Key Takeaways
1. Character Construction: Proportion and Form
PROPORTION IS ONE OF THE MOST IMPORTANT FACTORS TO CONSIDER WHEN CONSTRUCTING A CARTOON CHARACTER.
Proportion is key. When creating cartoon characters, proportion is paramount. The relative sizes of body parts dictate the character type. For instance, a pugnacious character has a small head and large chest, while a cute character mirrors baby proportions with a large head and oval body.
Head size as measurement. Cartoon studios often use head size as a unit of measurement to maintain consistency. A cute bear might be three heads high, whereas a pugnacious bear could be five or six heads high. This ensures that the character's proportions remain consistent across different poses and actions.
Circular and rounded forms. Animated characters are based on circular, rounded forms for simplicity and better follow-through on screen. These forms make animation easier and more visually appealing. The parts of the character fit together at socket points, combining circular heads with rounded, pear-shaped bodies to add interest.
2. Building Believable Characters: Stance and Emotion
DRAW A "LINE OF ACTION" THROUGH THE THREE-DIMENSIONAL PARTS TO ORGANIZE AND SET THE ATTITUDE OR ACTION.
Line of action. To create believable characters, start with a "line of action" through the three-dimensional parts to organize the attitude or action. Construct the drawing as if fitting together the parts of a puppet at the joints, according to a character formula. This makes the character believable and evokes emotional responses from the audience.
Skeleton foundation. Build the cartoon from a rough skeleton, experimenting and discarding until the best drawing emerges. Work loosely when constructing the character, developing body masses around the skeleton and then adding detail over the masses.
Head construction. Think of the head as a rounded mass, either ball-shaped, pear-shaped, or egg-shaped. In animation, the head shape may change perspective and form many times during a scene. Simplify matters by drawing a framework in proper perspective first, then constructing the details over this form.
3. Animation Basics: Line of Action and Rhythm
THE LINE OF ACTION IS THE BASIS FOR RHYTHM SIMPLICITY, AND DIRECTNESS IN ANIMATION.
Line of action. The line of action is the foundation for rhythm, simplicity, and directness in animation. Start animation with a line of action, then draw the skeleton and details. This imaginary line extends through the main action of the figure, accentuating the dramatic effect.
Rhythm and design. Rhythm and design are secret formulas behind the appeal and charm of great cartoon art. The basic "S" curve of rhythm and opposing arcs have great value for drawings. Repetition of lines in different parts of the cartoon adds contrast to opposing lines.
Movement of body masses. Simplified figures in action demonstrate the twist and turn and variation of perspective in the main body masses. Building the figure in solids makes animation easier to "feel out." This involves understanding how body masses move and interact in three-dimensional space.
4. Character Types: Cute, Goofy, and Pugnacious
IN THIS FORMULA YOU WILL RECOGNIZE SOME FEATURES THAT ALL THESE COCKY WISE GUYS HAVE IN COMMON.
Cute characters. Cute characters often feature large heads in relation to their bodies, rounded forms, and exaggerated features like large paws or expressive eyes. These proportions evoke a sense of innocence and vulnerability.
Goofy characters. Goofy types often act like a "Simple Simon" clodhopper. They may have exaggerated features or awkward movements that contribute to their comedic appeal. The key is to design a character that embodies simplicity and clumsiness.
Pugnacious characters. Heavy, pugnacious characters have a small head, large chest or body area, heavy arms and legs, and a protruding jaw and chin. This formula also applies to four-legged types, such as bears and bulldogs. These characters exude strength and aggression.
5. Facial Expressions: Stretch, Squash, and Attitude
A CARTOON HEAD CAN BE STRETCHED OR SQUASHED TO STRENGTHEN AN EXPRESSION.
Stretch and squash. A cartoon head can be stretched or squashed to strengthen an expression. The oval containing the eyes does not change much, but the mouth area varies greatly. Small details react along with the larger form in which they are contained.
Hand expressions. Cartoon hands are tricky to draw, but they can tell a complete story with just a simple pose. Fingers should be placed unevenly to prevent a monotonous quality. Begin as if it were a mitten, then add the fingers.
Facial expressions. The job of an animator is the same as the job of an actor in live-action pictures. Both should be masters of portraying emotions. Studying your own grimaces in a mirror is a must. Pick a character you know and go through the expressions with him.
6. Movement Principles: Anticipation and Reaction
AN ACTION LIKE THE SWING OF A PENDULUM IS A MOVE BETWEEN TWO EXTREME POSITIONS.
Anticipation-Action-Reaction. An action like the swing of a pendulum is a move between two extreme positions. The first extreme is anticipation: get-set, wind up, pull back contraction-crouch or rise, or pull up. The second extreme is the reaction-recovery from the move - either a crash or a stretch-and-settle that may vibrate.
Straight-ahead animation. Straight-ahead animation involves drawing one move after another in an evolving sequence of growth. This method is used for actions that involve rhythms in character movements. There may be several overlapping secondary actions moving in a character, and each one has different timing and rhythm.
Pose-planning dramatics. Plan well-defined actions by first drawing a path of action using perspective, and then rendering the same cycle drawing in progressive positions. The in-between drawings are planned with spacing charts and roughed in by the animator. The in-betweens can radically change an action-either improving or stunting it.
7. Walk and Run Cycles: Two-Legged and Four-Legged
A COMPLETE CYCLE FOR A TWO-LEGGED WALK IS TWO STEPS.
Two-legged walk cycle. A complete cycle for a two-legged walk is two steps. Drawings are made of the key positions of the stepping action until the next drawing would be a repeat of the first. The drawings can be used over and over again to make the character walk as far or as long as desired.
Four-legged movement. Here is a comparison of the main cycles of four-legged movement. Some of them are complete - others are half-cycles. Study the differences in the examples. The walk, trot sneak, strut and tiptoe are half-cycles. The gallop, canter, and sniff are complete cycles.
Walk vs. Run. The contact drawing is the drawing in which the foot, after being lifted, strikes the ground. In the layout of a run or a walk for animation, it is usually these contact drawings that are determined first. They set the speed and the size of the character. The rest of the action is then built around them.
8. Dialogue and Acting: Expressions and Phonetics
AN ACTOR/ANIMATOR HAS AN ENORMOUS RANGE OF FACIAL EXPRESSIONS.
Facial expressions. An actor/animator has an enormous range of facial expressions. Every expression is based on four factors: the eyebrows, the eyes, the eyelids, and the mouth/cheek area. All affect the expression and they must all work together.
Dialogue character acting. The drawings define the range of body language expressions that were the repertoire of the original actors. These actions reinforced the dialogue script which is what made the TV series so funny and entertaining. These drawings show the actions of the characters as they react to the unfolding drama.
Vowels and consonants. Below are the main mouth expressions used in dialogue. The face is an elastic mass that can be squashed or stretched to fit the mouth expressions. This created a good contrast between positions that helps your animation. Study yourself in a mirror as you speak the words you are animating.
9. Technical Aspects: Timing, Spacing, and Layout
The animator is the "actor" of the film cartoon.
Timing and spacing. The animator is the "actor" of the film cartoon. An actor’s timing, which is based on instinct and personality, is the essence of the art. The actor must learn the craft, such as how to walk or move with meaning, to never pause unless there is a reason, and if there is a pause, to pause as long as possible.
Accents and beats. The storyboard and the script are the building plans, and the film is constructed on these foundations. Each scene is described in the script for picture and sound. The scene title describes the characters, the sound, and the type.
Still backgrounds. The no. 12 field scene can have four cel levels and a number of overlays. The distant hills could be the background. The foreground and the foreground inn and tree could be two separate overlays. They could separate during a truck-down to give depth.
10. Limited Animation: Cycles and Cutouts
CYCLE ANIMATION, as shown below this page, can be put on long cels that allow twelve inches on each side of the drawing.
Cycle animation. Cycle animation can be put on long cels that allow twelve inches on each side of the drawing. Such animation can be used in the field center with a moving pan as the background. The same cels placed on moving pegs can move the character through a still background scene.
Limited animation. Limited animation for television is based on dividing characters into parts that work on separate cel levels. Here are some examples of the many divisions possible. The same set of character cels can be used in many scones.
Animation cutouts. Animation cutouts can be very cost-effective in producing animated films. Body poses, with different head attitudes, can be used over and over in multiple combinations. For example, different arms can be used on the same body, as can mouths, eyes, and noses on a single cel head without having to redraw the entire body for each movement.
11. Composition and Staging: Directing the Eye
THE DRAMA PORTRAYER BY THE COMPOSITION FIRST CATCHES THE EYE, AND THEN DIRECTS THE EYE TO THE CENTER OF INTEREST BY VARIOUS DEVICES.
Composition and drama. The drama portrayed by the composition first catches the eye, and then directs the eye to the center of interest by various devices. The characters may send forward and look at it, or the abstract design may point at it, intersect it, frame it, circle it, or bend around it.
Eye level. The viewer's eye level is important when he looks at grandeur or big monsters from a worm's-eye view, or when he looks down at small things. Appreciate the value of silhouettes to define and clearly tell the story in two dimensions, even in groups they define all alone.
Background control. The drama of metamorphosis is a valuable tool in animation. In this scene, metamorphosis is used in two ways: a special lighting effect known as "cross-dissolve" is used to change the background from light to dark, and the four dragons are "morphed" into a single fire-belching dragon monster.
Last updated:
FAQ
1. What is "The Animator's Survival Kit" by Richard Williams about?
- Comprehensive Animation Guide: "The Animator's Survival Kit" is a detailed manual on the principles, techniques, and processes of animation, written by acclaimed animator Richard Williams.
- Covers All Animation Stages: The book spans character creation, movement, acting, dialogue, technical production, and more, making it a one-stop resource for animators.
- Practical and Theoretical: It blends practical step-by-step instructions with the underlying theory and philosophy of animation.
- For All Skill Levels: The content is accessible to beginners but also offers advanced insights for experienced animators seeking to refine their craft.
2. Why should I read "The Animator's Survival Kit" by Richard Williams?
- Industry Standard Reference: The book is widely regarded as an essential resource for anyone serious about animation, used by professionals and students alike.
- Learn from a Master: Richard Williams shares decades of experience, including lessons learned from legendary animators at Disney and Warner Bros.
- Step-by-Step Guidance: It provides clear, actionable instructions and visual examples for every stage of the animation process.
- Timeless Principles: The book teaches foundational animation principles that apply to both traditional hand-drawn and modern digital animation.
3. What are the key takeaways from "The Animator's Survival Kit" by Richard Williams?
- Master the Basics: Understanding character construction, movement, timing, and spacing is crucial for believable animation.
- Importance of Planning: Effective animation requires careful planning, including rough sketches, key poses, and in-between drawings.
- Expressive Acting: Animators must think like actors, using body language, facial expressions, and timing to convey emotion and personality.
- Technical Know-How: The book demystifies technical aspects like exposure sheets, camera setups, and the use of cels and backgrounds.
4. How does Richard Williams define and teach character construction in "The Animator's Survival Kit"?
- Start with Simple Shapes: Williams emphasizes building characters from circular and rounded forms for ease of animation and consistency.
- Proportion and Personality: He explains how different body proportions (e.g., head size, limb thickness) create distinct character types like "cute," "goofy," or "pugnacious."
- Skeleton Foundation: Animators are encouraged to sketch rough skeletons and build up the character with masses and details, refining through multiple drafts.
- Consistency Tools: Techniques like measuring character height in "heads" and using reference drawings help maintain consistency across scenes.
5. What is the "line of action" and why is it important in "The Animator's Survival Kit" by Richard Williams?
- Defines Movement Flow: The "line of action" is an imaginary line that runs through a character’s pose, indicating the main direction and energy of the movement.
- Foundation for Rhythm: Williams teaches that starting with a strong line of action gives animation rhythm, simplicity, and directness.
- Enhances Drama: Accentuating the line of action strengthens the dramatic effect and makes poses more dynamic and readable.
- Planning Tool: Animators are advised to plan every figure and detail around the line of action to unify the character’s movement.
6. How does "The Animator's Survival Kit" by Richard Williams explain timing and spacing in animation?
- Timing Equals Believability: Williams stresses that timing (the number of frames for an action) determines the weight, speed, and emotion of movement.
- Spacing Patterns: The book details how even and uneven spacing between drawings affects the feel of an action—slow-in, slow-out, and staggered patterns are all explored.
- Practical Tools: He recommends using metronomes, frame counts, and spacing charts to plan and test timing before finalizing animation.
- Holds and Accents: The importance of "holds" (lingering on a pose) and accents (sudden changes in movement) is discussed for adding impact and clarity.
7. What are the core animation principles covered in "The Animator's Survival Kit" by Richard Williams?
- Squash and Stretch: Essential for conveying weight, flexibility, and impact in animated characters and objects.
- Anticipation, Action, Reaction: Williams explains how to set up, execute, and recover from movements for clarity and realism.
- Overlapping and Follow-Through: He teaches that different parts of a character should move at different times, creating more natural and lively animation.
- Arcs and Paths of Action: Movements should follow natural arcs rather than straight lines, and the book provides guidance on planning these paths.
8. How does "The Animator's Survival Kit" by Richard Williams approach character movement and cycles?
- Walks, Runs, and More: The book breaks down the mechanics of walking, running, sneaking, skipping, and strutting, with detailed cycle charts and key poses.
- Two-Legged and Four-Legged: Williams covers both human and animal movement, including differences in gait and body mass distribution.
- In-Betweens and Extremes: He explains how to create smooth cycles by drawing key extremes and then filling in the in-between frames.
- Adapting to Backgrounds: The book discusses how to synchronize character movement with moving backgrounds and camera pans.
9. What advice does Richard Williams give on acting, emotion, and facial expressions in "The Animator's Survival Kit"?
- Animator as Actor: Williams insists animators must "act" through their drawings, using body language and facial expressions to convey emotion and intent.
- Study Real Life: He recommends observing real people, using mirrors, and acting out scenes to understand gestures and expressions.
- Hold and Register: Key emotional poses should be held long enough for the audience to register the feeling.
- Asymmetry and Overlap: Expressions are often more dynamic and believable when they are asymmetrical and when different facial features move with slight delays.
10. How does "The Animator's Survival Kit" by Richard Williams teach dialogue and mouth movements?
- Phonetic Breakdown: The book provides charts and diagrams for mouth shapes corresponding to vowels, consonants, and diphthongs.
- Overlapping Action: Williams explains that mouth, eyes, eyebrows, and head tilts should all work together, with overlapping timing for realism.
- Timing with Sound: He covers how to sync mouth movements with recorded dialogue using exposure sheets and frame counts.
- Acting the Dialogue: Animators are encouraged to act out lines themselves, paying attention to body language and facial expressions that accompany speech.
11. What technical processes and studio setups are described in "The Animator's Survival Kit" by Richard Williams?
- Storyboards and Layouts: The book details how storyboards, background layouts, and exposure sheets are used to plan and coordinate animation.
- Cel Animation Process: Williams explains the step-by-step process of transferring drawings to cels, painting, and photographing them over backgrounds.
- Camera and Compound: He describes the setup and operation of animation cameras, including field sizes, pegs, and camera moves like pans and trucks.
- DIY Studio Tips: Practical advice is given for building a home animation setup, including camera stands, lighting, and inexpensive alternatives to professional equipment.
12. What are the best quotes from "The Animator's Survival Kit" by Richard Williams and what do they mean?
- "The animator is the actor of the film cartoon." — Emphasizes that animators must think and perform like actors, bringing characters to life through movement and expression.
- "Never move or 'freeze' without meaning." — Stresses the importance of intentionality in every pose and action; nothing should be arbitrary.
- "Squash and stretch—your character is an elastic mass, not rigid like a glass statue." — Highlights the need for flexibility and exaggeration to create lively, believable animation.
- "Appreciate the value of a good silhouette in your key drawings." — Reminds animators that clear, readable poses are essential for storytelling and audience understanding.
- "Use these pointers to learn how to animate characters that live, have feelings, and show emotion—characters who act convincingly and sway the viewer with suspense, enchantment, and humor." — Summarizes the ultimate goal of animation: to create compelling, emotionally resonant characters.
Review Summary
The Animator's Survival Kit is widely regarded as an essential resource for animators, from beginners to professionals. Readers praise its comprehensive coverage of animation techniques, clear illustrations, and Williams' expertise. Many consider it the definitive textbook for animation, citing its usefulness in both traditional and digital animation. The book's detailed explanations of timing, spacing, and character movement are particularly valued. Some readers note the book's male-centric perspective and dated examples but still highly recommend it for its wealth of knowledge and inspiring content.
Similar Books
Download PDF
Download EPUB
.epub digital book format is ideal for reading ebooks on phones, tablets, and e-readers.
