ACTING in 7W M30$ SOMF&opy A§K£t> lou® AMrW,11 WHAT (§ miHS? LOUIS 4M?Kfc&d,. [mahf IF you HA\/& 7© ASK, YOULL n&VFfc KHOW. " &UT we ALL KNOW asout ACTING! W(z vo itall PAY- Wefez acting PiffeRzNT PARTS ALLTkt r/me. Therz Ave several of us in Here Po You Acr -%t. Sams way with your, wiFg/tfu&Bfflt>/'lover: as when atraffic ccp pulls You over.? ot wrrHikt. sank MAtthm? Or, with Ycaiz children? wrm you&boss ? WITH Co-mpKZ&S ? FRlENP? with YoU&&wozt>lNAT£s? YOUR BusMfEt: we'lZE acting RZOLES ALl-fae-VMEsDEREN oaht on fbz SITUATION Wb'rz in WE KNOW i WE TZOTOUT Ik* PERSONALITY APPAOfMlE To WHAT'S F-EQUIREO ih OUR. ZfTUATcN. THZ&& • ih e- author tap-ian 7Uz ghilv> -The student Tk% responsible adult l^ie lovbr The, e£\end TV clown IX e em path ETIO , KlN ply per. son jke, hunter: POWER.-&RA7-y MANIAC etc Hit thing n TO be £wa& Of it uQETTO express THIN&^To develop •tie ability to PZDJeCT TP through our, 1>ravwn& oiz invented IMAGES 8Y getting? into hz* cwapaote& WE'rs depicting, in 7ft e situation THEY're IN, knowih& what T/S THEY want- ^ why THEN want it - THAfTS: acting-, 315 we waht to PUT something cleaply through A PÄPXÍWIA& character OĹEAd PčPiaiOKS of WHAli goimo oh WtrH1k hunger colp lust VANITY love W Trie. N£ßt> TO SLEEP. KNOWING THESE, ITS J^ST ABOUT HOW PlFFEßENT řEOPLE NANĎlB TtíčM. So trkjttSTA Qup¬t of widening our. PANßE to A(£om/v\opAt& more ROLES - which WE po NATttkAuX £y OßSF^/avön W SXPB&gNCe - (A^> HAVING m/FLOPm ike ABILITY To project IT INT01&& CHAPACfER WORKING Ohl. MILT KAHL ALWAYS &AIP, */ th/nk YOU JUST DQ /TT /p you have a PPOBLEA YOU have TO put it over- GOT to ffAVE a THOROUGH UNPEPSTANbMG OP WHAT YWfeF AFTER. amp IF YOIX KNOW WHAT YOU're after, - you jiastkeep AFlER it TľLL you &ft !tv Mt>,xV Owe if a lot of thought how You're GoiřQ to Po tu, best JOB of Putting Hu, performance oh The scpeen -Pitttins over, what you have To mr over ." Got to get inside -fan, etfARAp&z. what poes he/she/it want? AM£> even h\ope interesting - why poez-TkvL chara&TEfZ want? WHAT am I poing- W \jvhy A/a I pOlHO it? i&e People who keally know how to aot all say, * Vou dontact, you become. /f "The- movie $m£, GeN£ I4ACKMAM SAlb something LIKE, I WOPK L ike A\A£> at hever being caught aotih&, /f ACTOC& po a LOT OF ČE&FARCH Boitin. ^EALlTf THČÍEE P>mčTiNčr PEALITY, 316 ihe fimb m^Aerří^ actor, a/#> ebatty SAU>. SOMe Aaop& WphoMz thcmsblvbs into sbcomiiig iu mer- kut a Vč£Y small gpoup ofacto® actually hyphot&B ike AUOmNCB, i. - i .i n ■ So ik^ IDBA /S TO HYPNOTISE # PRAWIN&S, ITS A PÉAP GIVEAWAY OF WHAT TH&V'&b REALLY UKß. AMP how MUCHMŮRB SO Vitími jUmíO PPAWHGB ACTUALLY MOVING AßOUNP. YoUCAN sbb A PBR&Orfs st(zßN WPAKN&S&ie& RIGHT AWAY- if m'lZF A COLD Ft&H, SUPERFICIAL Pß&$ON orFMOTIOňAL WR^CK^TH^B IT IS FDP, all TO SFB ■ SO WB CAM OHLY BXPRBSS our&BLVBŠ AS W£ CAM WITH WHAT WE HAV&TO OFFBR BMOTION ALLY 9kJ TBCttklCALLY. (BUT) A &BALLY GOOD PROFESSIONAL $HOULt> BB ABLE TO HAUbi£ A WPB RAUGB OF ACT IMG MATB&AL, WHATBVBR WS/H&Z &VCm&MAL STAm OPMJNP. Tm&k this SToev about a bbriously pbprčs$&> man in qbrma0 WHO WBNTTO Š&BA P&YCUfAT&Sr; -rte PSYCHIATRIST SAYS, * Y cm vb LOST YOUR ŠFNŠB OF Hl/MOURWUfS YOU mbbp to HAV F A PFAU-Y GOOD LAUGH. GOtvTU* CIRCUS ~ THčPČSľ TH/S GP&AT CLOWN, grqck f HMMl&STMAN you\/£ BVBfZ Stmi? Hit ANSWBR COMBS SACK, * / AM GROCK, " FßMIK THOMAS, a MAŠTfR OF ANIMATING BMPATHY 3^ PATHOSf ALWAYS CK}rimFl>AAß(jloU$T£UCTIV£0) FOR šPčNPINô TOO MUCH TIME ON SPECTACULAR, SU&20UN&ING ANIMATION vuč NOT 0NOUOH OF GOlNSr STRAIGHT FOR, ike. BMOTiONAL CBNTRb, PART OF tW PBASON was that I FBLT WB WB&BH t YBT GOOP FNOU&H at IT, SO m{t> WORKON 1Uv* WOJZJLb"OFik^PlBe^ W !^AVBlU^HAML£T'fSni& till u&t - but franks c&iTtam is valip* 317 ANHAAWCM MS Km of IN tie. DOWXfciWS wh&i W£ STApTEP MAKíhlô WHO- FČAMžD &OG&Z fcA&bit' FPAHK WROTE ME" a WOMDERfUUY ßhlQDÜfiA&lK6 LETTER. 1NCLUWNG, iJ if YOU SRsHG THIS OEF, you'u BE A HčgO." í rmiKk Lerrtfzitf my chest pockčtthroughout%k.y&& OFPßODUCTIOH FRčSSVPč z*) WOULP PßRmD it EVERY time THIH&S got ZOuGH. WtHZN il& PlöfVßC CAME out 9ui WAS A mt, NOTHltfG FROM FRAHK. 2- months later, T&e BIGGEST picture of y E Aft. NOW m TföÖM fpamk- 3 moa/rWS LATER, i PANG ff/M UP, *///, FRANK} wčll, WE MAt>B tr! Ifi a HIT, F&HX! lib A Hit! ' success/ morous!* Vaz., / Kwow, frank, irccmo have been g£Trmŕ but we ££AW work&P HAttp ^ čVmj&OPY' lOY&VT!" * ívm , £/M, / Tf/AT VOí CöwtD SAY 77MT lYF a GIMMICK to ik^ĹW^l of A noveltyf BUT FltMUTl" *MtCcmON F&HK, i know you always CJtlTtCföE ME TOP. Hof gpabbiug AaPmH.ce emotionally - M You've Got lb Gm IT TO m t WHčN TW WUAM/& <3o«& TÖKILPTW ptABBtT&Y PIPPM6 Hm Mika, VAT OF ACETONE, ALL^KiĹ^ Mik*, Aubmicč yell^poht po it í pohT po /r/"-' (fO/t/6 PAHSé).?./ W/Stf TWČY tfAĎ. " / KtiOW what FRAUK MEAtä. in MY PčFFHšE, I hap TO PUSH vm &TZOH&P/ ŕ0& SoMŕ ANIMATION í dip AT %*. PROMT OF OPENING CAPTcOH m qoulp at LEP&t WHAr~jfa PAßglT LOOKEP UK& ßEFOFE HE StA£J£D SMOTlHGrAROUND like A B^M&ßH CHf^lHG GOM aJ A FlßßWORK- BtírlífčPtEWAZ A beau oppo&rvN rry FcOft- PATHOS THAT wemiššeď. TtíeRč WAS A shot OF ČDGER. StrnUG ON A QAP3AGB can (N a b/ck AlLZY C&YIH& A&out WHAT H0 THOUGHT WAS WS WfFčk InFIOBLitY* 318 LIKE QROQK, i WANTED TO SHOW A COMPLETELY PIFFeRENT SibEOFifte, RA&&iŤk PmšONÁW g&Wtíb WS PPO&ššíOmt- MASK, i WMtt$> To AN/AAATE IT MYSČLF, BUT i W TCO MOf ELSE T>0 WEHAP A říHE L£AD ANM/TÍGZ WHO WAS ATÍke-TíMF VER-V LOMPLV W / KmW he WA£ %'CK, §0 sJ^O WLY Wm TO POJHAT&CENE, I SAtP, *OHNO, HES A SUřEPB BROA0 ANIMATOR W IjVVENTlVELY FHWYf £XCELLENTf SUT l THIHK WRONG ^"WS SCFME. HEt GOT A OPTAT OÍRTPIENP, HFl£ VERV UpyJ iVoT^e PEpSOH PCP~7M$ Jóg* HE REALLY WANTS TO PO (Tf DÍCK( Htk &EEN PHONtm MB UP ABOUT IT* VW HE& WROHG - (TÍL BE- OK- BUT IT WONT HAVE THtS OTHER- $fi>£ To IT lie OfflEfZ QOY SHOULt> 00 IT* *BuT he{S P/fNG Tó PO lt/f. m■ ■ ■ fa -" 1 / LOZEike. ARGUMENT. OUTVOTED ffé W&ONG, BKTHi* PICTURE FtELS LIKE A HlTtov) ANYWÁY I CANT AFFORP TO 0E řle&X OF COQfiS&lkt, FEŠULT WAS JUST PIKE'ALL TV OTHER, /AANIC SCENES - tod. WE M(%£FD HAVING ANOTHER, P MENTION To TUt. CHARACTER. WHICM WOULP HAWGlVpN A MUCH STRONG FR- EMOTIONAL PULL WTHTke, AUblENCE. WIN LOSE &OM£> (N AH INTER-VIEW IN (47Z AT "fot ZAGREB film FESTIVAL, FPANK THOMAS TALK&P ABOUT A MAN xV WHO MĚVE& HAD TALENT ENTERT&N MPtT HE WAS ONE: OFik^ BEST A£C/£75M/7S WE EVER HAD, ME KNEW BVEfy THING YOU coulo TEACH ABOUT MOVEMENT, MOVING Ike CHARACTER, sw? m&HT 2*d DEPTH *á BALANCE w$ ALL THESE THINGS. NE COULP VZAW THEM LIKE ANYTHING, BlTHENAP A VERY WEAK SENSE OF ENTERTAINMENT 2i*jhem> A VERY POOP- CHOICB OF WHAT To to IN ANIMATION — SO #/S ANIMATION WAS AL WAYS FLAT IT ALWAYS MOVED NICELY, BUT NO&OY WANTP Tó look AT IT* MILT KAHL ALWAYS SAlb, */Ú A MAWR OF TICKING iU &WT TNlNfa To PO Tm) MAKING UP YOVfc M/A/P A&OtfT THAT, ANP7HEH NOT ITTTlNG ANY OTHER. IDEAS INTERFERE WITH IT. POUT LET YOUR. MAW I PEA GET &U&EP OR INTERFERE® WfFH BY &OMJETWNG ELSE." CancutAfoH' WE THINK ABOUT IT IN Hi & OVERALL, JH^T AS IF V& WEČE AN ACTOR CO/AS HOW DO WE 00 Tike, WAY TO PUT "ike OVER 1k* BEST? WE ANIMATE WE FlGiME out M ADVANCE EXACTLY WHAT m'pp G0IH6 T> 2x3 Know whep& weregoihg. in Planning lock down ti^ mp^PTmr fcsfs. 319 art bab&tt said that geeat biletytla Qzenowned Fc&ikz-m&rME FOWE& HEARTFELT PAS&tCN IN H\S lAlO&K) SPENT pays WORKING ON TINY mUMgNAltS. NE #AP EVEENTWNG ALL WORKED out in min/ATU&ž zeeoee AM mating, (aN£> Tkt, end mULT StlLL cmaboutfu$r AS QU\cm as other, ammators) g(Rlfá NAlWtCKAbSO told ME, xXTiXlA m a vz&y( YEW ca&BFUL PLANNED rtHAHGE OF EXPRESSION. ^) / was VERY TAKEN with whatPISNEY N^TEČ-AHIMATOrJTEACHER EZtCLEARČON #AS TO SAY IM frank thomas W OUIE JOHNSTONS HiE illusion of LIFE? fjESAlE INfh* EAREY mickey mouse THEY o&coverep THIS principle; ip you were looking at a portrait anp- * the subject gradually lowered h(§ bzows into a fröwn - , Paused - and then lifted one brow and glanced to the side, YOU INimPtATEEY would SpWSE a change from ohe THOUGHT to ANOTHER. SOMETHING VERY IMPORTANT HAPPENED í THROUGH A CHANGE of EXPRESSION iht THOUGHT PROCESS WAS, shown." - / THOO&HT, OK, LČ7SJUST SKETCH THIS OUT IN Ilk SIMPLEST FOm toč ÔS? WHAT IT LOOKS LIKE - AlAM 11 BBOWS INTO A FřOWW - A!AAA WPfS OWE BRO^ A7W\ /V\A>V /WV\ /VW\ OK, Ir&ft HAVE^&Y&ČJĹm AAAA /WVV 320 TW w^ěkc. can m sneeřJGTwev ir further, <$rm.? why mní- we antícipatbíu. £M$&> ByzßRöw by low bring it HiHtt^H? A/WA AAAA aaaa. yww go pom b&cpß itgc& up THAT WÖEKS TOO. ANYTHING &t£& W£ CAN to? AaaA A/na/V AAM , Wôwrwetŕ/r- AWjse WBVE ov&zanimatžp it by now ^ MAYgß ni a Brr corny -Sut i r shows. WHAT W0 CAN CO £Y tcOONS FOR ßXTRA FO&mONS - MOßß change -MORE BANG F^R-Tku SUCK. QUOOK foz-Re. CONTRAST) MilT KAM- ALWAYS SAI£> pONTCHANSn -Ihn&XRR&SStQN WRING A SSW AfCWF. SAy Wf? WA Vr A PERSON A ßOOK- ŕ/f ŕ/ŕAčS A wo/se - TIGHTENS HIN\ - 321 fo&A sta& mo nbeo something ro change mm -something opposite.- SOtfeltilNG THAfc A LOT DIFFF&ENT FPCW WHAT mfߣ QOlN&TO CHANGE TOr tĚífc WFrU*. SOOK UP *j SUT WE PONT WANT 10 OHMGE WS EXPR^ÖN BŠĚĎ. ^ WUFRB WE CAHTSEE fT SO m INSERT A řO&WON WHEEE W& the, CHANGE BEfOE-E flu MOVB. ifa. IDEA TO PUT CHANGE VWepF you CAN SEE lT~ NOT t>UCfN£ ffe.ß#>D MOVE -lANLß& TU MOVE (S Quite SLOW - THEN mCOUU> Rm> IT. AOAiNf "fa> MIND IG "ft*- PllOT. WE THINK Oŕ TWNGŠ SEfORE itie, BapY JX)L& TH&A-THEPEk ALWAYS A SPUrSßCOXb OF {tTNMKIN£-VMEn'ßFFOPBUfr CMRAe&& pQES ACTION* 322 A &Al> ACTOP- Witt- POINT AT tí ť-SAME TMEA% SAy/MS P0GOBZ gaa/ tahp iroar of fkipFAlM of^cuché ZMfVf SY POINTING Flf&r %é 7HBN SAY/AÍG (Ti ORf UY If FIRST THEN POINT- INaOFNTfUX, WITH Ft>\NTlKG -lf£ A GOOD IPFA TO P0AP W/W iU v WPIQ r->cJ HAVE ^ HAN l> iJ F/NGFpZ Come Up LMľ. Ano - a YFpy n\ inof. tv iwq INA FPSTMÖVFMfflT-IF were ÔOINQ Fm^S>T& Tneče he som'. MUCH &ETTFF- Aßß &WONGE& THAN ,; W02PS. k/ŕ GOULD IN^EFT I FRAME pimxtk: loo fvstiöBee mr we ff&f -tVsa/ap/ 323 ^gQpy umíme} Ike mmm pmw Azr pipectpr/designed ken Anderson &wc>, vl PANTČ>MINt£ IS 1bc AßT OF ANIMATION. Body language is ik^fícor ^ fortunatwí tns ünwepSal, I WITH K&i m TEHRAN JUST BčfCRETb^KeYQlXJTtCtt toélHADA NA&tY SHOCK A ßfcß^n wren they pan my & Hoa^osc^rwmm u chčusmás carol for. an iraniah máqi&ce. We had T&l&To Hm A& MUCH BOW HANGUP IN film & we CůuLD BUT we &T1LĽ left wm vicmtť ljteratb i CONTROL W W0RB NOTihmtte-q BY PHYSICAL WCTERrrVt OR. GßAVTTY, 0£ AGE, OR RACE, OR AGAIN, we CAN iny&tf what C0PSNT EXIST IN REALTY "W STILE make it a ppeaj^ ߣUFVAOL£. (jZYMMŽTW c&TWMfhKť) í FEET THAT symmetry M(S (GOTTEN A bap pr&s because OF SAO animation acting. PFCflE 'SAY "amoip TWiNNimwhere BOTH arms a J HANbt Ape VdHG ikt SAM&1H/N& BUT JUST WATCH ANY FOLITtCJAN, pmWFR OR IE&&LOF WHAT&ER, OR EXPERT ON TELEVISION, WHEN THEY'RE LAYING POWN ike. lAW WEIR ARMS W HANfrS WILL-TWIN! ^Y/t4METRiCMV/. * IVĚ H^> ßALAA/CF, — HAppfNSSS AHO ITS UP TV YaU SO TéHE) CAN SUCCESS HAZmtiV, ABuHDAMCF, FCfcAH-. ToVcmfD&M£ t>0UV&R, &iUGHTBiMW öS- 7ö ^ĚWD MOhty cSfiÖÄiÖtfS HAfZMCHY PPCSPmifY ABUtfbAHZE $ALMC&> HI VIN& . 324 "Tfrgy MAv co ff íha m>uc$o večsjon- IT COMES FpOM W hfaPt,,, - AHO itt-M&ßZ - FumßF f&Zi&AU: AHP WAICH )ÖUtä&F mm YoVPč LAVm DOWH It&l-AW AGOüf ZOMZtym. Wjlßr P° IfHAfUtAM ( WM K SYMM 0m IS AU 0(Pß$&£ GH CF HfäM£Wf BmttYt BALANCE, OPD&Z >d AtMú&ľY tá PčOBS USE ITALĽfli^ VMS (&F&A&HG TUP To TOíHT OH WHAWlMt) W TH^H &WU TO fľlO £Xŕ£ŕ£S ikt WHOlČN£$£ Tm'flfi TPYíHG TO COtiVSY, y so, a crupicsouc u&č oFTwmim /s fpffctns sfcal&e 11k evep/wH8č&. mzAU-iobo Wim Hoy wev&&ir. A WAYToTAKčUvť £mč§£CFFT\f>llHH(ta IS JUSTTO p&ayoheOFlki#worapms BY4o&é>mm LlKE A ľ>AHC0R WOQU> 00 - o/z -n í-t mcmm. pačt- o& usč p&t&mfNE In a MAß/mcus Tv MAsimuASZ aotas, Michael cáine shock&> mPYotíF by * iF you sm smz acx&l tom a pifcfof w you Arnim- st&al m * C f CAMB FSDtA Tue oto/d FA£p/ CH- SHoerofr/mf, $p&i> rroNTk* FYm.~tm 0m apfwmatpwpifwaicm. w OUR ĚVK AR? SUPREMELY W tVF £W ČQMMON C ATE WITH Ík A£ IF ITS EffortFößCM/ö /r POWY ThčRč's an infinite variety of euNKš, Bur hfhrs a simple Formula . 00 © © © © OO 00 G © 'OJ—í t T T í TWS /£ CRUDE, EUTßFFPOTIVS - iV£>£K£ well-on onez QfO TWOS, G9 föße^ AM f ACflMS (V Wŕpo) BUT OUR, 0 Pít o tu^ Point ofíu e, scčne ozarly. (2) Gft iNšíot= 1^ character, op, characters (jm) £Vm@OPY£ REALLY PiFFE&ČNT) (D SHOW CIMARJ-Y WHAT TH0Yfef mitíKlKG. 326 ANIMAL ACTION FGV& Lp&G&> ANIMALS WALK LI KB TWO OF «2 JOlHED TO&BTHBfc -OtiE SLIGHTLY AHpAO OFlke OTHER. - TWO QBTS OF LEGS S LIGHTLY OUT OF PHA§F< WB LOOK POP-ALL Tk^JLm THlUePz A&mVO WITH A HUMAN. STAPT WttH 1%e CONTACT PO^ITIOHS (pW&f&pl STAGING OHik^FPCm'PXF) WPFRB Ag£ 1k& OPS. W COVINS? IS Tkt, WEIGHT? WHAfs ^PBBD? CMAPAOTBtZ ? DIFFERENCES IN BUILD? BUT WITH TWO OF LFSZ WORKING, THBR^ A LOT OF W&3HT JPAh&FPPBttCB GOMSCX WHBR£Tk& WEIGHT IS COMm F&DA\, WHFPB IT /S W WHBFB ITS GOING TO. 327 IF we[EE GolPG To Sŕ ^ČmUSnC lHOtä ACTION WePE GOlHG l&HAVE 70 RESEARCH: HCm Ik ANIMAL IS ŠUILT, /ft SIZE v^TYPť WATCHING a*J WATCHING UNTIL WfKNOW It ----- D STUDY FILM VIDEO ^ EXTßAOPPlNAZY AAÜYßPlpGB PHOTON op AH INM WHEÍ2EP HIGHS. %J LOWS *á CHANGING MUSCLE SHAPES ARE CLEAPLY OISTUYPP AGÁIHPT ßKMROUtiO A MAčQTPO OF ANIMAL ACTION, MILT HAUL HE T>lP> THOROUGH Rč&BtäCH ON ANIMALS Mé ALWAYS m>. HF sa/o HE SPENT HVHPPPPS OP HOUf& SíUPYm ACľlOf/S OF VAPOtSAHlAWS frd WAW& PUNS- WHAT& HAPPENING - WHERE %*. WEIGHT IS HOW YôU LPAW THpA. HE SAID m PfDMT"TWHK THEPF WAS AN WAY OFAPPlVlŕfájriHgiTtotNGR: WE JOST HAVE TÖOO THRCm IF MILTSWD& SYTfaMOYBZitčE ŠOOPS -POVHP Thm EY&t SßfT& TUM FILPl/BECAME OF iľn « KEN A&O SWORE py MOYBllCGP. HE BOIIEO POUIH A SIMPLE PofcMOIA -$OfáTŕVt& UfäVfß- AYMWAS all walk &&icau-v alike, &uttake ppawiüg im comitmTioH, HßAP n/ČNS W/fH ~OpAGAIt&T Tkt FROf/r roar AonoH Tue tail scot mo ves TkiX&r IVITH SACK i-ÉSS ACTS LíKS/r WIT. IAH FRorb A&y/e. Sílíce A/C^f ANIMAL WALKS APß PPFTľY Š/ŕAILAR, if WE UUVB&TAUb 1h WAiKCfA MEplUtt SUILT animal LIKE A HOPSE, POGt OIL LARGE cat WE CAN APPLY t^e SAME KNOWľEPôE To other. AHIMALS DbPENOIHG oh THEIt-STJEf WEIGHT, VfôftSP TH&& TltAING "Tke^Mimm ofTmP ppet LAMMS* if m get pown om all pouts, we can feel how they walk. 4 fKŠS Cořřrtór t PASS ros 328 voe& a frame walk um an ostbich aho a maM? CONTAVT Vom M OST&Ctf AND A MAN WALK UK&AH0B3&? 329 c ßÄSlC ANIMAL* WALK PATTßßN 7WStós SO MUCH ÔOltíS OH IHtiTGDUXßS HELP - BlrÜß Füfl tyj R3(t £ /MAW #frP£AfeS - FPHflS SííOUW>ŕ«ES PASS muß PASS SŕiOi/iŕíRS ÍJP >3 KUS 330 -fík t>PlNč TU)m S tpp -to £íDí 7\ 331 tímfé A píMWV *fNVSNTBtf WAIKčH A TOW- OH TWOS - WALKES ON /é B, /W FLAtiHBP WtTH%L FftĽŕlT l£G Tie OPPC£fH& BftCK t&á YvmAto&wä KMg % t Sm^ToQBiUčR. Tfe č;rrie0VféE*í aj*/7 ^ UVB- a^ífe R4SS/AS PCRIVOH ÍL o 9 R&sm if r3 -fit uP /s é) + + + + + ř£ passpcs. + 3 + + + + + já "ttí t/p I 4 ■3/ Í/é &äftw if 4- ■7-7 1« uP + 7 + /s- - t" 73 3/ 332 DIRECTING / JHíliK tfwf A&OHOt A few mPOPTAHT things to khow aWOT Pi&ctmg " sar w^vb got to man Ife. PíRčeroféjos is to make ítau- wcxk. f hav&ih&b Rules-. ® g& CLBŘR. © put &&&rmm wpfpb you mi sm it £/63C7DR ib at- facep creaturč WfW a footIN % camps, IfaSmV^ Dffffl&m Tta PČONT £COM Tfte jSACK ROOM 333 V> ITS A Bi&IN&S, GOD PA/AN IT I * V/rt MOT A SWSSS lit AH EXPRESSION I f EMPR!/ HAWKIHS (ANIMATOR OF CoUtSE A. SOTH - BUT DO YOU KNOW Itte GOLt>0 VJLE? WHOEVER. iP ttKL&OLOMAKES ibe RULES. WERE SEING HIRED TO PO AJ£g W WE SHOULD DO WHAT WE*RE &EIHG Hl&DTO DO. WE SH0UID FOLLOW tin 10LE&, IF WE WAHT ARTtSftO FREEDOM THEM WE PROVIDE OOR (Ml GOLD. ih^KRIBpJ ($ SO/HlPORWtr! I ALWAYS WRITE OH OMR SHEET OF PAPER WHATlfa, GOALS ARE - WHAT fm, ik^WHO FRAMED ROGER, RABBIT"FlLM-FiR&r, MAKEikt MABRlteE OF LIVE ACTION CARTOON REALMS BLEND TOGETHER CQNVINCIMSrLY- SEQON&/ W (S> Dl&NEY ARTCULAWON ® WARMER- TYPE CHARACTERS © TEX AVERY HUMOOiZ 'Qtif MOT SO gffiw) OU& JOB IS TO ALLAY 7uFEARS OF-Tit, EXECUTIVES %d INCITE Gr&EED '0 did TALENT DISPLAY-SOLVING Tin, PROBLEMS UP FRONT PESIGN iht STUFF OR &ELECT WHAT& GOOD >u) SHOW IT WO(U&. Qfa. LEICA R&l) OZANIMATtC, ORFIUAED COLOUR StVRYgOARD WILL SHOW WHATS WORKING - (AUO ^- WHAT ISN'T) ITS SOMETHING Rot EYeRYOHE 10 HANG TH&R HAT ON CALM DOWN. THEN mMAKE 1ht CHANGE 73 THAT Le\CA REEL -NCTTD Tkt, ANIMATION ~ TfHS WAY"fee,ANIMATOR CAN GET OH WITH THEIR WORK i KIND OF PEACE. {^SEPARATETk-t CHARACTERS SHOW ilviPIFFERzHCE %ETWm(T\ffl\. \T& ALLTolQ WITH O ^IJES{ SHAPES, COLOUR, VOICES. PiTOPPOSrTEZ IdGETHER LITTLE. PATzJtU/N. TME^ SHORT, RwHD ^SQUARE, OLT> $4 YOUNG, Pi CM m& POOR. -5% 334 -77//s ISSÚVERy/MfVmHľl a SuCCmřUL BXAMPĹB /& bf&f&k * LION KlNG wheče au-Ikt. (LPEAWIZES LOOK w &enave QOfB PlFFčfflttLY FPörA BACH OWeR.. g££t foot fpPWAUb ) HtrH-^ BEST animator OM OPEN/mgf fflMG 3«US - Pillars sfottep thpoügh -fa. Mibwz - likeac^öpb wno KNOW 1kt IMPORTANCE OP STAGE ENimNCEŠ W EXP®. PUTlUe, BrST PEOPLE Ol CLOSE UPS. W LONG SCENES, LE& EKPeRJENCEP PßOPLE ON B PoTiONS^fOS W MIV>PI& P&OřlS Mit>& M hWW.......yiWHIÉllll CA&TItíG ANIMATOR } žVE&BoW HAS THEI&THlNGfTHE/POWELL, iVSCVfZJo&TO CA&TIUm FOLoWHATtUČY CAN DO ^ NOT WHATTmY CAftT PO. MťfrW^ľľľ i .ilium1 +■■■■■-■■ t ■■■ ■ tt^-. ■ ■ ii * -^vn^— MAKING CHANGES J UNLESS TNEi'čEA&WHG FO&HELP, ALLOW Tk^ AN/MAToZ To (GIVE —-- B/CT UNIMPEPBO. ONCE TUEYfe pmMKHT YlUH A NEW "SCENE f H 01 WONT WHO MAKING CHANGE 10 A PREVIOUS We'PE ALL 72 e- SAME* li i li mi_■- ■■_r j-lmt.-.-t ■L h"- li'i'hľ'l n i'mi __ *saW -w/ O Kťřp Döoe c>mv n>e comsuncm wa everyone aiikiim^ --IF Yöü CATCH THEM MVTTEßlNG, ASK WW 7&'WSW/* W MIGHT &E mnr ABOUT SOMETHING, VOICE £&03&ING) if YOU CAST Tim, 0s#t' aoo£ Rfr1b+joč lá TU EASIEST IHM --INTkeWC£J-£. THEY LP USUALLY G} IVE IT TO YOU ON TAKE ONE. TH0 JUST GET ANOTHER TAKE Fö£ iN&UČANCf, ACTUALLY TH&i'lL USUALLY GIVE itto You on Iks, Rehearsal - so tbuuíu eecopcist to recouď eve^thing. íú only if VOU HAYZNTMAĎB W WHAÚ ZEQuißEO THAT YOU CANENb Up WITH FfPfV lAtfES, (jftW-QFS*) Ifk OUt PeSPONZtmiMY TO ENSURE THAT ONE ÄN/MATcé SHöTHOOtn UP PeEFECTLYTOThe,NEXT PEf&ONŠ SHOT. THE&k NO EXCUSE FO£ AN AN m AVON PIBBCTO& TO GETTHiS WČONG A? 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THB PLAÚ 1Hß Wlfá ' 339 Start with the things that you know and the things that are unknown will be revealed to Rembrandt, 1606-1669 ACKNOWLEDGEMENTS Now I know why authors profusely thank their editors! So thanks to Walter Donohue at Faber and Faber for daring to think there might be a useful book here and for his enthusiasm and patience as I struggled endlessly to complete. And thanks to the production team: Nigel Marsh, Kate Ward and Ron Costley for coping with my unorthodox format and crazy demands, Linda Rosenberg of Farrarr Straus and Giroux has been an energetic enthusiast and supporter of the book all the way along. I'm also veiy grateful to Roy E< Disney who has helped me in many different ways. The Disney Studio has been very generous and co-operative as they always have been during my life-long one-foot-in and one-foot-out relationship with them. Special thanks to Howard Green for his consistent help and encouragement I think the book already shows how much I owe to my teachers and friends: Ken Harris, Art Babbitt, Milt Kahip Emery Hawkins and Grim Nat wick. But I want to especially thank Frank Thomas and Ollie Johnston for their kindness and advice over the years* It's been a privilege to have these men as allies and friends. Thanks to author/animator John Canernaker for his advice and long term support My 25 year collaborator Roy Naisbitt saved the old artwork l would have thrown out and that's why we have the illustrations/ Thanks Roy. Animator/director Nei! Boyle started out as my protege and ended up giving me sound advice over the three and a half years It's taken. Catharine and Andy Evans at Dimond Press went far beyond the call of duty as we pushed their laser copier to Its limits. Thanks to Chris Hill for his help with the computer images on the cover. I want to thank my son, animator Alex Wilfiams for constantly telling me the book wilf be useful. My old school friend, animator Carl Bell has been helping me with stuff for years. Also my friend, author Ralph Predr has been extremely stimulating and encouraging. My photographer frfend Frank Herrmann took the early photographs. Thanks Frank. The Joid man' photos are by Jacob Sutton, Thanks, Jake. Thanks to builder Dennis Nash for building me an Inventive place to work on the book. And thanks go to the following who all helped In different ways - Chris Wedge, Tom Sito, Morten Thorning, Miguel Fuertes, Jane Miller, Nicola Solomon, Sue Perotto, Dean Kalman Lermert, Di McCrindle, Lyn Naisbitt, Julie Kahl, Heavenly and Scott Wilson, Phil and Heather Sutton, John Ferguson, Ted and Jill Hlckford, Marilyn and David Dexter, Ellen Garvle, MaElory Pred, Saskia and Rebekah Sutton. The cover on page x appears by kind permission of Animation Magazine. Roger Rabbit © Touchstone Pictures and Amblin Entertainment Inc. used by kind permission of Touchstone Pictures and Ambllin Entertainment Inc. The photograph is by Jacob Sutton; The photographs on pages 2,6, 8 and 45 are by Frank Herrmann; The stills on page 4 and page 10 from The Charge of the Light Brigade © The Charge of the Light Brigade, courtesy of MOM; The photograph on page 7 is used by kind permission of Disney Enterprises, Inc; The stills on pages 18 and 19 from Steamboat Willie, The Skeleton Dance, Flowers and Trees, Three Little Pigs and Snow White and the Seven Dwarfs are used by kind permission of Disney Enterprises, Inc; The poster on page 21 is used by kind permission of the British Film Institute; 'Epitaph of an Unfortunate Artist' is from the Complete Works of Robert Graves, courtesy of Carcanet Press Limited, 1999; The photograph on page 26 appears by kind permission of Disney Enterprises, IncjThe photograph on page 39 JGolf Ball Bounce' © Harold Edgerton, courtesy of the Science Photo Library; The Bugs Bunny sketch by Ken Harris on page 46 appears by kind permission of Warner Bros.; The photographs on page 328 are by Eadweard /Vtuy bridge, courtesy of the Kingston Museum and Heritage Service; The sketches on page 336 and page 337 appear by kind permission of Touchstone Pictures and Amblin Entertainment, Inc. Every effort has been made to contact or trace all copyright holders. The publishers will be pleased to make good In future editions or reprints any omissions or corrections brought to their attention- 342