[Dictionary]2danimator,jdge_JP Details
In-Depth Look
- SECTION 01
Introduction
01. Introduction and Course Overview- Self-introduction - Career and overview of work involved - Goals of this course / About the assignment project
- SECTION 02
Setting Up CLIP STUDIO PAINT EX
02. Setting Up CLIP STUDIO PAINT EX – Part 1- Explanation of functions necessary for animation production
03. Setting Up CLIP STUDIO PAINT EX – Part 2- Creation and operation of animation cells
- SECTION 03
Ball Animation
04. Animation Functions Explained Using a Ball- Detailed explanation of functions while drawing a ball (circle) - Adjusting motion on the timeline - Onion skin and light table - Explanation of FPS and smoothness
05. Smooth Movement and Timing Using a Ball- About easing and trajectories - Learning the shape of a “ghost” using a ball
06. Key Frames and In-between Concepts- About key frames and in-between frames (interpolation) / difference from sketching loosely - Various ball animations
07. Trying Out Various Movements- Various ball animations
- SECTION 04
Character Warm-up Exercises
08. How to Draw Basic Body Forms- Rough proportions of female and male figures - Center of gravity, hips, and ribcage - Stylized expression and three-dimensionality
09. Facial Proportions- Face size and head size / differentiating male and female faces - Ratios within the face and impression - Expression changes and deformation
10. Drawing Clothes- How wrinkles form - Using photo references - Wrinkles and texture
- SECTION 05
Character Animation Examples
11. How to Animate Blinking and Mouth Movements- Concept of cell separation - Tips for flickering eyes and mouths (“Naka me” and “Naka kuchi”)
12. Understanding Motion Paths- Discussion on motion trajectory and order
13. Character Animation Example 01- Swaying head/body movements
14. Character Animation Example 02- Hair movement
15. Character Animation Example 03- Walking and running
- SECTION 06
The Charm of Short Animations
16. Definition of Short Animations- Definition of short animation - About “viewing calories” (viewer’s attention and energy)
17. Creating Surprising and Engaging Short Animations- Creating “punchlines” through everyday actions and “oddities” - Keep the work’s title to “one word” - Refining detailed acting
18. What to Do When You’re Stuck- Accumulating notes - ‘If’ thinking method for everyday actions
- SECTION 07
Characters, Perspective, and Backgrounds
19. How to Draw Character Body Forms- Drawing the character’s basic body (skeleton) - Perspective-aware basic body drawing - Drawing the body from various angles
20. Drawing Bust-Up and Full-Body Poses- Drawing bust-up and full-body for next steps
21. Calculating Perspective from Body Forms- Perspective lines and eye level passing through the body - Concept of “side view” and “number of heads tall”
22. Understanding Background and Object Dimensions- Knowing size sense of backgrounds and props compared to the body
23. Drawing Backgrounds Based on Body Forms- Drawing background based on calculated perspective and side view
24. Drawing Backgrounds Based on Body Forms (Bird’s Eye & Worm’s Eye Views)- Using the basic body for bird’s-eye and low-angle views - Following previous methods while demonstrating challenges - Points to be careful of in bird’s-eye and low-angle views
25. Advanced Background Thinking- Discussion of focal length, vanishing points, and fisheye - Mixing one-point and two-point perspective
- SECTION 08
Color Expression and Composition
26. Guiding the Viewer’s Eye and Color Planes – Part 1- Brightness-independent color light and shade - Color schemes and impressions
27. Guiding the Viewer’s Eye and Color Planes – Part 2- Graphic design thinking for directing gaze using color areas - Lighting as “lies and boldness” - “Color areas (silhouettes)” more important than perspective and drawing - Feeling like “sticking stickers” and composition
28. Color Expression and Color Range – Part 1- Impression and inherent color - Color zones (tones)
29. Color Expression and Color Range – Part 2- Theory of RGB relativity between gray and highly saturated colors - Can skin color be expressed using only blue?
30. Color Expression and Color Range – Part 3- Why not use 100% pure white or black - Reflected light and subsurface scattering (SSS)
- SECTION 09
Actual Coloring Techniques
31. JDGE’s Coloring Techniques – Part 1- Painting method applying hard light - Inherent color adjustment - Ways of rendering and pros/cons
32. JDGE’s Coloring Techniques – Part 2- Grisaille painting method using tone curves - Applying inherent color and its advantages/disadvantages
33. Adjusting and Controlling Color Information- Using flare and para for aerial perspective - Diffusion effect and “removing” color - Skin tone adjustment
- SECTION 10
Camera Work
34. Camera Work in CLIP STUDIO PAINT – Part 1- Difference between PAN (camera panning) and FOLLOW
35. Camera Work in CLIP STUDIO PAINT – Part 2- Camera work with subject changes and easing
36. Camera Work in CLIP STUDIO PAINT – Part 3- Camera shake expression - Flicker effect
- SECTION 11
Project Work
37. Deciding on Concept and Layout- Deciding the concept of the assignment work - Deciding layout (see Sections 09 and 10 for reference)
38. Color Roughs / Background Roughs- Color rough for layout (still image/background) (see Section 11)
39. Motion Roughs- Motion rough using circles (see Section 08) - Motion rough from skeleton to clothes (see Section 08)
40. Key Animation (Clean-Up)- Practice and explanation of key frames (line art and tracing lines)
41. In-between Animation- How to do in-between frames
42. Coloring- Bucket fill and useful coloring separation methods
43. Background Finishing- Background painting and finishing based on color rough
44. Shooting Process – Part 1- Adding camera work
45. Shooting Process – Part 2- Effects like flare and para, color correction
46. Completion and Export- Completion of the assignment work
- SECTION 12
Advanced Animation Techniques
47. Bust-Up Character Movements: Basic Body Forms- Waving hand motion
48. Bust-Up Character Movements: Basic Body Forms- Up/down movement of head and shoulders
49. Bust-Up Character Movements: Basic Body Forms- Turning around
50. Bust-Up Character Movements: Hair Movement- Hair fluttering and awareness of “air ball” and S-curve trajectory
51. Bust-Up Character Movements: Hair Movement- How to draw and think about fluttering front-to-back movements
52. Bust-Up Character Movements: Hair Movement- Fluttering of clothes (hoods, capes), gust fluttering
53. Bust-Up Character Movements: Clothing Movement- Hard texture clothing - Soft texture clothing - Traditional Japanese clothing (Wafuku)
54. Full-Body Character Movements: Walking/Running- Loop animation of walking/running - Walking and running from front and diagonal views
55. Full-Body Character Movements: Jumping- Relationship of center of gravity and hips in jumping, preparatory motion
56. Full-Body Character Movements: Advanced Techniques 01- Center of gravity movement and motion sequence until sitting on a chair - Preparatory motions
57. Full-Body Character Movements: Advanced Techniques 02- Throwing motion - Lifting heavy objects - Falling motion / swinging a stick, etc.
- SECTION 13
Submitting Your Work and Course Wrap-up
58. Tips for Submitting Your Work and Staying Productive- Overall adjustment after review - Reviewing concept before production - Comparing at thumbnail size - Works should, if possible, show “patterns” and be “rested” (put aside)
59. Mindset for Creating Your Own Work- Finish and submit even if imperfect - Follow intuition and sense of discomfort - Balance between sense and theory