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Persistence of Vision

Persistence of vision produces the illusion of movement when viewing motion pictures or animations. It is the phenomenon where the eye retains a visual image for a brief period after the original image is removed. In animation, drawing key frames and then in-between frames allows animators to create smooth motion while minimizing the number of drawings needed through exploiting how persistence of vision functions in the human visual system. Drawing fewer frames per second is sufficient to create the illusion of fluid motion as long as the principles of animation are followed.

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105 views7 pages

Persistence of Vision

Persistence of vision produces the illusion of movement when viewing motion pictures or animations. It is the phenomenon where the eye retains a visual image for a brief period after the original image is removed. In animation, drawing key frames and then in-between frames allows animators to create smooth motion while minimizing the number of drawings needed through exploiting how persistence of vision functions in the human visual system. Drawing fewer frames per second is sufficient to create the illusion of fluid motion as long as the principles of animation are followed.

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© © All Rights Reserved
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Persistence of vision produces the illusion of

movement when viewing motion pictures. It is the


retention of a visual image for a short period of time
after the removal of the stimulus that produced it.
(light enters the eye, eye views the changing image,
eye sends the message to brain.) This reaction time
means that our perception of the image is slower
WHAT IS than the speed of light of which we see it so the
PERSISTENCE separate images merge into one moving image.
OF VISION
Understanding persistence of vision helps
animators to create smooth and lifelike animations
in the most efficient way by showing the viewer
just enough frames to create the sense of motion.
In animation, moving characters are often shot
“on twos”, which means one image is shown for
every two frames of film, a total of 12 drawings
per second. Although this is just on the limit of
our ‘persistence of vision’ it is usually satisfactory
for creating smooth and lifelike animation.
WHAT However, when a character is required to perform

PERSISTENCE OF a quick movement, it is usually necessary to


revert to animating “on ones”. Alternating the two
VISION MEANS techniques keeps the eye fooled without
FOR ANIMATION: unnecessary production cost. Cheaper cartoons
often work on “threes”, or even “fours”, i.e. three
or four frames per drawing. This translates to only
8 or 6 drawings per second.
CREATE A THAUMATROPE
TRADITIONAL VS DIGITAL

A thaumatrope is an optical toy that was popular in the


19th century. A disk with a picture on each side is
attached to two pieces of string. When the strings are
twirled quickly between the fingers the two pictures
appear to blend into one due to the persistence of
vision.
PRINCIPLES OF ANIMATION
• Squash and stretch
• Anticipation
• Staging
• Pose to pose
• Overlapping action
• Slow in and slow out
• Arcs
• Secondary action
• Timing
• Exaggeration
• Solid drawing
• Appeal
PRINCIPLES OF ANIMATION
•Squash and stretch
It is used to convey weight, density, and the concept of motion blur. For example, an animated ball that has no squash or stretch will produce a ball that looks like a bouncing bowling ball.
This gives the illusion that the ball is heavy. When the ball is stretched as it heads down toward the ground it gives the illusion of fast movement and motion blur - and then squashed
when it hits the ground to give the illusion that the ball is flexible. This also produces animation with more weight and dynamism than just keeping the ball the same shape and volume
through the entire movement.
•Anticipation
Using anticipation in your animations prepares the viewer for what is about to happen, allowing the brain to “catch up” to the action. When a person jumps, they must bend their knees
first. If a pitcher is about to throw a ball, they bring the ball back first and wind up into the action.
•Staging
When you have good staging, the audience knows where to look and what is of greatest importance in the scene. The creators of the 12 principles defined staging as “the presentation of
any idea so that it is completely and unmistakably clear”, whether that idea is an action, expression, mood, or personality. To have good staging, you should keep the focus on what is
relevant and avoid unnecessary details. Your characters should also have clear poses so that their actions are immediately recognizable.
•Pose to pose/straight ahead
These are approaches to the animation process. In straight-ahead animation, each drawing is completed in sequence with the first frame being drawn, then the second, then the third, and
so-on until the animation is completed.
Pose to pose, however, is a method that requires drawing a few key frames first (each one being a “pose” in the motion) and then going back and drawing the in-between frames that get
the motion from keyframe to keyframe. A combination of these techniques is usually used by hand-drawn animators, depending on the scene and their workflow.
PRINCIPLES OF ANIMATION

•Overlapping action
Follow through and overlapping action make our animation look more realistic. Follow-through refers to any movement that continues after a character’s primary
movement has stopped. For instance, if a character with long hair is running, their hair will continue forward once they have come to a sudden stop.
•Slow in and slow out
Objects in real life need time to accelerate and time to slow down, and that concept is what this principle deals with! More frames are drawn at the beginning and
end of an action to create a “slow in” and “slow out” look that gives the illusion that the object is picking up speed. Fewer drawings in the middle of the action will
increase the look of speed. This principle can be applied to characters moving between poses, or to inanimate objects like a bouncing ball or a box being pushed.
• Arcs
Most natural movement occurs in arcs, so movement should follow curves for greater realism when applicable. (For instance, a ball thrown under-hand would travel
in a arc upward and then down, but a fastball thrown by a professional baseball player would travel in a straighter line because of its speed.)
•Secondary action
Secondary actions are actions that enhance the primary action. When a character turns their head, their hair will move in the secondary action. When a character
walks, they might put their hands in their pockets, or look to the side to see if a car is coming. These are all secondary actions that enhance the primary action.
PRINCIPLES OF ANIMATION
• Timing
The number of drawings that a given action takes in the animation translates to the speed of that action when the drawings are played
back. For instance, the standard rate of frames for most movie animations is 30 frames per second. If an action takes 30 drawings to
complete, then it will take 1 second when played back. 15 drawings would be half a second, and so on. Correct timing makes objects look
like they have weight and presence.
• Exaggeration
Exaggerating action in animation is important. Animations that try to create an exact imitation of real life movements can appear stiff
and lifeless. Sometimes exaggeration can be taken to an extreme, especially in comedy, but sometimes a more subtle approach is
needed. For animation that isn’t surreal or comedic, exaggeration can still be employed by just pushing motions and character
expressions to an extreme
• Solid drawing
When a drawing is solid, it takes into account the form in three-dimensional space. The animator needs a strong foundation of anatomy,
balance, light and shadow, perspective, atc. When an artist has a solid drawing, their characters will still be recognizable no matter what
angle they are shown at, and no matter the amount of squash and stretch or exaggeration applied to them. 
• Appeal

Appeal can be defined as the charisma of the character. This can be one of the harder principles to get right and a character may need to
be changed several times to get the most appeal. A character who is appealing is not necessarily sympathetic (they can be evil and still be

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