For my Unit 3 project, I have been assigned to collaborate with second-year students. This presents a great opportunity for me to participate in a group project rather than working solely on my own, and it will also provide me with valuable insights into longer-format animated performances.
I met with second-year students Guanjing (Yoyo) Mu, Mingyu Deng, and Shulei Yin. We had a 20-minute conversation about the project. It was immediately apparent that English was not their first language, as they were from China. I asked them what needed to be done first, and they explained the current status of the animatic. I wanted to fully understand the plot of the film and the message it aims to convey to the audience.
Guanjing, who I believe is the director, sent me a OneDrive link with all the project files, which was very helpful. I was pleased to see that the group was organized, even though they only started the project on January 18. The only challenge I faced was translating the brief file.
My main concern about this project is communication, as I am the only British student involved. However, it’s still early, and I hope this won’t become an issue.
I started animating a scene using fluid animation techniques. I was asked to create the effect of bubbles floating across the screen towards a character. As a rough test shot, I plan to experiment with different methods and styles for animating the bubbles popping.
I hope to receive some feedback from the group this week.
Animation by Laura Carter, 2025 – TVpaint Software.
Animation Test for The Film Bubble 2025 By Guanijing Mu, CSM.
The purpose of using references in animation is to assist animators in studying and analyzing the movement of objects, people, and animals. By observing how things move in the real world, animators can create more realistic and believable animations. Utilizing external sources such as videos, photographs, and real-life observations helps artists enhance the movement, appearance, and detail of their animated characters on screen.
Using references is not cheating. Many artists take personal pride in drawing from their imagination, but all artists benefit from using references to help guide their choices in acting or poses based on their observations from real life.
Disney created some remarkable live-action references during the Golden Age.
In Unit 1, I worked on animation projects that involved video references, lip-syncing, walk cycles, and quadrupedal movement. Each project presented its challenges, but watching the reference videos and analysing the movements and gestures helped me overcome those difficulties and improve my drawing skills.
I asked my friend Lenny to demonstrate the walk cycle because he excels at conveying himself through body language. And I got some exciting key poses within the walk cycle.
I don’t consider character design when planning an animation sequence; that comes later, after I’m satisfied with the rough animation. My main focus is on movement because I’ve learned that if you move directly from the rough stage to cleanup and character design without ensuring the character’s movement looks right or aligns with the design, it can lead to a failed project. All that time spent on cleanup and coloring will be wasted. Therefore, I prioritize rough poses and movements first, seek additional feedback, and explore second or third options to ensure the animation works effectively.
There are various resources available, such as tutorials, reference sheets, libraries, and other online content. I’ve been following the artist Kibbizer(@Kibbi_the_Instagram)on Instagram, who provides numerous references and consistently studies anatomy. Her work has significantly helped me improve my understanding of the human figure by allowing me to focus on specific body parts, full-body poses, and different perspectives.
Character References Sheets By Kibbizer, Pateron.com/kibbitzer.
The quadrupedal walk cycle was the most challenging exercise I had to create; animating animals is not easy. You need to study animal anatomy carefully, as they have different joints compared to the human figure. I studied and analyzed cats by reading books about the Animal Kingdom and using reference photos from the library. I also recorded videos of my cat at home to observe how he walks. I dedicated time to studying the basic anatomy of the animal, paying close attention to how its body parts are connected. This helps me understand how to depict its movements accurately.
Reference video of my cat and mapping out where the joints on the cat’s body are. An example of thumbnailing sketches, Pinterest
I start by identifying the main key poses, similar to how a human character would. The first poses I focus on are the full and mid-strides. I’ve observed that whenever the front legs are in a mid-stride position, the back legs are in a full-stride position, and vice versa. Hips play a crucial role; they serve as the engine driving a walk. The head and shoulders primarily guide the character’s direction.
Bibliography
BugBoss (2021). Cat Anatomy Facts – ONE ZOO TREE. [online] ONE ZOO TREE – Career Guidance for Children who want to work with Animals. Available at: https://onezootree.co.za/courses-directory/cats-2/cat-anatomy/lessons/cat-anatomy-facts/ [Accessed 3 Mar. 2025].
Coconut Press (2023). Disney history: Using live-action footage for animation (1939) Restored 4k. [online] YouTube. Available at: https://www.youtube.com/watch?v=91lEHG9DPrQ [Accessed 3 Mar. 2025].
Hendricks, G. (2001). Eadweard Muybridge. Dover Publications.
Korkis, J. (2022). Live Action Reference |. [online] cartoonresearch.com. Available at: https://cartoonresearch.com/index.php/live-action-reference/.
Mattesi, M. (2021). Force: Animal Drawing. CRC Press.
Webster, C. (2017). Action Analysis For Animators..
White, T. (2009). How to make animated films : Tony White’s complete masterclass on the traditional principles of animation. Amsterdam ; Boston: Elsevier/Focal Press.
Winslow, V.L. (2009). Classic human anatomy : the artist’s guide to form, function, and movement. New York: Watson-Guptill.
Winslow, V.L. (2015). Classic human anatomy in motion : the artist’s guide to the dynamics of figure drawing. Berkeley: Watson-Guptill Publications.
British animation truly emerged as a distinct art form in the 1980s; before that, it was primarily viewed as an American phenomenon. Typically, British animation is more experimental and artistic, often exploring darker themes and showcasing a unique, sometimes quirky style. In contrast, American animation tends to be more commercially oriented, characterized by bright colours and a standardized “Disney-esque” aesthetic that usually prioritizes broad appeal to a wider audience.
In the 1980s and 1990s, funding for independent projects was available from various sources, particularly progressive television stations like Channel 4. Animators were fortunate to be in the right place at the right time, as this period allowed independent artists—especially women—to create films that prominently featured feminist and political themes. The channel advocated for more excellent representation of underrepresented issues related to ethnicity and sexuality while also encouraging political critique and artistic experimentation.
Channel 4 Logo & switched on for the first time on November 2, 1982
At that time, animation was not considered capable of attracting large audiences, which was a misjudgment, as later demonstrated by U.S. series like The Simpsons. This misconception allowed the commissioning editor to prioritize quality and originality in their selections without the pressure to produce work focused solely on ratings.
In 1989, Aardman created a series of five short films inspired by vox pop (the voice of the people) as their subject matter. This series has inspired and helped me create my own lip sync exercises for CSM. The characters have so much soul and warmth. It’s so clever how they animate the puppets’ movement and gestures. You can see so much humanity in there; it’s amazing.
Animating Real-Life Conversations I will analyze two short films from the series that caught my interest:
Going Equipped 1990 By Peter Lord
The short film is about a young man in prison is interviewed and talks about his life, how he got into prison, and what it’s like doing time.
The body language in this animated model is impressively smooth and realistic. However, the voice delivery is quite slow, reflecting the character’s suffering during his time in prison. In the scene where his fingers touch the playing cards, along with the images of the cards, it becomes clear that he is still affected by his prison experience. His voice, finger movements, and overall body language convey a lingering sense of confusion and sadness.
While it may lack the comedic contrast present in the more famous “Creature Comforts” short from the same series, this direct and unembellished approach remains deeply melancholic and even haunting.
Creature Comforts 1989 By Nick Park
In 1989, Nick Park contributed to this series with the film Creature Comforts, which won an Academy Award for Best Animated Short and was also screened during the main season on Channel 4. Park’s Plasticine animation is brilliantly characterized, with the facial expressions and gestures of the subjects perfectly aligning with the source recordings.
This is one of the wittiest pieces of stop-motion animation ever created. The audio features recordings of real people candidly describing various situations of confinement. Nick had to find individuals who might relate to the situations animals face in order to provide the kind of answers that animals might give.
Bibliography
Awn.com. (2025). The History of Channel 4 and The Future of British Animation. [online] Available at: https://www.awn.com/print/animationworld/history-channel-4-and-future-british-animation [Accessed 26 Feb. 2025].
Kitson, C. (2008). British Animation.
Kitson, C. (2011). British animation and Channel 4: The role of broadcasting in nurturing new talent and creativity in the animation industry. Creative Industries Journal, 3(3), pp.207–220. doi:https://doi.org/10.1386/cij.3.3.207_1.
Lucy, L. (2011). British Animation: The Channel 4 Factor by Clare Kitson – Book Review – Skwigly Animation Magazine. [online] Skwigly Animation Magazine. Available at: https://www.skwigly.co.uk/british-animation-the-channel-4-factor-by-clare-kitson-2008/ [Accessed 26 Feb. 2025].
Mitchell, B. (2014). Remembering ‘Lip Synch’ with Aardman’s Nick Park & Peter Lord – Skwigly Animation Magazine. [online] Skwigly Animation Magazine. Available at: https://www.skwigly.co.uk/nick-park-peter-lord/ [Accessed 26 Feb. 2025].
www.screenonline.org.uk. (n.d.). BFI Screenonline: Channel 4 and Animation. [online] Available at: http://www.screenonline.org.uk/film/id/1282041/index.html
The three-act structure is a model used in narrative fiction that divides a story into three distinct parts: the Setup, the Confrontation, and the Resolution.
Camera work can be categorised into three main sections:
A) The framing or length of the shot
B) The angle of the shot
C) The movement of the camera within the shot
Each of these elements contributes to the film’s mood, atmosphere, character development, and overall story. By analysing camera work, we can understand how the director manipulates and guides the audience’s experience throughout the film.
Act 1 The first act typically introduces the main characters and their circumstances within the world they inhabit. Later, a significant event known as the inciting incident or catalyst occurs, challenging the main character. Their attempts to address this incident led to a dramatic situation.
Act 2 Rising action typically illustrates the main characters’ efforts to resolve the problem introduced by the initial turning point. However, these attempts often lead to an increasingly difficult situation. The characters must confront their issues, even though they lack the necessary skills to handle the antagonistic forces they face. Throughout this process, the characters gain greater awareness of themselves and their abilities, ultimately leading to personal growth and change.
Act 3 The resolution of the story and its subplots occurs after the climax, which is the moment when the central tension of the narrative reaches its peak. This intense scene answers the dramatic question and gives the main character a new understanding of who they are.
In the 1940s, Disney established the foundation for animation principles, building on the work of Disney animators from the 1930s onwards. Their goal was to create more realistic animations that made cartoon characters appear to follow the fundamental laws of physics. At the same time, they aimed to address more abstract concepts, such as emotional timing and character appeal.
Squash and Stretch
Anticipation
Staging
Straight-ahead action and pose-to-pose
follow through and overlapping action
Slow in and Slow out
Arc
Secondary Action
Timing
Exaggeration
Solid Drawings
Appeal
The principles were introduced by Ollie Johnston and Frank Thomas, who were Disney animators. They created a book in 1981 titled “Disney Animation: The Illusion of Life.” If you’re a student or a fan of animation, I highly recommend reading this book. It not only provides a history of Disney animation but also explains the processes involved in clear, non-technical terms, covering the 12 basic principles of animation.
FRANK THOMAS & OLLIE JOHNSTON, STEPTEMBER 1912
What does each principle mean?
Squash and Stretch This foundational technique involves stretching and compressing character shapes to create the illusion of weight and volume, making movements more realistic and believable.
Example: The Bouncing Ball
FROM CARTOON ANIMATION BOOK BY PRESTON BLAIR
Anticipation This technique captivates the viewer just before an action occurs. It features a brief pause, building anticipation for what is about to happen. It holds power for a specific moment.
FROM THE ANIMATOR’S WORKBOOK BY TONY WHITE, 1988
Staging This involves arranging objects according to scene requirements. It’s crucial to present a scene in a way that conveys what is happening, taking into account composition, lighting, and camera angles.
WALT DISNEY ANIMATION STUDIO, STEAMBOAT WILLIE 1929PAGE FROM THE BOOK THE ILLUSION OF LIFE BY FRANK THOMAS & OLLIE JOHNSTON
Straight Ahead Action and pose-to-pose Sequential drawing involves creating frames one after another, while pose-to-pose animation focuses on establishing keyframes first and then filling in the intermediate movements. Both techniques are foundational and present advantages and disadvantages, but animators appreciate working with both methods.
THE ANIMATOR’S SURVIVAL KIT BOOK BY RICHARD WILLIAMS.
Follow-through and overlapping Action Follow-through and overlapping action both depict how the parts of an object move independently of each other. This method is particularly useful for animating hair and clothing, as it continues to show movement even after the primary action has stopped.
Slow in and slow out. Slow in and slow out describes how an object accelerates and decelerates. In the real world, things don’t just start and stop instantly. We animators must reflect this accurately. This enlightens how an object accelerates and decelerates. In real life, things don’t just start and stop instantly in the practical world. We animators must reflect this perfectly.
Arcs Arcs are represented by creating character movements that follow curves rather than straight lines. This concept is essential for producing fluid, realistic, and organic movement.
Secondary Action Secondary action involves the use of additional movements that complement a character’s primary actions, making the animation more realistic and engaging. This concept is essential as it adds depth and complexity, particularly when secondary actions are intertwined with the main action.
Timing Timing defines the pace of a scene and influences how characters move and interact with other objects.
Exaggeration It is an effective strategy for highlighting specific character movements, allowing observers to notice them. For instance, characters can move their arms and legs vigorously or exaggerate their facial features to convey intense emotions like anger.
Rabbit of Seville, Looney Tunes 1950
Solid Drawings Characters and environments can be perfectly represented through flawless geometric shapes, using the solid drawing principle as a strong foundation. To become an animator in a studio, it is essential to master key artistic techniques such as anatomy, shape, weight, and balance.
Appeal Creating flawless characters requires a strong appeal through their design, personality nuances, and realistic movements. Manipulating characters’ movements and using subtle facial expressions to convey emotions and personality is essential for expertise.
