
Week #1 - Thinking Like an Animator
ACTION, CHARACTER & PERFORMANCE
Drew Campbell
9/26/20242 min read


Thinking Like an Animator
In the first week of our Animation and Visual Effects course, we were introduced to the fundamental concepts of animation through a presentation by our Thursday afternoon tutor, Lou Kneath. This presentation emphasized the importance of observing real life to capture the essence of movement, emotion, and character in animation. We also studied timing and spacing, one of the animation principles according to Frank Thomas and Ollie Johnston, two of Walt Disney’s most influential animators.
I had the pleasure of knowing Lou Kneath through business networking, as she owns the award-winning animation studio, Plus 3k Animation Studios. She was so inspiring to listen to, with her passion for animation shining through.
Assignment: Sketchbook Observations
Our assignment for the week was to observe real life and sketch a range of people, focusing on interesting poses, emotions, 3-dimensional shapes, forms, and silhouettes. This exercise aimed to develop our ability to see and represent the dynamic qualities of human figures, which is crucial for creating believable and engaging animations.
Throughout the week, I dedicated time to observing people in various settings, such as the university cantine, public transport, and even in my home environment. I aimed to capture a diverse range of poses and emotions, paying close attention to the 3-dimensional shape and form of each figure.
Included in this post are some of my sketches, which reflect my efforts to depict the fluidity and expressiveness of real-life movements. These sketches helped me understand how to translate real-world observations into animated characters that feel alive and relatable.
Reflection
This assignment was an invaluable exercise in honing my observational skills and understanding the nuances of human movement and expression. By focusing on the 3-dimensional shape, form, and silhouette, I gained a deeper appreciation for the complexity of animating lifelike characters.
I also found this week challenging, as I tend to focus too much on the details and wasn't used to drawing as loosely as this. However, this experience taught me the importance of capturing the essence of a pose or emotion without getting bogged down in the details. This foundational practice will undoubtedly inform my future work in animation, allowing me to create more dynamic and emotionally resonant characters.


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