From basic planning, directing, production, and completion
A to Z of Animation

Due to the rapid development of digital media, the traditional cell animation production method has been rapidly transformed into a new media animation industry, and students who want to study and acquire animation tend to rely on computer programs.
Of course, computers are very useful tools for implementing realistic motion.
However, we must not overlook the fact that the background to the splendid birth of Pixar's 3D animation today was possible not only because of the efforts of artists working with digital media, but also because of the efforts of artists working with traditional media such as drawing, painting, pastel, and sculpture.
Computer programs only serve to help you easily process, cut, and paste.
Ultimately, the key to creating animation lies not in technology but in the skills of the animator artist.

From this perspective, this book will focus on the directing of original animation, which is called the flower of animation, among the various processes of producing animation.
If we compare the directing of a film to that of a real actor, it can be seen as the performance of a great actor who gives a realistic performance.
Just as an actor who is new to acting learns to express movement, you will learn the core content of drawing movement expression corresponding to character movement expression acting.
By examining this through various examples and drawings, readers can easily learn how to plan and proceed with the timing of the basic movements of animation, and understand and utilize various expression methods necessary throughout the basic drawing process.

The types of animation are classified by how and with what the listed images are created, that is, by the production method.
In fact, in the past, 2D animations were classified as either "full animation" (24 frames per second) or "limited animation" (12 frames per second or less) based on the number of pictures displayed, but now, due to circumstances, most are "limited animation" (in fact, Disney, which used to make full animations, no longer makes 2D animations after "The Princess and the Frog" in 2009), and it is meaningless because the number of pictures in a specific scene is increased or decreased depending on the situation.
So, if you create an animation in any way, you can name it that way.
Just as the first person to discover a star names it after himself.
The most popular types of animation are 2D digital animation and 3D digital animation.
The difference between the two is whether the picture is flat or three-dimensional depending on the production method.
It will be easy to understand if we take Dooly the Little Dinosaur and Pororo as examples.
--- p.15

Now that you know how to compose a screen, let's get started on creating a storyboard. Storyboards are created on storyboard paper.
The following image is a typical storyboard paper.

1.
Page: This is where you write the page number of the storyboard.

2.
Cut: This is where you write the cut number.
If the cut continues to the next page, rewrite the cut number at the top of the first page.

3.
Panel: A space where scenarios are expressed in pictures.
If it cannot be expressed in one picture, it is okay to use multiple panels, and since the cuts do not change, they are not numbered separately.
Also, there is no need to draw the same picture.
--- p.80

4) Blink

We blink when there is a change in facial expression or when the external environment triggers it.
Since blinking actions appear frequently in animation, let's learn how to do it.
In fact, the blinking action is the same as the mouth.
However, when you blink, you must work on the eyes as a separate cell (separate layer).
As shown in the picture, the character's eyes were worked on with C cells and the eyes were worked on with D cells, and the open and closed eyes had to be worked on.
The eyes in the middle are drawn by a fairy tale worker.
The timesheet for this example would look like this:
--- p.150

1) Change color

There are times when you need to change the colors of an image that has been completed like this due to unavoidable circumstances.
Especially in practice, there are colors that cannot be produced due to work schedules.
For example, in the picture above, the character had his eyes closed throughout the play, so there was no color designation for his pupils.
However, if a scene suddenly appears where the eyes open like in the picture above, and the color of the pupils needs to be specified, but the color has not been specified even after the animation is complete (the color setting manager must do the color setting), the work cannot be stopped vaguely while waiting for the color of the pupils to be set.
Because coloring, like fairy tales, is paid by the number of copies, if you don't work, you don't get any income.

--- p.201