Animation Fundamentals_Project 2

11/11/2024 - 15/12/2024

Ruthlene Chua Zhen Si 0365222 

Bachelor of Design (Honours) in Creative Media 

• Instruction
• Lectures (All in Exercise Blog)
• Class Summaries
• Task
• Walk (from previously designed character)
• Jump (from previously designed character)

• Feedbacks
• Reflections

• JUMPLINK TO OTHER PROJECT
• Exercise + Lectures During Class
• Ball + Tail 
• Project 1
• Character Design + Layout 
• Final (Action)
• Story Board + Video 

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INSTRUCTION

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Class Summaries 

Week 9:  jump animation focused on stages like anticipation and follow-through, using squash and stretch for realism, with workflows emphasizing smooth transitions and proportional consistency. 

Week 10: Adjustment on Jump posture for the character which had design at the previous week. 

Week 11: Revisited consistency in movement cycles, refining stability, timing, and natural motion with attention to detail and reference tools.

Week 12: Have a consultation on the final animatic project 

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Project 2A

For this particular project, we are told to create a vanilla walk cycle animation with rough sketchy strokes and tie-down clean strokes, compile both labeled as "Rough" and "Tie Down" into a single reel. I started by drawing a rough sketch and by drawing 3 contact pose, 3 down pose, 3 pass pose and 3 up pose. 

Figure 1.0: Rough sketch of walk cycle pose 

Figure 1.1: The complete form of rough sketch of walk cycle pose 

After done finish drawing the rough sketch of walk cycle, I make it into frames and make a second checking on the steps and pose. I found it was too fast, so I add on some frames on it make it slower and make the checking on the frequency. 

Figure 1.2: Arrange into frames 

I though that there is some error on matching the poses and frequency so i make some changes on it and export it as mp4 as what have mention in the assignment requirements. 

Figure 1.3: Second arrangement on the poses

Figure 1.4: Final outcome of the rough poses 

For the next project, it will be much easier because the previous rough sketches of poses provide a clear direction for drawing the tie poses.

Figure 1.5: Refer to the rough poses to make tie poses 

For the tie poses, I spend some time on it to join the path together. 

Figure 1.6: Tie poses of the previous character designed 

Figure 1.7: Complete tie poses 

I imported the frames and arranged them in Adobe Animate. Initially, I tried drawing directly in Adobe Animate, but due to the complexity of the character's clothing, making adjustments was challenging. Therefore, I drew it in Illustrator and then imported it into Animate.

Figure 1.8: Before starting to import the poses, start with the line as usual 

I arrange the poses and frame frequency to make it more natural. 

Figure 1.9: Adjustment on the poses and frames

Then I make second checking on the poses 

Figure 2.0: Complete tie poses 

Export the final composition to mp4 as mention in the assignment. 

Figure 2.1: Tie final outcome 

Project 2B

As for the rough jump composition, I search for several references and make sketches of it and lastly digitize them. 

Figure 2.2: Rough jump process

As for the image bellow, it was the complete version of the final rough jump poses. 

Figure 2.3: Complete rough jump poses

Import the illustration into the animate, make it into frames adjusted the poses and frequency and done. 

Figure 2.4: Complete poses of the rough jump animation 

Figure 2.5: Final outcome of rough jump poses animation 

As like the previous project, I followed the rough poses of jump animation and join it with the character which helps it convert into tie animation.

Figure 2.6: complete tie jumping animation poses 

Export the illustration into the adobe animate, and make adjustment on the frames and last checking on the poses. 

Figure 2.7: Adjustment on the frames and poses 

Figure 2.8: Final outcome of the tie jump poses 

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FEEDBACKS

Week 9_Jump Animation 

General Feedbacks: To improve the composition, mind placing main subjects in either the lower or upper third of the frame at all times, remembering the rule of thirds. Perform lighting and exploit color theory for a balance in primary and secondary lighting through tonal changes: darker in front, lighter back. Provide appropriate contrast, maintain consistency, ensure objects in your image do not block each other, and provide visual interest because of varying sizes. For background, foreground, and middle ground elements: adjust object position and lighting for a sense of space. It is important to keep the clarity in composition mainly in color and size.

Week 11

General Feedbacks: Refining posture, movement, and design, such as adjusting the head and hip positions, ensuring certain elements stay fixed in place, and focusing on volume preservation. Timing, refinement of details, and the importance of visible elements like boots.

Week 12

General Feedbacks: The feedback focuses on enhancing the realism and fluidity of the animation. Proper momentum is crucial, with the body leading movement before other parts, like the tail. Adjustments to arm movements for anticipation are needed, with arms moving backward instead of forward. Legs should be slightly bent to add more interest to the motion, avoiding overly straight postures. The animation should not be overcomplicated, especially for simpler actions like walking. There are issues with sliding and inconsistent volume, requiring a more consistent body size and posture. More in-between frames are needed for fluidity, and follow-through is necessary for realistic movement.

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REFLECTION

Experience

These few weeks focused on creating animations like jump sequences and walk cycles, applying principles like anticipation, follow-through, squash and stretch, and timing. The process involved sketching rough poses, refining them into clean tie-downs, and arranging frames to ensure smooth motion. Each project required multiple adjustments to improve posture, timing, and frame pacing, making the animations feel natural and consistent.

Observation

Working on the animations showed how important it is to keep proportions consistent and transitions smooth between poses. Some common challenges were movements feeling too fast, sliding motions, and inconsistent volumes, all of which needed careful tweaking. Reference tools were essential for tackling tricky movements and ensuring clarity in the animations. Drawing detailed characters, especially with complex clothing, highlighted the importance of choosing the right tools—Illustrator was helpful for precision before moving to Adobe Animate.

Findings

Adjusting posture, timing, and movement cycles made the animations more realistic and fluid. Applying the rule of thirds and paying attention to lighting and color contrast added depth and visual balance to the scenes. Adding in-between frames and refining momentum and follow-through were key to creating smoother motions. Feedback consistently pointed out the need for clarity, consistent volume, and avoiding over-complicating actions, showing how small changes can make a big difference.