Phrasing (Part 2)-

For me, the flow of underlying forces is an anchor to beginning rough animation stage. They are divided into phrases; each guides the unfolding of forms from one force to the next, one compartment to another, generating cause and effect, setting conditional direction to movement.

A phrase begin at an initiation of a force, and end when another takes over or coming to a complete stop.

Once a force is initiated, it needs time to unfold properly before it can change direction.

Origin of force initiates a body part into motion, in turn causing the entire structure to react in delayed manner like ripple effect, sending body parts to follow through and overlapping.

Strength of force dictates spacing, path of arc, amount of anticipation, distortion of mass (squash and stretch).

To be in constant touch with intent flow of force, I unfold drawings forward, leaving a comfortable space to visually see the drawings in motion through rolling; also, the space between drawings in this rough stage should give an indication to strength of force.

In this manner, the animated movement will unfold naturally on its own; and as an animator, I’m just simply assisting the character to be visible for our viewing purposes.

What visible is easier to comprehend, but it’s the invisible that is at heart of all things; in this case, it is the ‘feel’ of force that is invisible.

Here, a composition inspired by a piece from J.S. Bach Well-tempred Clavier; and above, a scene I made as class demo at CalArts last week in its first-pass.