o高级角色动画理论世界大学城Word格式文档下载.docx

1、What follows, are principles that many of the traditional masters of animation have learned and discovered in their journey to learn their art. These principles are equally applicable to both traditional forms of character animation （i.e.: cel, stop motion etc.） as well as computer animation. In add

2、ition to some of the basic principles, I am also including some new variations and combinations of these principles, thanks to some friends on the CG-Char list. （See the Special Thanks section）. 下列所述,是一些大家学习制作动画过程中要掌握的传统的法则.它们不仅对传统角色动画十分重要,同样也适用于计算机角色动画.除了一些最基本的理论,我还对一些传统意义上的法则做了调整和综合.其间,感谢很多CG-char

3、上列出的许多CG界的朋友们!（参见“special thanks section”特别感谢部分）Each of these principles is defined and explained with both text, and an actual animation sample. The goal is to not only define what the principle is, but also to show how, and where, one might utilize it in a real scenario. In and of themselves, thes

4、e are just guides, rules to learn, practice, and understand. Used in conjunction with a sense of acting, they will help to create realistic and entertaining character animation. 每条法则都会做定义，同时也会做些解释说明，外加一个动画范例配合讲解。其目的不仅是为了定义这些法则是什么，还要讲清楚这些法则是怎么应用的，在哪里运用。同时每个人都可以在真实的场景中运用这些法则。但无论怎样，这些文字都还只是起着引导作用，道理还是需

5、要你们自己去学，去实践，去理解。通过综合运用，可以做出很真实，很有趣味的角色动画。I hope you, the reader, find this article informative and helpful. If you have any questions or comments, you can email me at cometcomet-. I myself am still just learning and practicing this fine art, and stand in awe of the true masters of animation who have

6、 given us this guide. 我期待我写的这些文字能对读者们有所帮助，如果你们有任何的意见或者建议，可以发EMAIL给我：cometcomet- 我本人其实也是在学习掌握这门艺术，同大家一样对真正的动画大师也是非常敬仰的。The 12 Basic Principles of Animation 动画的12条基本原则The 12 basic principles of animation are listed below. You may see them in a slightly different form or order in other articles, books

7、or magazines. I have listed them here as shown, because I feel this order facilitates learning them more easily. You can learn one first, then go on to the next building up your skills. I also feel they tend to be related, and flow more easily from one to the other in this order. 下面列出了动画的12条基本原则，也许在

8、其他的文章或者书刊中有过不同版本，但内容基本类似。按照这个顺序列出它们，我觉得会更方便大家理解。你们可以从第一个学起，然后逐个学习，加深理解。同时，我也感到它们之间又是交叉联系的。按照这个顺序学习的话，将来运用的会更加自如。1. Timing 2. Ease In and Out （or Slow In and Out） 3. Arcs 4. Anticipation 5. Exaggeration 6. Squash and Stretch 7. Secondary Action 8. Follow Through and Overlapping Action 9. Straight Ahe

9、ad Action and Pose-To-Pose Action 10. Staging 11. Appeal 12. Personality By following and knowing when, where and how to apply these basic ideas, and by understanding them, one should be able to create good animation. It is important to note that simply memorizing these principles isnt the point. No

10、 one will care whether or not you know this list. Its whether or not you truly understand and can utilize these ideas that matter. If you do, it will show automatically in your work.通过学习并理解清楚什么时间，什么地方，和怎样运用这些基本法则后，你应该能够制作出比较优秀的动画出来了。只是简单机械的记忆这些法则不是我们的目的，因为没有人会在意你是否背得出我列出得这些法则。关键是你能否真正的理解它们，了解这些法则的实质

11、。如果做到了，那么就会在你的作品里立杆见影。 Timing 节奏 Ease In and Out （or Slow In and Out） 渐进和渐出（或慢进慢出） Arcs 运动弧线 Anticipation 动作预备 Exaggeration夸张1. Timing 节奏It may seem kind of silly to even have something as basic as timing on the list. Obviously timing is the essence of animation. The speed at which something moves g

12、ives a sense of what the object is and why it is moving. Something like an eye blink can be fast or slow. If its fast, a character will seem alert and awake. If its slow the character may seem tired and lethargic. 有些人会觉得把timing（节奏）放在法则列表里似乎很愚蠢，因为这个对动画制作来说实在是太基本了。显而易见，“节奏”是动画的基本要素。物体运动的速度说明了物体物理本质，和运

13、动的成因。仅仅是“眨眼”的动作就可或快或慢。如果眨的快，角色看上去就处在“警觉或者醒着”的状态，如果眨得慢，角色就会显得比较慵懒，疲惫，昏昏欲睡。John Lasseter gave a good example in his famous Siggraph paper using a character with a head that turns left and right. Essentially, he gives different durations for the exact same head turn motions, and shows how it can be rea

14、d differently based merely on the timing. If the head turns back and forth really slow, it may seem as if the character is stretching his neck. A bit faster it can be seen as saying no. Really fast, and the character is reacting to getting hit by a baseball bat. John Lasseter在他的那篇著名的Siggraph论文里使用了一个

15、关于头部从左向右的转动的范例。虽然是同一个转头的动作，但他按照不同的时间节奏做出来，却表现出不同的意思，而本质上他仅仅是改动了运动的timing“节奏”而已。如果头从后往前转的很慢的话，角色看上去只是在活动颈部而已。加快一点速度，看上去就象是在说：NO! 再快点，角色看上去就很象被物体砸到头部一样。Having a good sense of timing is critical for good animation. Cartoony motion is usually characterized as fast snappy timing from one pose to another.

16、 Realistic tends to have more to do about going between the poses. But both require careful attention to the timing of every action. 对于好的动画来讲，好的“节奏”感非常重要，非常基本。动作的卡通风格一般要求物体从一个pose（姿势）到另外一个pose的变换很灵活简洁。写实风格的则要求在pose之间细节上要有变化。但是无论哪种风格，都要注意每一个动作的timing节奏问题。I think it was Chuck Jones who said The differ

17、ence between the right timing and the almost right timing, is the difference between lightning and a lightning bug. 记得Chuck Jones曾经说过：“好的timing节奏和差强人意的timing节奏之间的差别就有如“光”和发光的萤火虫之间本质的差别”。范例：请按ctrl+鼠标左键点下面的AVI链接，以下同。60 Frame Hea把d turn - This looks more like a stretch action 这个版本看上去象是生硬的分解动作（60 fps）30

18、 Frame Head turn - This is more like a no no no action 这个版本象在说“NO NO NO ”（30 fps）5 Frame Head turn - This is more as if he just got hit 它看上去象是被什么东西给打到。（5 fps）Note how all of these samples have the same key poses, but simply changing the timing causes the action to be read very differently.请注意这些例子里的动

19、作pose 都是一样的，只是调整了timing节奏，结果动作就有了不同的含义。返回2. Ease In and Out （or Slow In and Out） 渐进和渐出（或慢进慢出）Ease in and out has to do with gradually causing an object to accelerate, or come to rest, from a pose. An object or limb may slow down at it approaches a pose （Ease In） or gradually start to move from rest

20、（Ease Out）. 渐进和渐出的规律通常是运用在物体pose的加速或减速变化过程中。一个当物体接近某个POSE时，通常是减速变化的（称之为渐进或慢进）；相反地当它从一个POSE开始向另外一个POSE变化时，应该是加速的（称之为渐出或慢出）。For example, a bouncing ball tends to have a lot of ease in and out when at the top of its bounce. As it goes up, gravity affects it and slows down （Ease In）, then it starts its

21、downward motion more and more rapidly （Ease Out）, until it hits the ground. 比方说，一个弹跳的小球凡是在它达到顶点的时候都会有渐进和渐出。当它起跳时，受重力影响速度应该越来越小（即渐进）。当它向下运动的时候应该逐渐的加速（渐出），直到它触地为止。Its important to note that gradually here doesnt have to mean slow. It just means the object isnt moving 100% and then in one frame coming

22、to a complete stop. For snappy cartoon motion, you may have ease in and out over only a couple of frames. But even 3 frames of ease in and out may help a limb from looking too stiff or mechanical. 需要注意的是这里“通常“并不意味着速度慢。真正的意思是物体运动不必本来是全速前进但只是用一帧就嘎然而止，这是不行的。卡通类型的动作里你只要2帧来做这个渐变过程就可以，但如果是用3帧来做，看上去就会比机械的僵

23、硬的动作好很多。As applied to character animation, you usually use ease in and out for most movemnts. Even if the character is just turning their head, you will probably want a few frames to soften up the start or end of the motion. 对于角色动画，你总是要在运动中加入渐进或渐出的处理。即便角色只是旋转了一下头部，你也可能需要在动作的起始和结束的地方加一些帧使之更平滑些。Bounci

24、ng Ball - The ball on the left is linear, which looks abrupt. The one of the right eases in/out at the top and looks smoother and more natural. 左边的球是线性运动，没有渐变处理，看上去很生硬。右边的球则在运动的顶点出有渐进、渐出，看上去就平滑自然的多。Arm - Bad, No Ease - Very robotic/computery looking 没有渐变处理的胳膊的弯曲动作，看上去非常的僵硬，如同机械一般。Arm - Good, With Ea

25、se - Much more natural and fluid加入了渐进和渐出，则自然了很多。3. Arcs 运动弧线In the real world almost all action moves in an arc. When creating animation one should try to have motion follow curved paths rather than linear ones. It is very seldom that a character or part of a character moves in a straight line. Even

26、 gross body movements when you walk somewhere tend not be perfectly straight. When a hand/arm reaches out to reach something, it tends to move in an arc. 在现实生活中，所有的运动都是有弧线的。当做动画的时候你应该让动作沿着曲线运动而不是线性的直线。很少有角色或者角色身上某个部位的运动是直来直去的。甚至当你整个身体在行走过程中也不是呈一条直线运动的。当手或者胳膊伸出去触摸物体时，都是按照曲线来运动的。Sticking with the head

27、 example, the head rotates in an arc like fashion. That is if a characters head rotates from left to right, at the halfway point, it should actually be dipped or raised slighly depends on where it is looking. This stops the rotation from being perfect linear or mechanical looking. 还是拿头部运动来做范例，头部象扇子一样呈弧线旋转运动。也就是当头部从左象右转动时，在中间位置头部应该根据他视线看的方向加一点低头或者抬头的