Harold Whitaker - Timing for Animation, 40th Anniversary Edition, 3rd Edition

Third edition published 2021
by CRC Press
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and by CRC Press
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2021 Taylor & Francis Group, LLC

First edition published by Focal Press, 1981
second edition published by Focal Press, 2009

CRC Press is an imprint of Taylor & Francis Group, LLC

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ISBN: 978-0-367-68935-3 (hbk)
ISBN: 978-0-367-52775-4 (pbk)
ISBN: 978-1-003-13970-6 (ebk)

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I first came across Timing for Animationas a student at Middlesex University in London. I was studying for a degree in graphic design, learning things like typography, illustration, and photography. Animation was never on my radar until we were given an unexpected animation project at the end of the first year, and I absolutely loved it No one else in my year seemed particularly taken with it but I became totally obsessed. I persuaded my friend Eileen, who was one of the few mildly interested in animation, to go halves with me on an animation book Timing for Animation. As soon as it arrived I quickly snaffled it up and poor Eileen didnt get a look in. To this day I still feel guilty for making her split the cost.

I soon abandoned my pantone swatch book, and instead spent every waking hour making my final-year film, Girls Night Out. There was nobody else doing animation on my course so I had to make it all up as I went along. I constantly referred to my new animation bible Timing for Animationfor help with my animation conundrums but occasionally when I was feeling brave Id flick through the phone directory and ring up animators like Bob Godfrey or Oscar Grillo and ask them animation questions or sometimes just turn up at their Soho studios. Everyone was very kind and very tolerant. I even got a few free lunches by turning up just at the right time After leaving college my graduation film Girls Night Outgot into various animation festivals and surprisingly won awards It wasnt until this point that I realized I could actually do this as a proper job and I could call myself an animator.

After many years in animation making films and commercials, I can now confess that Im a fully-fledged animation nerd. I am happiest when Im either animating, watching animation, teaching animation, or talking about animation. I have a particular love of performance and timingconstantly analyzing how character is portrayed through weight, movement, and nuance of gesture. Timing is all about identifying the rhythm of a movement, not only in the broad actions but also the tiniest of movements. Its about creating curves and rhythms in all the actions and punctuating the changes of directionthese punctuated beats become the key poses and the pauses anticipate the next action. Animation is so like music in that way.

Throughout my career I have dipped in and out of the Timing for Animation, looking for hints and tips but also for an endorsement that Im on the right track. I must have used it many times because all of Harold Whitakers animation drawings of stretch and squash, force and weight are imprinted on my mind!

Finally, I would like to say a big thank you to Vivian Halas, the daughter of John Halas and Joy Batchelor, who has dedicated her life to promoting the Halas & Batchelor archive, and reminding new audiences about their importance in the history of animation, and British animation in particular.