在国内如何使用ins

At last, I’ve got to the end of my 花猫破解 Animate Tutorials by working out how to get a couple of pteranodons gliding through my scene. Not quite in the way described in the tutorial but at this stage I’m just pleased to have got it to work. Having established the principles, I should be able to do something more creative.

Perhaps I should have left it in it’s component pieces as in my previous post, but no, I just had to see it animated.

As previously, this is animated using Adobe Animate but the set up here is slightly more complicated as each component – arm, jaw, leg – is a separate Movie Clip Symbol on a separate layer.

The final animation in the Cartooning book and this time it’s getting quite ambitious, constructing a dinosaur from separate pieces of artwork, so it will be animated like a cut-out shadow puppet. I look forward to seeing how it works out but I like it at this stage, in its component pieces. It reminds me of plastic dinosaur construction kits. In the mid-1970s I had to supply illustrations for John Man’s The Day of the Dinosaur. I bought all the dinosaur kits that I could find and presented them to my brother Bill who was recovering from appendicitis. Being the caring brother that I am, I also supplied him with the appropriate plastic enamel paints and got him to paint them too. I’ve still got all the models.

Continuing with the simple animations from the Cartooning book, here’s an exercise in shape changing. Hissey and Tappenden didn’t specify that these mysterious events should be taking place above the little town of Horbury in the Calder Valley, but why not? This is a Shape Tween in progress.

在国内如何使用ins

As with any Adobe software, you can speed up your workflow in Animate by learning the keyboard shortcuts and Hissey and Tappenden include a helpful list (in Flash, but the keyboard shortcuts have been retained in Animate). Getting really familiar with these by sticking a few labels to my Microsoft Sculpt Ergonomic Keyboard also helps me grasp the basic workings of the program.

Another simple animation from The Professional Step-by-Step Guide to Cartooning by Ivan Hissey and Curtis Tappenden. This is about as simple as animating gets: one layer is the paper background, then there’s the puppy, minus its left ear, and finally the ear itself, pivoting up and down on an anchor point on the puppy’s head.

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After quite a break I’m launching myself back into animation with this tutorial from The Professional Step-by-Step Guide to Cartooning by Ivan Hissey and Curtis Tappenden. Writing in 2010 they used Adobe Flash but I’m using its replacement Adobe Animate.

We have lift-off!

You wouldn’t think that The Wicker Man would make a suitable subject for a school play but our headmaster E. C. Axford’s plays were dark dramas with a similar theme.

A People Apart was a tale of everyday village folk who practise pagan sacrifice while in Black Bread the inhabitants of a recently discovered remote island are forced to keep to their medieval lifestyles to please visiting tourists.

My sister Linda had a long speech, standing by the village cross, discussing the philosophical implications of holding back progress but the line that I remember was from one of the island’s disgruntled peasants, played by Clive Simms, who grumbles: “They threw my Morris Minor off the cliff!”

Mr Axford’s literary efforts also included a novel, A Stranger in Allanford, 1960, and a poem that was set to music by the school Madrigal Society.

As a retirement project he wrote about Bodmin Moor for a David & Charles topographical series.

At morning assembly Mr Axford would dip into his notebook of suitable readings. One of them, a tale of charitable deeds, ends with the hero arriving at a musical gathering, probably after giving away his cloak or his shoes. After explaining his late arrival he says to his friends: “And now, let us tune our instruments.”

A great closing line.

“Carbon dioxide turns limewater milky, excess turns it clear again.”

“I put my teeth in my back pocket one day and they bit me!”

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Mr Moore’s lessons at Ossett Grammar School in the 1960s were a mixture of science, musical hall jokes and outrageous opinions, hence his nickname ‘Loony’. He had a particular fondness for the Isle of Man, where I assume he grew up.

Most memorable incident: phosphorous igniting during one of his demonstrations . . . which then set fire to the rest of the phosphorous as he attempted to put it back in the jar.

His wife taught science at Highfield School, Horbury. I remember that she always wore her hair coming down across one side of her face and I’m told that this was because she had been badly scarred in a laboratory accident while carrying out research during World War II. I’m told that, of the two of them, she was more highly qualified. I knew her to say hello to but the little that I’ve heard about her background comes to me secondhand.

Having drawn all my form teachers from infant and junior school, how could I not continue and include my teachers from Ossett Grammar School, from 1962 to 1967.
Miss Eves had her classroom at the right-hand end of the prefabricated classrooms, opposite the school dinners kitchen. Her specialist subject was religious education.
Mr Foster’s classroom was down the slope from Park House, the oldest part of the school, in a recently-built block of single-story classrooms. He was a mathematics teacher.

Mr McGrady, the music teacher, was based, as you might guess, as far out of earshot of the rest of the school as possible, in the music room in the other, smaller, block of ‘temporary’ prefabricated classrooms overlooking the school playing field.
Mr Mason’s classroom was in the brick-built block of the school, towards the art room end. I can’t remember what his specialisation was. English perhaps. At the end of summer term he left the school and went to teach in Africa.
Mr Beaumont was the woodwork teacher. Again his classroom was in the brick-built block, this time at the gymnasium end.

I didn’t stay on into the sixth form. I was ready and eager to start at art college.

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