Advanced Animation/ Project 2: Normal & Cartoon Jump Animation
11/06/2025 - 25/06/2025 / Week 8 - Week 10
Lim En Yu / 0354452
Advanced Animation / Bachelor of Design (Hons) in Creative Media / Taylor’s University
Project 2: Normal & Cartoon Jump Animation
TABLE OF CONTENTS
Instructions
Fig 1.1 Module Information
Project 2: Normal & Cartoon Jump Animation
For Project 2, we are assigned to create a cartoony jump animation demonstrating three different speeds: slow, medium, and fast. Similar to Project 1, the animation must be created at 24fps, with lighting and rendering set to a resolution of 1280px x 720px.
We started Project 2 by animating our character using the jump key poses from the Animator’s Survival Kit, guided step-by-step by Mr. Kamal during class. To make sure each pose had a clear and readable silhouette, we used Blender’s viewport shading feature, which allowed us to view the animation in solid silhouette mode throughout the process.
Fig 2.1 Animator’s Survival Kit
Fig 2.2 Key Jumping Poses
Firstly, Mr. Kamal guided us to create the first key pose, which is the anticipation pose. In this pose, the character squats down, preparing for the jump. Both hands are swung backward, emphasizing the build-up of energy before the motion.
An important detail that shouldn't be overlooked is the positioning of the hands which they are already in a closed fist position, signaling tension and readiness. These subtle choices add weight and realism to the animation, setting a strong foundation for the jump that follows.
Fig 2.1 Starting Pose
After observing the pose from the front view, I also noticed that both arms should be slightly bent outwards. This is because, in a natural human posture, when people bend their arms, there is usually a slight outward curve rather than a straight alignment.
In addition to the arms, the spine and head also bend forward slightly in sync with the overall motion. This helps to maintain anatomical accuracy and enhances the sense of weight and balance in the anticipation pose, making the animation feel more believable and grounded.
Fig 2.2 Anticipation Pose
Next, we move on to the second key pose in the jump sequence. At this stage, the character has already begun to lift off, but the feet are still in contact with the ground, marking the transition from anticipation to the actual jump.
To reflect this motion, the hip shifts and tilts forward, indicating the body's momentum pushing upward. At the same time, both arms are raised forward, contributing to the force of the jump and adding dynamic motion to the pose. This pose captures the critical moment of propulsion, where energy from the lower body is transferred upward through the spine and limbs.
Fig 2.3 Jump Pose (Contact)
Moving into the mid-air pose, the character is now fully airborne. At this point, the legs are bent upward, showing the natural recoil of the body after takeoff. The arms, which were previously raised, are now positioned parallel with the head, maintaining a streamlined and dynamic posture.
Additionally, the entire body leans slightly forward, emphasizing forward momentum and direction. This pose captures the peak of the jump, a moment of suspension, and is essential for conveying realism and fluidity in the overall motion arc.
After the mid-air phase, the character transitions into the fall or landing pose, where the legs make contact with the ground once again. In this moment, the heels are the first to touch the ground, indicating a controlled and realistic landing.
The upper body tilts slightly backward, absorbing the impact and maintaining balance. Meanwhile, the arms remain in the same posture, still positioned near the head, which helps to preserve the momentum and continuity from the previous pose. This pose is crucial for conveying a smooth and believable landing within the animation.
Fig 2.5 Fall (Contact)
Lastly, we move into the recovery pose, where the character squats down briefly and then returns to an upright position, ending in the same spot where the jump began. This motion reflects the natural rebound and balance adjustment after landing.
The overall motion path of the hip follows a smooth "U" curve, visually representing the arc of the jump from takeoff, through mid-air, to landing and recovery. This U-shaped path is essential for maintaining the fluidity and realism of the animation, ensuring the movement feels natural and physically grounded.
Fig 2.6 Overall motion path of hip
After receiving feedback from Mr. Kamal, he suggested that in the recovery pose, the arms could swing slightly more upwards as the character stands back up. This adjustment would add more fluidity and emphasis to the upward motion. Other aspects of the animation were considered well-executed and did not require further changes.
Final Outcome of Jump Animation
Cartoon Jump Animation
For this task, I started by searching for references to create a cartoony jump. After class, I searched YouTube for reference videos to guide my animation. I found one I really liked, which is a Mario pose jump!
Fig 2.9 Mario Jump
However, the Mario jump reference seems a bit too complicated, therefore I decided to record one simpler version by myself as a new Mario jump reference video.
Fig 2.10 Reference video for Cartoon Jump
Based on my own recording, the anticipation pose actually looks a bit different. In my case, only one leg is squatting down, while the other leg is already bent and slightly lifted in the air, kind of getting ready for the jump. My arms are slightly bent and just resting beside my body, not really swinging back too much. This pose was based on a Mario-style jump that I recorded myself, so it has a more stylized and playful feel compared to a realistic jump.
Fig 2.11 Antipation pose
Although my back leg during the mid-air pose wasn’t originally bent that high in my recording, I decided to adjust it higher to better match the classic Mario jumping pose I was aiming for. I also made sure that the arm forms an “L” shape, raised in the opposite direction of the lifted leg, just like how Mario jumps in the games. These tweaks help give the pose more energy and that iconic, playful feel.
Fig 2.12 Mid-air pose
Other than that, I also used the Graph Editor to fine-tune some of the smaller details in the mid-air pose. For example, I adjusted the hip movement to make it feel more natural, and tweaked the angle of the legs bending in the air to better match the intended motion. These subtle adjustments really helped improve the overall flow and realism of the animation.
Fig 2.13 Adjusting hip using graph editor
Fig 2.14 Hip at recovery pose
I also took some time to adjust the swing of the arm and forearm using the Graph Editor. This was especially important to make sure the movement felt smooth and visually appealing. By carefully tweaking the curves, I was able to get the timing and arcs just right, so the arm swing would match the energy and style of Mario’s iconic jump.
These adjustments might seem minor, but they actually made a big difference in enhancing the overall pose and silhouette. It helped the character feel more lively and closer to the playful, exaggerated motion that the Mario jump is known for.
Fig 2.15 Swing of arm
Fig 2.16 Swing of forearm
Lastly, I focused on the facial expression to add more personality to the animation. At the start, the character is smiling, giving off a light and cheerful mood. However, as the character jumps upward, the expression changes, the face becomes more focused and slightly frowns, showing effort and intensity in that moment. This subtle change helps bring the character to life, making the jump feel more believable and emotionally engaging.
Fig 2.17 Expression #1
Fig 2.18 Expression #2
Cartoon Jump Version 1:
Fig 2.19 Cartoon Jump Version 1
Cartoon Jump Version 2 (after adjusting the timing):
Fig 2.20 Cartoon Jump Version 2 (after adjusting the timing)
Mr. Kamal pointed out that the leg I used to land after the mid-air pose was actually the wrong leg. He explained that landing with that particular leg would look unnatural and physically impossible in real life. To double-check, I tried performing the movement myself — and it turned out he was right.
Realizing the mistake, I quickly made the necessary changes and improvements based on his feedback. I adjusted the landing leg to make sure the motion felt more natural and believable, aligning better with real human movement and improving the overall flow of the animation.
Cartoon Jump Version 3 (after adjusting the graph and movement):
Fig 2.22 Cartoon Jump Version 3 (after adjusting the graph and movement)
Final Compilation of Project 2: Normal & Cartoon Jump Animation
Fig 2.23 Final Compilation of Project 2: Normal & Cartoon Jump Animation
Feedback
Jump Animation: Mr Kamal said overall is okay, just the part of recovery pose, the arm could swing more upwards when he is standing up.
Cartoon Jump: Mr Kamal said that the jump speed seems a bit too slow, if the timing with my original video is the same, then may be is because of the graph adjustment problem. Also, Mr Kamal also given me feedback on class, which he helped me check the motion path of the cartoon jump.
Reflection
Working on Project 2 was a meaningful and enjoyable journey for me. At first, I felt excited to try something more playful with the cartoon jump, especially using the Mario-style reference. It reminded me of the games I grew up with, so I felt a personal connection that made the process more fun and creative.
There were moments when I felt unsure, especially after receiving feedback about the landing leg being incorrect. I was a bit disappointed at first because I thought I had done it right, but trying it out myself helped me understand the mistake. That moment of realization actually made me appreciate the learning process more. It showed me how valuable it is to step back and observe things with a fresh perspective.
I also felt proud seeing the animation come together, especially after making small changes that made a big difference. Watching the character express emotions and move with energy gave me a real sense of satisfaction. Overall, I felt more confident and inspired by the end of this project. It was a great reminder that improvement comes with patience, curiosity, and being open to feedback.
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