《生命的幻象》作者Ollie Johnston的动画笔记30条（全）
（Ollie Johnston 和 Frank Thomas 合著了著名动画书籍《Illusion of Life》，译者注）
作者：John Lasseter， Pixar公司
编译：Luonaldo（又见到他了）
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“当我在Disney公司作一名动画师的时候，我有一份复印的列表，是来自于Disney最伟大的动画师之一，Ollie Johnston的一些简单的笔记，我把它订在我的绘图桌上。这份列表最初是由另一位伟大的Disney动画师，Glen Keane制订的，此前他给Ollie作过很多年的助手。”
“这些笔记多年来已经成了我的灵感源泉。即使当时是写给手绘动画的，我相信对现在的电脑动画也同样适用。”
- 不要阐释言语或机械呆板的运动，用态度和行为去阐释念头或思考。
2.根据态度挤压和拉伸整个身体。
3.如果可能的话，从一个态度变换到另一个时，要在节奏和表情上有明确的变化。
4.角色正在想什么？
5.是行为背后的思考和环境才使行为变得有趣。比如：一个男人走向一个邮筒，把他的信投进去然后走开了。或者这样：一个深爱着他的女孩的男子很小心的把一封倾注了他的心血的信件寄了出去。
6.当你绘制对话场面时，注意言语措词。（把对话简化为那些展示主要元音和与声音同步的画面，尤其是在快速对话中。）
7.肢体的态度要在对话之前4帧到位（但是要使用与X sheet同样的口型节奏）。
8.表情的变化和主要对话声音是一个兴趣点。尽一切可能在一个姿势中完成这一变化。如果你的角色的头动的太快，你会看不清这个变化。
9.如果没有目的性，不要移动任何东西。
10.集中全力，要画得清楚，而不是画的干净。
11.不要粗心大意。
12.每样东西都有它的功能。不要画你不知道干什么用的东西。
13.让肢体语言附和面部表情。
14.通过小样和探索每条途径获得你的最佳画面。
15.分析角色的某个姿势，找出那个区域最适合展示挤压和拉伸，保持这些地方简单。
16.在你落笔画的时候，先在脑海中勾勒出来它的样子。
17.要通盘考虑整个角色，而不是仅仅考虑头或眼睛。保持画面各个部分的平衡关系。
18.分好阶段，以便最有效的进行绘画。
19.每过一会儿，给你的工作画一个轮廓画，轮廓通常比较容易看出脸部的比例是否合适。
20.与通常眉头紧锁相关联的是眼睛的高度聚焦。
21.眼睛是会被眼眉的肌肉拉拽的。
22.脸部要有一种可塑的性质－脸颊、嘴和眼睛。
23.在你的画面中通过肢体的节奏获得流畅的动作。
24.动画的形状保持简单。
25.观众很难注意到一个场景中最初的6-8帧发生的事情。
26.额外的动作对场景中主要想法的表现有贡献吗？是出彩了还是搞乱了？
27.不要为了动画而去动画，要想想角色正在想什么，场景需要怎样去让情节前后连贯。
28.行为是可以被省去，并从划分场景上进行偷巧的。只要这个行为简化了你要展示的画面，并且没有打扰到你的观众就行。
29.花费一半的时间计划你的场景，另一半去做动画。
30.怎样动画一个有四足动物表演合行走的动画呢？先定出表演模式，包括对躯干、颈部和头部的挤压和拉伸；然后回去动画它的四肢，最后，再根据腿的运动变化调节躯干的起伏运动。
（原文）Animation Notes from Ollie Johnston
Reference: These notes come from Course 1 at SIGGRAPH 94, "Animation Tricks".
When I was an animator at the Disney Studios, I had a xeroxed list of simple notes from one of the great Disney animators, Ollie Johnston, pinned to my drawing table.
The list was originally written down by another great Disney animator, Glen Keane, after working as Ollie’s assistant for a few years.
These notes have been an inspiration to me for years. Even though they were meant for hand-drawn animation, I believe that they still apply to computer animation.
1. Don’t illustrate words or mechanical movements. Illustrate ideas or thoughts, with the attitudes and actions.
2. Squash and stretch entire body for attitudes.
3. If possible, make definite changes from one attitude to another in timing and expression.
4. What is the character thinking?
5. It is the thought and circumstances behind the action that will make the action interesting.
Example: A man walks up to a mailbox, drops in his letter and walks away.
A man desperately in love with a girl far away carefully mails a letter in which he has poured his heart out.
6. When drawing dialogue, go for phrasing. (Simplify the dialogue into pictures of the dominating vowel and consonant sounds, especially in fast dialogue.
7. Lift the body attitude 4 frames before dialogue modulation (but use identical timing on mouth as on X sheet).
8. Change of expression and major dialogue sounds are a point of interest. Do them, if at all possible, within a pose. If the head moves too much you won’t see the changes.
9. Don’t move anything unless it’s for a purpose.
10. Concentrate on drawing clear, not clean.
11. Don’t be careless.
12. Everything has a function. Don’t draw without knowing why.
13. Let the body attitude echo the facial.
14. Get the best picture in your drawing by thumbnails and exploring all avenues.
15. Analyze a character in a specific pose for the best areas to show stretch and squash. Keep these areas simple.
16. Picture in your head what it is you’re drawing.
17. Think in terms of drawing the whole character, not just the head or eyes, etc. Keep a balanced relation of one part of the drawing to the other.
18. Stage for most effective drawing.
19. Draw a profile of the drawing you’re working on every once in a while. A profile is easier on which to show the proper proportions of the face.
20. Usually the break in the eyebrow relates to the highpoint of the eye.
21. The eye is pulled by the eyebrow muscles.
22. Get a plastic quality in face — cheeks, mouth and eyes.
23. Attain a flow thru the body rhythm in your drawing.
24. Simple animated shapes.
25. The audience has a difficult time reading the first 6-8 frames in a scene.
26. Does the added action in a scene contribute to the main idea in that scene? Will it help sell it or confuse it?
27. Don’t animate for the sake of animation but think what the character is thinking and what the scene needs to fit into the sequence.
28. Actions can be eliminated and staging "cheated" if it simplifies the picture you are trying to show and is not disturbing to the audience.
29. Spend half your time planning your scene and the other half animating.
30. How to animate a scene of a four-legged character acting and walking: Work out the acting patterns first with the stretch and squash in the body, neck and head; then go back in and animate the legs. Finally, adjust the up and down motion on the body according to the legs.
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