Dr. D. Y. Patil Unitech Society’s Dr. D. Y. Patil Arts, Commerce and Science College Pimpri Pune-18 SANT TUKARAM NAGAR, PIMPRI, PUNE-411018, (MAHARASHTRA) INDIA RE-ACCREDITED BY NAAC WITH CGPA OF 3.28 ON A FOUR POINT SCALE AT 'A' GRADE (AFFILIATED TO SAVITRIBAI PHULE PUNE UNIVERSITY AND RECOGNIZED BY GOVT. OF MAHARASHTRA ID NO. PU/PN/ACS/111/1995, ISO 9001: 2008 AND 14001: 2004 CERTIFIED RECIPIENT OF BEST COLLEGE AWARD OF SPPU FOR ACADEMIC YEAR 2016-17 ) Faculty: B.Sc.Animation

Awesome visual storytelling Tips for Animaker As ideas evolved over time so did the art of storytelling. Now we are heading towards a future where visual storytelling is the only way forward. But the problem is, with so much visual content being shared daily, people won’t bother having a second look if your visual story doesn’t make a mental impact. So it’s very important to ensure that every second of your Animaker video makes an impact. If one doesn’t do that, people won’t even blink twice before moving on to the next piece of online content. Below are 7 super creative visual storytelling tips to up your Animation game and get your message across with a bang. 1. Let your visuals speak for you! It’s never a great idea to have your character narrate the story verbally when you have access to features that can help you create visual awesomeness. So, why stick to the verbal narration when your visuals can speak for you? Instead of narrating the story verbally, use animations that can give life to your storytelling.

Having a character just blabbering on and on about his experience can be a really boring experience. After a while your audience might even go to sleep! Make your visuals speak for you. See how scared this guy is! This is how you effectively convey the gravity of the situation.

2. Don’t let your characters get lost in wilderness A story usually revolves around the main characters. If you don’t want your main characters to be lost in the crowd you should make sure that your character gets all the focus and attention. You can achieve this by keeping your character in the spotlight. Try not to have a situation where your audience has to search for the main character. Show them, who is the hero. How does that look? Hmmm. Not that great! It is because you are making your audience search for the main character in a crowded room.

Now that’s how you can make your character stand out. 3. Set the mood right! Even the best of scripts can become visual disasters if you don’t set the mood right. Cool animations, relevant backgrounds, and apt music are a critical part of any great video. It helps your audience understand the context of a particular scene.

In this scene the sky is clear, the weather is good but the boy is scared! So why the hell does he look scared? There is a good chance that your audience may think that the kid is just goofing around or worse they may not even understand the context of the scene. The second scene, with its bats and graveyard ambiance makes the audience feel the jitters along with the children.

Having such eye for detail while building scenes can make your visual storytelling more impactful. 4. Go for Anthropomorphism! Anthropomorphism is the attribution of human traits, emotions, or intentions to non-human entities like animals or objects. In conventional storytelling methods, you can only use humans and animals showcasing their natural behaviour. But in the animation world, the rules of conventional storytelling don't apply anymore. You can humanise the animal characters on Animaker with their actions and expressions. This scene doesn’t grab immediate attention as it only shows animals doing regular animal things

But in this scene, the situation changes completely. The viewer instantly gets glued to the scene. This is one of the reasons why movies like Zootopia and Madagascar went on to become instant hits. 5. Declutter with Focus As I have mentioned above, you can focus on your character by keeping him in the spotlight. But what if there are so many things that require a spotlight? The pro tip I would like to give here is, don’t clutter one scene with lots of details. Even if you want to add other details, try to focus on the important part of the scenes.

There are so many things in this scene that you cannot figure out what is happening. But see this scene, how simple it is now to focus on the characters of a scene as compared to one in which there were lots of details. By focusing on the right part of the scene you are making it easier for the audience to understand. Have mercy on your

audience, they are also humans. Don’t confuse your audience by throwing everything the same time. Lots of detail means loss of attention. 6. Make smooth transitions Transition refers to how one scene of a story ends and the next begins. Transitions animate the entry and exit of your scene. Adding transitions can act like icing on the cake for your visual story. For doing this you can add animations like fade effect, blur effect when you go from one scene to other. See this scene. Doesn't it look so bland?

Now have a look at this! Isn't it more lively? This is how with transition effect you can make a boring scene interesting 7. Use special effects to spice up your visual story Many people start off with a great script but sometimes they fail to make an impact because their storytelling lacks the spices needed for success. Wow your audience with the help of special effects. When you are making an explainer video, every second has to be impactful. If you are introducing a new character, then the entry of that character should be enthralling. For instance, a character can just enter the room or blow away everyone's mind with the tornado effect.

By adding simple special effects like the tornado effect, the scene turned into something that is way more striking than the original.

Conclusion 90% of all information transmitted to our brains is visual. Moreover, People remember 80% of what they see and 20% of what they read. So why not give your audience what they can remember easily for a long time. Strike their mind with a video made on Animaker and mesmerize them with your visual story.

Basics Of Animation 1 The Art of Walt Disney The Art of Walt Disney: From Mickey Mouse to the Magic Kingdoms (also known as The Art of Walt Disney) is a book by Christopher Finch, chronicling the artistic achievements and history of Walt Disney and The Walt Disney Company. The original edition was published in 1973; revised and expanded editions were issued in 1975, 1995, 2004, and 2011. The newest edition of the book covers a broad history of the company and specific sections for movies, Pixar, live action and the Theme parks. The latest edition also includes a foreword by John Lasseter Walter Elias Disney was born on December 5, 1901 in Chicago, Illinois. He moved to Marceline, Missouri with his family as a young child. He had four siblings who later aided in his successful company. Not long after, Walt began drawing and painting, even going so far as to paint farm animals on the side of his family’s home.[2] Four years later, his father fell sick and the family moved again to Kansas City. Walt had to help, at age nine, deliver newspapers with his father in the hours before school, however he still continued his passion for art. As he got older, he continued with his drawing and started selling his pictures to neighbors and friends. In high school, His family then moved back to Chicago where Walt was an active member of his school’s newspaper, whom he drew cartoons for,[3] while also dividing much of his time to photography.[4] In 1917, he joined efforts in Europe during World War I then returned ultimately to Kansas City to graduate high school and start his first animation series. After meeting his life long friend Ub Iwerks, Walt Disney drawing Goofy As a young adult, Walt not only continued his drawing and painting, but also starting working with animation and made short animated videos for the company he worked for at the time, Pesman-Rubin Commercial Art Studio. Walt eventually left that company due to layoffs, and instead decided with his friend, Ub Iwerks, to start their own company called Iwerks-Disney Commercial Artists. Unfortunately, Walt and Ub’s company did not last very long, and they soon found new jobs at a new company, the Kansas City Film Ad Company, formally known as the Kansas City Slide Company. Here, Walt learned even more about the

Basics Of Animation 2 art of animation, and contributed to creating commercials that played before movies. It was not long after when Walt decided to leave the Kansas City Film Ad Company to start another one of his own, called Laugh-O-Gram Films, where he created his first popular cartoon called Alice’s Wonderland, which turned into a series called Alice Comedies. Unfortunately for Walt, not enough money was coming in, which lead to many of his employees quitting his company, and forcing him to declare bankruptcy.[2] He moved to Hollywood and started the Disney Brothers Studio. In 1927, Walt created a new character called Oswald the Lucky Rabbit, which also became popular. However, the distributor he was working with at the time, Charles Mintz, hired all of Walt’s animation employees and told him that he had no rights to Oswald, because the cartoon was not copyrighted under Walt’s name. After, Walt, his brother Roy O. Disney, and Ub Iwerks, came together to create all new characters, all of which Walt was going to make sure he owned. Mickey Mouse was soon developed, a character Walt had been inspired to create just from a simple pet mouse he once had in his office back in Missouri.[2] He had to go through many hurdles with Charles Mintz, Walt's distributor, before winning the rights to his character. The name of his company was changed to The Walt Disney Studio the same year he married Lillian Bounds with whom he had two daughters, Sharon and Diane. During World War II he produced fan favorites such as Fantasia, Pinocchio, Dumbo, and Bambi. He continued to have monumental success into he 1950's and 60's. He holds the record for most Academy Awards won, the George Washington Award, and the Presidential Medal of Freedom from President Lyndon B Johnson. He helped established the California Institute of the Arts in 1961. Five years later, in 1966, he passed away due to lung cancer, but his work and legacy live on The Art of Walt Disney Contents [5][edit] Part I: A New Art Form 1. Early Enterprises 2. Mickey Mouse and Silly Symphonies 3. Six Cartoon Classics 4. Hyperion Days Part II: Feature Animation 1. Snow White: The First Feature 2. Pinocchio 3. Fantasia: The Great Experiment 4. Dumbo and Bambi 5. Interruptions and Innovations 6. Later Animation Part III: Live Action Films 1. Actors and Animals 2. Davy Crockett, Other Heroes and Mary Poppins Part IV: The Magic Kingdoms

Basics Of Animation 3 1. Beyond Film: Disneyland and Walt Disney World Details of Above Works[edit] Disney's Silly Symphonies (1928-1934) featured Mickey Mouse and other characters to present color cartoons and short films by Walt Disney. These were to include Steamboat Willie, etc.[6] The Six Cartoon Classics include Who Killed Cock Robin, The Cookie Carnival, Broken Toys, Music Land, Mickey's Service Station, and The Band Concert. Snow White: First Feature, released in theaters in 1937, was Disney's first full length film which showcased over 200 of Disney's drawings, early works and story sketches.[7] Pinocchio (1940) was the second full film by Walt Disney, and it is widely applauded for its early usage of visual language.[8] Fantasia (1940) drew the attention and spotlight back to Mickey Mouse after much success with Donald Duck. It is a movie concert composed of eight magical sections with an emphasis on classical music.[9] Dumbo (1941) [10] is a film take on the Ugly Duckling throw the lease of a circus Elephant, and Bambi[11] (1942), based on Felix Salten's book Bambi, takes a more realistic following of animals compared to his other works featuring animals which had a large emphasis on fantasy. The Later Animations section of this book zooms in on works such as One Hundred and One Dalmatians, The Sword and the Stone, The Jungle Book, The Aristocats, Winnie The Pooh and the Blustery Day, and Robin Hood. Actors and Animals digs more into Disney's first works with live actors and television work. Some of these include Treasure Island, Seal Island, The Living Desert, The Vanishing Prairie, and The African Lion. Mary Poppins, featuring Julie Andrews, was released in 1964 showcased a blending of animation and live acting. The story was based on P.L. Traver's stories. Disneyland and Walt Disney World are the two Magical Kingdoms that Disney created with the intention of making the amusement parks and playground experience more suitable for kids and adults alike

Production Cycle Animation Production: A Step-By-Step Guide to Making a 3D Animated Film The animation production pipeline is the path by which a movie goes from a creator’s brain to the screen for the world to see. Understanding all the elements of the process is the first step to creating your own vision. Before you start your animation project, you need to have a plan that will include the scope of the project, the budget, and the team you will need to help bring your production to life. Understanding the animation workflow is essential to successfully managing your team and your production so that it can get made in a timely manner and can be completed on budget. With that in mind, we’ve broken down the animation production process into steps that identify each phase so that you can create a better production plan for a smoother experience for everyone involved. The Animation Production Process in 20 steps PRE-PRODUCTION 1. Story This is the essence of the piece you are going to create. It’s the great movie idea you have developed. It’s the “vision” of the film. At this stage, the creators need to write and develop the script. This is the reference point for all the other elements involved in the production process.

MORE ON STORY 2. Storyboarding This is where the script is broken down into scenes and drawn into panels much like a graphic novel. The storyboard allows the director to envision the movie so he or she can decide what will work and won’t work in the film and make appropriate creative decisions with the other artists involved in this stage of the production. STORYBOARD EXAMPLE: from Pixar’s Monster’s University. 3. Editorial = Phase 1 Once storyboards are finalized, they are sent to the editorial team who will then create an animatic out of the boards. Working closely with the director, editorial will show the various beats of a story with rough timing and dialogue where necessary. The reel that the editorial team creates will include the storyboard images, scratch voices, and temporary music and sound effects. It becomes the foundation of the movie. Once the script and animatic are complete the voice talent records the final dialogue for the film. Editorial swaps out the scratch dialogue with the real dialogue. 4. Visual Development / Look Development Visual development and concept artists create what the film will actually look like including fully designing elements such as characters, environments, props, color pallets and backgrounds. This gives the director and team a clear path forward as they go into production so they know what the look is that they are shooting for. MORE ON LOOK DEVELOPMENT MORE ON VISUAL DEVELOPMENT 5. Pre-Visualization Pre-visualization, or previs, is where artists work with the script and storyboards to create the film in a 3-dimensional environment on the computer. This is the gateway to animation production and, if the time is put in so that the characters and environments are to scale, this work can often be used to go directly into animation. MORE ON PREVIS

PRODUCTION 6. Modeling Modelers transform the 2D concept art into 3d models. They sculpt the characters, sets and props in 3D and refine them until the director is satisfied. MORE ON 3D MODELING 7. Surfacing Surfacing artists create colors, textures and shaders for the characters, props and sets. They work to ensure the textures match the approved concept art and designs created by the art department; i.e. visual development. MORE ON SURFACING 8. Rigging Riggers build and attach 3D skeletons to the characters. This skeleton becomes the “puppet” that the animators use to bring the characters to life. Riggers create and place the controls that move the joints of the “puppet” and allow the animators to move the face and body so that the character can act and emote per the needs of the story. 9. Layout / Set dressing / Anim Prep Animation Preparation are the artists who place the artwork from the other departments into the 3-dimensional environment. They also do set dressing, and stereo composition, if necessary. 10. Character Animation Character animators bring the characters to life. 3D animators use a computer to pose the character using the rig that was created by the rigging department. Character Animators are the actors in the animation. Their job is to figure out how to tell the story through movements and expressions. The character animators will often act out scenes via video to use as reference for their animation. 11. Crowds The crowds department is responsible for the “extras” in large crowd scenes in the movie. They work to create realistic looking actions for the crowd characters in the movie.

12. Character Effects / Simulation Character effects artists are responsible for everything that is moving on a character including clothing, hair, fur, or feathers. They also create any interactions of the character with objects. For example, when a character sits on a couch, they are the artists who make the couch cushions bulge. MORE ON CHARACTER EFFECTS & SIMULATION 13. FX FX artists are responsible for all the little details you take for granted in live productions such as what happens when there is an explosion, or an action that leaves traces such as footprints. In animation, the FX artists must ensure that these details provide realism and support to the story. They are the general problem solvers who make the production work as a film. 14. Technical Director Technical directors are the quiet heroes who are responsible for problem solving and troubleshooting any issues that occur in the production pipeline. 15. Matte Painting The matte painting department creates everything outside of the set including mountains, oceans, skies, vistas, and cityscapes. They use color keys created by the art department and models built by the modelers. They create paintings that are the images that slide into the background of the animation. The create the look of the world that lives inside the animation. 16. Lighting Lighting is a key element that takes the 3D elements and 2D visual development work to create the look and tone. There is a great deal of technical direction that happens in this stage. MORE ON LIGHTING POST PRODUCTION 17. Compositing Comp is where additional elements are brought together with final rendered frames from lighting such as atmospheric elements. Depth of field and color tweaking happen at this stage. This is where the final look of a film really comes together. A good compositor can make a good shot look outstanding! 18. Music and Sound Design

Final edit must be locked before these elements are added. Changing things by a few frames will throw sound design and the score off as they work to time things to the frame. That is why this is typically left to the final stage of production. MORE ON SOUND 19. Editorial – Phase 2 (ongoing) Whenever new animation, lighting or compositing comes in for review this is pulled into the edit by editorial. They work to keep the production in sync with the latest work so that it is as current as possible. First the film is in editorial via boards and previs. Then animation, lighting and comp replace those elements as they come in. 20. Color Grading Color grading is often the last stage of a production’s look. Although lighters and compositors work to have consistency, they are often only working on a small part of the film. The color graders job is to ensure the picture is consistent throughout each sequence so there are not jarring changes in light or look.

1 Adobe!Flash Animation The 12 Basic Principles of Animation from!the!"Illusion!Of!Life"!by!Frank!Thomas!&!Ollie!Johnston 1.!Squash!and!stretch When!an!object!moves,!its!movement!indicates!the!rigidity!of!the!object. Many!real!world!objects!have!little! flexibility,!such!as!furniture,!however!most!organic!objects!have!some!level!of!flexibility!in!their!shape.!Also! squash!and!stretch!is!useful!in!animating!dialogue!and!doing!facial!expressions.!It!is!used!in!all!forms!of! character!animation!from!a!bouncing!ball!to!the!body!weight!of!a!person!walking.! 2.!Anticipation An!action!occurs!in!three!parts:!the!preparation!for!the!action,!the!action!itself,!and!the!termination!of!the! action.!Anticipation!is!the!preparation!for!the!action.!Anticipation!is!an!effective!tool!for!indicating!what!is! about!to!happen.!A!dancer!does!not!just!leap!off!the!floor.!A!backwards!motion!occurs!before!the!forward! action!is!executed.!The!backward!motion!is!the!anticipation. 3.!Staging Staging!is!the!presentation!of!an!idea!so!that!it!is!completely!and!unmistakably!clear.!A!pose!or!action!should! clearly!communicate!to!the!audience!the!attitude,!mood,!reaction!or!idea!of!the!character!as!it!relates!to!the! story!and!continuity!of!the!story!line.!The!effective!use!of!long,!medium,!or!close!up!shots,!as!well!as!camera! angles!also!helps!in!telling!the!story.!Do!not!confuse!the!audience!with!too!many!actions!at!once.!Staging! directs!the!audience's!attention!to!the!story!or!idea!being!told.!Care!must!be!taken!in!background!design!so!it! isn't!obscuring!the!animation!or!competing!with!it!due!to!excess!detail!behind!the!animation.!Background!and! animation!should!work!together!as!a!pictorial!unit!in!a!scene. 4.!Straight!ahead!and!pose!to!pose!animation Straight-ahead-action!is!so!called!because!an!animator!literally!works!straight!ahead!from!the!first!drawing!in! the!scene.!This!process!usually!produces!drawings!and!action!that!have!a!fresh!and!slightly!zany!look,!because! the!whole!process!is!kept!very!creative.!Straight!ahead!action!is!used!for!wild,!scrambling!actions!where! spontaneity!is!important. In!pose1to1pose!animation,!the!animator!plans!his!action,!figuring!out!just!what!drawings!will!be!needed!to! animate!the!scene.!PoseQtoQpose!is!used!for!animation!that!requires!good!acting,!where!poses!and!timing!are! important.!Size,!volumes,!and!proportions!are!controlled!better!this!way,!as!is!the!action.! 5.!Follow!through!and!overlapping!action When!the!main!body!of!the!character!stops!all!other!parts!continue!to!catch!up!to!the!main!mass!of!the character,!such!as!arms,!long!hair,!clothing,!coat!tails!or!a!dress,!floppy!ears!or!a!long!tail!(these!follow!the! path!of!action).!Nothing!stops!all!at!once.!This!is!follow!through.!Overlapping!action!is!when!the!character! changes!direction!while!his!clothes!or!hair!continues!forward.!The!character!is!going!in!a!new!direction,!to!be! followed,!a!number!of!frames!later,!by!his!clothes!in!the!new!direction.!Overlapping!maintains!a!continual! flow!between!whole!phrases!of!actions.

2 6.!Slow?out!and!slow?in Slow-in-and-out!deals!with!the!spacing!of!the!inbetween!drawings!between!the!extreme!poses.!As!action! starts,!we!have!more!drawings!near!the!starting!pose,!one!or!two!in!the!middle,!and!more!drawings!near!the! next!pose.!Fewer!drawings!make!the!action!faster!and!more!drawings!make!the!action!slower.!SlowQins!and! slowQouts!soften!the!action,!making!it!more!lifeQlike.! 7.!Arcs All!actions,!with!few!exceptions!(such!as!the!animation!of!a!mechanical!device),!follow!an!arc!or!slightly! circular!path.!This!is!especially!true!of!the!human!figure!and!the!action!of!animals.!Arcs!give!animation!a!more! natural!action!and!better!flow.!All!arm!movements,!head!turns!and!even!eye!movements!are!executed!on!an! arcs.!Arcs!are!used!extensively!in!animation,!since!they!create!motion!that!is!more!expressive!and!less!stiff! than!action!along!a!straight!path. 8.!Secondary!action A!secondary-action!is!an!action!that!results!directly!from!another!action.!Secondary!actions!are!important!in! heightening!interest!and!adding!a!realistic!complexity!to!the!animation.!This!action!adds!to!and!enriches!the! main!action!and!adds!more!dimension!to!the!character!animation,!supplementing!and/or!reQenforcing!the! main!action.! 9.!Timing! Timing,!or!the!speed!of!an!action,!is!an!important!principle!because!it!gives!meaning!to!movement.!The!speed! of!an!action!defines!how!well!the!idea!will!be!read!to!the!audience.!Timing!can!also!defines!the!weight!of!an! object.!Two!similar!objects!can!appear!to!be!vastly!different!weights!by!manipulating!timing!alone.!Timing!can! also!contribute!to!size!and!scale!of!an!object!or!character.!Timing!plays!an!essential!role!in!illustrating!the! emotional!state!of!an!object!or!character.!It!is!the!varying!speed!of!the!characters!movements!that!indicate! whether!a!character!is!lethargic,!excited,!nervous,!or!relaxed. Expertise!in!timing!comes!best!with!experience! and!personal!experimentation,!using!the!trial!and!error!method!in!refining!technique.!The!basics!are:!more! drawings!between!poses!slow!and!smooth!the!action.!Fewer!drawings!make!the!action!faster!and!crisper.!A! variety!of!slow!and!fast!timing!within!a!scene!adds!texture!and!interest!to!the!movement.! 10.!Exaggeration Exaggeration!is!not!extreme!distortion!of!a!drawing!or!extremely!broad,!violent!action!all!the!time.!It¹s!like!a! caricature!of!facial!features,!expressions,!poses,!attitudes!and!actions.!Action!traced!from!live!action!film!can! be!accurate,!but!stiff!and!mechanical.!In!feature!animation,!a!character!must!move!more!broadly!to!look! natural.!The!same!is!true!of!facial!expressions,!but!the!action!should!not!be!as!broad!as!in!a!short!cartoon! style.!Exaggeration!in!a!walk!or!an!eye!movement!or!even!a!head!turn!will!give!your!film!more!appeal.!Use! good!taste!and!common!sense!to!keep!from!becoming!too!theatrical!and!excessively!animated 11.!Solid!drawing The!basic!principles!of!drawing!form,!weight,!volume!solidity!and!the!illusion!of!3D!apply!to!animation!as!it! does!to!academic!drawing.!The!way!you!draw!cartoons,!you!draw!in!the!classical!sense,!using!pencil!sketches! and!drawings!for!reproduction!of!life.!You!transform!these!into!color!and!movement!giving!the!characters!the! illusion!of!threeQand!fourQdimensional!life.!Three!dimensional!is!movement!in!space.!The!fourth!dimension!is! movement!in!time.! 12.!Appeal Where!the!live!action!actor!has!charisma,!the!animated!character!has!appeal. Audiences!like!to!see!a!quality!of!charm,!pleasing!design,!simplicity,!communication,!or!magnetism.!A!weak! drawing!or!design!lacks!appeal.!A!design!that!is!complicated!or!hard!to!read!lacks!appeal.!Clumsy!shapes!and! awkward!moves!all!have!low!appeal.!

What is the power of animation? Good animations can engage with your target audience, drive behaviour change, challenge preconceptions and educate and inform. In our always switched-on and highly visual world, animation can be thumb-stopping, attention-grabbing and shareable. It also offers several advantages over traditional video. Here are some of the animation ideas I came up with. An animation is really just a moving story. So you need to have a story idea before you can begin. Than can be the hard part! Here are some ideas that I hope will inspire a story you can use. Make a drawing come to life. Do you have a drawing you are proud of? Why not make it come to life? Use a book or story you are enjoying and make a movie of it. Is there a particular chapter that inspires you? It would be fun to see if you could fit the whole book into a one minute film. A day in your life. What do you do each day? Do you have a hobby that you could make a film about? Or what about making up a story about your pet. Make an animation showing something in nature - a plant growing or an animal hunting. Or try animating the life cycle of a frog or butterfly. This type of thing is also good for time lapse photography

Show an historical event. Who do you admire? Is there a part of history that interests you? Could you bring dinosaurs back to life? What about animating a natural event? Try animating a volcano erupting or an avalanche. If you are making models for a homeschooling project (eg. Egyptian pyramids), why not use them to act out the day in the life of an Egyptian? Write a movie script and use that for your animation. Pick a song or piece of music that you like and make up an animation to go with it. What makes an effective animation? Rule 1 – Animation should be believable. It needs to be understandable, natural, and, most important perhaps, believable. Believability is achieved by being faithful to the concept you're explaining. A bouncing ball should look like it obeys physics.

What is the purpose of animation? Animation is used to create models that are essential for research and study. Animation allows you to create 3D, realistic models that allow diagrams etc. to show accurate representations of an object

Beyond the scope of advertising and education, animation is used in plotting ideas, developing plans and helping predict outcomes in daily life

ANIMATION Animation; the word “ANIMATE” comes from the Latin verb “ANIMARE” means to make alive or to fill with breathe. Animation is the rapid display of a sequence of images to create an illusion of movement. The most common method of presenting animation is as a motion picture or video program. In simpler word; animation means giving life to our imagination. The Uses of Animation Animation is not just used for entertainment, Animation has different uses and it is a vast course in itself. Some uses of animation which are served at Hive Studio are: Education As we all know that people used to remember pictures or images more than text, So Animation is the only and the best way to understand the main motive of any education and it helps everyone to growth in their practical life. Animation is used in education because it makes children watch the animation and not get bored with it allowing them to intake information. Entertainment The biggest use for animation is for entertainment. Animation is used on the TV, on your phones, and all over the internet. In television, animation is mostly used to occupy children, as is gives them something to laugh about and keep them entertained for long periods of time. Programs such as Tom and Jerry are created to make the children laugh, and tell the audience that just because you are bigger than someone else, doesn’t make you better. Many movies these days are created using animation. Films like Shrek and Finding

Nemo gained a massive profit from people watching the film and buying the merchandise. Animation isn’t just for children. Programs like Family Guy and American Dad are animations that get adults laughing. Advertisement Animation plays a big part in advertisement. Many big companies use animation in some kind of way to attract the audience. An example of animation in advertising is the Dancing Pony Advert by the phone company ‘Three’. This advert attracted millions of people all over the world to their website and in return they gained a massive profit. Animation is also used for advertisement on the web. Many games companies create cool looking animations to attract the audience to play the game or visit the website. Without animation in adverts, advertisement would be incredibly boring. Scientific visualization Animation is used to create models that are essential for research and study. Animation allows you to create 3D, realistic models that allow diagrams etc. to show accurate representations of an object. An example of this is an X-ray. Doctors use this to get an accurate look at bones etc. so that problems can be fixed quicker and more efficiently.

Creative Arts Animation is also used in creative arts to show and produce the skills needed to achieve a grade for example an IT course is creative arts, which is a specified skill in creativity. They would use animation in their work and much of it for presenting to the class they would use various diagrams and animations to get a topic across the class in presentations Gaming In gaming Industries most of the things depends on animation. Without model a programmer can’t programmer a game and everything in the scene starting from modeling, Texturing, Rigging, lighting etc. all are done by the Animation students or professionals. Simulations

Simulations are mostly used in the military for weapons training and to train for certain events. Pilots also use simulations to practice their flight training without having to spend money on fuel and equipment. Simulations are also used for practicing events and to get a predicted outcome for something. For example, when NASA are planning on putting a rocket in space, they will use simulations to get a predicted outcome of what might happen. This is essential because it can potentially save lives and resources. Why is animation important to society? Animation is important because it makes us be able to tell stories and communicate emotions and ideas in a unique, easy-to-perceive way that both small children and adults can understand. Animation has helped connect people throughout the world in a way that sometimes writing and live-action films cannot Why should I learn animation? In the whilst of learning animation, one realizes that creative authority is completely on the hand of the animator. You get to explore your creativity and make your dreams come true. One can literally create what their imagination allows them to and get paid for the same What is the greatest impact of animation today? Through animation, filmmakers and other visual content developers are able to stretch their creativity way beyond what the world as we know it allows

them to. They are able to create characters who not only entertain their audience but through which the audience understands the world better