Are your stories filled with thrilling excitement? Are your characters always pushing their bodies to the action-filled limit? Then pick up this art book published by Genkosha and learn how to truly master real action poses!
The whole world of manga has been saved thanks to the miraculous action poses demonstrated for us in Real Action Pose Shots 01: The Compilation of Female High School Students. The girls shot, chopped and kicked their way through glorious battle and aspiring manga artists rejoiced. This is all well and good for the high school girl manga artist, but what if your next big hit is about two suited detectives?
Be sure to pick up Real Action Pose Shots 02: Body Action Edition at the local bookstore or online for 2,484 yen (US$23.85) starting June 30. (Overseas shipping is available.) Your millions of readers will thank you when your new male detectives spring into action in your latest manga hit!
Use action pose figures, comic book references, and videos to create your own dynamic comic book pose art. Experiment with light, shadow, and facial expressions. Complete your very own full-page comic book art piece!
Disney's twelve basic principles of animation were introduced by the Disney animators Ollie Johnston and Frank Thomas in their 1981 book The Illusion of Life: Disney Animation.[a] The principles are based on the work of Disney animators from the 1930s onwards, in their quest to produce more realistic animation. The main purpose of these principles was to produce an illusion that cartoon characters adhered to the basic laws of physics, but they also dealt with more abstract issues, such as emotional timing and character appeal.
The purpose of squash and stretch is to give a sense of weight and flexibility to drawn or computer animated objects. It can be applied to simple objects, like a bouncing ball, or more complex constructions, like the musculature of a human face. Taken to an extreme, a figure stretched or squashed to an exaggerated degree can have a comical effect. In realistic animation, however, the most important aspect of this principle is that an object's volume does not change when squashed or stretched. If the length of a ball is stretched vertically, its width (in three dimensions, also its depth) needs to contract correspondingly horizontally.
Anticipation is used to prepare the audience for an action, and to make the action appear more realistic. A dancer jumping off the floor has to bend the knees first; a golfer making a swing has to swing the club back first. The technique can also be used for less physical actions, such as a character looking off-screen to anticipate someone's arrival, or attention focusing on an object that a character is about to pick up.
This principle is akin to staging, as it is known in theatre and film. Its purpose is to direct the audience's attention, and make it clear what is of greatest importance in a scene; Johnston and Thomas defined it as "the presentation of any idea so that it is completely and unmistakably clear", whether that idea is an action, a personality, an expression, or a mood. This can be done by various means, such as the placement of a character in the frame, the use of light and shadow, or the angle and position of the camera. The essence of this principle is keeping focus on what is relevant, and avoiding unnecessary detail.
These are two different approaches to the drawing process. Straight ahead action scenes are animated frame by frame from beginning to end, while "pose to pose" involves starting with drawing key frames, and then filling in the intervals later. "Straight ahead action" creates a more fluid, dynamic illusion of movement, and is better for producing realistic action sequences. On the other hand, it is hard to maintain proportions and to create exact, convincing poses along the way. "Pose to pose" works better for dramatic or emotional scenes, where composition and relation to the surroundings are of greater importance. A combination of the two techniques is often used.
Computer animation removes the problems of proportion related to "straight ahead action" drawing; however, "pose to pose" is still used for computer animation, because of the advantages it brings in composition. The use of computers facilitates this method and can fill in the missing sequences in between poses automatically. It is still important to oversee this process and apply the other principles.
Follow through and overlapping action is a general heading for two closely related techniques which help to render movement more realistically, and help to give the impression that characters follow the laws of physics, including the principle of inertia. "Follow through" means that loosely tied parts of a body should continue moving after the character has stopped and the parts should keep moving beyond the point where the character stopped only to be subsequently "pulled back" towards the center of mass or exhibiting various degrees of oscillation damping. "Overlapping action" is the tendency for parts of the body to move at different rates (an arm will move on different timing of the head and so on). A third, related technique is "drag", where a character starts to move and parts of them take a few frames to catch up. These parts can be inanimate objects like clothing or the antenna on a car, or parts of the body, such as arms or hair. On the human body, the torso is the core, with arms, legs, head and hair appendices that normally follow the torso's movement. Body parts with much tissue, such as large stomachs and breasts, or the loose skin on a dog, are more prone to independent movement than bonier body parts. Again, exaggerated use of the technique can produce a comical effect, while more realistic animation must time the actions exactly, to produce a convincing result.
The movement of objects in the real world, such as the human body, animals, vehicles, etc. needs time to accelerate and slow down. For this reason, more pictures are drawn near the beginning and end of an action, creating a slow in and slow out effect in order to achieve more realistic movements. This concept emphasizes the object's extreme poses. Inversely, fewer pictures are drawn within the middle of the animation to emphasize faster action. This principle applies to characters moving between two extreme poses, such as sitting down and standing up, but also for inanimate, moving objects, like the bouncing ball in the above illustration.
Most natural action tends to follow an arched trajectory, and animation should adhere to this principle by following implied "arcs" for greater realism. This technique can be applied to a moving limb by rotating a joint, or a thrown object moving along a parabolic trajectory. The exception is mechanical movement, which typically moves in straight lines.
Appeal in a cartoon character corresponds to what would be called charisma in an actor. A character who is appealing is not necessarily sympathetic; villains or monsters can also be appealing. The important thing is that the viewer feels the character is real and interesting. There are several tricks for making a character connect better with the audience; for likable characters, a symmetrical or particularly baby-like face tends to be effective. A complicated or hard to read face will lack appeal or 'captivation' in the composition of the pose or character design.
The human figure is one of the most difficult subjects to capture in drawing. The Complete Book of Poses for Artists combines photographs and illustrations that demonstrate how to accurately render the human form in hundreds of realistic poses. The book guides artists through the process of drawing the human figure as it pertains to anatomy, proportions, volume, mass, gesture, movement, and expression. From there, the book reveals how these characteristics come together using light, shape, line, and form to accurately depict the human figure in a variety of everyday poses, including standing, sitting, reclining, and action. Each section features color photographs of people in several "core" poses (e.g., sitting, reclining, and action), as well as multiple variations of those poses. Step-by-step artist illustrations demonstrate how to render the core pose, whereas illustrations and professional tips demonstrate how to turn the core pose into a new variation. In addition, step-by-step drawing instructions and techniques demonstrate how to capture realistic poses as they differ from one person to the next across a range of human characteristics, such as age (child, teen, adult, senior citizen); body type (ectomorph, mesomorph, endomorph); gender; and activity (e.g., athlete, dancer, etc.). Packed with helpful photographs, hundreds of techniques, and loads of expert instruction, The Complete Book of Posesfor Artists is the perfect resource for artists of all skill levels-and one that will be referred to over and over again.
In this clip from an explainer video we did for Tworkz, the woman raises her arm slowly at first, but it picks up speed as the motion continues. The ease in, ease out technique works to make the action more fluid and realistic. 2b1af7f3a8