THE SIMPSONS NEWS – Breakdown of a Simpsons scene: Itchy and Scratchy trying to Kill Bart and Lisa

I explain this crazy drawing below.

Simpsons Quote:

“Facts are meaningless. You can use facts to prove anything that’s even remotely true.” — Homer Simpson

I’ve animated on The Simpsons, quite a few times. By “animated”, I mean, done it all. From key poses to inbetweening to putting all the info on exposure sheets.

One of the times I did this was on Treehouse of Horror IX, when Itchy and Scratch chase Bart and Lisa into the Live with Regis and Kathie Lee show.

Basic Animation Principles

When you first learn to animate,  one of the first things you’re taught to animate is the “bouncing ball”.  It is meant to teach you the animation principle of squash and stretch. It’s usually the second lesson you’re taught in animation.  The first lesson being “ease in” and “ease out”.  Sometimes using a pendulum swinging or a ball starting to roll down a slant.

What am I talking about?

Okay, real quick, in case you don’t know:

Got this picture at: http://gamasutra.com/blogs/MichaelJungbluth/20110114/6788/Adding_Weight_to_Your_Game_Design_Part_6_Slow_In_Slow_Out.php

“Ease in” and “Ease out” – is when an object, like a  pendulum, slowly begins moving and then speed up as it moves forward. When it reaches the other side it slows down do to gravity and then slowly swings the other way.

In animation, in order to get this effect, you put more drawing in the slow parts and less drawing in the fast parts causing a “easing into” and “easing out of” effect.

Almost every action an animator animates has an “easing in” or “easing out” component.

Got this picture at: http://mattsfdablog.blogspot.com/2011/10/principles-of-animation.html

“Squash and stretch” – is an animation principle where an animated object is deformed (without changing it’s mass) for a single frame of film, either by squashing or stretching, in order to get a sense of weight or impact. Like when a ball hits the floor and bounces back up.

So what does this have to do with the episode? Read on.

Bart and Lisa Fall in Soup

Steve Moore, my director, asked me if I wanted the assignment doing this live action scene and I jumped a the chance. I talked up my animation skills to get it. It had been years since I had gotten a chance to fully animate anything. On top of that, I had never worked on anything quite like this either.

To be quite frank, I wasn’t sure if I was going to be able to do it.  I was telling Steve how much experience I had, but really, it was only from a few animation tests I’d done. This would be something outside of my experience.

When I got my scene folder, it was full of pre-pegged Photostats . Photostats, are frame by frame photos of a of live action scene. This is what I was going to use in order to draw the characters interacting with the live action.

The one thing that you don’t see in the final version that was present in my Photostats, was the tennis balls that where dropped into the pot in order to make the splashes.  I covered the balls with the characters.

So I’m sitting there looking at the stats, roll up my sleeves and just start animating as I do it all the time.  I just went for it.

All those hours of sitting in “the little dark room” for Jeff , all the tests I’d done for classes, years of drawing the characters, and anything else I could draw upon, kept me going.

As I worked, it suddenly occurred to me that I wasn’t really doing anything complicated at all. Just because I was drawing characters with legs and arms didn’t mean that I was animating anything I hadn’t done before.

As I worked on the scene, it became VERY clear that I was basically animating a variation of the bouncing ball test. Let me show you.

Keep in mind that the screenshots I’ve got below are not the best representation of the drawings I would have liked to capture.  The method I use to get the screen captures was really imprecise:

Okay so taking a look at the screens above, in screen 1 you can see Lisa and Bart in a very strange pose. This would be a “not-so-deformed” stretch pose.

When Bart gets out of the pot, I drew a more stretched out drawing but was unable to capture it, so we have the drawing in screen 2 where he’s actually at the peak of this “ease out”.

Then he “stretches” in 3, landing with one foot first,  in order to make it more natural looking.

In screen 4, he lands and that’s the “squash” pose.

He “stretches” again in 5, as he takes to the air.

In 6 I didn’t quite capture the apex of his jump, but I did get Lisa’s “squash” pose.

7 is Lisa’s “ease out” pose and then her stretch on screen 8.  That’s that, the rest is just the kids running off screen.

Having done that, I was then able to do Itchy and Scratchy easier.  I went out of my way to really push them more since they’re “cartoons”:

Alright, so I start with a subtle stretch of the two character in screen 1 as they fall.

As Scratchy leaves the pot in screen 2 I really stretched him out. He looks deformed.

Then in screen 3 I REALLY do something crazy. This is a “smear”.  This kind of effect was used a lot in Looney Toon cartoons when a character had to do a quick action in only one frame.  I needed Scratchy to end up in the pose on screen 4 without having to use up any frames to do it, so I did this crazy blur effect.

When you look at the final animation, you can’t even see it unless you’re looking for it.  It happens so fast.  It totally works.

Screen 5 is Scratchy “easing out” of the apex of his jump and then stretching to to land in screen 6.

Screen 7 we see Scratchy in his “squash” position.  Itchy is now out of the pot, BUT if you go frame by frame, you will see that Itchy also had a crazy blur effect with his knife.  I wasn’t able to capture it though.

In Screen 8 you can clearly see Itchy stretching as Scratchy “eases out” of his jump.

I REALLY stretch Itchy in screen 9. He’s really fighting gravity as it pull down on him.

Just for fun and variety, I had Itchy do a flip when he jumped, as you can see in screen 10.

It turned out looking good. After worrying about the scene and whether or not I was going to be able to pull it off, it turned out to be really simple and really fun. It just required, mostly, basic animation knowledge with just a touch of advance know how.

Special E-mail Surprise

So in THIS week’s e-mail, I posted a very special surprise. I happen to own a photocopy of  the manuscript that became: Character Animation Crash Course!
By (Disney animator) Eric Goldberg (who designed and animated the Genie in Aladdin). Yes, it’s an affiliate link.

I used this manuscript in order to figure out how to do the “smear” effect on Scratchy. There’s a page in the manuscript that explains it. I don’t own Eric Goldberg’s book, so I can’t say whether or not the page I’m referring to is in it.

What I have done though is pasted the page in the e-mail I sent out this week. That way, even if you own the book, you can see the original manuscript page where it came from.

If you want to get this e-mail, simply opt in to the e-mail this week BEFORE next Thursday and I’ll resend the e-mail.

If you’re not receiving my e-mails, your missing out on a lot of fun stuff like this.

WEBSITE – Drawing Stick Figure with style

A new Drawing Website post is up.

Alright, so the drawing on the left doesn’t look like much, but believe me when I say that, the post this drawing belongs to will change the way you look at cartoon characters.

I really went all out on this new post and you have not idea how excited I am for you to read it.

Whether you’re a real beginner or much more advanced at drawing, this post has info on design that you might have never heard before.

In fact, I know a lot of professional draftsmen, who don’t know some of what I’ve written in this post. The crazy part, is that I do it all with stick figures!

If you’ve ever wanted to learn to draw cool stick figures, this is the post for you.

Check it out, give it a read, and leave me feedback about what you think.

Stick figures, with style! – Basic design.

For more comics and stories written by me: COMICS AND STORIES

If you like what you read, please consider signing up to my rss feed.

Comments are appreciated as well.

I also have a store. Click Here and check it out.

Writing this blog is almost a part time job for me. Tips are most welcome.

THE SIMPSONS NEWS – A Lesson, Indirectly Learned from Brad Bird.

Simpsons quote (…sort of):

“When in doubt, lower the horizon line” – Brad Bird

The quote above was taped to Simpson Director Steve Moore’s office door.

It had a self-caricature of Brad Bird happily pushing down a line while he stared straight at you. It was obviously an enlarged copy of a doodle/note that Brad Bird had written Steve at some point.

That thing was taped to Steve’s door for YEARS. The only reason it isn’t anymore, is because we moved to a new studio and I think Steve forgot to post it up.

I’ve worked for Steve more than any other Director on the show.  He’s been really good to me, and he even championed me to have the current position I have now. For which I’m truly grateful.

Going in and out of his office for all those years and seeing that note posted on his door, insured that I would have that quote embedded into my brain forever.

So, what does that DO to a person?

What it Did to Me

Just because I had a studio job didn’t mean that “I had arrived”. Through out my years on the show, I’ve also taken years of drawing class. Almost all of which where taught by industry professionals. And none of them gave me a grade nor college credit.

I took them, NOT to have a sheet of paper TELLING people I was TAUGHT to draw. I took them so I could SHOW people I CAN draw (and I still try to go figure drawing every week).

One of the classes I took was an animation development class. It was like what would probably be called a “Concept Art” class only for animation. Part of what was taught in that class was how to create well designed and composed environments.

The reason I bring this up is because of the enormous influence that class had on me and my work from that point on.  That class, combined with Brad Bird’s quote made me hyper aware of how I could improve the layouts of the scenes I had to work on.

The Result

Sometime in 1996, I worked on the episode BART AFTER DARK.

I believe this was around the time I was taking my development classes. My mind was reeling with the theories of dynamic compositions.

So what happens when you learn something new? Well, you can’t WAIT to try it out, of course.

Director Dominic Polcino, handed me a VERY involved section of the show. Lot’s of crowds and destruction. I couldn’t WAIT to apply what I had learned in my classes. So I took one look at the storyboards that were given to me of the scenes I was to layout and I did what Brad Bird had brainwashed me to do.

I lowered the horizon line.

In case you don’t know what that means, to put it simply, I lowered the camera in just about every single shot.

Behold, the sequence that is almost all up shot:

Okay, so the sequence begins with the scene above of some of the characters walking to the gate.  The board had the shot composed with the camera at about eye level. I lowered it.  The result was a much more dynamic angle on the characters and a more interesting size comparison.

As I was working on these scene, the biggest challenge I faced was the character designs.  The Simpsons just aren’t really designed to look good in any other angle besides 3/4 view.  When you lower the camera, you really have to solve the design so that it looks right.

For example:

The scene above was really difficult. The women had lip stick and needed to still look pretty and “on model” but how far back should I draw the bottom lip? How much should I push the overbite?

Well, I ended up cheating by diminishing the overbite a bit. Then they looked okay. But it took a few tries to get that right.

And then there’s Helen Lovejoy:

She’s got a one of the strangest designs on the show. Drawing from any angle is tough but from a low angle was just painful. I don’t think I got it right but it worked okay for this scene.

Again, I think this shot also had a much more straight forward composition but I lowered the horizon line. I also think the board had the characters in the background much more straight on and flat.  I added two point perspective here and made the crowd more interesting to look at.

In the drawing of Belle above, I really “squared off” her face to work with the perceptive of the drawing. I literally drew her face as a box and put her features on it.

Once again, I lowered the horizon line on this drawing. The version of the shot in the storyboard was a little more straight forward.

OH, and by the way, can you tell I was having a little too much fun drawing the women? Yeah, I was single at the time. Sorry.

That said, drawing women is really really fun. Simply ask, just about any female artist. It’s usually their favorite subject to draw.

BIG pan on this one. A lot going on. This one took a while.

Helen knocking over plants, Maude stomping, Apu on a tree, Frink chopping down the tree, Otto throwing rocks, Jimbo jumping the fence.

And the cop coming toward camera had to work within the perceptive I had established.

Oh, and there goes Ned running in the background with a torch.

Below is yet another two point perspective with a low horizon:

I really posed out the stair climbing by Homer on this one.

You can really see that it was me who did this scenes because it has some of my “stand by acting”.  Belle has her arm in front of her with a “claw” hand.  I tend to draw the “claw” hand a lot.

And if you look at the blond woman in the back, she has her fist up in front of her and her shoulder up.  That’s my “I’m worried” Anime acting.

Low horizon again. Not the best moment to have gotten a screen grab of. Twin hand acting, is bad.

This is one of the few scenes where I didn’t over pose the women in the background.

Above we have, two point perceptive, low horizon and the Background artist didn’t re-draw my fountain. It was drawn fast and rough. I though the Background artist was going to put it on model. I’m not sure why it didn’t happen.

I made up the look of the mermaid on the fountain thinking it would be re-drawn. I made it look a bit like The Little Mermaid. No, I don’t have ANYTHING against the movie or character.

I remember drawing Moleman here, and it was a pain in the neck.

The scene was never meant to be seen like this. It’s cheated quite a bit. The camera move was meant to hide the perceptive cheats.

Above is another bad screen grab. Twinning again. Low horizon and two point perceptive.

Oops! There goes the Little Mermaid.

And above we have the final low horizon line shot of the sequence. A two point perspective AND Anime acting.

The thing about setting the camera down low is that you tend to get an interesting variety of sizes and shape, pretty quickly. It’s almost, instant depth of field. Especially if you have a foreground element like Homer above.

High Horizon Line

The next two scenes below have a high horizon line.

Believe me, I tried to lower the horizon but the director wouldn’t let me.

when it comes to crowd shots, I often try to compose them with a low horizon line, that way you only draw one visible row of people and the rest of the crowd is obscured behind the first group.  It’s less to draw.

Couldn’t get away with that in the shot below:

Yeah, the shot above was time consuming. And there’s Homer with my Anime acting.

OUCH! Yet another screen grab with bad twin hands acting. Don’t try this at home kid.

Had I tried this shot from a low angle, the crowd would have blocked Homer.

This shot was done as one long shot and was broke up into three in editing.

Once again, I have my over posed women in the background.

One thing I will say I’m happy with in this scene, is the acting on Homer’s singing where he sings, “Caaaaare”.  I thought it worked well.

An Open Message to My E-mail Readers

Thank you so much for responding to my question on last week’s e-mail. I wrote this post in direct response to you giving me feedback.

Next time I promise to respond personally to your e-mail. I’ve come up with a way I could do that which I mention in THIS week’s e-mail.

Again, thank you.

Now, if you’re reading this and haven’t opted in to receive some behind the scenes e-mail and other nuttiness, what are you waiting for?

In the e-mail I sent out this week, I wrote about and posted screenshots, of the sexiest scenes I did on this episode. Scenes which made me hope no one walked into my cubicle and caught me drawing. Very embarrassing.

You’ve missed out on this e-mail already but don’t miss out on the next one.

…well, tell you what, if at least ten people or more sign up to my e-mail list BEFORE next week’s post (next Thursday), I’ll send it out just to those new people too.

Sound good?

WEBSITES – Drawing tools

Do you know what drawing tools you need to get started drawing?

If you do, you don’t need to go read my new post on The Drawing Website.

If you DON’T know, and you WANT to know, then find out the answer to this mysterious question by going to the site.

For more comics and stories written by me: COMICS AND STORIES

If you like what you read, please consider signing up to my rss feed.

Comments are appreciated as well.

I also have a store. Click Here and check it out.

Writing this blog is almost a part time job for me. Tips are most welcome.

THE SIMPSONS NEWS – 3 Lessons Learned From my First Simpsons Director

Simpsons quote:

“Oh, everything looks bad if you remember it.” – Homer

Last week I wrote about learning a lot from my first Simpsons Director, Jeff Lynch.

I’m gonna quickly sum up three other lessons I learned working on my first official Simpsons show with him.

Lesson The First – Effects

Remember that little dark room I wrote about in the last post?

One of the many times I was sent there was to shoot an effect that was going to play during the Buzz Cola commercial that played on the television, during the episode.

I had no idea what I was doing but I gave it my best shot.

In order to give Jeff the best impression of the shot possible for the animatic, he had asked me to not only shoot the scene, but to actually cut out the shape of the explosion on each sheet of paper.

The reason for this? We shot animation over a lightbox. That way we could see through the paper and see multiple levels of artwork, like the background and other characters…stuff like that.

Well, if you cut our a shape into a piece of paper and put it on the lightbox, it gives a “glow” effect to the empty space.

I cut out, about, six or seven, jagged explosion shapes and shot them.

Jeff looked at the scene, adjusted the timing, told me to add more cut outs or take some out. BUT the most interesting thing he had me do, was to cover up the camera lens for a frame and  then, shoot the bright lightbox without a drawing, for a frame.

This gave a quick strobing black to white pop before the Buzz cola appeared.

Because I did this, it made the effect during the animatic really impactful and it sold the scene.

Lesson? I learned to do a cool explosion effect.

Lesson The Second – Antics and Overshoot

Anticipation drawings (Antics) and Overshoot drawings  are some of the first things you learn when y0u’re taught to animate.

Antics are drawing animators put in to help the watcher see the action that is going to happen. It’s basically there to telegraph the action, and by doing so, it makes the action look natural.  For example, if a character is going to reach for something, they would lift their hand up a little bit away, from the object before actually reaching for it.

Overshoots are drawings that are almost the opposite of Antics. An overshoot is used when a quick action come to a fast halt.  It’s a drawing that “overshoots” were the action ought to have stopped, before it settles into place. The effect in the final product makes the action feel natural.

Neither the Antics nor the Overshoots are really noticeable. They are FELT by the watcher, more than anything else.

When I did the scene were Lisa is yelling with the Malibu Stacy doll and shaking her at Bart’s face, I had Lisa Antic and Overshoot as she came closer to the camera. But I over did it.

What I learned from Jeff was how NOT to over do it. He gave me a quick rule of thumb: “Don’t antic, further than the final movement will be, don’t overshoot further than the movement was.

You’d think it would have been obvious to me, but I guess I got a bit too excited with the mechanics.

When I then did the scene where she almost hits Bart with the doll, I did a much better job.

Lesson The Third – The possibilities of animation

I was then asked to do the scene where Lisa throws the doll out the window. I did my best but it just wasn’t what Jeff was looking for.

He then sat me down next to him at his office and redid the scene for me.  And BOY was it epic. I had a front row seat.

I don’t know anyone besides Jeff who would do scenes like this. I’m not sure anyone even notices that he does this kind of thing on occasion.

What am I taking about?

Animated camera moves.

Jeff took that scene and animated the camera move. What I mean to say is, that he took the artwork, characters, backgrounds and all, and animated them as if the camera was moving. Then at some point during the scene, the camera DOES move and you don’t even realize what happened.

Take a look at that scene again. The whole ROOM, along with the characters, spins around, Antics and then animates away, BEFORE the actual camera begins to move. It was a phenomenal bit of animating and directing.

I remember inbetweening some drawing from that scene and tightened up two bits of rough drawings. The rest was all Jeff.

I haven’t worked with a Simpsons director since, that was willing to hand animate a camera move to make a shot work.

Jeff did this in a few of his episodes.  Now a days, we think it can only be done with computers.

My lesson from that experience? There are no boundaries in animation except for the ones you put up.

Get Fun E-mails

In this week’s e-mail, I went through the rest of this episode and gave my thoughts and small anecdotes on specific scene I worked on.

It was an experiment and it was fun because the readers got a sneak behind the scenes.

Don’t miss out. Opt in and join in the fun, next time.

WEBSITES – Working on a Drawing Equipment Post

I’m currently working on the next post for The Drawing Website.

In it, I will write about the mysterious drawing equipment you need in order to learn to draw.

Here’s the rough under drawing for the header picture, I will use on the post.

In the post, I compare drawing tools to Kung Fu weapons, so I thought I’d give my character, Brush Lee, a very unorthodox weapon.

Yes, that’s a pack of gum.

Why is he holding a pack of gum as a weapon? You’re gonna need to read the post when it goes live next week to find out.

For more comics and stories written by me: COMICS AND STORIES

If you like what you read, please consider signing up to my rss feed.

Comments are appreciated as well.

I also have a store. Click Here and check it out.

Writing this blog is almost a part time job for me. Tips are most welcome.