Character Poses by William Thomas

Above is a nice example of character poses by Animation Apprentice student William Thomas. The poses are done on Stepped Curves (see more about those here) and the purpose of the exercise is to create a series of poses with the character (in this case, Mr Buttons) that show character and emotion; each pose is held for approximately one second. This exercise is a warmup for the "Phone Booth" exercise in which students tell the story of a telephone conversation using only a series of character poses - no dialogue or audio allowed. 

Why Animators Should Hold Their Poses Longer

Character pose by Mark Masters

One of the common mistakes made by junior animators is the “default face.” A character smiles, frowns, gasps — and then, almost instantly, snaps back to a bland neutral expression.  It’s as if the performance forgets itself. 

This also happens in lipsync; where the character will make a vowel or consonant; then snap back into a default mouth shape much too quickly. Much better to hold the vowel or consonant longer, and really get the most out of the pose. 

Why Animators Choose Asymmetrical Poses

Mickey Mouse from "The Illusion of Life"

One of the most common mistakes made by junior animators is for their character poses to be too stiff and symmetrical.  One of the fastest ways to make a character feel stiff and lifeless is to pose them symmetrically.  

Perfectly mirrored limbs, identical angles, and evenly balanced weight all scream “mannequin,” not “living being.” Real life — and good animation — is full of asymmetry.

Nine Ways to Create a Great Animation Pose

How do you create a great pose in animation? Creating great poses is a necessary skill for all animators to learn. In the video above, I suggest nine ways that an animator can create a great pose - the key starting point for a great acting scene. 

Why Animators Need a Good Silhouette

One of the most important things that an animator needs to get right is to learn how to create great poses. Part of this is learning how to create a great silhouette, one that reads clearly. 

The image on the left is taken from Eric Goldberg's book "Character Animation Crash Course", a copy of which we have in the library, one of the best books on character animation.

Eric shows how a single pose can get an instant "read" from the audience. Even though the images are shown blacked out in silhouette, we still know exactly what the character is thinking and doing.

Always make sure your poses, whether drawn or digital, communicate exactly what the character is thinking, feeling and doing.