ICT - animation 1 OED Source

BL-ICT-2120-LEC-1922S Animation (NC II) Part 1

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Week 11 – 20

Ict 2120 all perfect part 1 and 2 -

This is an element of art that is 3-dimensional – form

This is drawing without looking at the paper. – Blind Contour

These are quickly drawn dynamic lines. – Expressive

A form of sketching that captures form and movement – gesture

This is an element of art that is 3-dimensional – form

This line helps determine the angle and proportion of a form. – center line

This is drawing without lifting the pencil. – Continues Line

A type of drawing that only uses line (outline in French). – Contour

The lightness or darkness of a line. – line weight

This refers in drawing from “life”. – Observational Drawing

Under principle of design, this is creating the impression of action. – movement

Lightly drawing behind an object portrays a shadow. True.

Moving your pencil in small circles is known as what pencil drawing technique? Circulism

This pencil technique is known as . cross hatching

Will drawing guide help a novice artist step-by-step? True

When drawing details, does it make the picture better? - True

For realism in pencil drawing, don’t use heavy outlines, use subtle shading to show form. Yes

In pencil drawing, avid shading too heavily at the start. Yes

To convey a round edge, try to always use ___________ shading transitions. smooth

A pencil which is midway between hard and soft, indicated by marking 0. False

In pencil drawing, the H indicates a hard pencil, which is _____________ in value – Light

This pencil technique is known as cross hatching. – No/False

When creating a realistic pencil drawing that is proportional, your initial sketch should focus on – the entire picture first

In pencil drawing, the B indicates a soft pencil, which is _________________ in value. Dark

In pencil drawing, you can use the side of the pencil to shade – True

How does an artist make objects seem real and 3-D? - All the given answers are acceptable.

What is a blending stump used for in drawing - to create smooth transitions

In pencil drawing, this picture is an example of using more than one pencil, otherwise known as a value scale. - True

This pencil technique is called (Eto yung labi ni jego) contour shading

The artist adds shading to make an object look - 3-D

This drawing is called a: still life

Squash and stretch is the most used principle. True na hindi kanya mahal

This makes characters seem realistic and interesting. Appeal

This is an action scene that is animated by drawing a few key frames, and filling in the spaces later - pose to pose ediwow

This makes sure that when a character is in motion, and stops, that all parts of the character do not stop at the same time. Follow through

This makes sure that when a character is in motion, different parts of the character move at different rates of speed. – overlapping action

Timing is to create the illusion that the animated action is following the laws of physics. True

Squash and stretch gives a sense of weight and flexibility to drawn objects True

This makes characters seem realistic and interesting. Appeal

This makes sure that when a character is in motion, and stops, that all parts of the character do not stop at the same time. follow through

Squash and stretch is the most used principle. True na hindi kanya mahal

The purpose is to direct the audience's attention and make it clear what is the most important movement in a scene. Staging

This makes sure that when a character is in motion, different parts of the character move at different rates of speed. overlapping action

More frames of animation exist at the start and end of an action, with fewer frames of animation in the middle of that action. slow-in, slow-out

Anticipation prepares the audience for an action, and make that action looks more realistic. True

This is an action scene that is animated by drawing a few key frames, and filling in the spaces later pose to pose ediwow

Timing is to create the illusion that the animated action is following the laws of physics. True tama, tama na nakakainis ang oed pahirapan pa sa pag gawa

Animation usually operates in the realm of caricature in which exaggeration becomes an important factor in order to

Capture the spirit of the action being depicted. Good strong key poses emphasize and communicate the intent of an

Action more efficiently than ill-considered ones. Put simply, strong keys lead to strong animation. It is therefore vital to

Spend time and thought working out the key poses until they do their job as expressively as possible as it will pay

Dividends as if these work well. “Limited” styles of animation are based on keys only, and this labor saving technique

Does not necessarily affect the audience’s enjoyment of a piece.

As animators work out the key poses of a particular sequence, they also find it helpful to consider whether or not the

Action works well if reduced to a silhouette. Staging the action of hands gesturing immediately in front of the body may

Not be as effective as staging this action in profile where the various shapes and forms can be seen in a way that does

Not rely on the challenge of drawing complex foreshortening.

Poses should have both function – depicting the physical extreme of an action or setting up the character for an action to

Follow by loading its ‘muscles’, and impact – an expressive pose with a dynamic quality that implies what has gone

Before, what is about to come, and which registers and emphasizes the inner emotional state of the character.

Animation is an illusion requiring the audience to suspend its disbelief. The audience can be absolutely engaged within

The stories we tell and the world of characters that we create. However the illusion is a very delicate one, and alas, it is

All too easy to remind the audience that they are merely looking at a series of drawings, a puppet, or a moving computer

Model.

To sustain this illusion, in a sense, we also have to infer the physical laws of our animated world in such a way that they

Are not in conflict with our day-to-day experience of natural laws we observe in the real world. These laws can be

Represented in an incidental way by how your character moves about its setting. Your key poses, therefore, should also

Show how the character carries its own weight – is one leg relaxed while the other supports the entire weight of its

Body? Is the body of the character under some physical strain from carrying, pushing or pulling a heavy object? Perhaps

You need shift the character’s weight off-centre to co the object it is carrying. What is its state of balance

Or indeed unbalance? Consider the ‘line of action’, the main mass of the character and what happens to these masses

When your character propels itself from a resting position – there must be at least one firmly locked down a contact

Point with the ground (usually a foot) so that the forces involved in getting your character moving can be seen to pass

Through its body to this contact point making the action believable. The slippage of feet upon the ground at

Inappropriate times, is one sure way of shattering this illusion.