Join Dermot O' Connor for an in-depth discussion in this video Texture - advanced, part of 2D Animation: Tips & Tricks.
- [Narrator] In the previous movie, we saw how to add texture to a scene. So let's see how we can apply the same principle to a more naturalistic or a more humanoid figure and also how we can apply different textures to different parts of the body. So in this case, we have a very smoothly animated scene. I don't think there's very much texture here. I think he's on railroad tracks. There are about four or five key frames moving him through this little circular head action. He has his little punch in the air, attaboy gesture.
So, let's see how we can improve this. So, the first thing to do is to add just a basic ease-in and ease-out so he eases out of that first action and eases into the top. So, it's feeling a little less mechanical already. But we can, again, take it much further than this. So, on the third pass, what I've really done is I've pushed the timing so that we ease in much sharper to the anticipation and we slam out of it much harder.
So, there are more frames clustered around the anticipation. There are more in-betweens. So, we have a much snappier punching of the air. So, this was done without changing the animation. This was all done by altering the timing to increase the texture. So, before I show you how this was done, just a reminder that this was the series of arcs that I used to construct the animation. So, very nice, especially on the attaboy. I really wanted something that was going to dip down and give us like a nice up punch as a good accent at the end of the scene.
And the head's just doing a very basic little loop-the-loop, like a little figure eight and a spiral thing. So, this is the arc plot of the fist. So, you can see how the first pass, there was no ease-in or ease-out. It's just railroad tracks all over the place. On the second pass, I applied some basic ease-ins and ease-outs. And then on the final pass, the one that really pushes it, you can see how I've completely modified, without changing the overall arc path or the start point or the stop point or even the down point.
You can see how the timing has been changed. So let me shuttle between the third version which has some texture on it and the fourth. Now, if we look at the, let's go back and forth. So, the final one, and see how this point here, number five and then the previous version. So this is the middle-strength version. So, on this one, I've kept the beginning the same. These first five frames, I didn't alter. I could have, I could have slammed them and eased them into here.
But what happened is on the final version, I've pushed all of the in-betweens much higher so the ease-in is really clustered around the top. So, let's follow frame 10, for example. And if I go back to the earlier version, see how further down it happens. On the stronger version, it's really held back. So, we have a much wider spacing, a much more kinetic strength or energy between 13, 14, 15, bang, into 16. Whereas the mid-strength version, they're evenly spaced.
It's still slowing in and slowing out, but it's much softer. I mean, look at that. You've got 13, 14, 15, oh, that's a nice little tap. Whereas the strong version, 13, 14, 15, bang, that's a real punch. And we have a 17, 18, 19, so we can still see it reads. And then we have the same principle applying at this side as well. So, but this is the one. That's where the accent is. That's where the fist goes and slams into the air and then comes back in. So, let's take a look at the scenes side by side.
So, on the top, you can see the complete railroad track version. And all that's doing is totally smooth motion. And it looks nice. I mean, it's not horrible or anything. On the bottom version, we have texture. So, if you can hold up a sheet of paper or your hand and just look at the top version, let it cycle maybe three or four times. Then do the opposite and hide the top version. And go back and forth. And that's what I'm doing right now.
I'm holding my hand over one and then looking at the other. And you can really see. So, this is the vitality of a scene can be amplified enormously by applying texture timing and also applying different timing patterns, different textures, to different parts of the body. And that's where the difficulty comes in and the craft comes in. And you're just going to have to practice, practice, practice because it's not easy. But in the end, it's really worth it.