2D/3D Digital Animation
Encompasses all the animation techniques that are done exclusively with the use of computers. With digital animation, it is possible to do both 2D (two-dimensional) and 3D (three-dimensional) animation. Here are some of the digital animation techniques.
| Step 1: → Gathering information Step 2: → Concept & Script Step 3: → Voiceover recording Step 4: → Storyboard Step 5: → Visual style Step 6: → Animation | Match the order of the Animation production process | |
| Arcs | Even gross body movements when you walk somewhere tend not be perfectly straight. When a hand/arm reaches out to reach something, it tends to move | |
| Anticipation | One of the 12 Principles of Animation : | |
| Exaggeration | It should be used in a careful and balanced manner, not arbitrarily. The result will be that the animation will seem more realistic and entertaining. | |
| Straight Ahead Action and Pose-To-Pose Action | For example, the animator draws the first frame of the animation, then draws the second, and so on until the sequence is complete. In this way, there is one drawing or image per frame that the animator has setup. This approach tends to yield a more creative and fresh look but can be difficult to time correctly and tweak. | |
| STOP MOTION TECHNIQUE | It is a technique that manipulates an object physically so that it appears to move on its own. The object is moved in small steps between individually photographed frames, creating the illusion of movement when the series of frames are played in a fast sequence | |
| DRAWING ANIMATION | The background and the characters are flat and can be filmed from only one side. Traditional drawing animation is done in a non-chronological way, developing first the main action, and filling it up with background images later on. | |
| CUT-OUT ANIMATION | One of the Animation Techniques: | |
| Still life | Basic Drawing and Composition of basic elements | |
| Squash and Stretch | This is a way of deforming an object such that it shows how rigid the object is. For example if a rubber ball bounces and hits the ground it will tend to flatten when it hits. | |
| Secondary Action | But it is something that the character is doing/acting that adds a more realistic and natural feel to the animation. As mentioned, it must be staged so that the main action isn’t overpowered. It’s the kind of thing that is usually more subtle or can be felt more than noticed immediately. | |
| THREE DIMENSIONAL PUPPET ANIMATION | type of stop-motion animation produced by moving twodimensional pieces of material, paper or cloth. The background has to be fixed to the table and everything on the background | |
| PIXELATION | Involves the use of real persons as stop motion characters. This allows a number of surreal effects, including the disappearance and reappearance of objects or characters, as well as allowing people to appear to slide across the ground and other effects. | |
| Texture | is the surface quality of a shape, or how it appears to feel: rough, smooth, spiky, soft, hard, and glossy, etc. Texture can be real or implied. | |
| SIGNS, SYMBOLS | important to convey meaning through process of smiotics, denotation and cognitions | |
| IMAGES/ILLUSTRATIONS | important to drive or support an idea | |
| WORDS | important to communicate messages in different ways | |
| PROPORTIONS | important to define focal point | |
| COLORS | important to make a powerful communication and to drive the attention | |
| SHAPES | important to help the creative team to put into a harmony pattern the constitutive elements | |
| Composition | The way you arrange or divide the space in your artwork. Do not have a lot of empty space in your art. | |
| Dynamic Equilibriu | Exciting balance active, exciting, not boring | |
| Charcoal | Compressed burned wood used for drawing. Charcoal is so fast, direct and responsive, that it is amongst the least inhibiting media. It can produce bold and fluid lines, and a great host of textures | |
| Contrast | the extreme differences in values, colors, textures or other elements | |
| Gestural drawing | used to block in the layout of the basic shapes in the composition. Best compared to a scribble drawing. Seeks to express motion and/or emotive qualities of the composition. | |
| Chiraoscuro | An Italian word that means boldly contrasting light and dark. The technique of was developed during the Renaissance. | |
| Shape / Form | is a self-contained defined area, either geometric or organic. Shape refers to a two-dimensional element with area on a plane, while form refers to a threedimensional element with volume in space. | |
| COLOR | is the visible spectrum of radiation reflected from an object. Color is also sometimes referred to as hue. | |
| Seven Elements of Design Line | is a continuous mark made on a surface or the edge created when two shapes meet. May be actual, implied, vertical, horizontal, diagonal, and/or contour. | |
| Space | is the distance or area around or between elements in a work. | |
| Timing | The speed at which something moves gives a sense of what the object is, the weight of an object, and why it is moving. Something like an eye blink can be fast or slow. If it’s fast, a character will seem alert and awake. | |
| Ease In and Out (or Slow In and Out) | For example, a bouncing ball tends to have a lot of ease in and out when at the top of its bounce. As it goes up, gravity affects it and slows down , then it starts its downward motion more and more rapidly | |
| Arcs | Even gross body movements when you walk somewhere tend not be perfectly straight. When a hand/arm reaches out to reach something, it tends to move | |
| Anticipation | One of the 12 Principles of Animation | |
| CUT-OUT ANIMATION: | One of the Animation Techniques: | |
| Drawing from observation | Basic Drawing and Composition of basic elements | |
| Value | refers to how light or dark an object, area, or element is, independent of its color. Value is also sometimes referred to as tone. |