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How to Animate | Eilm CARTOON CONSTRUCTION PROPORTIONS The heavy pugnacious character has a small head, large chest or body area, and heavy arms and legs. His jaw and chin protrude. The cute character is based on the proportions of a baby. “Screwbal!” types have exaggerated parts. Cats have a wide head, small nose area, and pear shape body. Proportions make character, so analyze them before you draw. STANCE—SOLID MASSES Draw a “Line of Action” through the three dimension parts to organize and set the attitude or action. Construct your drawing like you were fitting together the parts of a puppet at the joints according to a character formula. Thus your character becomes believable, and when he acts the audience emotionally responds. Copyright 1980, Preston Blair. AI! rights reserved. This book has been published to aid the aspir- ing artist. Reproduction of the work for study or finished art is permissible. Any photomechanical reproduction of art from the publication or art drawn from the publication for commercial purposes |s forbidden without written consent from the publisher, Walter Foster Publishing, Inc. SKETCHING BASICS - A SHORTHAND ART Animators make series of rough outline type For poses make scribbles of what you see in sketches that suggest the movement of a char- your imagination, then, study the scribble for acter. Its like the handwriting of words with no suggestions. Imaging before and after sketching. thought about: forming individual letters, only Forget drawing. scribble! Beginners become an thought of what you're saying (or acting). artistanimator only through hours of sketching Make many attempts. The sketch is like a plan for a building, so pick from many. Reverse your sketch (turn-over on lightboard) and re-draw. Slightiy erase with a kneaded eraser and re-draw. Sketch in colored pencil, and re-draw in black. Scribbles can become multiple A rough outine suggestionisthe Use your imagination to develop This is an animator's “rough.” — You should know all about this. sketches. Keep trying to get a — first step. It may have to come — the drawing. This may also take A"clean-up” finished detaildraw- But, animators don't draw this suggestion of what you want. — from many scribble attempts. many scribble attempts to finish. ing is made from this basis. skeleton first, they sketch outline. Making small thumbnail sketches of important poses brings out the over-all structure and appeal, makes for broader drawing and less attention to details. Key poses of a tiger action are from many trial sketches. But, these keys may be changed to fit the action as it evolves in animation. ANIMATING WITH POSES-EXTREMES There are two distinct methods ot animating. A third method combines the best features oteacn. 1 A E The original basic .method..s straight-anead.” tis simply drawing one move directly after another in an evolving sequence of growth. A plant grows "straight-ahead.” Drawing dots, one after another in a flip-book is “straight- ahead.” The second method is “pose planning” as here ilustrated. "Key-poses" (Like the mouse below) are first sketched that plan the “extreme” posi- tions in an action. These are carefully thought out in regard to the action, dramatic presen- tation, interpretation of mood, reinforcing the story, scene composition, and drawing points. Use POSE PLANNING to animate scenes that involve repeated cycles in a path of action. Use POSE PLANNING to animate scenes of drama with the “key” gesture poses, atitudes. The importance of the “extreme” drawing is best illustrated in pendulum action, which swings in “a path of action” between the “extremes.” Such well defined actions that move in repetitious cycle, like walks and runs, are planned by first drawing "a path of ac- tion” according to perspective, and then drawing the same cycle drawing in the pro- gressing positions. The remaining “inbe- tween” drawings are planned with spacing charts that also indicate the “arc” of the ac- tion. Such guides are placed by the animator on his “extremes” if other artists complete the scene. Animation between “extremes” is rough-in by the animator. The inbetweens can radically change an action, greatly im- prove it, or badiy stunt it A character walks, above, for three steps and reaches down for a kitten. The foot-con- tact extremes are placed in a straight "! of action.” In another way of “acting. character starts his reach for the kitten as he walks in an overlapping action, anticipating by lifing his arms, head back. As arms reach out, head stays back in balance to thrust, and follows through later in an overiapping action as kiten is lifted. The later is a better anima- tion job, but, the acting as it fits the mood and story is the essence, and there is a time and place for each approach. Pose planning is vital to acting scenes like the mouse below. Such scenes are based on the drama, ges- ture, or attitude of poses, and not action. suyBno! esau 'usuL 'uonde sty sabed au ui siop Bulôueuo ex! 'pasinel pue “pasines eq Áeu suonoe eu 'sf poddiy aJe SBuIMBIp SU peu si yDe8 Sy "Sejqquas LAI ee sBuimeip Isuj SUL Jeyoue jo doy uo a! TIMING & SPACING PATTERNS The animator is the actor of the cartoon film. An actor's timing is the | METRONOME | essence of the art, it is based on instinct and personality. The actor | NUMBER 44 = 30 FRAMES learns the craft—how to always walk or OE vath a mean lo O | St=24 u never pause unless you have a reason for it-— when you pause, pause [ 88=16 as long as you can. And so the actor-animator must learn the value of | 120=12 « a “hold” —and the right amount of time to linger on it, so it will reg- | ister with the audience for all it is worth—when to cushion into a OO MO=10 4 hold gradually, or when to jump into a hold— when to “freeze” a hold | 168=8 “ dead stil, or when to keep up subtle secondary actions during a hold to give it that breath of le when to start lite actions during the | SECOND = 2H FRAMES noyd that anticipate the following move, or move the eyes to anticipate MINUTE =720 q coming movement —when, after such anticipation to jump out of a pose, or when to slow-out—for such is the craít of the art. ! The swings and ticks of the metronome can tell you the exact speed The filmed result and meaning of a spaced move depends on: | in frames of a walk, run, or action you visualize as you actitout. Set 1, Actual measurement 2. Relation to field size 3. Relation to size of the arm at 8 frames and act a fast walk or run with your fingers and character. As shown above, a small move on a small circle has the ] hand as the actor-—maybe 12 frames would be closer to what you same relation to the circle as a large move is related to a large circle. | want. Make frame count marks as above. Check clock so 30 12 The large move on large field appears the same on film as small move frame ticks fit 15 sec. on srral field | 2) A puppet moves as the strings are adjusted. An animated film char- ã acter moves according to spaced-move patterns in the actions. : When the animator starts a scene he has a specific action in mind SE] 93 19 do in a certain time... . or frames. From experience he has E 9 q gained a knowledge of how specific pattems of spacing will work pe when they measure and path the actions in the character. Often he charts a pattern in advance, but usually these patterns are inherent in the animation structure . . . and evolve intuitively during animation. My advice to the beginner is to first develop a little of this sense of timing by animating and film testing a large and small circle in var- ious Speeds in patterns. It will give you an idea of how fast 24 SNI NE go by in a second. You cannot see a single frame. Never SN Nos it'takes 3 to 5 frames to glimpse a drawing. To register a quick-gesture takes at least 10-12-14 frames . . . or the audience will miss it. So, think animation oniy in series of frames . . . in pat- terns. | back and forth across a 12 field as timed by a metronome. You | can figure it out: at the 24 frame tick, one move across 12 inches is a speed of Y inch per frame, and it takes two 24 frame ticks to | (2 move your pencil across 12” at inch, etc. /3 The pendulum pattem (1) is even spaced. The pattem occurs in leg and arm movements in walks and runs. The uneven-spaced (2) me and (3) change the action considerably. Fig. (2) is slow-out and — slow-in, slow-out-in, etc. Fig. (3) is either slow-out and fast-in, slow-out, fast-in, eto., or it is reversed as fast-out, slow-in, fast-out, slow-in. etc. Figs. (4)-(11) are actions in walk and run cycles of the head or body. | The recoil drawing is at the base. . . and when time is spent around | Ya ,8 this, weight is accentuated. The creature simply cannot seem to | get off the ground. When the high drawing is accentuated, the crea- o - ture is so light-weight he bounces up, floats, and scarcely touches the ground. Walks with character usually have certain uneven-spacing] | A Á Figs. (4) and (6) are for heavyweights . . . and a light-weight deer | 174 N would bounce and float like (5) and (7). Figs. (8)-(9) are usual in a walk or run on a pan. Recoil is bottom, rise to left mid-way up, high on top, and contact mid-way down on right. Any of these four posi- E aaa” tions can be accentuated in timing to create character. In (10)(11) » sa the head or body and head are moving from side to side in the walk or run action on a pan. Reverse the direction on these or (8)-(9) and you get different character Often the best way to move is simply in a straight-line as (12)-(14). And all patterns may be better eventy spaced. Figs. (15-18) occur in hand-arm movements in various accents Fig. (19) happens in live-action constantiy. A hand and arm move in an arc and suddenty jump to a different arc as the result of another body action accent, or jerk, like a kick. On Fig. (21) a hand and arm, or entire character, comes back in anticipation, moves fast, then 1 f violentiy stagger-stops. Figs. (22-25) are some of many stagger t A actions for takes, stops, collisions, crashes, etc. An evenly spaced al os 25 26 series of drawings can be a stagger-action: 1-10-2-9-3-8-4-7-5-6, etc. These CYCLES are from my other Foster book, "Cartoon Animation," 426. On a pan scene, when the foot is placed on the ground it moves with the pan moves, as those indicated below. These moves are related below to a stationary center line. The body and all the parts move in paths of action; these are the usual patterns. The action can move in either direction. As in lite, cycles have countless variations. Exaggerate or subdue any position or move. CYCLES — PLANNED ANIMATION Never move a character without acting mean- ing. Bring out a gesture, mannerism or story mood in every cycle. On page 30, two cycles below are combined in a double-bounce-strut. Notice the cocky gesture at high points. It is readable because it is a series of closely relat- ed drawings. Then no time is lost in going to opposite step gesture. Funny walks can “make” a film. Girls move with a distinctive arm-body mannerism (see page 39). CONTACT RECOIL LIFT HIGH CONTACT cenenta. es cuciaqesssenes. ea pena ada Ea () É 2 97] OS 55 EA, T es Gal ATTT TELA EL osmansnen ra mona nar o D) lo BA 15 STRUT — 5 | st So mo So 4 / E Ci O > ;O) | = RAS SEO G SNEAI (E X ua Ud A FINg 6, PLANNED ANIMATION is a system of combining animation meth- ods and planning the re-use of this art work in many scenes. It is used to produce the considerable film footage of TV cartoon series. A change of pace results from the use of full animation in critical ac- tions of the story, and the use of limited animation in dialogue with bursts of full animation for important gestures, Animation, back- grounds with overlay backgrounds, and camera fieids and trucks are planned for use in many combinations. This production work thus gets much more “mileage.” So, plan your film. CYCLE ANIMATION as the above can be put on long cels that allow 12” on each side of the drawing. Such animation can be used as above in the field center with a moving pan as the background. The same ceis placed on moving pegs can move the character through a still background scene. Or the same cels can walk into an- other background. stay centered as the background moves and then move out when the background stops. And, on the three other cel levels in the animation scene, other cycle-characters can move at a different speed, in any direction: and plus camera moves. a “e sa LIMITED ANIMATION is based on dividing a character into as many as four cel levels; and a dialogue system as illustrated. It is especially adaptable to the type of character on the other page. The dialogue system often is more elaborate, as 7 heads up-down, and 7 heads in a sideways move, all around a centered head. Laughs and gig- gles are often animated by a laughing evenly-spaced up-down series of such heads in a stagger-timing on the exposure sheet. Dialogue head-series can be fitted to a body cycle walking on a pan background. A bottom peg camera device moves the pegs up-down to fit the walking action. (Note: body action peg-holes are adjusted.) Heads can fit characters in a vehicle on a pan: and, this entire action bounces on the rough road using the same device attached to the bottom peg bar. Such mechanics are endless. ANIMATED CUT-OUTS can be added to full or limited animation cels. After the cel is placed on camera, the cutout is placed over or under the cel according to a few dot guides on cel. For example: An elaborate line-engraving of an antique auto is cutout and placed under a series of cels that animate the wheel action, dust, smoke, and characters seated in the auto. IMITED ANIMATION — CUTOUTS red TV LIMITED ANIMATION is based on dividing characters nto parts that work on separate cel leveis. Here are examples of the many divi- sions possible. The same set of character cels can be used in many scenes. DIALOGUE SYSTEM The head moves in a sight nod action up and down in drawings 1 to 4. Each head has a series of 4 to 7 mouth drawings that work on the cel level above the head Thus the head nods in many timings for any amount oi dialogue & + CAMERA + TECHNICAL | suurteR OPEN (o; CLOSED + TZ TT JOANTIBICAMERA INSTRUCTIONS 11 E ajoj(5 FIELO = 3/PE6S || VAS-3E| [DISSOLVE: | (ra gi RE] E IN : | CENE. D START BOL 7 PESS 4 FT 5 OF CENTER. s 9 CI[ 65 E && 2 Ay 7 3] TY 68 4 A 67 s] E Zo O 1 1 77 7 RUCKCAMERR[ | | 72 3 FROM SETAS2E] | À 73 º JO SF.CENTER| | E Zé To| [ E 75 E [ ! Zé 2 START PAN | | Z7 3] [+BOT PEGS || | ! ZE 4 Ri6wT=> DT] l 77 5] T [ 1 go, S| XY [ 4 ELRICI] (o So E 3 20)/0] E 175330] à 7 3 Fã á 7 s TRUCK 10 6| ZA 7 7Z 3 [4a] 9] 2129 T 2 CAMAT BEE. a 3 E 4 7 E STOP PAN Eá S BO PEGS! EA i[zof: T DER 7 Dra Ez 72) F9/05,/0] [Alt E 77 2 Rd ER RP 104, THE ANIMATION CAMERA moves vertically, up-down. centered in a fixed point. The artwork on the EE COMPOUND moves north-south NIS and west-east WE. A camera “truck” is the vertical movement of the camera plus these compound adjustments needed. Compound moves alone are called "camera- moves.” The camera trucks from a 3% to 12 field according to chart at right. Fields are located by cen- ter of field like a map N/S WE, and this measures compound moves. The COMPOUND TOP has top & = bottom “peg-bars” that move right orleft. These are called "pan" moves for a background and “peg" moves for “cel” animation artwork. [2' FIELD CHART TOP PEGS BOTTOM PEGS W/E — COMPOUND TOP Animation is drawn on 10%” X 14” paper and photographed on .005 acetate "ceis.” These are punched with peg holes for reg- istry. The pegs at top of page are widely used for TV series, commercials, and other pro- duction, Most animators use the aluminum-cast draw- ing disc that fits and rotates in a circular hole cut in a drawing board or table. The above disc has an adjustable moving peg-bar that serves as top or bottom pegs by rotating the disc. Other discs have only the set pegs, or two moving peg-bars A 60 watt bulb or double fluorescent light is used in a light box under the disc. Never use a single fluorescent light as it is stroboscopic. and not good for the eyes. The 12 field (12º X 8%") as charted above is the size and area of normal production. Only fields from a 3% field to a 12 field are used The location of the point-center of a field on the above chart is specified as either C. (for center) or the NÍS and the WIE field distance from C. On the exposure sheet at left the start 5 field's center point is 1% fields south of center and 3 fields east of center like a map. Cameras truck to an 18 or 24 or as high as a 36 field. This is for special unusual art work that is rarely animated, usually still. Cameras have special equipment for fully animated cel production at an 18 field. Extra peg-bars are built into the compound. Many com- pounds have double top and bottom peg- bars to heip with 12 field production Many compounds rotate 360º, a complete tum. Fields can tip to any angle, twirl around, or shift to a 90º vertical that would allow for an up-down pan scene. An 8% field is the largest that will fit sideways for such a pan. Tilted fields are indicated in degrees as sur- veyors indicate angles on a map. The ver- satile camera can do many things. DRAWING DISC The cameraman “shoots"the scene based on the exposure sheet form and method at left The animator draws a heavy line at the start and stop of all camera and peg-bar moves. A truck is indicated with a vertical arrow. A camera dissolve-out is a V, a dissolve-in is an inverted V as shown. These two V forms are combined in an X form for a fade-in and fade-out dissolve, and they overlap in an XX shape for a cross-dissolve. Compound peg-bar cel or pan moves are given in decimais, however. pan moves are also given with a chart of moves above or below pegs on the edge of background. When a held cel is removed resulting in no cel position in column, a blank cel is placed There are four cel levels. Sheets are usually for 80 frames or 5 feet. Also see page 9. À scene is easier to “shoot” if the pan is on the top pegs and the cels are on bottom pegs. Animation drawn on the “natural” top pegs can easily be put on bottom peg cels, The camera runs backwards and forwards and can shoot a scene in either direction. Thus a scene exposed beginning at the end and moving towards the start enables a piece of artwork or an animated cycle to be “soratched-o!t” or cut-off according to planned spacing. When projected forwards the action is growth An opaque painted shadow, cloud, water cycle, rainbow, or ghost animation becomes transparent to a specific degree by making one run of the scene at a 50% (or other) shut- ter stop, then, a second run without art- work to be transparent at a 50% (or other) shutter stop. The total exposure of both runs must be 100%. Or. a character appears to walk through an opaque rainbow, tree, cloud, door. or water cycle by making two 50% runs wih the character above and then under these artworks. A “matte” shot uses a black matte over a scene being photo- graphed, thus the area of the “matte” is unexposed. In another run a character is exposed in this exact area. 13 Gestures, mannerisms, atitudes of posture, outbursts are a language of animation that speaks emotions, and reveals char- acter through your drawings. As our art developed, the comic animals and people began to “think” and have predictable char- acter ... most of it hilarious. But later in Disney features, the animated art reached a high point of moving people to tears. The animator was now a “real” actor. There are rules for actors. Never move or "freeze” without meaning. Hold a gesture as long as possible to let it register and sink-in. Don't over-gesture. Animation is a calculated spacing of cartoons . . . that can bring gestures like these to life. Each of these gestures require: 1 Related animation acting into the pose. 2. Overlapping action into and out of the pose. 3. The subtie animation ot the pose, or a "freeze” with dramatic meaning. In animation never go anyplace all at once unless there's a reason, which isn't often. Here are three classic animation patterns, the bear “double-take” . . , into pose, the mouse “take” into pose, and one version of the great “slow-burn.” DIALOGUE EXPRESSIONS - POINTERS POSE ACTION POSE DA AS ACCENT ON ACCENT ON ACCENT ON START OF STOP OF CHANGE IN ACTION ACTION DIRECTION - The tiltangle at which the head is held, where the character is look- ing. and the movement of the head in relation to the body creates an expression as well as the facial features The simple titing ot the head into a posture related to the facial ex- pression can convey a broader emotional range. An example is TV hand-puppets that operate on a tit and body twist alone without the benefit of accurate phonetic mouthing or any facial action whatsoever to convey many emotions. Acting a hand puppet is excellent dialogue research for an animator. as you learn how just a five degree change in tilt can convey a different emotion. Many tits or head turns are gestures in the action, as a nod is for affimative dialogue, and a shake sideways is for negative doom. A, certain jerk points to another character, etc. An actor-animator has an enormous range of expressions that move on his face, and he studies these in a mirror on his desk Every expression is based on four factors, the eyebrows, the eyes. the eyelids, and the mouth-cheek area. All of these affect the expression, and you have to get each, and all of them working together. Many expressions are not symmetrical both sides are not the same... and they don't have to be. À symmetrical expres- sion can change in your animation to a non-symmetrical look with dramatic ef- fect The animation principle of contraction to expansion to normal, or expansion to contraction to normal is very important in facial action .. . and effect. And over- lapping action of the four factors can improve many actions. For example: an eye blinks (contracts), opens wide (ex- pands) and then goes into normal pose, followed in an overlapping action by the eyebrows and then the mouth-cheek expressions. The face is a continuous overlapping action of contraction and expansion. Make a cassette or tape recording of the dialogue to play and study when animat- ing. Then, mouth and act-out each phrase and sentence many times before drawing the act. SPACING-FASTER ACTION 9 7 SÁ ACCENT ON ACCENT ON CHANGE IN CHANGE IN SPACING-SLOWER An accent in dialogue action can occur at an action start or siop, any change in spacing. and any change in direction. Accent the start of phrases of dialogue as well as the loud sounds in the track. Divide the dialogue into phrases of action and expression. Remember, however, that often one facial expression should dom- inate an entire scene to effectively advance the plot, and say more than the mere words. As shown above, when the hands and arms gesture the dialogue, the head tilts to balance these moves in the opposite direction. This re- sults in an overiapping action and follow-through that can improve many dialogue actions. The action above could be saying the dia- logue on the opposite page. You fit it. A to B is "All of the boys,” and Bto C is “caught a fish.” B is a pose accent for "boys," and C and spacing accents “fish.” MOUTH ACTION —- PRONUNCIATION espermaregenesnro- se E aaa TAN er t 1 —aiso- €.!19-1 . r o a Dá sh n 5 —h with o- CONSONANTS j j ze Na y E 4 E am ida q wh=w | ] | I ! | rá SS DO dal Q Loud - Full Volume VOWELS z Erá 9 —U (166) Y oo RA w e T (Et) n/a (€) PRESTON BLAIR Vebster Pronuciation Symbols - 01 àv thé bóiz English - kôt à fish Al1 of the boys caught a fish. th animated Mouth arrangement - AR (o) The animator creates an illusion of speech . . . or an image based on reality that is believable. Real mouth action is analyzed by phonetic science and the pronunciation alphabet guide after every word in the dictionary. And, your own mouth action analyzes. When you pronounce “all of.» :” your mouth shapes the sounds ol av... The a in all is like b-ough-t or like c-augh-t or an o. While the o in of is an Italian a like f-a-r, t-a- ther. English is irregular. A famous example is ti-sh. These language sounds are actually spelled "ghoti” in the sentence: “There's enou-gh w-o-men in this na-tkont” In the phonetic chart above, the Italian a is formed at the bottom middle of the mouth, the i at the front-top, and the oo at the backtop. These are the vowel extremes. Con- sonant w is an extreme 00, and y is a continuation of The chart is a path you follow. The phonetic i is really two sounds blended. a + i. And likewise u is i + 00. Mouth it. The word "few" very ac- tualiy anaiyzes the sound u for animators. Americans mouth r as u. A Scotch r is like n:tid. Phonetic science every animator should know is that m- n-ng are nasais and sound comes at this mouth, but p(unvoiced) and b(voiced) are explosions ot m and the sound is after this mouth. And, t-d are explosions of n, and k-g are explosions of ng(a sound without a letter). Inbetweon drawing k ola 1 nveTo Sá 1-ã-v-é-b-o-iz-d46if/éish ja Junp in size The dialogue is entered on the exposure sheet by the track-reader. The sound and volume of each frame is indicated. The mouths on the exposure sheet here are a guide and are not usually put on the sheets. Mouths fit the character and mood. Often a cartoon mumbles out of the corner of his mouth, and all the dia- logue is a slight variation of a gesture mouth. Study your mouth action in a mirror . . the general flow of shapes through a sentence. Your mouth blends and consolidates vowels and consonants in a continuous move- ment. The faster the speech, the more blending .. . until an entire sentence is mouthed as just one word. There is simply a speed limit. Animation that passes this limit chatters unrealistically, destroying the illusion. This is caused by too many jumps from side to side in the above path. Don't get jumps to close together. or too many together in the exposure timing. And. get jumps before vowels when the mouth opens. Important vowels are treated like a pose with plenty of drawings to make them register. Many mouths in your action can be influenced or modi- fied in shape to fit adjoining mouths, and thus a smoother action results. Many characters cannot pronounce words with all these positions on the chart (ike f-1), and many gestures limit mouth shapes. Just draw in the direc- tion of the right mouth (blend), cacau Jor [5 = T | a | + E an dz | 3. 1 E E2 DE E) 5 = [ U/ 2/5 RE 1 e /0 2 J 3 1 rg a Ta s Dá ?| j A 31 7 [IH er! za 72", = ZE| 2 T 7 == 4 Zs = 1/7 -=EI 5 - 201/57 E VA REZA 3 TS o Ea 7º [> + «ZE <> Ss 81/Z7 5 [e ScI7 e 1 Ex 2[Z O) Exa g 5 He siZz. Fe sT|1 Zi s EA Z0|245 E - PRAXAC AE Ena Ea Edo A walk cycle is two steps. In animal walks, the back legs are usually 1/2 step ahead of the front legs — as with the horse (and pup on page 39). The dog's back feet are 3/4 step ahead here, but could be 1/2 step. Elephant back feet are 1/3 step ahead here, but 1/2 step ahead in the amble-walk, which is their fastest. (Elephant can't run.) When animating a walk, think of the back foot coming forward and releasing the front foot to rise, This is the front foot on the same side. The back foot never releases the opposite front foot to rise, which is a common mistake with animators and illustrators. When the ani- mal backs up, itis the same, only in reverse. COMPOSITION - STAGING ARRANGEMENT FOR DRAMA The drama portrayed by the composition first catches the eye—then, the composition directs the eye to the center of interest by various de- vices. The characters as above may bend toward and look at it. The abstract design may: point at it, intersect it, frame it, circle it, or bend around it just as parenthesis ( ) do. It is accented by color difference, contrast, or tone. It is clear of detracting detail (see duck), and isolated. It may balance the composition in importance. Compositions can balance like a scale with equal weights (areas), or as a balance of interest. A small object of importance, and isolated, can balance a huge object. Characters are fitted and woven together in a group, with rhythm lines and straight lines that align, and areas that fit in patterns. The alignment of character abstract lines creates circular and curved rhythm lines and the hori- zontais, verticals and diagonais. The viewer's eye level is important when he looks at grandeur or big monsters from a worm's eye view—or down at small things all Appreciate the value of silhouettes to define and clearty tell the story in two dimensions. Even in groups they define all alone (above) Of course, there's a time and place for three di- mension foreshortening and perspective to give reality. Then, you have to define with uncluttered, simple, good drawing (a big order).