Monday, March 16, 2009

Vary Your Antics

It's important for contrast and naturalness to not use the same exact antic and timing for every accent in your animation.
Here's a short scene of dialogue with 3 accents, plus a couple bookended actions.
Each important pose, the poses that carry the meaning and continuity of the scene needs to be accented. Otherwise every drawing will just float by like levitating soggy cereal. Accents are not all equal and have a hierarchy of importance according to the story, gag or acting. They shouldn't be randomly planned, yet they still have a lot of room for creativity. The accents are usually preceded by an anticipation, which gives each accent more punch.

Accents and anticipations are part of the punctuation of the message. In the best cartoons, punctuation is aided by poetic meter which can add beauty to the presentation of the message.

Start Pose
3) ANTIC 2
- note that this antic is less extreme, because there are less frames to play with.
she has to immediately say "Psy" after "Wow", so I didn't want her to move too far away-just enough to create an accent that matches the dialogue.

5) ANTIC 3 - "SHRINK TAKE" (a Jim Tyer invention)
6) "KO!" Overshoot 3
7) Settle out of big accent
8) one frame of her dropping down
9) Land and cushion
10) Up into calm dialogue pose
Scroll through to see how it works:


I was posing out the scene where she yells "Wow Psycho!" and wanted it to be wild like the scene at the end of Coal Black.

It kept jerking when I shot it, so I showed it to Greg and he said "Man, it's all there, you just gotta smooth it out. Lemme take a whack at it."

He took his whack and shot it and made it come out all shiny and smooth, saving the day.

I sent him another Sody scene lately that had the same sorts of problems and I'm counting on him to work his magic again.

The rest of the Aoki Pizza commercial was animated at Rough Draft from my layout poses.


TankAnims said...

I really like the individual drawings for each frame and the inventive use of antics and overshoots in the animation. Its rare to see animators do a shrink take. My only gripe with the animation is alot of arch motions are broken in the hands, head and feet, three major focus points for characters. The fluidity is there but not at the same time because of the broken arch motions. you have awesome archs in the first bit with the pizza eating and the kiss, its mainly at the end where the archs are ignored.

btw major props for all the awesome advice you share with everyone on this blog. much appreciated.

ciacco said...

Great post! Thanks for all the wisdom you can't get in art school. Please take a look if you get the time.< a"href=">here< /a>

ciacco said...

Well sorry about all the non clickable links. People keep e-mailing ways to do it but they never work apperently. Again great posts, I'll just keep practicing what you are preachin.

Masked Stinker said...

I see Jim Tyer doesn't have exclusive rights to the shrink take.

I was impressed with this ad as well as the Nike "Wolf/Red/3 Pigs" ad.

Were these ads "fuller" animation than you than some of your other stuff?

Ryan G. said...

Awesome! I was totally thinking of Coal Black looking at Sody's poses. I used to see that shrink antic in R&S..Was that an old school trick or a John K thing?

Kali Fontecchio said...

Sody looks cuter with brown/dirty blonde hair ;)

rad said...

Japs are so wacky. Nice stuff.

CrazyHarmke said...

i learn so much from these posts, thanks man!

Elana Pritchard said...

How was the animation smoothed out?

Anonymous said...


Wait, what?

Ahahnah said...

I love the depth created by the shrink take.

Mr. Semaj said...

So um, when are we going to see some George Liquor cartoons?