How to Draw Funny Pictures


How to Draw Funny Pictures
By Brad Bird, creator of “The Incredibles”

From the New York Times Magazine Article How To Be Funny

Compiled by JOHN HODGMAN
Published: November 12, 2006


Because animation is a relatively complicated process, and because it is not spontaneous, it is often mischaracterized as purely mechanical. In reality, and at its best, the art of character animation exists somewhere between silent comedy and dance. Its success depends on finding a physical expression that is recognizable yet beyond what occurs in real life.

Fred Astaire had unusually large hands and learned how to use them in a way that made his dance more dynamic; he’d fold his hands for most of a routine, then flash them out for accents at key points. Their sudden increase in size made those moves pop in a way that other dancers couldn’t match. Animators use tricks like this all the time in ways that the audience never sees but always feels. Bugs Bunny, imitating the conductor Leopold Stokowski in concert, will violently raise his arms in one twelfth of a second (two frames of film). Every part of his body will be rock-still — save for Bugs’s quivering hand.

It is impossible for a living being to do this, but not for Bugs. He is truly Stokowski, more Stokowski than Stokowski was himself, because Bugs is the impression of Stokowski: his power, his arrogance, his supreme control over his musicians, perfectly boiled down to its essence. We laugh because it is completely unreal and utterly truthful in the same moment.

Original Article

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