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Basic concepts, types of animation. The meaning of the word animation in a large modern explanatory dictionary of the Russian language

In the first lesson of the Basic Actionscript 3.0 Animation Basics mini-course, you will learn about:

What is animation
How to achieve the illusion of movement with frames
About the possibilities of frame-by-frame animation
About the features and benefits of software animation

Adobe Flash is, in fact, a kind of animation machine. Already in his very first versions, he created it using the Tween concept. It consists of the following:

two keyframes with different content are created on the timeline (positions of objects, their shape, color, etc. are changed);
Flash creates all intermediate (transitional) frames on its own (Fig. 1).

Here's what it looks like in Adobe program Flash CS6.

But, this lesson and course in general is not only about Tween, but about a powerful language that is built into Flash and is called ActionScript. By studying it, you will learn a lot of useful and practical, especially in sections such as imitation of physical phenomena of the real world and mathematical calculations. Obviously, this kind of knowledge will give you complete control when creating interactive applications that you could never achieve with Tween alone.

But before we get into specific tricks, techniques, and formulas that will help you animate objects with ActionScript, let's take a closer look at the idea of animation, some of its basic techniques and how they are used in it, and how to make it more interesting. and, most importantly, dynamic.

What is animation?

So what exactly is animation? The definition of this concept can be found in many dictionaries. Here, for example, is one of them, which Wikipedia gives:

Translated into common language animation means movement. If we expand this definition a bit, we can say that animation is change over time. This is especially true for visual (visible) changes. Movement is a change in position in time.. At one point in time, the object was in one place, and a minute later in another. Theoretically, he was also at intermediate points between the start and end as time progressed.

But an object doesn't have to change its position to be considered animated. He can simply change his outer form. In the 90s (it's scary to say, the last century!) Computer programs were popular that did morphing.

For example, you have two pictures: a girl and a tiger. The program creates a smooth transition / animation between them (morphing).

This flash video was created using Sqirlz Morph 2.1

When morphing, an object can also change its size or location. For example, in this way you can create the illusion of a growing tree, a spinning ball, or a change in the color of an object.

Animation timing is an important concept.

Without visible movement or change, there is no animation, and therefore no sense of time for the viewer!

You have probably seen many times shooting a camera that does not show any movement, for example, an empty room or a cityscape.

In such a situation, it is difficult to say what is in front of you: an ordinary photo or a video clip. As you watch, you suddenly notice small changes in the frame: a slight movement, a change in the flow of light, or a shadow moving. Even such small changes clearly tell you that time runs and if you keep watching, maybe something else will change. If there are no changes during the next period of time, then it will again seem to you that you are looking at a photograph. Therefore, the absence of time in the frame means that the picture will be unchanged.

All of the above brings us to a very important conclusion: animation, movement cause us visual interest.

Everyone remembers the painting by Leonardo da Vinci "Mona Lisa" - a masterpiece of painting, one of the most famous paintings in world art history.

May with big share the likelihood that a common person gets bored after just a few minutes of looking around and very soon starts looking for the next object to "study". But, start showing him the latest Hollywood blockbuster and he won't notice how a couple of hours fly by. That's the power of animation!

How to create the illusion of movement in frame-by-frame animation

Let's go back for a second to the definition of animation we saw above:

Animation is a technique for creating the illusion of moving images (movement and / or changing the shape of objects - morphing) using a sequence of still images (frames) that replace each other with a certain frequency.

The authors of such definitions are forced to introduce the word illusion into them. It often happens that only the illusion of movement exists in those types of art or media that we encounter in life. So here is the time to introduce the concept of frames.

Theoretically, all kinds of visual animation use frames - a sequence of pictures or photographs quickly shown to the viewer in order to simulate movement or change.

What you see on a computer screen, TV or in a movie theater is based on frames. It all started with the first animated films, where individual pictures were drawn on sheets of transparent film, and the first films, where the same technique was used to show a series of photographs.

The concept is simple: you are shown a sequence of pictures, one after the other, that are slightly different from each other, and your brain stitches them together into a single moving picture.

Then why should we call it the illusion of movement?

If you see a girl walking down the street on your monitor screen, is that not movement? Of course, this is only an image of a girl, and not a real object, but this is not the main reason why we consider such movement an illusion.

Remember, I talked about an object that at one point in time is in one place, and a minute later in another? At the same time, I said that it moves in real space. This is the only kind of movement we can call real. Objects move in space smoothly, and not in jumps, as happens in all types of frame-by-frame animation. In them, the object does not move from one place to another; he disappears and then reappears elsewhere in the next frame. The faster he moves, the longer such jumps.

If I showed you a photo of a girl in one place, and a few seconds later another photo with the same girl in a different place, you would say that these were two photos, not animation.

If I showed you some photos of her in the process of moving, you would still say that this is just a series of photos.

If I were to show you a number of photographs fairly quickly, it wouldn't change the fact that they are still photographs, but you would begin to perceive them differently.

Your brain would see them as a moving girl. In fact, such a representation is no different from the first two photographs, i.e. there is no real movement in them, but at a certain moment the brain gives up and buys into this illusion. Naturally, this effect has been very well studied in the film industry.

After the research, it was found that at the display speed 24 fps, the viewer perceives them as a single moving picture. If you show more slowly, then the image begins to irritately “jump” and the illusion of movement is destroyed. If you speed up to 50 frames per second, then this will not add realism to the image (although in software animation, when the viewer interacts with the picture, the response will be faster and the movement of objects at high speeds will be more “smooth”).

The frame concept makes three things possible:

storage
transfer
and showing

Obviously you can't store, share and then show a real girl walking down the street, but you can store an image/photo of her or a series of them and then share and show them. Thus, you have the ability to play animation almost always and everywhere, with access to saved photos and the ability to show them.

It is time to give a more general definition of a frame. Up to this point, when talking about him, we had in mind a photograph, a picture or a drawing. Now let's count like this: a frame is a record of the system at a specific point in time.

This system can be:

a landscape photograph you took from your own window;
a collection of virtual objects (the record, in this case, would be their shape, size, color, location, etc. at a certain point in time. Thus, your movie would turn from a series of pictures into a series of records of picture descriptions. Instead of just show a picture, the computer takes such a description, creates a picture from it and then shows it);
frames containing certain programs.

Frame programming

Since the computer can calculate on the fly, you can do without long list descriptions for frames. You can simplify things by describing only the first frame and setting rules for creating all subsequent frames.. Now the computer does not just create a picture from the description, but:

first creates a description,
then generates an image based on this description
and at the end shows this picture.

Just imagine how much space you could save using this approach! Pictures always take up a decent amount of disk space and network bandwidth. And 24 pictures per second can become simply “unbearable”. If you can reduce everything to a single description and definition of rules, you have the opportunity to reduce the file size hundreds of times.

In 90 cases out of 100, even the largest program with rules for how objects should move and interact takes up less space than one medium-sized picture. Therefore, one of the first effects that was noted when studying software animation is its economical in terms of file size.

There is definitely a compromise. If your system starts to grow and the rules get more and more complex, then the computer has to spend more and more resources processing each subsequent scene, and then a significant amount of time to display them on the screen.

If you try to maintain a certain frame rate, then it sometimes does not leave time for your processor (milliseconds) to “digest” all this. Therefore, if the computer cannot render the scene in time, then the playback quality (frame rate) will suffer. On the other hand, regular picture-based animation doesn't care much about what's in the scene and how complex that picture is. She just shows the next picture in time and that's it.

Advantages of software animation

The next advantage of software animation over frame-by-frame animation, which we will now discuss, goes much further. simple size file. It is already an established fact that software animation in most cases is used precisely as a dynamic.

You have probably seen the movie Terminator 2: Judgment Day. At the end of the film, each time the Terminator disappears into the melting pot with the phrase "I'll be back". He does it in theaters, on TV and on DVD. Even by pressing the "Stop" or "Pause" button, you are not able to stop it. And that's because an ordinary film is nothing more than a sequence of pictures. At the end of this film, they (the pictures) show the Terminator disappearing into the inferno and that's all they can do.

Now let's move from the Terminator to a regular flash site. In the late 90s, when Flash was rapidly gaining its popularity, only the lazy did not want to use its capabilities on their website:

moving, appearing and disappearing forms;
accompanying music;
a sudden pop-up call to something;
an emerging spot of light or shadow.

Then such things were new, so I wanted to exclaim: “Cool!” To be fair, not all of these sites were really cool. Looking back today at what I saw then, only two or three of them really stuck in my memory.

The duration of the animation on them was no more than a minute. It was only enough for me to watch them three times in a row. Were they bad? No, it's just that after a few viewings, attention weakened, because there was nothing more to watch, like in a Terminator movie. And here we can talk about a certain paradox - in films of this kind, animation does not change, each frame, from the first to the last, is predetermined.

Let's get back to software animation. It doesn't have to be dynamic. You can create an object and use code to locate it on the stage and then make it move along it. In such a situation, every time you run such a clip, the same code will run, causing the same movement. And, obviously, there are no dynamics here.

But what if we take the same object and, using the code, randomly determine the location of this object, its direction of movement and speed? In such a situation, after running the video each time, we will see something different from the previous one.

But there is also a third option. After launching the video, will the time of day, month and year be determined and based on these data a scene will be built, for example, a winter morning, a summer afternoon or a September evening?

And here is the fourth one. During the film, the viewer, with the help of a mouse or keyboard, could change some factors at will? This would allow him to interact with objects in the scene. Such a film would be far from what we are used to seeing it, right? You could even save the Terminator!

A virtual reality

It is possible that the most interesting aspect of dynamic animation is the application of the laws of mathematics and physics of the real world to the objects created in it. You can not only make such an object move in a random direction, but also simulate the effect of gravity on it. As a result, it will start to fall. When the fall is over, he will hit the ground and bounce, but not to a height equal to the one from which he began to fall. In the end, he will stop jumping and remain lying on the "ground".

After that, you could allow the user to interact with it:

"grab" it with the mouse
or move using the keyboard.

After the user starts interacting with it in this way, he will have the complete feeling that this is a real physical object.

You can see for yourself by playing with the red ball below.

By creating such an animation, you make the user feel that he is not just looking at how the frames move, but that he is in some space created by you. How long will he be there? Yes, just as long as he is interested. The more you give him opportunities for interaction, the longer he will stay there, and then also come back many times.

Results

In this introductory lesson, we discussed:

basics of animation;
differences between frame-by-frame and program animation;
main advantages of dynamic animation.

This is conceptual, basic knowledge, on the basis of which all subsequent material will be built. free mini-course "Fundamentals of Animation in Actionscript 3.0"».

In the following lessons, I'm going to talk about some of the tools that you can use in your work. The most obvious use of all the information that will be discussed in this course is the creation of games. It is clear that they require the greatest interaction with the user, where he is required to solve certain tasks and achieve goals.

But the information in this course can be successfully used for your professional work as a web designer. For example, to create an interesting menu on the site, banner advertising or applications (programs) for the education system.

What type of animation is more interesting for you personally? Write about it by leaving a comment below. Also, if you have any questions during the study of this lesson, then ask, do not hesitate, I will be happy to answer them.

See you in the next lesson!

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Animation

Animation - multimedia technology; reproduction of a sequence of pictures, giving the impression of a moving image. The motion picture effect occurs when the video frame rate is more than 16 frames per second.

In English: animation

Synonyms: Animation

Finam Financial Dictionary.

Synonyms:

See what "Animation" is in other dictionaries:

Animation: Wiktionary has an article for "animation" Animation (from fr. animation ... Wikipedia

- (lat.). Inspiration, revival; in forensic medicine, the moment from which a fetus is considered animate. Dictionary of foreign words included in the Russian language. Chudinov A.N., 1910. animation and, j. (fr. animation ... Dictionary of foreign words of the Russian language

Animation Dictionary of Russian synonyms. animation noun, number of synonyms: 5 anime (7) inspirational ... Synonym dictionary

animation- and, well. animation f. cinema. Animation. Well, think, in what other cinema is such a capacious, laconic information rich artistic design of life possible? Of course, only in animation, or, as they say all over the world, in ... ... Historical Dictionary of Gallicisms of the Russian Language

animation - … Technical Translator's Handbook

ANIMATION- creating an image of a moving object, animation ... Legal Encyclopedia

A technology that allows using inanimate stationary objects to create the illusion of movement. The most popular form of animation is a series of hand-drawn images. In each following figure, the figure is presented in ... ... Collier Encyclopedia

animation- 3.1 animation (animation): Simulation of the operation of software (or a separate part of it), intended to display significant aspects of the behavior of a programmable electronic system related to the safety of buildings and structures. ... ... Dictionary-reference book of terms of normative and technical documentation

Creation on a movie screen or display screen (or TV) of moving images of stationary objects (imaginary or real). Animation in cinematography, otherwise animation, is achieved by frame-by-frame shooting of individual phases of the movement of drawn ... Encyclopedia of technology

AND; well. [from lat. anima soul]. Animation. ◁ Animated, oh, oh. A. film. * * * ANIMATION ANIMATION (English animation, from Latin anima soul, life), displaying on the screen a sequence of slightly different images created by means of ... ... encyclopedic Dictionary

Books

Animation from Alex to Z, or All Inclusive, Alexander Novgorodtsev. This is an exciting story about the adventures of a brave Russian animator on the coast of Kemer, armed with a dash of arrogance, a set of swimming trunks and a magic mantra. The depth of the described events ... electronic book
Animation and multimedia between tradition and innovation. Materials of the V International scientific-practical conference "Animation as a phenomenon of culture". October 7-8, 2009, Moscow, Authors team. The collection contains reports of the participants of the V International scientific and practical conference "Animation as a phenomenon of culture", affecting topical issues development of domestic and world ...

The content of the article

ANIMATION, kind of synthetic art. Technologically, its essence boils down to the fact that a sequential series of still images is fixed on a film by frame-by-frame shooting, and the projection of these images on a screen at a speed of 24 frames (in the days of silent films - 16 frames) per second creates the illusion of movement. The very word "animation" means "animation"; in our country, this term appeared in the 1980s, replacing the previous definition of "animation" (from the Latin word meaning "multiplication"). And, if the old definition was based on a technological principle, then the new one reveals the true meaning of what is happening: an inanimate image comes to life before our eyes. Animated cinema, which until then was referred to as a "film genre", rightfully began to be considered an independent screen art.

In order for a drawn or three-dimensional character to come to life on the screen, its movement is divided into separate phases, and then filmed. If you carefully look at the captured film, you can see that in each frame the position of the character is slightly different from the previous and subsequent frames, this creates an illusion of movement when projected onto the screen, based on the ability of the human retina to hold the image for some time, while on it does not overlay the next image.

This phenomenon, described in detail already in the work of the ancient Greek mathematician and physicist Ptolemy for 150 years BC, people noticed and began to use a very long time ago; many modern researchers calculate the age of animation not even in centuries, but in millennia. Certainly, we are talking not about films, but about still images that "came to life" when a person moved himself or simply looked from one to another. Rock carvings from the Lascaux cave in France and the Altamira cave in Spain (for example, a bull with six legs and two tails painted on the wall ten thousand years ago), ancient Egyptian reliefs, and paintings on Greek vases are considered such prototypes of animated films. Our country also had its own "ancient animation" - on the shores of Lake Onega, stones were found with images of a hunter and a frog engraved on them, which "came to life" when the rays of the setting sun fell on them. One of the progenitors of animation is considered to be the shadow theater widespread in the countries of the East.

But even if you do not look so far, animation even then turns out to be older than cinema: the date of its birth is considered to be 1892, when the first session of "light pantomimes" took place in the optical theater of the French inventor and artist Emile Reynaud (1844-1918). True, various optical toys were invented even earlier, with the help of which it was possible to revive still images. For example, a phenakistiscope is a circle, along the edge of which there are a number of drawings, which represent successive phases of the movement of the same character; it was rotated, looking at the drawings through the slit. Another device - a zootrope - is a rotating drum with slots, inside of which is placed a tape with the same series of patterns; at the same time, the final and initial phases of the movement must coincide, and then the pictures come to life: the horse is galloping, the girl is jumping over the rope. But these and other optical toys, such as a notebook with phases of movement drawn on each page, were intended for a single viewer. Reynaud constructed his apparatus on the basis of the zootrope, improving it by equipping it with a system of mirrors and connecting it to a magic lantern. Now the image appeared on the screen, and many viewers could see it at once. He showed them programs from several stories, the session lasted fifteen to twenty minutes. All his "films" Reynaud drew, colored and mounted himself, applying the image to long tapes, each plot consisted of several hundred pictures. He was the first to apply some of the techniques that later became the basis of animation technology, including the separate drawing of characters and scenery. In 1893-1894 he created his masterpiece - Around the cockpit (Autour d "une cabine), but already in 1895 the birth of cinema dealt him a crushing blow: Reynaud's man-made tapes could not compete with faster-produced and cheaper films. The desperate inventor smashed his apparatus and drowned it in the Seine along with the tapes, only two of them survived, Poor Pierrot (Pauvre Pierrot) and Around the cockpit. And just a few days later, cinema magnate Leon Gaumont approached him: he wanted to buy his apparatus and “films” for the museum. Reynaud's contributions to animation cannot be overestimated, and yet he cannot be called the creator of the first animated film in history, since he did not use film as an image carrier.

Film historians still have not come to an agreement on who should be considered the author of the first real animated film. Some argue that the first animated film in the history of mankind - Phantasmagoria (fantasmagorie, 1908) Frenchman Emile Cohl ( real name Kurte, 1857-1938). Kohl was not familiar with the latest American invention, transparent celluloid, and therefore drew his characters, “phantoshes”, on paper and could not make a separate background or draw only those details that changed position from frame to frame. He had to repeat every frame anew, so the characters could only be very conventional. But he had a huge capacity for work and even under these circumstances he made dozens of films. Subsequently, Kohl began to use more advanced technical means and began to work faster; his filmography includes more than three hundred titles, unfortunately, many films are irretrievably lost. Other film historians, not without reason, believe that the first animator in the world was the Englishman James Stuart Blackton (1875–1941), who emigrated to the United States, whose first animation experience, the film magic drawings(The Enchanted Drawings), dates back to 1900 (although there were no intermediate phases in this film yet). In any case, one thing is certain: the immediate forerunners of the first animated films were magazine illustrations, cartoons, and comics. The first film of the American animator Winsor McKay (1869–1934) was born from a newspaper comic strip. Little Nemo (Little Nemo, 1911). The film was made on a bet with three colleagues who marveled at the incredible speed with which McKay drew, and was included as part of a music hall act with which McKay had performed since 1906: he drew two profiles on the board, a male and female, and by changing just a few lines, changed the age of the characters - from childhood to old age. Later, he performed on stage and during the premiere of another of his films, Dinosaur Gertie (Gertie the Dinosaur, 1914): he turned to a cartoon character, persuading Gertie to repeat one of his tricks, for example, playing with a ball, and she complied with the request. McKay was the first to use loop technology in animation, using the same set of sheets of celluloid for repeating movements: this made it possible not to redraw the movements each time and significantly reduced the film production process.

There are many pioneers in the field of animation: for example, Raoul Barr was the first to use perforated celluloid; his invention made it possible to fix a patterned sheet with pins. And Pat Sullivan made a breakthrough of a different kind: he owns the first independent, non-comic book animated character, Felix the Cat (1917); Felix would later become the first animated character to make his way from the screen to the pages of comics. The Felix films were black and white and silent.

But the most famous among the pioneers of animation was Walt Disney: he not only developed the technology for the production of cartoons, which is called Disney (in another way - classical, which also says a lot), but also created a real cartoon empire. He also owns the first sound cartoon Steamboat Willie (steamboat Willie, 1928), and the first musical cartoon Dance of the Skeletons (The Skeleton Dance, 1929), and the first hand-drawn feature-length cartoon Snow White and the Seven Dwarfs (Snow White and the Seven Dwarfs, 1938). He was so famous that once his six-year-old daughter Diana asked if he was really the same Walt Disney, and then asked her dad for an autograph. Disney films marked the beginning of commercial animation; his goal was to produce as many films as possible that would appeal to the audience, and at the same time spend as little time and effort on work as possible. This is how the "signature" Disney characters appeared, including the famous mouse - Mickey Mouse. His carefully calculated childish proportions (large in relation to the body head) touched the audience, and the well-thought-out design was convenient for artists who had to depict him from a wide variety of angles. Stephen Bosustov, who worked at the Disney studio in his youth, said that, tired of characters with rounded outlines, he dreamed of drawing someone triangular or square. In the end, he, along with a group of like-minded people, left Disney, created his own studio and his own style and method of work.

If there is still debate about who was the author of the first animated film, then the name of the founder of volumetric animation is beyond doubt: he was the Russian director, artist and cameraman Vladislav Starevich (1882–1965). The first puppet film in history is considered The Beautiful Lucanida, or the Bloody War of the Hornets and Mustaches(1912). Even earlier, Starevich tried to make a documentary about the battle of two stag beetles, but the beetles froze as soon as he turned on the light. Then he remembered how he once revived drawings on the margins of notebooks, and came up with a way to “revive” dead beetles. He passed a thin wire through their paws, sticking it to the shell with wax, fixed the paws in a plasticine base and began to shoot, dividing the movement into phases. In the following films by Starevich - Cinematographer's Revenge (1912), dragonfly and ant(1913) - insects also acted. The puppets were so delicately made and moved so naturally that the audience thought he had managed to train real insects. His most famous work is a feature film. Reinecke-Lis (Le roman de Renart, 1939), on which the director worked for about ten years (by this time he had already moved to France). He wrote the script himself, he himself was an artist, cameraman and animator, only his daughter helped him in his work. Starevich never wanted to reveal his secrets to anyone, and it is still unknown what exactly he made dolls from: it was a very plastic material, and the faces of the characters were surprisingly mobile and expressive.

In those years when the Disney empire was being created in America, animation studios also began to appear in the USSR. Like Emil Kohl once, Soviet animators did not know celluloid and made do with paper. Unlike the Western ones, the first Soviet cartoons were not drawn: they featured flat paper puppets on hinges, reminiscent of shadow theater puppets. But such puppets had very limited possibilities of movement, and soon animators came up with cut-out paper transfers. In this case, each phase of the movement was drawn separately, cut out along the contour and attached to the background. Here there was more freedom, but it was difficult to accurately fix the position of the relay. Sometimes the background, together with the phase of movement, was drawn for each frame on separate sheets of paper fastened with pins (landscape method); sometimes they used a technique that combined the landscape method and cut-out arrangement. This technology, cut-out shifting on pins (the phases were cut out and superimposed on the background, connecting them to the pins with a thin strip of paper for accuracy of fixation in the frame) gave the maximum freedom achievable when working with paper, almost the same as when using celluloid. It was then, in the twenties, that those who would later be called classics began to work: I. Ivanov-Vano (1900-1987), M. Tsekhanovsky (1889-1965). Domestic animation went its own way, on which there were many achievements and discoveries. One of best films early period was Mail(1929) by Tsekhanovsky, the first staged sound film made in mixed media: an articulated puppet combined with a translation. Many years later, Ivanov-Vano would write that the modern viewer Mail impresses with its perfection, the amazing organicity of all expressive components, the skill of directing, the purity of graphic form, the expressiveness of the movement of characters, the sound design, he will call the film a model that many artists have long been equal to.

Almost simultaneously, in the early 1930s, interesting experiments in the field of "drawn sound"; this was done by a group led by the theoretical musician and mathematician A. Avraamov. Drawings made directly on the film, and then passed through a photoelectric cell, were supposed to turn the sound in the same way as it is reproduced from the curve on the phonogram obtained when recording ordinary sounds. It was assumed that the new technology will open up unprecedented prospects for the development of animation, allowing the smooth transformation of human speech into music or music into the sounds of nature. Already in 1930, one of Avraamov's employees, N. Voinov, achieved the first results, and a year later he made a cartoon with drawn sound - Dancing crow. However, this method has not been widely adopted. Later, the achievements of Soviet researchers were used by others; N. McLaren worked especially successfully with drawn sound, and sometimes he is even credited with the priority in the field of creating drawn sound. Nevertheless, McLaren himself never hid the fact that he was familiar with the work of Soviet animators who experimented with drawn sound.

No one knows how Russian animation would have developed further, if not for one event on long years that determined her fate: in 1933, films by Walt Disney were shown in Moscow. They made a stunning impression; the animators were immediately required to create "their own, Soviet Mickey Mouse", and just three years later, in 1936, the Soyuzmultfilm studio appeared in Moscow, arranged according to the American model. Soviet animators adopted not only the technology, but also the aesthetics of Disney. For several decades, only one path of development was possible for them, only one thing was required of them: to create films for children with extremely realistic characters. Animators themselves fell under the spell of Disney films and sought to imitate him. Animation, which originated as a serious and independent art, has turned into entertainment. True, it cannot be said that during the years of existence “under the hypnosis of Disney”, as Ivanov-Vano defined this period, nothing worthy was created: it is enough to recall gray neck(1948) L. Amalrik and V. Polkovnikov, snow queen(1957) L. Atamanova.

In the 1940s and 1950s, the “eclair” became a favorite technique for most Soviet animators: first, live actors were filmed on film, then their figures and movements were redrawn on paper and celluloid. This technique, at first considered auxiliary, gradually spread, defining not only the technology, but also the aesthetics of films. In the first half of the 1950s, almost all human characters in films were made using eclairs, and there were some successes along the way. This is how the movie was made golden antelope(1954) L. Atamanova, who became a classic of Soviet animation.

In 1953, a second, puppet association was opened at Soyuzmultfilm. Until then, there were few puppet films in our country, and they were mostly adaptations of puppet shows. The most notable event in this area was the combined film by A. Ptushko New Gulliver(1935). But in the late 1930s, Ptushko finally went into feature films, the puppet studio, which he led, ceased to exist, and now the animators had to start all over again, having no work experience.

In hand-drawn animation, by the early 1960s, changes began to occur. Attempts to break away from the established tradition began already in the late 1950s, but the most notable event was the appearance of the film big trouble(1961) by the Brumberg sisters, stylized as a child's drawing. And soon after that he made his debut as a director, and his first film History of one crime(1962) made a stunning impression. Everything here was new: the satirical solution of the theme, the form of narration, and the visual solution (by the artist S. Alimov, for whom this picture was also a debut): a bold combination of hand-drawn animation with photo-cutting and flat laying, the use of a split screen. The following works of Khitruk, - Toptyzhka (1964), Vacation Boniface (1965), Man in a frame (1966), Film, film, film!(1968), which became classics of animated cinema, largely determined its further development. Since that time, a variety of styles and genres have been born in animation. In 1966 film Once upon a time there was Kozyavin debuted, one of the most interesting directors of today's animation and perhaps the last representative of the generation of "old masters" who continues to shoot. From the second half of the 1960s, bright works appeared in the puppet association, for example, My green crocodile(1965) V. Kurchevsky, Mitten R. Kachanova (1967), Clew(1968) N. Serebryakova. And further - on the rise; it was during these years, in the late 1960s and early 1970s, that popular and currently popular characters appeared on the screens: Winnie the Pooh, Crocodile Gena and Cheburashka, Malysh and Carlson.

Next significant event not only in Russian or Soviet, but also in world animation, films became in the 1970s Fox and Hare (1973), Heron and Crane (1974), Hedgehog in the fog(1975) and tale of tales(1979), a few years later recognized by critics and film critics as "the best cartoon of all time." Norshtein is not only a talented director who, together with the artist F. Yarbusova, created a new aesthetics of the animated film, but also an outstanding inventor. Speaking of Norshtein, it is impossible not to mention the cameraman, who worked on many of his films, A. Zhukovsky, who, even before meeting with Norshtein, invented unique equipment for filming, and their creative union turned out to be extremely fruitful.

At the turn of the 1970s-1980s, many other talented and innovative films were made, suffice it to mention Pushkin's trilogy by A. Khrzhanovsky ( I fly to you with memories, 1977; And I'm with you again, 1981; Autumn, 1982), where Pushkin's drawings come to life organically combined with documentary footage; Once upon a time there was a dog(1982) and Ant travel(1983) E. Nazarova; Separated(1980) by N. Serebryakov, and especially the film by I. Garanina booth(1981), which does not exist in 3D animation: a one-of-a-kind experience of turning a theater puppet into a movie puppet, changing the system of conventions in front of the viewer.

In the late 1980s, a new generation of directors came to animation, the most prominent figures here were Ivan Maksimov ( Bolero, 5/4 ,Wind along the shore), Alexander Petrov ( Cow,The Old Man and the Sea), Irina Evteeva ( Elixir,Petersburg). If Petrov and Evteeva are known mainly due to the unusual technologies that they use in their work, then Maximov is one of those few directors who managed to create their own world on the screen, his characters cannot but be recognized at first sight with all their diversity.

Even in Soviet times, each of the republics had its own school of animation, there were outstanding masters, such as E. Sivokon (Ukraine), R. Raamat (Estonia), R. Saakyants (Armenia); they all continue to work.

During the existence of animation, many bright names have appeared all over the world, and several large schools, such as, for example, the famous Zagreb school in Yugoslavia, the head of which D. Vukotic became famous for the film Surrogate (Surogat, 1961), the first foreign cartoon to be awarded an Oscar. In other countries of Eastern Europe - Poland, Bulgaria, Romania, Hungary - animation was also a popular art form, everywhere there were famous masters. Czech animation stands out in particular; here you can name the creators of the national school of puppet film G.Tyrlova, K.Zeman and I.Trnka, whose film Hand (Ruka, 1965) in the list of the best cartoons of all time takes fourth place. This is the tragic story of an artist who is turned into a puppet and destroyed by the authorities. Interestingly, the "human" role here is assigned to the doll, and the inhuman power is embodied by a living human hand.

On different continents, different countries ah, in different time talented directors and artists of animated films appeared. As early as 1919, L. Reiniger, known for her silhouette films made in a style close to shadow theater, began working in Germany. In France, which can be called the ancestral home of animation, there are such outstanding directors as P. Grimaud, J. Lagioni; in England the most famous director was D. Halas, but in last years he was eclipsed by N. Park; R. Serve in Belgium, B. Bozzetto, G. Gianini and E. Luzzatti in Italy, P. Driessen in the Netherlands; less well-known, but certainly noteworthy are the animated films of Scandinavian directors. True, the farther, the more difficult it becomes to determine the nationality of the film, directors work where fate throws them or where they have the opportunity to shoot. For example, Z. Rybchinsky began his career in Poland and continued in America. The Russian director V. Starevich, also a Pole by nationality, worked for many years in France; the creator of the needle screen A. Alekseev is considered a French director. And the Oscar-winning film by Russian director Alexander Petrov The Old Man and the Sea filmed in Canada, a country where the most favorable conditions for animation are traditionally created.

The most prominent Canadian film director known worldwide for his films is the Scot Norman McLaren (1914–1987), who has worked in Canada since 1941. He is known as the creator of the cameraless method, but his contribution to the world of animated cinema is far from limited to this. Each of his films was a bold experiment that invariably led to successful decisions, he worked with equal success in a variety of techniques, the most different styles. In film Thrush (Le merle, 1958), filmed traditional way on a cartoon machine, a character made of sticks breaks into its component parts to a cheerful song and reassembles; several films - the best of them is considered gray hen (La poulette grise, 1947) - made in the technique of pastel, which McLaren painted directly under the camera on the filming table; the director repeatedly turned to the method of frame-by-frame shooting of live actors. The widest range - from abstract fantasies Shimmering void (Blinkity blank, 1954) before repeated exposure to pas de deux (pas de deux, 1967), which in the strict sense of the word is not an animated film. McLaren created an animation department at the National Film Center of Canada in Montreal, where D. Dunning, the author of the famous yellow submarine (yellow submarine, 1968) and launched her career Caroline Liv, working alternately in two of the most difficult and capricious techniques, painting on glass and powder, and occupying an honorable second place in the list of the best cartoons, right after Norstein, with her film The street (The street, 1976). Another well-known Canadian director is F. Buck, one of his films is also in the top ten in the world.

Among the countries of the East in the field of animation, none can compare with Japan. The point is not only that Japan has long become one of the largest suppliers of animation products, in Japan, animation and comics - anime and manga (it is no coincidence that there are special names for them) - occupy a very special place and are the subject of a separate study. In addition, in Japan, as in other countries, there is not only commercial animation produced in huge quantities, but also author's animation. One of the most famous Japanese directors is Kihachiro Kawamoto. Making your films she-devil, 1973;house on fire, 1979), Kawamoto drew on the traditions of Japanese art. The heyday of national animation in Japan falls on the 1960s and 1970s, at that time a group of young filmmakers opposed the stereotypes that had developed in animated cinema. The most prominent representative of this trend was Yoji Kuri, an artist, writer and director. He worked in various techniques, sometimes combining drawings, photographs and newspaper clippings in one film. In addition, he introduced into the animation motives of longing, disappointment, uncertainty, loneliness that were not characteristic of it before.

The farther, the more clearly marked the divergence between the author's and commercial animation, while both are less dependent on geographic boundaries. Commercial animation across countries is becoming increasingly monotonous; the author's is becoming more and more free and independent, it is less and less possible to trace the features of national culture in it. But, as Dusan Vukotic once said, animation is “an art whose boundaries coincide with the boundaries of fantasy,” which means that it knows no boundaries.

ANIMATION TECHNOLOGIES

Hand-drawn animation.

Most often, when talking about hand-drawn films, they mean those made by the classic or, as it is also called, the Disney method, i.e. using the technology that was once developed at the Disney studio. Such films are made by a big team. Of course, as with any technology, a film is created by a screenwriter, director, production designer, cameraman, and composer. And besides - the animators who develop the movements of the characters; phasers who make intermediate phases of movements; drawers, whose job is to draw the details of the characters. All this preliminary work is done in pencil on tracing paper. Then the contourers transfer the drawing to celluloid, and the fillers paint with special paints. Since celluloid is transparent, usually the background, the fixed and moving parts of the characters are drawn on separate sheets. The sheets have slits that are put on the pins, so when applied, parts of the pattern match. The final stage of work is frame-by-frame shooting. Gagmen also worked at the Disney studio, who were engaged in inventing gags - funny tricks. During the first viewing, the timekeeper kept track of whether the audience was laughing often enough. If there was silence for ten seconds, then one of the scenes turned out to be unsuccessful and should have been redone.

Most of the cartoon films in studios around the world are made in this way. However, this is far from the only way to make hand-drawn films. In addition to commercial, there is also author's animation, and in our time, a film is often made by one person, most often with the help of a computer, sometimes with a small team. Technique can be very diverse: draw with a simple pencil on tracing paper, watercolor on wallpaper, colored pencils, oil paints on celluloid, in a word, complete freedom of choice. The only thing that unites all these options is the presence of prepared drawings, which remain unchanged after shooting.

Volumetric animation.

Often it is inaccurately called a puppet, although not always the actual puppets act in films. Of course, here, as in hand-drawn animation, there is a classic technology: after the character is invented by the artist, the masters make the doll, starting with the frame and ending with the clothes. Sometimes for the same character they make several heads with different facial expressions, sometimes in the process of shooting they change only the eyes or the lower part of the face - so that the doll can speak. It happens that individual parts must be repeated on a different scale: for example, I. Garanina used in her films, in addition to dolls, also larger masks. Finished dolls are placed in the scenery and start frame-by-frame shooting. The work of an animator in 3D animation is very close to the work of an actor, with the difference that he usually has to play not one, but several roles, subtly changing the pose of each character. The work of the operator is also very important here: no less depends on him than in feature films.

Sometimes directors working in volumetric animation take real objects instead of specially made dolls, and then they can use the properties of the materials from which these objects are made: for example, in the film by G. Bardin Conflict matches really burn out. And in the famous film by the Czech director I. Trnka Hand the partner of the traditional film puppet was an ordinary human hand.

Plasticine can also be attributed to volumetric animation. With plasticine, each director works in his own way. If for Nick Park this is just a very malleable material, close to what Starevich used in his time, then in the films of A. Tatarsky both characters and Environment, and boxers from the film by G. Bardin brack, reviving, do not lose their plasticine essence: when a hole is punched in the body of one of them, he immediately covers it up with a piece of the same plasticine.

Translation.

Initially, this technology appeared, as they say, from poverty. It is much easier to cut out individual parts of the figure and move them under the camera than to make a hand-drawn film. However, over time, it turned out that the relaying has the richest possibilities. Back in 1964 F. Khitruk, making a film Toptyzhka, used the repositioning technique to make the characters fluffy. But Yu.Norshtein reached true perfection in this area. He not only divides the character’s figure into large parts (head, torso, arms and legs or paws), but sometimes crushes him to infinity using various materials; he scratches and draws lines on pieces of foil and celluloid, and then arranges these pieces on horizontal glass tiers located at different distances from the camera, and then the character becomes three-dimensional.

Painting on glass.

This is probably the most time-consuming technology that requires special skill. There are no pre-prepared characters and scenery that would only have to be removed. The artist, who is also an animator, paints a picture with oil paints right under the camera every time, gradually adding new strokes. This technique is used by the Canadian director K. Liv and the Russian director Alexander Petrov, who became famous for the film The Old Man and the Sea(1999), for which he received an Oscar.

Powder technique.

Here you can use various bulk materials- sand, coffee grounds, salt; usually films made in powder technique are monochrome, but it is possible, using, for example, multi-colored spices, to make a color film. Here, as with oil paints on glass, the characters and scenery are born under the camera during the shooting. This is an inexpensive, but very complex technology, since the powder is a capricious material, and because of any mistake, you have to start all over again.

Needle screen.

One of the rarest animation technologies. The needle screen was invented in the early 1930s by A. Alekseev. It is a vertical plane through which evenly distributed long thin needles pass. These needles - there may be several thousand of them - can move perpendicular to the plane of the screen. The needles point towards the lens and therefore remain invisible themselves, but if they are extended unevenly, they cast a shadow. By moving the light source, you can change the length of the shadows and get a new image every time, even without changing the position of the needles. In this technique, for example, a film is made Night on Bald Mountain (1933).

Tubeless animation.

As the name implies, here films are made without a camera. The absence of a camera led the creator of the N. McLaren method to the idea of drawing directly on the film, at first without observing frame divisions. Subsequently, McLaren created a special machine for drawing on film. The machine consists of a clamping frame with a gear mechanism that ensures the exact position of the frame, and a special optical system that reflects the last drawn frame onto the next, still clean frame of the film.

Pixelation.

This is a special kind of animation: real human figures are used as the subject of frame-by-frame shooting. The person here is not so much an actor as material for the animator.

Computer animation.

Various technologies fit this definition. Computer animation can be two-dimensional and three-dimensional, there is also a computer translation. At first, animators perceived the computer simply as an assistant that would save them from the most difficult and boring work, but over time it turned out that its capabilities are much richer: it allows you to imitate any technique, any materials, any style. However, even the most advanced computer remains just a tool. Many believe that the future belongs to computer technology, and yet how the film will turn out depends only on the person sitting at the computer.

Of course, only more or less common animation technologies are listed here, but in fact there are much more of them, and they are used in a wide variety of combinations: hand-drawn animation with translation, hand-drawn animation with puppet, participation in an animated film of live actors. Just as there are many ways to use plasticine, making the concept of "plasticine animation" very vague, there are many options for working, for example, with paper, and M.Oselo's white lace films do not at all resemble the plasticine experiments of V.Kurchevsky in the film Flying Proletarian(dir. I. Ivanov-Vano and I. Boyarsky, 1962). G.Bardin used new material in almost every of his films, and, trying to create an all-encompassing classification, one would have to come up with specifically for him, for example, “rope animation”, “wire animation”. I. Evteeva created her own technology, the secrets of which she willingly reveals, but no one undertakes to repeat her experience: she shoots live actors on film, and then manually paints each frame.

Alexandra Vasilkova

Literature:

Karanovich A.G. My doll friends. M., 1971
Ivanov-Vano I.P. frame by frame. M., 1980
The Wisdom of Fiction. M., 1980
Film Making. M., 1990

0 Some citizens are quite annoyed by unfamiliar words, which, like pieces of inedible cartilage, are crammed in a variety of texts, TV and the Internet. Since many of them are constantly found, we decided to collect their transcripts on one site that you are currently reading. Therefore, do not forget to add our resource site to your bookmarks so as not to miss important and informative information. Today we’ll talk about a word that occurs in completely different areas of human activity, this Animation which means you can read a little below.
However, before I continue, I would like to show you some of our popular publications on random topics. For example, what does Rendezvous mean, how to understand the word Happiness, what is Trigger, what does Lanita mean, etc.
So let's continue what is Animation? This term was borrowed from Latin "animation", further passes from " animare", which can be translated as " animate", "breathe", "breathe", "animate". This term has several meanings, but we will only talk about the most common ones.

Animation- this is an alternative name for animation, used mainly in Western countries, which is a separate type of cinema.

Animation- this is a special kind of art, when a short film or even a full meter is created by frame-by-frame shooting of puppet scenes, plasticine characters, drawn frames.

Synonym of Animation: animation, storyboard.

Animation on smartphones- this is the movement of windows, icons, curtains, that is, a computer simulation of movement by redrawing / changing the shape of objects

Animation is a dynamic medium in which pictures or objects are manipulated so that they appear as moving images. In traditional animation, images are drawn by hand on transparent celluloid sheets, which must be photographed and exhibited on film. Today, most animations are created using computer generated imagery (CGI). Computer animation can be very detailed 3D animation, while 2D computer animation can be used for stylistic reasons, low bandwidth, or real-time.
Other common animation techniques apply a stop-motion method to 2D and 3D objects such as puppets or clay/plasticine figures. A motion-stopping technique that uses live actors as a staged subject is known as pixilation.

Typically, the animation effect is achieved by quickly changing successive images that are minimally different from each other. The illusion, as in moving pictures in general, is supposed to rely on the phenomenon of phi ( is an optical illusion of perceiving a series of still images when viewed quickly as continuous motion) and beta motions ( a series of static images on the screen creates the illusion of a smoothly flowing scene), but the exact causes are still uncertain. Mechanical animation analogue media based on the rapid display of sequential images include "phanakisticope", "zoetrope", "flip book", "praxinoscope" and "film". Television and video are popular electronic multimedia media that were originally analog but now operate digitally. Techniques such as GIF and Flash animation have been developed for display on a computer.

Besides short films, feature films, animated gifs, and other media designed to display moving images, animation is also widely used for video games, motion graphics, and special effects.

The physical movement of parts of an image through simple mechanics, such as moving images in "fairy lanterns", can also be considered animation. The mechanical animation of real robotic devices is known as animatronics.

Animators are artists who specialize in creating animation.

Traditional animation(also called cel animation or hand-drawn animation) is the process used for most animated films of the 20th century. The individual frames of a traditionally animated film are photographs of drawings, first drawn on paper. To create the illusion of movement, each drawing is slightly different from the one before it. Animators' drawings are traced or copied onto transparent acetate sheets called cels, which are filled in with paints in assigned colors or tones. The completed characters are photographed one by one with the background painted by the rostrum camera.

Full animation refers to the process of making high-quality, traditionally animated films that regularly use detailed art and believable motion, with smooth animation.

Limited animation involves the use of less detailed or more stylized drawings and motion techniques, typically choppy or "bouncing" motion animation. Limited animation uses fewer drawings per second, thereby limiting the fluidity of the animation. This is a more economical technique.

Rotoscoping is a technology patented by Max Fleischer in 1917 where animators track motion in real time, frame by frame.

live action/animation is a technique that combines hand-drawn characters with live actors.

Throughout its existence, man has tried to reflect the movement in his art. The first attempts to convey movement in a drawing date back to around 2000 BC (Egypt).

Another example of movement is found in the caves of Northern Spain: this is a drawing of a wild boar with eight legs.

Today, the transfer of motion can be realized by means of animation.

Animation is the artificial representation of motion in film, television, or computer graphics by displaying a sequence of drawings or frames at a frequency that provides a holistic visual perception of images.

Animation, unlike video, which uses continuous motion, uses many independent drawings.

Synonym for animation "animation" is very widespread in our country. Animation and animation are just different definitions of the same art form.

The more familiar term for us comes from the Latin word "multi" - a lot and corresponds to the traditional technology of drawing reproduction, because in order for the hero to "come to life", you need to repeat his movement many times: from 10 to 30 drawn frames per second.

The world's accepted professional definition "animation"(translated from the Latin "anima" - soul, "animation" - revival, animation) as accurately as possible reflects all the modern technical and artistic possibilities of animated cinema, because animation masters do not just animate their characters, but put a piece of their soul into their creation .

From the history of animation

Animation, like any other art form, has its own history. For the first time, the principle of inertia of visual perception, which underlies animation, was demonstrated in 1828 by the Frenchman Paul Roget. The object of the demonstration was a disk, on one side of which there was an image of a bird, and on the other - a cage. During the rotation of the disc, the audience created the illusion of a bird in a cage.

The first real practical way to create animation came from Thomas A. Edison's creation of the camera and projector.

As early as 1906, the short film Humorous Phases of Funny Faces was created by Stuart Blakton. The author made a drawing on the board, photographed, erased, and then again drew, photographed and erased ...

A real revolution in the world of animation was made by WALT DISNEY (1901-1966), an American director, artist and producer.

This is far from a complete history of animation, a small digression from the material of the lecture. More details from the amazing and interesting history animations you can get to know yourself.

Animation Creation Technologies

Currently, there are various technologies for creating animation:

Classic (traditional) animation represents an alternate change of drawings, each of which is drawn separately. This is a very time-consuming process, as the animators have to create each frame separately.

Stop-frame (puppet) animation. Objects placed in space are fixed by a frame, after which their position is changed and fixed again.

Sprite animation implemented using a programming language.

morphing– transformation of one object into another by generating a specified number of intermediate frames.

color animation- it only changes the color, not the position of the object.

3 D-animation created using special programs (for example, 3D MAX). Pictures are obtained by rendering the scene, and each scene is a set of objects, light sources, textures.

motion capture (Motioncapture) – the first direction of animation, which makes it possible to convey natural, realistic movements in real time. Sensors are attached to the live actor at locations that will be aligned with the control points of the computer model for motion input and digitization. The actor's coordinates and orientation in space are transmitted to the graphics station, and the animation models come to life.

Animation principles

When creating animated films, some general principles. Most of them are formulated for Disney animation and originally referred to cartoons made in the technique of traditional animation, but almost all of them are applicable to other technologies.
Here are the main ones:

"Squeeze and stretch"(squash & stretch). This principle has revolutionized the world of animation. The essence of the principle is that a living body is always compressed and stretched during movement. Before the jump, the character is compressed like a spring, and in the jump, on the contrary, it is stretched. The main rule in this case is a constant volume - if the character is stretched (stretch - deformation along the Y axis), then it must be compressed to maintain the volume of its body (squash - deformation along the X axis).

"Preparatory Action" (Anticipation). AT real life to perform any action, a person often has to make preparatory movements. For example, before jumping, a person needs to sit down, in order to throw something, the hand must be brought back. Such actions are called refusal movements, because. before doing something, the character, as it were, refuses to act. Such movement prepares the viewer for the subsequent action of the character and gives momentum to the movements.

stage presence(staging). For the correct perception of the character by the audience, all his movements, postures and facial expressions must be extremely simple and expressive. This principle is based on the main rule of the theater. The camera should be positioned so that the viewer sees all the movements of the character.

"Key Shots" (Pose to Pose). Before the discovery of this principle, movements were drawn, and therefore the result was difficult to predict, because. the artist himself did not yet know what he would draw. This principle provides for a preliminary arrangement of movements - the artist draws the main points and places the character on the stage, and only then the assistants draw all the frames of the movement. This approach dramatically increased performance, as all movements were planned in advance, and the result was exactly as intended. But in order to create some kind of specific movement, a thorough study of each “piece” was necessary. When developing expressive poses, the artist puts all his skill, so it is these moments that should be visible to the viewer for a longer time. To do this, the assistants complete the movements in such a way that most of the frames are next to the key poses. In this case, the character, as it were, slips the movement from one arrangement to another, slowly leaving the pose and slowing down at the other.

"Through movement and overlap"(follow through / Overlapping actions).
The essence of the principle is that the movement should never stop. There are such elements as ears, tails, clothes, which must be constantly in motion. "Through movement" ensures the continuity of movement and the smoothness of the transition of phases, for example, from running to walking and vice versa. The movement of individual elements of the body, while the body is no longer moving, is called overlap. The overlap is expressed in scenes of changing the phases of movement. If the character brakes hard after running, the soft parts of the body cannot stop along with the hard parts and a slight overlap occurs (hair, ears, tails, etc.). When walking, the movement begins with the hips, and only then spreads to the ankles. Thus, all movements of the character are connected in a separate chain, and it becomes possible to rigidly describe the rules by which he moves. A movement in which one element follows another is called through movement.

"Movement in arcs" (arcs). Living organisms always move along arcuate trajectories. Prior to this, the method rectilinear motion, in connection with which, the movements looked mechanical - like those of robots. The nature of the trajectory depends, as a rule, on the speed of movement. If the character moves sharply, the trajectory straightens out, if it moves slowly, then the trajectory bends even more.

Secondary activities (Secondary actions). Often, secondary movements are used to give the character more expressiveness. They serve to draw attention to something. For example, a grieving character might frequently blow his nose into a handkerchief, while a surprised character might twitch his shoulders. Secondary actions have become widespread in the world of animation. Thanks to their use, the characters become more alive and emotional.

Time calculation(Timing). This principle allows you to give the character weight and mood. How does the viewer evaluate the weight of the characters? The character's weight is made up of factors such as movement speed and inertia. In order for the character to move in accordance with its weight, the artist calculates the movement and overlap time for each character. When calculating the time, the weight, inertia, volume and emotional state of the hero are taken into account. The mood is also conveyed by the speed of the character's movements. So a depressed character moves very sluggishly, and an inspired character moves quite vigorously.

Exaggeration (Exaggerate and Caricature). Walt Disney has always demanded more realism from his employees, in fact aiming more for "caricature realism". If a character had to be sad, he demanded that he be made gloomy, while a happy one had to be made dazzlingly radiant. With the help of exaggeration, the emotional impact on the audience increases, however, the character acquires a caricature character.

professional drawing. Drawing is the basis of everything. Quite common at the Disney Studios are signs like, "Does your drawing have weight, depth, and balance?" The principle of professional drawing also forbids drawing "twins". "Twins" are any elements of the drawing that are repeated twice or are symmetrical. "Twins" very often appear against the will of the artist, without noticing that he draws two hands in the same position.

attractiveness (Appeal). The attractiveness of the character is the key to the success of the entire film. How can you tell if a character is attractive? Any object can be attractive if you look at it with pleasure, finding in it simplicity, charm, good design, charm and magnetism. From an attractive character it is impossible to take your eyes off. Even the nastiest character in a movie needs to be attractive to keep viewers on the screen.