Initially, I did not realize that animating the fingers was essential for creating curves similar to those depicted in the yellow illustrations of the animation above. At first, I focused solely on animating the arms. However, this approach lacked the necessary detail. I soon realized that to achieve a more refined and comprehensive animation, I would need to incorporate greater detail and push my skills further by animating the fingers as well.
(2) Shape changing of the body
While animating, I overlooked the rotation of the body, which resulted in the animation lacking smoothness. To improve this, I will need to incorporate these rotational changes into the blocking animation and refine the movement further during the spline phase.
(3) Anticipation before standing up
Anticipation serves to provide the audience with cues regarding upcoming actions. For a more detailed explanation, please refer to the final section of the Blog from Week 2. Therefore, it would be beneficial to incorporate an anticipatory movement before the character stands.
(4) More Clearer Poses
For this frame, I should clarify the pose by reducing the twist of the shoulder in relation to the camera, while maintaining the triangular shape between the arms and the body. Additionally, I must ensure that the left hand makes contact with the leg.
(5) Extension of the Hands
It appears that the hands are missing keyframes. Instead of only keyframing the character’s position before and after standing, I should include additional in-betweens. For more information on keyframes and in-betweens, please refer to the Blog from Week 1. By incorporating more in-betweens, the animation will have greater extensions, resulting in smoother motion.
After reflecting on the planning process for body mechanics last week, I identified several key aspects that require careful attention. Additionally, considering the complexity of the animation and the need for thorough testing, I have decided to focus on animating a body mechanics sequence involving a character yawning and transitioning to a standing position.
(1) Final Frame: Standing Upright
Ensure that the final frame of the animation depicts the character standing upright, with a balanced posture. Avoid any forward lean that might suggest the character is about to lose balance and fall. Additionally, incorporate a visible weight shift to convey the upward transfer of the body’s mass during the transition to a standing position.
(2) Use the Perspective View
The perspective view refers to the angle between the front and side views, providing a more dynamic representation of the object. Below is an example showcasing different views of the helicopter model.
Fig 1. Front view from Maya Help website
Fig 2. Side view from Maya Help website
Fig 3. Perspective view from Polycount website
In the image above, both the front and side views of the model are visible simultaneously, providing a 45-degree angle of the model. This view is referred to as the perspective view.
Fig 4. Perspective view from Maya Help website
The image above is one of the tests I conducted last week. Although it is in perspective view, the side view of the model is barely visible. To improve this, it would be better to rotate the camera slightly to the left to achieve a more optimal perspective view.
This yawning stand-up animation serves as a better example of the perspective view.
(3) If the Arms Are Too Difficult to Animate, Hide the Arms and Focus on the Body
Animating in detail can be quite challenging, as the complexity increases with each additional body part involved. Therefore, I will focus on animating the body and legs of the model first. If time allows, I will also animate the character’s arms.
(4) Change the Starting Pose for a Smoother Animation
At the beginning of the animation, the reference shows different starting poses. While the first pose may be more visually appealing, animating the transition from the hand below the chin to placing it on the lap could be quite challenging. Therefore, starting the animation with both hands resting on the lap might be a more practical and effective option.
Blocking Animation of My Yawning Stand-Up Animation
This week’s lesson focuses on Body Mechanics, which refers to the study of how the body moves. Below are some examples:
Although different characters exhibit unique movements, they must all adhere to certain principles to ensure the animation appears smooth and logical. These principles are collectively referred to as mechanics. Effective mechanics ensure that a character’s weight shifts, poses, positions, pacing, and timing are executed appropriately and cohesively.
Referencing
In today’s lesson, we also discussed the concept of Referencing. Although I had previously filmed references of myself for the Weight Shift homework, I am still not entirely familiar with how it works in practice. During the lesson, we received valuable tips from a video, which emphasized the importance of maintaining the same camera angle for both the reference footage and the animation. This consistency allows for more effective utilization of the reference when creating the animation.
For example, in the 2D blocking animation I created (shown on the right), the animation uses the exact same angle as the reference on the left—specifically, a perspective view positioned between a front and side view. This alignment ensures that I can accurately reference each pose step by step, without needing to imagine poses that might otherwise be obscured.
In other words, if I were to use a side-view reference for my animation, I would need to visualize certain poses that are not clearly visible. For instance, I would have to imagine the exact placement of the character’s hands when she stretches them.
In addition to the reference mentioned above, I conducted further testing with references, assisted by Technician Roos.
Front and Side views of Standing Up from a Chair
Perspective View of Standing Sp from a Chair
Front and Side Views of Jumping Over Obstacles
2D Blocking animation and Testing
I began by sketching the key poses from the reference to create the blocking for the 2D animation. Then, I used a polygon to roughly animate the character’s body in Maya. I plan to further refine this by incorporating the character into the polygonal body and using it as a reference for the timing and pacing when I begin my actual 3D animation.
Based on the feedback received for my previous walk cycle assignment, I must incorporate the following adjustments.
Issues and Explanation
(Front View)
For the front view, it is essential to ensure that the body of the “Walker” model follows a motion resembling the shape of the number eight to maintain a proper Arc.
Arcs
As outlined in Week 1’s blog, Arcs are a fundamental aspect of most animations.
Figure-1: I Want to be…an Animator Website
from the movement of the hands to the table,
Figure-2: I Want to be…an Animator Website
or the movement of the legs from the center to the right,
Figure-3: I Want to be…an Animator Website
or even the swinging motion of an arm, these movements often follow arcs. Animating along arcs results in smoother and more realistic motion. The image above illustrates arm movement forming a shape similar to the number eight, which I aim to replicate in my animation.
I attempted to reference this woman’s hand movement to observe whether a “figure-eight” arc is achieved.
Figure-4: I Want to be…an Animator Website
Furthermore, the nature of arcs also varies depending on the amount of force applied to the movement.
(Side View)
I also need to address the issue of the heel not maintaining the same position as in the previous frame. If left uncorrected, this could give the impression that the model’s foot is sliding, potentially making it appear as though the model is about to trip.
Additionally, there was an issue with Knee Popping in my animation.
Knee Popping
Video-1: Alexander Williams(How to Fix Knee Pops in a Walk Cycle)
This occurs when the knee bends in one frame and then abruptly straightens and extends in the next, creating a jarring, unnatural effect in the animation. To resolve this, it is important to ensure that the knee maintains a slight bend throughout the animation, preventing any sudden or harsh transitions.
Another issue with my animation is that the foot lifts off the floor too quickly. In a natural walk, the foot remains in contact with the ground for a bit longer before lifting, with the toe staying in contact longer than the heel. Therefore, the foot in this segment of the animation should be positioned as indicated by the blue line.
Further Polish Result
In the revised version, I resolved the previously identified issues and incorporated additional refinements to enhance the animation’s fluidity. For instance, when the heel makes contact with the ground, the entire foot does not touch the surface simultaneously in the subsequent frame. Instead, the heel contacts first, followed by the toes, creating a subtle flipping motion that adds a slightly exaggerated, cartoon-like effect to the walk.
Nevertheless, some instances of knee popping remain problematic. For example, as the foot touches the ground, the knee transitions abruptly from a straight position to a bent one. I am uncertain whether this appears unnatural and intend to seek clarification from my tutor.
After receiving feedback on my previous walk cycle assignment, I need to implement the following changes.
Fig-1: Animator’s Survival Kit P.108
Before addressing the necessary adjustments, it is essential to review the content covered in last week’s blog. Specifically, we examined the different poses that constitute a walk cycle, including:
Contact
Down
Pass Pos
Up
Contact
In an effective walk cycle, it is essential to maintain a well-defined curve.
Fig-1: Animator’s Survival Kit P.103
As illustrated in this screenshot from the book, curves are visible above the model’s head and at the feet. This imaginary curve should remain consistent throughout the walk cycle to ensure smooth and natural motion.
In my previously submitted assignment, the Contact Poses and Down Poses did not descend sufficiently to maintain a consistent curve. Additionally, the poses were not adequately spaced, resulting in a lack of clarity. Addressing these two issues will be my primary focus for improvement.
Contact Poses
Down Poses
Another issue with my blocking animation is that the feet are either not fully in contact with the floor or are sinking below it, which creates an unnatural appearance. To resolve this, I adjusted the foot positioning to ensure proper contact with the ground.
Walk Cycle(Spline)
After addressing the issues mentioned above, I made additional refinements, such as ensuring the feet remained stable and did not move in unintended directions. The result of these adjustments is as follows.
For the previous homework about weight shift, I modified the version from blocking to spline.
I find the outcome somewhat bouncy and unstable, possibly due to excessive movement in the body and the ankle of the leg. To address these issues, I made adjustments and created the next version of the weight shift.
Walk Cycle
Fig-1: Animator’s Survival Kit P.108
In every walk cycle, there are five key positions: contact, down, passing pose, up, and another contact, as illustrated in the image above. The repetition of these movements creates the foundation of a walk cycle. Regardless of whether the character is a princess or a superhero with distinct personalities and traits, they all adhere to these fundamental principles in their walk cycles.
Fig-1: Animator’s Survival Kit P.119
Walk Cycle: Reference
I find this reference quite useful, as it outlines each movement within the walk cycle and includes a grid that helps me better understand the shifts of different body parts.
Walk Cycle: Outcome
I am uncertain about the body tilting left and right, as it appears somewhat awkward to me. I plan to address this issue to improve the overall animation.
Upon reviewing the animation from the front view, I noticed that the body has shifted to the left. This presents another issue that I need to address.
I attempted to remake the walk cycle by following the tutorial’s guidance and found that copying and pasting frames is much more efficient than recreating each pose from scratch. Additionally, I incorporated a subtle shift of the ball’s body in the front view, making the movement appear more natural.
Following feedback on my previous assignment, I implemented several modifications. These included refining the trajectory arc, adjusting the time the ball remains airborne, and altering the shape of the ball during its ascent and descent. Additionally, I modified the tail’s form to ensure it follows the ball’s motion more cohesively.
This reflects the revisions made to the earlier version.
This is the revised version, incorporating adjustments to the trajectory arc, airtime, and the shape of both the ball and its trailing tail throughout the motion.
Weight Shift
In today’s lesson, we focused on weight shift. The primary objective of the animation homework is to ensure that the weight accurately follows the leg bearing the load.
In other words, when the weight shifts from right to left, the body should initially tilt slightly to the right. As the weight transitions to the other side, it should then tilt slightly to the left, creating a sense of movement. Additionally, it is essential for the body to maintain alignment with the line of balance throughout the animation.
Line of Balance
Fig-1: EtheringtonBrothers
We must ensure that in every frame, when a line is drawn between poses, the distribution of positive and negative space on the left and right remains balanced. This approach mimics the actual balance that a person exhibits in the real world.
Weight Shift: Reference
For this task, I recorded several reference videos of myself, experimenting with both faster and slower movements. My goal was to incorporate exaggeration into my actions; however, upon reviewing the footage, I felt that the level of exaggeration was inadequate. After further attempts, I captured improved results that more effectively convey the desired effect.
Weight Shift: Planning
While planning the animation, I found it challenging to map out each keyframe as the animation complexity increased. In simpler animations, such as a bouncing ball, planning was more straightforward; since the ball lacks limbs, it was easier to illustrate overlapping details like shape variations and speed adjustments without elements covering one another. However, as the animation involves more complex forms—like characters with legs—layering different elements can create confusion, making it difficult to keep the planning process organized.
To address this, I plan to use digital drawing tools with distinct colors for each frame in future projects, which should help clarify each element and improve readability in the planning phase.
Weight Shift: Outcome
My weight shift blocking ended up differing somewhat from the demonstration in class, as I based mine on a different reference video. Nonetheless, I did my best to align with the demonstration as much as possible, and this was the resulting animation. Some adjustments are still necessary, particularly regarding the rotation of the foot, body, and various angles.
Posing
This week, I created several poses based on the preliminary sketches I had drawn earlier.
Ball with tail(Blocking): Previous Homework Changes
For the previous “Ball with Tail” homework submission, two major issues were identified. First, the time the ball remained on the ground was insufficient to convey a proper sense of weight. Second, the tail flick after the ball made contact with the ground occurred too quickly, resulting in an unnatural motion due to incorrect timing.
In response, I attempted to address these two major issues, and the following is the revised outcome.
Ball with tail(Spline):
This week’s task involves further developing the “Ball with Tail” animation. Specifically, we are required to convert the ball animation from blocking mode to spline mode.
Blocking
This refers to the animation technique in which key poses are created to establish the timing and placement of characters and props within a given scene or shot. It serves as the initial stage of animation development, often used to provide a rough indication of timing, indicating where the character should be positioned and what poses it should adopt at various points in time.
Spline
This refers to the animation technique aimed at creating smoother motion. When keyframing an animation, the software automatically generates the intermediate frames between key poses. This process represents the second stage in the animation development workflow.
For this completed task, I found the animation to be relatively smooth in blocking mode but somewhat unnatural in spline mode. I am uncertain whether the issues lie in the timing or the pacing (i.e., the placement of keyframes). I plan to make further modifications after receiving feedback in the upcoming lecture.
In a recent assignment on pendulum animation, my tutor provided feedback that emphasized a critical aspect to improve: the “end shake,” or follow-through action in animation. Upon reflection, I recognized that my representation of the follow-through was not realistic, as it did not include the natural “S” and “C” curves that are essential to the progression of the shaking movement.
Subsequently, I attempted to revise the pendulum animation based on the feedback provided.
While it may not be perfect, the follow-through now appears more natural than in the previous version.
Ball with tail: Planning
In this week’s lesson, I also worked on the ball with tail animation, which I found quite challenging. This was due to the increased complexity of animating both the ball and the tail simultaneously. Additionally, it was my first time using the blocking technique, which involves keyframing only the essential poses in an animation.
Below are my initial plans. Ultimately, I chose to proceed with the design on the left, as the one on the right proved too complex. I preferred to focus on refining the details rather than pursuing a more intricate approach.
Ball with tail(Blocking): outcome
This is the result of my ball-and-tail animation. I am uncertain whether it achieves the desired level of smoothness or if I have incorporated an adequate number of keyframes. I plan to continue practicing the shaking motion and the follow-through of the tail to enhance these elements further.
This animation was created using the “Blocking” method.
Blocking
Blocking refers to a technique in animation where the keyframes remain static and do not alter when navigating between them, whereas spline animation involves smooth transitions that change as one moves between keyframes.
Another notable difference between these two animation techniques is their representation in the graph editor.
The Graph Editor functions as the engine of the animation software Maya. It facilitates the smoothing of animations by adjusting speed, pacing, and easing effects, among other features. All keyframed elements can be visualized within the Graph Editor, allowing for the editing of various settings, including translation, rotation, scale, and other keyable controllers, either collectively or individually.
In the Graph Editor, blocking is represented by straight horizontal lines, indicating that there is no connection between the different keyframes. Consequently, changes between the keyframes are not visible, reflecting the discrete nature of this animation technique.
In the Graph Editor, spline animation is represented by connected keyframes, creating smooth curves. When you navigate between the keyframes, you can observe the gradual changes in movement, showcasing the fluidity of this animation technique.
In the previous homework submission, there were two significant issues: thepacing andthe rotation at the end of the animation.
Pacing
Pacing refers to the speed of animation, encompassing both fast and slow movements. It also pertains to the proximity of keyframes associated with different actions. When keyframes representing distinct actions are positioned closely together, the animation transitions between these actions rapidly.
Regarding the pacing, some frames caused the ball to jump too slowly, while others made it move too quickly, resulting in inconsistent motion. As for the rotation, the ball did not spin at the correct speed, which made the movement appear somewhat unnatural.
So then, I tried to fix these issues and the following is the outcome.
Pendulum: Reference
In this lesson, we created an animation of a pendulum. Although I had some prior experience with animation, I had never had the opportunity to animate a pendulum before. While it may seem simple at first, achieving perfection in the animation is more challenging than it appears. To ensure accuracy, I used my lanyard as a reference for testing the animation.
While it may not be as accurate as a real pendulum, it helped me better understand how the lanyard swings with minimal energy and how it eventually comes to a complete stop.
Pendulum: Planning
With this insight, I began drafting my pendulum animation.
My planning often differs from the final outcome. While the initial concept seems smooth, the actual animation does not always reflect that. I realise I need more practice to better understand these basic animations and to improve my planning for future projects.
Pendulum: Outcome
This is the result of my pendulum animation. I found the most challenging aspect to be the final phase, where the pendulum slows down and eventually comes to a stop. Additionally, I feel the speed in this version is a bit off, and I plan to make further adjustments after receiving feedback on Friday.
Tail Animation Exercise
In addition to the pendulum, I have been practicing tail animation in my spare time. This helps me better understand the movement, energy, and follow-through actions of a tail. I feel a great sense of accomplishment when I complete a tail GIF.
Pose Sketch
I have also created several sketches depicting various poses. I find the proportions of the human figure particularly challenging to render; when the proportions are incorrect, the overall representation appears distorted and unnatural. Moving forward, I will need to engage in further practice focused on observation and life drawing to enhance my skills.
I tried to make sure that each of these poses has the Line of Action.
Line of Action
Fig-1: Line of Action
The line of action is an imaginary line that represents the direction and motion of a character’s body, serving as the driving force behind their actions. A well-defined line of action enhances the character’s energy and liveliness, while also helping the audience anticipate what will happen next. For example, if a character is about to strike an object, the line of action must be clear and unobstructed, effectively conveying the imminent action.
Fig-2: Path of action – joshmctt.com
In the image above, the right cat is bent toward the left side while holding a weapon, indicating anticipation as it prepares to strike something on the right side. It demonstrates a clear line of action without overlapping, effectively conveying the forthcoming action.
Anticipation
Anticipation is a crucial element in animation, referring to the actions that occur before a primary movement. It provides the audience with clues about what will happen next, thereby enhancing the realism and vitality of the animation. Additionally, anticipation can serve as a transition between different shots. For instance, if a character raises their hand in one shot, it creates a connection to a subsequent shot where the character is prepared to punch someone. The following video offers a more detailed explanation of anticipation.
