Drawing in an animation

Drawing plays a fundamental role in creating animations. The process of creating graphics for animations depends heavily on several key factors: the script, the client’s brief, the concept, and the overall vision for the project.

At the beginning of the project, it is essential to thoroughly understand the brief—that is, the guidelines provided by the client. The brief contains information about what the client expects: the purpose of the animation, its target audience, the preferred style, and the emotions it should evoke. Based on these guidelines, the process of creating the visual layer begins.

Different styles in animation

Currently, there are several distinct trends in graphics created for animation:

Collages and cutouts (digital cutouts):

It gives the animation an artistic, retro feel that sets it apart from 3D productions or flat vector graphics. Characters and other objects are divided into digital “parts” (so-called rigs with pivot points), which allows for smooth animation without the need for drawing.

Cutout animation.

A hybrid of 2D and 3D:

The combination of flat, two-dimensional characters and textures with three-dimensional objects or environments creates a spectacular effect. This design approach preserves the “soul” and traditional charm of 2D graphics while adding depth and realism to the scenes through 3D technology.

Combining 3D Elements with 2D Graphics

Maximal minimalism and geometry:

Simple geometric vector shapes combined with various textures, grainy shading, “hand-drawn” lines, and outlines.

A globe with a grainy texture

How to Prepare Graphics for Animation.

Here are a few points:

• Layers. In files created for animation, every element that is supposed to move independently must be placed on a separate, appropriately named layer. It’s best to avoid names like “Layer 1 copy 5”; typically, logical names are used—usually in English or clear Polish—such as: head, eye_R, arm_L_upper, or head, eye_R, arm_L_top.
• Colors. Files must be created exclusively in the RGB color space, not CMYK! They should be designed at a resolution twice that of the target animation to allow for camera close-ups without “pixelation.”
• Control Points. Use as few control points on the path as possible; this allows for easier morphing.
• Work Area. It’s a good idea to design within an area larger than the target frame so that the animator has extra graphics to work with when moving the camera.
• Drawing Hidden Elements. Remember to fill in the background, which may not be visible at this stage. For example, if a door in the frame is supposed to open, you must draw the space behind it.
• Cleanup. Before animating, clean up the file—that is, remove hidden layers, empty paths, color palettes, and references.

Frame Composition

How to Prepare a Character for Animation.

Any part of the body that is to be bent, rotated, or stretched must be placed on a separate layer. Typically, a character is divided into the following elements:

Head and Face: Hair (separately for the back and front), Head, Eyebrows (separately for the left and right), Eyes (separately for the eye, pupil, and eyelid), Nose, Mouth (often requiring a set of different shapes), Ears (left and right).

Torso: Neck, Torso, Hips

Arms (left and right separately): Upper Arm, Forearm, Hand.

Legs (left and right separately): Thigh, Calf, Foot.

When designing a character, keep in mind the principle of rounded joints. If you don’t, gaps or kinks may appear when bending an arm or leg.

Character Design for Animation

Storyboard.

A storyboard is a visual plan for an animation. It resembles a comic strip that shows, step by step, what each scene will look like, the movement within the frame, and the camera movement. It is a stage of production that bridges the script and the final visual form. A storyboard does not require precise frame design. Essentially, it is a sketch, most often drawn in black and white or using a limited color palette. Camera movement is indicated by an arrow with a label (right, up, etc.). The only thing that matters is that the idea is clear.

Storyboard