# Tag Archives: technique

## Perspective for Animators Part Three Cylindrical Perspective – Page 3

So to construct drawings in cylindrical perspective we need what I would call sine curve graph paper. So far as I can establish such paper does not exist, though I am sure a computer could be persuaded to generate it. Figure 4 shows a series of sine curve segments which I plotted on ordinary graph… Read More »

## Perspective for Animators

In Part Two George Collin looks at Movement in Perspective. With the coming of pocket calculators there is a danger that children will not learn how to do anything but the easiest calculations for themselves. In the same way, with developments in computer graphics, there is less incentive for animators to plot perspective. But I… Read More »

## Perspective for Animators – Page 2

The key to rotating objects in perspective is the ellipse. Figure 5A shows a circle drawn on a grid. Figure 5B shows the grid drawn in perspective (turn it on its side and you will see that it is similar to figures 1 and 2). Using the grid as a guide, it is possible to… Read More »

## Perspective for animators

In drawn animation one of the most difficult things to create is a sense of depth, with characters which are not flat shapes on a flat background but have the appearance of being solid in a three dimensional world. That means drawing and animating in perspective, writes George Collin. There are many books available on… Read More »

## Perspective for animators – Page 2

There are at least two ways to tackle drawing in perspective; the “architects approach” and the “artists approach”. The architect takes his floor plan and elevations of a building, makes a series of projection drawings and produces an impression of a structure which may not even exist yet. The artist sketches the scene before him… Read More »

## Perspective for animators – Page 3

You may have seen the computer generated workings of Big Ben in Disney’s Basil, the Great Mouse Detective. It was very impressive, but I would challenge the makers on the angle of view. As we flew around between the gears I got the distinct impression that the angle was far greater than 90 degrees. Perhaps… Read More »

## Advice to the aspiring cartoonist

DRAW, DRAW, DRAW Malcolm McGookin is an animator and a part-time cartoon strip artist. He offers some useful advice to the aspiring cartoonist and comments on the state of the British cartoon market. The problem with cartooning is that you cannot go to college to learn jt. I don’t know if it is a unique… Read More »

## Sean Lenihan on Editing Animated Films

Sean Lenihan tells David Jefferson what is involved in preparing a sound- track and combining it with pictures to give a polished result. “The sound track is one of the most important things in an animated film,” says Sean Lenihan, a freelance film editor who heads his own London based post-production company. “The majority of… Read More »

## Sean Lenihan on Editing Animated Films – Page 2

Lenihan has been editing animated film from the age of 17 when he got a job at the Wyatt Cattaneo Studio as a trainee in 1969. “We did a set-pattern type of work, there was a constant stream of animated commercials promoting Home Pride flour, Dunlop tyres, and Tetley teabags. An effects library was created… Read More »

## Sean Lenihan on Editing Animated Films – Page 3

There are some video programmes that can be completed on U-matic without haying to go to one-inch. The finished result can be an off-line cutting copy. “Industrial promos and the like can be produced reasonably cheaply without going on to broadcast standard.” There are a lot of video houses specialising in this type of work,… Read More »