WEBVTT

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Hello

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I am Jin-ho Ryu, an animation director who will be teaching 2D animation motion expression

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Today, we are going to

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learn how to draw digitally using a program dedicated to 2D animation

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Digital drawing methods

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have advanced significantly and become more efficient
compared to traditional methods using paper and pencil

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but I believe the basic principles of animation haven't changed

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As in today's class,

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by properly understanding the principles of animation

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and becoming familiar with the drawing software,
you can also become good animators

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Through this course, I hope you will gain the basic knowledge needed for expressing animation motion

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and practice simple actions with the program to fall in love with the charm of animation

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Basics of 2D Animation Production

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The animation tool we will use in this class is Adobe Animate

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This program, created by Adobe,
was known from the early 2000s to 2010s

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as Flash, which I think you will have definitely heard of

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It was a light, web-based program

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that was acquired by Adobe and had its name changed

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And it has become more powerful in the process

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Many animators worldwide are using this program

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The biggest advantage is that it's inexpensive

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It's also easy to create on it, and it's accessible

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Because of perks like these, Animate is being used to 
produce many animated TV series

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Other programs that animation productions often use

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are Toon Boom Harmony, TVPaint Animation, and Clip Studio

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And there are also iPad apps

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that amateur animators can easily access as well

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There are other widely known programs, too

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The ones I have mentioned are quite expensive

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But large companies that professionally produce animation
mostly use programs like TVP, Toon Boom Harmony

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and Clip Studio

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because they are optimized for 2D styles

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But for this lesson, I decided that the best tool

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in order to allow you to try it out for yourself

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and use it easily, Animation would be more appropriate

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So today, before you get to the practicing part

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there is some basic knowledge you must know

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Animation is a kind of video, so you need to know some basics about video

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and there are also some basic theories in creating animation

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You will learn about those theories as you try out Animation

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The first out of those are frames

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Frames, as you may know

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are the individual images on the screen

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So in the case of animation

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We are drawing things in the frames
which is why we sometimes call them images

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In a movie film

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a frame is a single image in that film

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So in video language, the images that make up the frames

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are simply called images,
and are interchangeable with frames

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So what 'frame' means is a single page

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or a single image within a video or animation

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But in order to make the frame look like it is moving

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you need 30 images in a second, so 30fps

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But 30fps is required for regular videos

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The requirement for animation is 24 frames in a second

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So the animation has to be at least 24fps

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in order for the animation to resemble natural movement

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But that means you need to draw all of those frames

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And it isn't easy to draw 24 images for each second

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In the beginning era of animation, for example Disney

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animators used to draw all 24 frames by hand

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If you watch classic Disney animations
like Snow White or Cinderella

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The movements are very smooth

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Countless animators drew each of the 24 images, one by one

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This way of production is called full frame animation

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But full frame animation is very expensive

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It also takes a long time, and you need a lot of staff

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which made it less efficient

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In order to remedy these flaws

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people came up with the method of showing one image twice

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If you use one image twice

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When you used to have to draw 24 frames
to make a second of animation

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Now you only need 12 images to create a second

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So this method of animation, showing the same frame twice

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and thus creating 12fps animation, is called limited animation

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Producing animation this way

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resulted in more smoother movements than expected
even though it wasn't in full frame

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It also made the process less expensive
and required half the workforce

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Which is why nowadays

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Animated movies mostly use limited animation
to produce 12fps animations

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and 2D works worldwide

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now are made as 12fps pictures

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Of course, this isn't the only way to animate

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you can utilize this concept to show the same image 3 times
and draw 8 images per second

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Then you would get 8fps animation

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That is a also a method you can use

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Limited animation such as these were mainly produced in Japan

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and then spread to the rest of the world

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So 2D animation nowadays are mostly 12fps or 8fps

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If you lower the framerate further, to 6fps or lower

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It will give too much of a choppy feeling

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which is why it's not used that much

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But for beginners, even 12fps or 8fps animation

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will feel a bit overwhelming

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Which is why to make the process fun

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it's also a good idea to start with 6fps or lower

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even if the result gets a bit choppy

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So like this

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24fps means that there are 24 images in a second
and you show a single image only once

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Which is why

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you can also call it frame per second

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That's where the abbreviation fps comes from

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and why we call 24 frames per second 24fps

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But Japan uses different terminology

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In Japan, they use the term 'comma' as a unit

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So if you show one image per second, that's 1 comma

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The reason I'm suddenly talking about Japan

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is because the unit comma is used very often in Korea as well

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Animators working in the field right now use the word

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People in the US or Europe use the term fps more often

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In Korea or Japan, comma is more common

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So the full frame method that shows a frame only once
per second is 1 comma

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And if you show a frame twice

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that's 12fps, or 2 commas in Japan

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So 2 commas or 3 commas is a term used in animation

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The reason why fps is important

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is because it determines the playback speed

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If you show the same image 3 times

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that would slow down the video speed

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Because you show the same image 3 times,
each image is shown 3 times

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to lower the speed to 1/3

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If you show the same image twice
the playback becomes 1/2 the speed at 24fps

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So how the frames work will also affect the playback speed

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and thus the timing of movements, so be careful

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This is why you should decide which fps to create in before you begin

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Next is about resolution

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The basic screen proportions are
16 horizontally to 9 diagonally

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There used to be a standard image size of
720 horizontally to 480 diagonally

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which is 720x480, so 4:3

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That was the standard definition then, SD for short

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But recently as screens got better

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The screens are getting longer, and now the
standard proportion is 16:9

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and the SD is now 1920x1080

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We call this definition Full HD, or FHD

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There are higher quality images, like UHD,
which is 3840x2160

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or Ultra High Definition

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4K video is also being developed and used practically

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But the basic image size currently being used

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is FHD, 1920x1080

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The 12 Principles of Animation

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Next I will tell you about the 12 principles of animation

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these rules are essential for creating animation

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and it was established by the animators from Walt Disney

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It's also called the bible of animators

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It contains theory necessary for creating movements
that are smooth and look alive

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It's also sometimes called the textbook for new animators

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I hope that by learning about these 12 principles
and trying them out for yourselves

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you understand what they mean

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There isn't an exact hierarchy

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between the 12 principles, but I'll introduce them in order

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There's Squash and Stretch

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Anticipation

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Ease in & Ease out

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Secondary Action

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Follow Through & Overlapping

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Staging

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Timing

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Arc

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Solid Drawing

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Pose to Pose Animation & Straight Ahead Animation

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Exaggeration, and finally Appeal
These are the 12 principles

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First, Squash & Stretch is about squishing an object
and stretching it back out

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What it means is that

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if an object is squashed due to physical force,
you should exaggerate the squash

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and also visibly exaggerate the object
as it stretches back out

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Through this kind of deformation, physical force is 
effectively conveyed to the viewer

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So using Squash & Stretch appropriately

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lets you visualize where force is being given
in a nice, smooth way

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It is a very important rule

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And it is not only about the shape of objects

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This rule can also apply to facial expressions,
like when a character is frowning or is surprised

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Or when they curl up and straighten their body
Squash & Stretch also applies here

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So visualizations

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of any compressing & decompressing movement

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That is where the Squash & Stretch rule can be applied

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Next is Ease-In & Ease-Out

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This is referring to how objects move and pause

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When something begins to move, it gradually gains speed
Likewise, it pauses in a gradual way

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So this rule is about acceleration and deceleration

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The interaction between an object and forces such as
air resistance or friction

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Ease-Out is the beginning of a movement

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and Ease-In means the deceleration of a moving object

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You will often see both when something changes direction

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The object eases in as it slows down

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and eases out as it accelerates in another direction

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Next is Anticipation

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The word 'anticipation' itself means

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the feeling that something will happen,
or the act of preparing for something

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So Anticipation is the action taken in preparation
for another action

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the action a character does before the one
they actually want to take

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It's sometimes abbreviated to Antic

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Anticipation movements are the process of
condensing power in preparation of an action

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The longer the Antic is, the more powerful
the following action will feel

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In the same way, the shorter the Antic is
the less powerful the following action will seem

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Anticipation allows the viewer

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to focus on the actor and predict their next action

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That's what Antic is, and next up

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is something called Secondary Action

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Secondary Action is literally a secondary movement

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that decorates the primary movement

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which is why it's called secondary

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Secondary actions make the movements richer

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And even simple or abstract movements,
through the addition of extra actions

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can be made to feel

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that they depict a certain action

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or a certain emotion

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For example

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if you're creating an animation of the main character
waiting for someone

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Multiple movements will make up the action

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of the main character as they are leaning on a wall

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like looking at their watch, or smoking a cigarette

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Or tapping their foot in impatience

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If you simply animate them leaning on the wall
and staring into the distance

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It will still seem like they're waiting for someone
but not as much with the extra actions

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Looking at their watch

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Or looking side to side to see if there's anyone coming

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Or tapping their foot are all extra indicators

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that this character is nervously waiting for someone

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By giving the character these extra movements

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Anyone who's watching can get an accurate idea
of how they feel and what they are doing

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That is what Secondary Actions are for

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Next is Follow Through & Overlapping

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Though these two are grouped together,
they're different concepts

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The reason they are put together
is because the actions look similar

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The movement of following something else

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can be called as Follow Through or Overlapping,
but these two are a bit different

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In Follow Through, the movement has a main actor

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The object that is following through is attached to that actor

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Because the object is dangling behind, naturally the 
movement will be a few steps behind as well

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So Follow Through is applied to for example
the movement of hair when the character turns their head

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The flow of clothing as the person wearing it walks

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Or the tail of a dog or horse

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wagging as the animal moves

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Follow Through applies to instances such as those

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In other words, instances
where the object cannot move on its own

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and has to trail behind something else

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On the other hand, Overlapping

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also has delayed movement timing

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But both the moving and following object

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are able to move on their own

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It simply means that the following object is a tempo late

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For example, Overlapping is often used for

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movement of animals or people, that have joints

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If you lift your arm

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Your arm has shoulder joints, elbow joints, and wrist joints

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If they all move at the same time

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It is possible in reality to do that

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But in animation, it looks smoother

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to move the elbow first, and then the wrist later

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This type of movement is called Overlapping

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This might be confusing, but once you try it out for yourself

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you will realize there's a difference between the two

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That's something we can learn during the practice exercises

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Next is the concept of Arcs

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Arcs mean curves

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and the Arc rule is that all movement in animation
is in a curve

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Because that will make the movement smoother

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if the object moves in a curved trajectory

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You know that aniamals all have joints

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Because of those joints

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they are due to move in curved lines

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So if you utilize that movement, a lot of the rigidness
you might have had in your movements will disappear

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This rule is about moving in arcs to make the movement smoother

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And next is Staging

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The stage is where things take place

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On the stage

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there is a main character

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then the background

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and all of the props

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And any supporting characters or additional objects

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Controlling the trajectory of these characters

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That is what Staging is

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You could call it the layout of animation

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Everything you see within the screen in an animation

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Is the result of staging the objects within it

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Like that

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the relationship between the characters on screen

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their positions and movement is what we call Staging

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So with proper staging, the viewers can follow along with
the story we're telling

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without any accidental misinterpretations

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which is why this is an important component

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The next rule is Timing

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Timing is

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the appropriate time in which
each movement should take place

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Each person will have a different interval

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between one movement and the next

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The same is true for objects

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So how much an object can move in a given situation

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is an important part

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of animation, and this is something

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that keeps being highlighted in the 12 principles

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The timing for the same movement can change
depending on the scene

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So you have to consider what situation the object is in
to select the appropriate timing

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For example

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If a character is opening a door

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The usual timing for opening a door
might be too slow in an urgent situation

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If a character is being chased,
and they leisurely open the door

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The movement itself will become inappropriate

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In contrast, if the character opens the door hurriedly
in a relaxed situation

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that isn't an appropriate timing, either

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So what situation the movement is happening in

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is something you have to consider when timing actions

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Next is about Solid Drawing

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Solid Drawing means

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that the pose of a character makes their actions clear

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and is framed very solidly

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The person that established the 12 principles

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had thought it very important

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that you check for that ceaselessly

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As a character on screen moves quickly,
or moves according to the story

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their movements might overlap

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or not be clear what actions they are

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and the viewers may not be sure what is happening

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In order to prevent that from happening

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you must use very strong poses and distinct silhouettes

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in order to animate

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a proper story
That is what Solid Drawing aims to tell you

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After that is Pose to Pose Animation and
Straight Ahead Animation

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This is a rule about production methods

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Pose to Pose Animation

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is a production method used often in both
2D and 3D animation

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You draw a pose, and the one that comes after it

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then animate movement by drawing the frames between them

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That is what Pose to Pose Animation is

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The poses are called keyframes in 2D animation

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and P2P animation is a very traditional method
which inbetweens the keyframes in intermediate frames

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Unlike P2P, in Straight Ahead animation

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you draw all the frames in order from the beginning

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This production method

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makes it difficult to set timing

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00:31:09.615 --> 00:31:14.554
As you animate every action in the order they happen

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before you realize it

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00:31:20.433 --> 00:31:24.112
the actions are taking up too many frames

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00:31:24.113 --> 00:31:29.312
So this method of production
makes it difficult to get the right timing

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But it can also let you create more varying and creative movements

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So if you want fresher movements,
you choose Straight Ahead

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Not only is this method used in 2D

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but in stop motion animation, Straight Ahead is mandatory

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There are these two differing production methods

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but Pose to Pose is used much more often

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in the field

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00:32:00.092 --> 00:32:05.092
The reason for that has to be efficiency

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It's easier to calculate the time it would take

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And the number of keyframes required can be estimated
before you go into production

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In production companies that leverage large budgets

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it would be much safer to use the Pose to Pose method

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00:32:28.394 --> 00:32:29.834
rather than Straight Ahead

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But

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For natural phenomena, you have no choice but to use
Straight-Ahead Animation

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With immaterial, amorphous movements

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you can't decide the keyframes beforehand

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So for depicting the flow of water or wind

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you have no choice but to use Straight Ahead

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00:32:56.933 --> 00:33:01.472
Except for cases like those, Pose to Pose is mostly used

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00:33:01.492 --> 00:33:09.672
And Straight Ahead is mostly used
when it is absolutely necessary

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Next is Exaggeration

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The movement of people in actual life

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is not very exaggerated

359
00:33:26.213 --> 00:33:30.653
Neither are those of characters in movies or dramas

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00:33:30.654 --> 00:33:33.433
At least, not as much as in animation

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00:33:33.434 --> 00:33:38.553
Exaggeration is that important in animation

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00:33:38.573 --> 00:33:44.532
You have to exaggerate movements much more
than you think you need

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00:33:44.532 --> 00:33:50.453
in order for the viewer to notice and focus on the animation

364
00:33:50.453 --> 00:33:55.852
That it why exaggerated movement is important

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00:33:55.853 --> 00:33:58.512
This principle is a reminder of that

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And Disney animation is a good example

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00:34:02.813 --> 00:34:09.132
Every movement in Disney animations seems
a bit exaggerated

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00:34:09.132 --> 00:34:12.672
If you watch a Disney production while conscious of that

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00:34:12.673 --> 00:34:15.992
you will see that the movements are
extremely exaggerated

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We are already used to how animation moves

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00:34:22.134 --> 00:34:24.894
which is in an exaggerated way

372
00:34:25.414 --> 00:34:29.754
if a movement is too small or too aggressively large

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you will not be able to perceive it as well

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00:34:35.452 --> 00:34:41.252
Which is why you should try to be
more brave with your movements

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00:34:41.253 --> 00:34:43.834
and exaggerate them a bit more

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00:34:44.172 --> 00:34:47.012
And finally, there's the principle about Appeal

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Appeal is also a verb

378
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whose object is a person

379
00:34:53.572 --> 00:34:55.813
So it means to try to make someone accept something

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00:34:55.814 --> 00:35:02.173
Appeal is one of the 12 principles because

381
00:35:02.193 --> 00:35:08.973
it's important to make the audience accept your character

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00:35:08.973 --> 00:35:12.512
In order for a character to show their personality

383
00:35:12.513 --> 00:35:16.992
first you need the visual design aspect

384
00:35:16.993 --> 00:35:25.152
Is the character timid? Or are they very brave and strong?

385
00:35:25.152 --> 00:35:30.052
Visual design can appeal those kinds of character traits

386
00:35:30.052 --> 00:35:36.373
But another component in giving appeal to a character

387
00:35:36.374 --> 00:35:36.935
is movement

388
00:35:38.195 --> 00:35:42.955
Because a brave character would act

389
00:35:42.955 --> 00:35:46.513
in exaggerated, large movements

390
00:35:46.514 --> 00:35:54.133
And if the character is timid and small

391
00:35:54.633 --> 00:35:59.093
you can appeal that through animating their movements
to be very small and quiet

392
00:35:59.093 --> 00:36:07.033
Like so, character traits must be appealed
very aggressively through movement

393
00:36:07.034 --> 00:36:10.633
That is what the principle is trying to tell you

394
00:36:10.634 --> 00:36:13.395
Now, I just told you that

395
00:36:13.933 --> 00:36:19.253
a brave character moves bravely

396
00:36:19.253 --> 00:36:23.712
and a timid character moves timidly

397
00:36:23.713 --> 00:36:25.752
Appeal can be done in that way

398
00:36:25.772 --> 00:36:30.832
But maybe if you switch those two around

399
00:36:30.833 --> 00:36:34.532
you could make a very interesting character

400
00:36:35.012 --> 00:36:40.352
For example, if a big, bulky character makes
extremely small movements

401
00:36:40.952 --> 00:36:45.452
That would say something about that character
that you can't tell from their looks

402
00:36:45.453 --> 00:36:48.655
And the reverse case as well

403
00:36:49.795 --> 00:36:55.995
Where a small, munchkin character is depicted
as having a wild temper

404
00:36:55.995 --> 00:37:00.213
That's also a very strong character

405
00:37:00.214 --> 00:37:03.773
So depending on how you appeal a character

406
00:37:03.774 --> 00:37:08.773
It can give your whole animation a huge amount of appeal

407
00:37:08.793 --> 00:37:12.253
which is why it's so important

408
00:37:12.254 --> 00:37:18.373
This lesson we learned about the 12 principles of animation

409
00:37:18.393 --> 00:37:23.852
Next time let's do some real animation practice

410
00:37:23.852 --> 00:37:29.272
using these 12 principles

411
00:37:29.273 --> 00:37:31.336
See you in the next lesson

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00:37:32.217 --> 00:37:33.055
1. Basics of 2D Animation Production
2D Animation-Specific Programs

413
00:37:33.055 --> 00:37:33.948
Adobe Animate: Inexpensive, easy production, accessible
More expensive, specialized tools: Toon Boom Harmony,
TVP, Clip Studio, etc.

414
00:37:33.948 --> 00:37:34.642
Frames

415
00:37:34.642 --> 00:37:35.383
Frame: Unit that stands for 1 image
FPS: Frame Per Second, number of frames in a second

416
00:37:35.383 --> 00:37:36.059
Full Frame Animation: 24 frames per second
Limited Animation: 8 or 12 frames per second

417
00:37:36.059 --> 00:37:36.611
Resolution

418
00:37:36.611 --> 00:37:37.335
The standard screen size is 16:9=H:D
Current Standard Definition is 1920x1080 FHD (2K)

419
00:37:37.335 --> 00:37:38.056
2. 12 Principles of Animation
12 Principles of Animation

420
00:37:38.056 --> 00:37:38.816
Squash and Stretch
Anticipation

421
00:37:38.816 --> 00:37:39.536
Easy In / Out
Secondary Action

422
00:37:39.536 --> 00:37:40.196
Follow Through and Overlapping
Staging

423
00:37:40.196 --> 00:37:40.836
Timing
Arc

424
00:37:40.836 --> 00:37:41.436
Solid Drawing
Pose to Pose Animation & Straight-Ahead Animation

425
00:37:41.436 --> 00:37:42.255
Exaggeration
Appeal