A SYSTEM FOR

PLANNING AND
TIMING
ANIMATION
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By Glen Keane
pdf version edited by Jon Hooper

PHASE I: PREPARATION
1.Study Storyboard - Know what the main point of your scene is.

2. Listen to Soundtrack - Think about an approach that is unique

and entertaining.

3. Number Exposure Sheet - Using odd numbers skipping every

other frame.

PHASE II: THUMBNAIL

1.Scenes with Dialog - Use dialog as your reference for timing.

2. Scenes w/o Dialog or Music - Use stopwatch to figure out timing.

*Timing for animation tends to be quicker than real time. Time out
your action 3 to 5 times taking the average but favoring the shorter
length.

3. Phrasing - Break dialog into its basic phrases. A phrase has a

natural break in it.

Example:

1. I’ll even toss in a little extra ---

2. for your patience.
3. Ah Ha Hahahahah!

These 3 phrases were evident in Dom Delouises reading of this

particular line.
4. Thumbnail out the attitudes and action

Thumbnail out the attitudes and action that illustrate the phrases and acting in the scene.
Note: Write numbers down under the thumbnails to indicate how long a specific action will be.

See example: Dom Delouise in Oliver

Note: Thumbnails are basically illustrating the phrases.The corresponding numbers

from the exposure sheet are indicated under the pose.

Thumbnailing is the time to explore as many ways of presenting an idea as you can.

In this miniature stage you should be concerned about the poses that have a clear
change in line of action from one phrase to another.

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5. Plan out action on an exposure sheet

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Phase III : Thumbnails
1. Blow up thumbnails by Xerox or by hand (Be sure to capture the essence of the thumbnails). Use
these as a guide post to animate by. They are not your extremes but just poses and attitude you are moving
toward and through.

When you thumbnail out your scene you should be thinking animation. What pose will work best
going into the next. Notice on the word "Each" Georgette’s head is tucked close in the squash
position. On the word "step" it is in the stretch position. The #3 pose works well as an
anticipation into pose #4. As you thumbnail keep in mind you are always setting yourself up for the
next pose.

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 2. Thumbnails transferred to Animation Paper

With the key poses in place you can now flip the drawings and get a feeling for the movement. You
can also number the poses based on the phrases on the exposure sheet.

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 Pose Test
3. Do a rough timing test ( Pose Test)
This is a quick approach to the scene that should be done without laboring over individual
drawings. Instead you should dash through the drawings trying to capture the feeling of the action
and gesture of the attitude.

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 4. Timing charts

A clue to the animators thinking. A guide to show where the drawings are to be placed between
the extremes.

A. Different Timings

B.How many extremes do I need?

Enough to describe arcs and head turns

Enough to describe any changes in shape
Enough to indicate to you a desired effect

In this action the desired

effect was an explosive
timing that moved from #4 to
#6. The timing is on ones and
slows into #6 which in turn
slows into #10 where the
drawings switch to twos.

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 Animation Seven Essentials

1. Make a positive statement

Do not be ambiguous in your approach
Thumbnail until you have that clear approach and conviction. Be bold and decisive.

2. Animate from the heart

Feel your drawings
Let your action be an extension of how you believe the character feels.
Put yourself in the place of the character your animating - associate.

3. Make expressions and attitudes real and living

Focus on the eyes and eyebrows - mouth and cheeks
Always lead with the eyes.
Be sure the eyes are solid and placed securely in the head.
Study your own attitudes. Ask yourself does this drawing feel the way my face
feels.

4. Draw as if you were sculpting

Describe the forms in dimension
Understand the character design in 3D

5. Animate the forces

Allow the momentum of and already animated movement to suggest the next
drawing.
Draw the leading edge of forces.

6. Visualize and feel dialog

Be sure you are truly capturing the inflection, volume and tone of the dialog with
proper mouth shapes.

7. Simplicity
What is the essence of your scene, your action , your expression - what is
indispensable in communicating your thought?

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Character Development
"The animator will flounder with indecision unless he can get inside the charcter and know precisely
what actions are right for that personality. As long as there is any confusion the drawings will be
vague and indecisive."
Johnston & Thomas " The Illusion of Life"

Story Character makes the story live.

Do I care about what happens to the characters?
The story should bring out the character.
Conflict.

Some questions to ask.

How does the character feel about himself?
Personality What does he want? His hopes desires and goals.
What is he afraid of?
His weaknesses?
What is his world view.

History
Write a history of your character that brings him up to the present moment.
What events or people shaped him into what he is?

Environment What is his surrounding world like?*

Hostile- Friendly, Cultured-Naive, Oppressive-Invigorating
Country Farm - College Campus, Luxurious- Desolate
Oriental- Western, Poor-Rich.

Music

What style of music reflects the heart and attitude of your character?

The image your character portrays

Design Describe his appearance * - Intimidating, sensual, dumpy etc.
Attitude - Is it motivated by who your character is?
Costume - Does it give us insight into the character?
Shapes - Are they simple, clear , communicating and animatable?

* Use Thesaurus and other resources including - Photos, film , drawings, paintings, books,
magazine ads etc.

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 Contrast
Contrast creates an intrigue and curiosity in the audience.

Story - Involving many elements,

character, circumstances and conflict.
What is at stake? What is the character
risking? Is there hope for the audience to
"side" with?

Movement - A signal of intention for the audience

Arcs show anticipation

Line and Form - just as in movement a shape can

narrow to anticipate a widening

Angles and Tilts - Anticipate Expression - Attitudes should

with head angles and tilts. Ex: head always be set up by the previous
angle dips in #2 before #3. attitude.

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Anticipation
Anticipation is built by clarity - A simple, clear idea that communicates and
captures an audience is your goal.

Anticipation Through:
Character - If the audience knows your character they can enjoy anticipating
his reaction in a given situation.

Music - A feeling of "Get ready for this!" is largely due to the right music. It
can anticipate joy, fear, patriotism, love, etc.

Staging - Your point of view must be clear. What do I want to say with this
scene? How do I want the audience to feel in this shot? How you stage the
scene clues in the audience to how they should feel.

A Tree

Note how the staging of the tree changes the mood of the shot.

Action-Through powerful and graphic images anticipation can be built for a short period of
time.

Relationship- Two opposing characters create an automatic tension and anticipation.

Conflict- An audience is entertained by anticipating a resolution to the conflict.

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 Animating and Drawing
4-Legged Animals
PDF created February 19, 2000 Author Unknown: Maybe Glen Keane

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Animating Four Legged Creatures

The purpose of these notes

is to give a simple approach
to animating a four-footed
creature.

An animator should feel

confident in the character
he is animating. If not, his
work will lack strength and
conviction.

He needs to feel "free" to

animate and not get
bogged down in complex
anatomy.

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 Animation Approach

Keep the shapes simple when animating

3 basic solid masses
connected by a flexible spine.

Overlap shapes for Dimension

Note: Leg bones

parallel each other like
a folding chair.
Wrong

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Attitude

If you aren’t sure

how to draw an
attitude - draw it
using a simpler
2-legged character
first.

Attitude is first, then put it on model

Let the Entire body reflect the attitude.

Follow rhythm from head to tail

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 Comparative Anatomy

Note angle of thigh bones But when we stand on ...Just as a dogs

of humans points inward... our toes the angle points
outward as the heels
point inward...

Ribcage same shape/ Necks curve in

the opposite direction due to dog
having to hold head out.

Note tuck after ribcage.

(Cats tend not to have this "tuck")

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 Comparative Anatomy
Horizontal Vertical animal
human ribcage ribcage.

Lateral movement on
dogs elbows.
Rhythm of arm
bones same as in
dogs.

Longer rear legs give hind end a lift.

Rhythm of human
legs reflected in
rear legs of animals.

Dogs rear legs are longer than front as are

humans legs longer than the arms.

Human scapula is
located on the back of
the ribcage.
This placement of the
scapula is why a dog has
very limited lateral
movement with its front
legs, as compared to the
degree of freedomwe have
with our arms.

A dogs scapula is located on the side of the

ribcage

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 Comparative Anatomy

An animal walks on his toes and "fingers".

This gives his walk a springy, light feel.

An animal walks in basically the same pattern as a human crawls.

Note straightness of
In a relaxed attitude a dogs backlegs particularly.
legs are not bent in a If they are animated
crouching position, just as a already bent in a walk
mans are not. it will be difficult to
show any subtle
squash and stretch.

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 Squash & Stretch

A straight leg will give a better

Build up chest mass in anticipation. chance for a subtle squash in
following action.

As weight comes down on the

foreleg, the scapula rises
above backline.

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 Animation Drawing Points

As animal shifts weight from one leg to the next in a

walk, the hip will drop to the side that has no support.

Opposing tilts
add interest

Note: Angle of hip.

Line of action reverses in animal walks

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Line of Action

...Follow Line of action

through the body.

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 Animal Drawing Points

Curve Not Straight Avoid

"tube"
neck.

Watch for Neck tapers show

static leg Muscular necks on
placement. bigger dogs.

Head & Forequarters

Neck Mass

Hindquarters
Simplify angle of
leg. Use curves. Another breakdown of Back fitting into
Belly
animal body is into parts. shoulder mass.

Shoulder mass is
large because of
the muscle
needed to support
Avoid this head - Especially
angular look. noticable in the
Grizzly Bear.

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