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Chapter 1 - Chapitre 1: Introduction Chapitre 1: ÉLABORATION des PERSONNAGES It can be an exciting experience to create and develop an original cartoon character. Constructing and developing a character is not merely a matter of drawing the figure, each character also has its own shape, personality, features, and mannerisms. The animator has to take these qualities into consideration to make the characters seem lifelike and believable. For example, there are various personality types such as "goofy," "cute," and "screwball". Think about the type of character you wish to design, then use the diagrams and guides shown in this chapter to begin your drawing. When creating a character, you should begin by drawing rough "idea" sketches. These will give you a direction for the type and nature of the character you wish to create. Develop the basic shape of the figure, then add the features and other details. This procedure should be followed whether the character you are developing is a human, an animal, or an inanimate object you wish to bring to life (for example, drawing a face on a computer and making it dance). After you have developed the character and the proportions arc to your liking, develop the movement expressions of the body, head, and hands. Hands can tell a complete story with just a simple pose. Study and practice drawing the hands shown on page 28, then create some hand positions of your own. Also, the "line of action" section is a big help in creating attitudes in posture and movement. This chapter is the starting point to a world of exciting cartoon animation. THE PROPER USE OF CARTOON PROPORTIONS MAKES A CHARACTER, SO ANALYZE THE PROPORTIONS OF YOUR ANIMATED ACTOR BEFORE HE OR SHE GOES ON STAGE-UP ON THE SCREEN. STANCE (SOLID MASSES) - DRAW A "LINE OF ACTION" THROUGH THE THREE-DIMENSIONAL PARTS TO ORGANIZE AND SET THE ATTITUDE OR ACTION. CONSTRUCT YOUR DRAWING AS IF YOU WERE FITTING TOGETHER THE PARTS OF A PUPPET AT THE JOINTS ACCORDING TO A CHARACTER FORMULA, THUS YOUR CHARACTER BECOMES BELIEVABLE , AND HE ACTS, THE AUDIENCE EMOTIONALLY RESPONDS. Chapter 1 - Page 12 BODY BUILT FROM CIRCULAR AND ROUNDED FORMS THE ANIMATED CARTOON CHARACTER IS BASED ON THE CIRCULAR, ROUNDED FORM. IN A CARTOON STUDIO SEVERAL PEOPLE MAY WORK ON THE SAME DRAWING AND THE ROUNDED FORM IS USED BECAUSE OF ITS SIMPLICITY - IT MAKES ANIMATION EASIER. ALSO, CIRCULAR FORMS "FOLLOW THROUGH" BETTER ON THE SCREEN. THE SKELETON FOUNDATION BUILD THE CARTOON FROM A ROUGH SKELETON, BUT DON'T EXPECT TO ALWAYS GET THE SKELETON RIGHT ON THE FIRST TRY - NOBODY CAN DO THAT! EXPERIMENT... DISCARD... MAKE SEVERAL DRAWINGS, THEN PICK THE BEST ONE. BE SURE TO WORK LOOSELY WHEN CONSTRUCTING THE CHARACTER. WORK OUT A SKELETON, CONSTRUCT BODY MASSES AROUND IT, AND THEN BUILD DETAIL OVER THE MASSES. Chapter 1 - Page 18 CONSTRUCTION OF THE HEAD THINK OF THE HEAD AS A ROUNPED MASS: IT IS EITHER BALL-SHAPED, PEAR-SHAPED OR EGG-SHAPED. IN ANIMATION THE HEAD SHAPE MAY CHANGE PERSPECTIVE AND FORM MANY TIMES DURING A SCENE. TO SIMPLIFY MATTERS, A FRAMEWORK IN PROPER PERSPECTIVE MUST BE DRAWN FIRST, THEN THE DETAILS ARE CONSTRUCTED OVER THIS FORM. OU 1/ THIS CHARACTER STARTS WITH A BALL SHAPE. 2/ DRAW AN ELLIPTICAL GUIDELINE AROUND THE FIRST SHAPE THAT WILL DIVIDE THE FACE IN THE MIDDLE LENGTHWISE. THIS DETERMINES THE TILT OF THE HEAD. 3/ DRAW THE EYE GUIDELINE AT RIGHT ANGLES TO THE SECOND CIRCLE. THIS SETS THE FACE UP OR DOWN. 4/ THE BASE OF THE EYES AND THE TOP OF THE NOSE TIE INTO THE EYE LINE. THE PERSPECTIVE MAKES THE LEFT EYE BIGGER THAN THE RIGHT EYE. 5/ NOW THE DETAILS ARE DRAWN OVER THE FRAMEWORK. START WITH AN EGG SHAPE DRAW GUIDELINES AROUND IT, AND THEN DRAW THE FACE. TURN THE EGG IN VARIOUS POSITIONS A ND DRAW THE SAME FACE. ANIMATION PRESENTS THE SAME CHALLENGE! ADD A FEW DETAILS AND DRAW THESE HEADS IN EVERY POSITION USING THE EGG AS A GUIDE. CARTOON STUDIOS OFTEN MAKE SMALL CLAY MODELS TO HELP THE ANIMATOR DRAW DIFFICULT CHARACTERS FROM DIFFERENT ANGLES. Chapter 1 - Page 22 MORE HEAD CONSTRUCTION ALL ANIMATED CARTOON CHARACTERS CAN BE REDUCED TO A BASIC FORMULA. THIS FORMULA MAKES THEM EASIER TO MASTER AND ENSURES UNIFORMITY THROUGHOUT A FILM, EVEN IF SEVERAL DIFFERENT ARTISTS WORK ON THE SAME CHARACTER. / DRAW AN OVAL WITH PERSPECTIVE GUIDELINES. / ADD NOSE CONSTRUCTION, MAKE SURE IT FITS SOLIDLY. / NOW DRAW OVALS FOR THE EYES. / BE AWARE OF THE PERSPECTIVE WHEN CONSTRUCTING THE REMAINING DETAILS. STUDY THIS BASIC FORMULA, THEN DRAW THE DOG IN DIFFERENT POSITIONS. ASSEMBLE THESE HEADS AS THOUGH THEY WERE SOLID AND HINGED TOGETHER. < a tr N (e + O y ú A eg ) ) | ; sá ) q ( Ç JN * Chapter 1 - Page 26 STRETCH AND SQUASH ON HEADS A CARTOON HEAD CAN BE STRETCHED OR SQUASHED TO STRENGTHEN AN EXPRESSION. NOTICE THAT THE OVAL CONTAINING THE EYES DOES NOT CHANGE MUCH, BUT THE MOUTH AREA VARIES GREATLY. SMALL DETAILS REACT ALONG WITH THE LARGER FORM IN WHICH THEY ARE CONTAINED. THE WIDE VARIETY OF EXPRESSIONS SHOWN HERE IS THE RESULT OF STRETCHING AND SQUASHING SELECTED AREAS OF THE FACE. NOTICE THAT THE EYES REFLECT THE EXPRESS10N OF EACH STRETCH AND SQUASH. Chapter 1 - Page 28 HANDS CARTOON HANDS ARE TRICKY TO DRAW, STUDY THE HANDS SHOWN BELOW. THE FINGERS SHOULD BE PLACED UNEVENLY TO PREVENT A MONOTONOUS QUALITY. EXAGGERATE. | TO DRAW THE HAND, BEGIN AS IF IT WERE A MITTEN (A & B), THEN ADD THE TWO MIDDLE FINGERS BY FOLLOWING THIS SHAPE (C). NOW PUT IN THE LITTLE FINGER, VARYING ITS POSITION TO PREVENT MONOTONY (D). IT IS ALSO A GOOD IDEA TO EXAGGERATE THE BASE OF THE THUMB. NS a 1 af Fe E ( ( MORE HANDS Chapter 1 - Page 34 THE CUTE KITTEN 1. DEVELOP THE KITTEN “S BODY WITH A CIRCLE AND AN OVAL. 2. ADD PERSPECTIVE GUIDELINES. 3. PLACE THE EYES AND THE NOSE. 4. BUILD THE EARS AND THE LEGS. 5. ADD THE DETAILS TO COMPLETE THE KITTEN. NOTICE THE LARGE PAWS THAT ADD TO THE CUTE LOOK. 
