/ic/ - Artwork/Critique

>>3786092
You need to understand how to construct characters in 3D space easily, as character animation and objects would be easier than if you hadn't done the practice. For the practice of it, don't just fucking sit down and draw 3/4 anime faces all day, draw as much as you possibly can. Draw just about anything to understand why those things look the way they do.
The ball bounce test is a good way to figure out where your brain is, in relation to how it interprets the movement of objects. Use it not as a "get it over with an post it lmao" exercise, but as a way to practice drawing mass and gravity in assorted objects. Animating a regular ball bounce is simple enough, but animating a second one where you consider the ball's differing mass is another good practice on it's own. The exercise also helps people understand vertical ease-out and ease-in with arcs. Arcs being EXTREMELY IMPORTANT to animation itself. Motions that follow straight lines seem programmed and robotic, where arcs seem more organic.
I'd say if you're consistent with how you work with construction, you could start animating. But there are things you need to understand before you jump into it like most people have. First being; DO NOT focus on "smoothness". This is where most people fail and quit, because they focus more on making the animation look le ebin smooth more than they focus on making it move properly. The way to get past it is to have a good sense of strong posing and lines of action to use for extremes, while also conveying exactly what's going on with as little drawings as possible. You could easily have an entire motion for a character in a runcycle done in only 4-8 frames, and then you could fill in all the proper easing and anticipation later on while you work on inbetweens from extreme to extreme. This is what's called PROPERLY TIMING an animation. Having the inbetweens done later helps with keeping the animation's quality and consistency.
also try to have fun lmao

>>3530002
>>3530007
I think by "spacing", they though of the amount of space inbetween key frames, rather than shapes. it'd make sense if that's what he meant. like when you expose a frame in the middle of an animation for 6 frames so the animation visually gets slower at the price of a choppy framerate, but requires less drawing.
i posted this shitty apple animation before, but as the apple is rolling off the table, i think it's animated on 4's to save time drawing, and it moves onto 2's when it begins to fall because the motion physically will be moving faster. changing frame exposure by understanding the whole "low framerate for slow, higher framerate for fast" stuff.

i could be talking out of my ass tho. i just caught up

>>3384462
>Animation is good but you missed out the proportions, the table looks veeery high
Yeah, thanks for pointing it out: I guess I'll have to redo my perspective studies.

Some anons from animation thread even redlined it for me - check it out!

>>3383928
i think i fixed it