Richard Williams Survival Kit: Difference between revisions
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Classic Inbetween mistakes | Classic Inbetween mistakes | ||
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Arcs | =Arcs= | ||
The example below is equivalent to the the [[12 Principles of Animation]] Arcs. Most things which are interconnected and also compete with external forces will travel in arcs. | The example below is equivalent to the the [[12 Principles of Animation]] Arcs. Most things which are interconnected and also compete with external forces will travel in arcs. | ||
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Elongated Inbetween | =Elongated Inbetween= | ||
Like the examples above, the elongated inbetween Richard writes about becomes what is now the contemporary smear. Below are his examples. | Like the examples above, the elongated inbetween Richard writes about becomes what is now the contemporary smear. Below are his examples. | ||
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Walkcycles | =Walkcycles= | ||
Richard goes into walkcycles, then he really goes into walkcycles. Walkcycles are cool, but in the greater world of animation, walkcycles are just small part. The Survival Kit book really gets in the weeds with walkcycles, and if that is your thing, it is a good resource. Below are some of the general walkcycle approaches which stand out. | Richard goes into walkcycles, then he really goes into walkcycles. Walkcycles are cool, but in the greater world of animation, walkcycles are just small part. The Survival Kit book really gets in the weeds with walkcycles, and if that is your thing, it is a good resource. Below are some of the general walkcycle approaches which stand out. | ||
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[[File:Richard williams walkcycle arms breaking double x xx page 152.jpg | 450px]] | [[File:Richard williams walkcycle arms breaking double x xx page 152.jpg | 450px]] | ||
Runcycle | =Runcycle= | ||
[[File:Richard williams runcycle general one step page 177.jpg | 450px]] | [[File:Richard williams runcycle general one step page 177.jpg | 450px]] | ||
Jump | =Jump= | ||
[[File:Richard williams jump general page 212.jpg | 450px]] | [[File:Richard williams jump general page 212.jpg | 450px]] | ||
Weight | =Weight= | ||
Lifting - profile | Lifting - profile | ||
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[[File:Richard williams paper falling page 261.jpg | 450px]] | [[File:Richard williams paper falling page 261.jpg | 450px]] | ||
Follow through | =Follow through= | ||
[[File:Richard williams follow through weight drapary page 265.jpg | 450px]] | [[File:Richard williams follow through weight drapary page 265.jpg | 450px]] | ||
Anticipation | =Anticipation= | ||
[[File:Richard williams anticipation runner a b c page 275.jpg | 450px]] | [[File:Richard williams anticipation runner a b c page 275.jpg | 450px]] | ||
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The magic trick | The magic trick | ||
[[File:Richard williams anticipation magic trick hand page 279.jpg]] | [[File:Richard williams anticipation magic trick hand page 279.jpg | 450px]] | ||
Takes - Antics - Accents | =Takes - Antics - Accents= | ||
[[File:Richard williams antics takes accents page 286.jpg]] | [[File:Richard williams antics takes accents page 286.jpg | 450px]] | ||
Hard and soft accent - hands example | Hard and soft accent - hands example | ||
[[File:Richard williams antics takes accents soft hard page 295.jpg]] | [[File:Richard williams antics takes accents soft hard page 295.jpg | 450px]] | ||
Dialogue | =Dialogue= | ||
timing and spacing | timing and spacing | ||
[[File:Richard williams dialogue timing spacing page 308.jpg]] | [[File:Richard williams dialogue timing spacing page 308.jpg | 450px]] | ||
tongue and teeth | tongue and teeth | ||
[[File:Richard williams dialogue tongue and teeth page 309.jpg]] | [[File:Richard williams dialogue tongue and teeth page 309.jpg | 450px]] | ||
double consonants | double consonants | ||
[[File:Richard williams dialogue double consonants page 309.jpg]] | [[File:Richard williams dialogue double consonants page 309.jpg | 450px]] | ||
Milt Kahl's secret and thoughts on Jim Henson | Milt Kahl's secret and thoughts on Jim Henson | ||
[[File:Richard williams dialogue the secret page 314.jpg]] | [[File:Richard williams dialogue the secret page 314.jpg | 450px]] | ||
Revision as of 15:53, 28 January 2026
Classic Inbetween mistakes
This one should hit all the 3d animators right in the gut. The computer just interpolates between keys given what ever method we chose in its graph editor. The computer doesn't understand contact and penetration unless we do a helluva lot of physics additions.
Contact happens at CONTACT!
Arcs
The example below is equivalent to the the 12 Principles of Animation Arcs. Most things which are interconnected and also compete with external forces will travel in arcs.
Impact
Break the rules of spacing and timing and exaggerate. In the example below, removing a frame of animation would make for a quicker movement on screen, but because that very movement has been stretched in the form of the character here, a smear has been created. This smear makes for a quick and abrupt splat on the next resulting frame. The impact, in its anticipation, has been exaggerated.
Below is another example of exaggerating the contact. This is definitive "cartoony" movement. There can be a lot of nuance injected into the how this animation problem of contact can be solved, but this is an obtuse example and it works.
Elongated Inbetween
Like the examples above, the elongated inbetween Richard writes about becomes what is now the contemporary smear. Below are his examples.
'Ruff' Approach
Richard writes at length about work ethic, whether he knows he is writing about work ethic or not is another rant. One of his mentors is quoted in the book, Milt Kahl, one of those Nine Old Men of Disney.
Work ethic is important to Milt Kahl, and it also relates to the Principle Zero. If one wants to really make, they need to be making.
It is also in this section where I differ from the view on 'rough drawings'.
"Rough drawings have lots of seductive vitality, blurs, pressure of line, etc. But when they're polished and tidied up you usually find there wasn't that much there to begin with." - Dicky Williams
If you really breakdown that thought, it gets kind of sad from an artist perspective. The very act of 'tidying' up the drawing can and will ruin vitality and spontaneity. Working quickly, making quick decisions can be the closest one gets to their true creative self. For those artists who really buckle in to learning craft and analyze work created by others and themselves, the analyst can be detrimental to creativity. The more one craftsman works within the project, the more time the self editor has time to creep in. This isn't always a bad thing, but it can kill spontaneity and the creatives personal hand.
Walkcycles
Richard goes into walkcycles, then he really goes into walkcycles. Walkcycles are cool, but in the greater world of animation, walkcycles are just small part. The Survival Kit book really gets in the weeds with walkcycles, and if that is your thing, it is a good resource. Below are some of the general walkcycle approaches which stand out.
Foot detail
Weight shift
Arms
Breaking the arm on the swing back.
Runcycle
Jump
Weight
Lifting - profile
Lifting - Frontal
Lifting - low weight
low weight - falling - arcs and paths
Follow through
Anticipation
Cartoon Zip out
The magic trick
Takes - Antics - Accents
Hard and soft accent - hands example
Dialogue
timing and spacing
tongue and teeth
double consonants
Milt Kahl's secret and thoughts on Jim Henson
