Practice English Speaking&Listening with: ? Straight Ahead and Pose to Pose Animation ? // Principles of Animation Series Part: 04 [2020]

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Hello you guys this is Wayne from 1on1 Animation

This is going to be a tutorial more in-depth

about straight-ahead animation

versus pose to pose animation

one of the major principles of the 12 principles

so what we got here

like I always tell you

is always do your thumbnails first

This is basically Rascal

and what's happening here is that Rascal is

in this pose he just

got told off by the neighborhood friends

because he was acting like a jerk and he is

mad at them. Starting off at this pose he puts

his hands in his pockets

cause he is really angry at

him for telling him to buzz off

and then he comes back into this pose

with the anticipation and he kicks a juice box

that's right there and he kicks it up

juice box goes off-screen left

and then he settles into this last pose

so let's get started here

There is Rascal

that's his starting pose right here

and as you can see there's my thumbnails

in the top left corner. I always

refer to those when I'm animating

my scene. That's why I do them. When I get started

I know where I'm going

and so there's Rascal and

this is actually the second pose

He's looking off-camera at his friends

so he's looking off at them but

I'm gonna be animating in reverse here

and you'll see what I mean. I'm gonna create

the first pose there and I'm animating

basically from that pose

backwards just for this section of it

and now I got my starting pose and

now I just continue straight ahead

and what I mean by straight ahead animation

is exactly what it says. It's one

drawing after another

It's sort of like when you do flipbooks

on the corner page of your textbook or something

You just do them

one after another, and the thing about doing straight ahead

is it's a little bit more

freedom and you just feel the action as

you're going forward with it

and you're looking at your thumbnails

constantly to just as reference

to where you're gonna go with them

so as you can see here as it's time lapse

there he is, he's just going straight through

each pose

one after another

and there is the antic and now he sees

the box here and he's gonna

anticipate more here

right there with his foot back

and there's the anticipation right


and he kicks the juice box

animating straight ahead and

as he does it I'm feeling the movement

and he kicks it hard so he goes

flying up in the air for just

a bit, you know it's almost like a

skip and then the juice box is being animated

off-screen, but Rascal now is coming back

down to the ground, following my thumbnails and

I'm feeling the action as I go

forward with it, one drawing after another

and here he's landing on the ground

right here, and he's just landing and

he cushions in there

and now he's coming into the last pose

and in the very last pose

like I said this is where he's gonna be looking off at

the neighborhood kids that told him to get lost

and that's basically it right there

so there he is looking off at him

and here's the scene, so this was done

straight ahead and you can see it

has a nice fluid feel to it. I just went

straight forward and it works, so

if this works for you, I say

go for it, but now we're back

and we got our thumbnails again

and we're going to now do pose to pose


so what I mean by that is

here is our first pose

again, refer to the thumbnails

there's my first pose

and he's gonna start off here

here's the second pose where he goes

down into the anticipation

Now I'm gonna create the third pose

where he's anticipating

and what I want you to note here is that I'm

able to control the volumes much


using pose to pose, and I would say that I use

pose to pose I believe

probably about 80% of the time maybe

90, I don't know

I really use it most of the time especially for

acting scenes

so there's the anticipation. And note here

right there, I'm pushing the pose

further, cause I can focus on these

key poses and how they correspond

with my thumbnails, like

this pose is this pose, but I'm pushing

this pose more than my thumbnail

making it clear, so now we continue on

and then I got this pose

finished and now I got my last pose

where he lands and he looks

off-screen again

so there I got my major keys

I got all my keys, no breakdowns, key 1

key 2

key 3

key 4



and that's it and all these drawings are the drawings

that tell the story of the scene

They tell the audience

what's going to happen

and you do these and you make these poses as strong as you can

within the guidelines of

the type of film you're working on, but

that's up to you, that is

the art of character animation

it's up to you how far you wanna push it

or how solid you wanna make it, so there are all the keys

and now what I'm doing is, I'm putting

in the breakdowns, and what these drawings

are, this is really important, what these drawings are,

they are the description of

how your character, how he goes from

one key to the other

These are not inbetweens, these are breakdowns,

they are describing

certain elements that will drag and

certain elements that will follow through,

stretch and squash and so on. These are

all breakdowns, it's all sped up here

but you're going to see how I'm

just putting in, I'm figuring out the different

types of actions I can get in there

for example, I decided to put a blurred drawing

in 2 of the

frames here, that's gonna be on 1's

and I know a lot of people like doing it

has a cartoony feel to it, so I put in this blurred drawing

and we're on the straight-ahead animation

I actually just animated it

straight through with no blurred drawings

and then I continue on and here's another

blurred drawing. Now he's kicked the juice box,

but I'm also keeping control

of the volumes, and you can see here

I put down just the shape of Rascal

and then I fill in the details later,

but the shapes, I break them up, and that's why they're called

breakdowns and different elements are moving at different times

So then we see lands right


and then he's looking off-screen

Now what we're doing is, we're finishing off

the pose to pose scene with all the

inbetweens. What I've done is, I've put

all the charts in the upper right-hand corner

with all the spacing and timing figured out

and now I'm just finishing it off

So then I finish up all my inbetweens

with the breakdowns and we can see now

Rascal is fluid and

he is kicking it and there is a different type of action

what I want you to notice is the one on the left

when you see him goes up and down

he just follows through

and straight ahead don't have any break down in it

The one on the right now has a different

description of action

within the animation. The does

a little recoil when he goes up to the top

which I think adds to it

You just see how the two differences are

So, I hope this helps you guys

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1on1 animation if you like this.

The Description of ? Straight Ahead and Pose to Pose Animation ? // Principles of Animation Series Part: 04 [2020]