Animation Fundamentals/ Project 2B

 16/06/25 -  23/ 06 /25 ( Week 9 - Week 10)

Kek Kai Wei, 0363513
Animation Fundamentals / Bachelor of Patisserie Arts ( Hons)
Project 2B: Jump Animation

LECTURES

WEEK 9： Anticipation + Follow through and overlapping action

  • Anticipation

    • Prepares the audience to understand the action.

    • Makes the main action more powerful and readable.

    • Can be subtle or exaggerated depending on the context.

  • Follow Through & Overlapping Action

    • Follow Through: Parts of the body continue to move after the main body stops.

    • Overlapping Action: Different parts of the body move at different rates or times.

    • Helps create more natural and believable motion.

  • Drag

    • A delay in the movement of connected parts due to inertia (e.g., hair, clothes).

Action Analysis Process

  1. Anticipation

  2. Action (Key Pose)

  3. Follow Through & Overlapping Action

Drawing Breakdown Example (7 Drawings)

  • Drawing 1: Extreme A (Key pose)

  • Drawing 2: Breakdown

  • Drawings 3, 4, 5: In-betweens (timing spacing for slow-in / slow-out)

  • Drawing 6: Breakdown (return path)

  • Drawing 7: Extreme B (Key pose)

  • Principle:

    • Slow-in: More drawings near the end of the action.

    • Slow-out: More drawings at the beginning of the action.

    • One or more hold frames can be used to emphasize pauses.

Timing & Favor Pose

  • Favor Pose: An in-between frame is placed closer to one of the extremes, creating snappy timing.

  • Used for fast actions (e.g., quick punch, bounce).

  • Creates strong, fast motion with fewer frames.

PROJECT 2B

Task Assigned:
  • Study jump animation with anticipation, follow through, and timing from Animator’s Survival Kit.

Figure 1: Jump Pose

Figure 2: Jump pose take from Animator’s Survival Kit.

  • Poses to include:

    • Normal pose

    • Anticipation

    • Jump (Push off, In air, Landing)

    • Follow through

    • Back to normal pose

ROUGH SKETCH:

Progressions:

  • Before starting the rough sketch, I observed the different jump poses in The Animator's Survival Kit and first tried roughly sketching them out on paper.

Figure 3: Rough sketch of jump pose on paper ( 18/06/2025)

  • After having a general direction, I moved on to Adobe Animate to begin the drawing process.

Figure 4: Normal pose (18/06/2025)

  • Following the task requirements and sir's guidance, I first completed the normal pose.

Figure 5: Anticipation (18/06/2025)

  • When working on the anticipation pose, I kept adjusting it to achieve the smooth and fluid motion required by the lecturer, without any stiffness or lag. It was a bit challenging for me, but I kept refining it to improve the overall flow.


Figure 6: Anticipation 2 (18/06/2025)

Figure 7: Anticipation 3 (18/06/2025)

  • The next 2 pose are also part of the anticipation phase, but it involves bending down in preparation to jump.

Figure 8: jump (push off 1) (18/06/2025)

Figure 9: Jump (push off 2) (18/06/2025)

  • Next is the jump push-off, where the character pushes off the ground with force. I focused on emphasizing the stretch in the body to show the energy and power of the takeoff.

Figure 10: Jump( In air) (18/06/2025)

  • Next is the jump in air. I added an extra frame before it to make the motion smoother. After that, I worked on the landing pose, making sure the weight and impact were clearly shown through the character’s posture.

Figure 11: Landing Pose (18/06/2025)

Figure 12: Follow through (18/06/2025)

  • The follow through pose was the most challenging part for me, especially adjusting the hand position, which took several attempts. Finally, I ended the sequence by returning the character to the normal standing pose to complete the full jump cycle.

Figure 13: Back to normal pose (18/06/2025)

FINAL OUTCOME: 



   TIE DOWN:

PROGRESSIONS: 

  • Next, I moved on to the tie down stage based on the rough sketch. I focused on cleaning up the lines, making the strokes more consistent, and refining the character’s form while maintaining the original motion.

Figure 14: Tie down (18/06/2025)
  • Thanks to the previous experience of drawing the walk cycle, I had a basic understanding this time, which made working on the tie down a bit more manageable. I still encountered some challenges, but overall the process felt more familiar and smoother compared to before.
FINAL OUTCOME:


The revised tie down：

  • Based on the feedback given by Sir, I adjusted the part where the character pushes up into the air. After making the changes, I found that it looks much smoother compared to before.
Figure 15: adjusting the place (23/06/2025)

FINAL OUTCOME:






REFLECTION

  • This week was quite heavy with tasks, so I felt some pressure while working on the jump animation. Although I had some foundation from the previous walk cycle, certain parts like the follow through pose were still challenging. Despite the difficulties, I managed to complete both the rough and tie down versions, and the process helped me improve my understanding of timing and movement.

FEEDBACK
  • Mr. Kamal mentioned that the overall drawing was not a problem, but the time and spacing still need improvement. He specifically pointed out that the use of "slow in, slow out" was not fully applied, especially at the peak of the push-up movement. When the character reaches the highest point, there should be a slight pause to emphasize the rhythm of slowing in before slowing out, which helps enhance the natural flow and expression of the animation.


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