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12 Principles of Animation

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12 views

12 Principles of Animation

Uploaded by

janneerika123
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© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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12 Principles of Animation

Knowing and practicing them will not only help you to create animation, but will also make your
animation more appealing and alive.

Squash and Stretch


⁃ gives life and flexibility but not only that! It can help convey what the material
that something is made of. In the bouncing ball case, very little S&S will indicate a firmer
material, like a ping-pong ball or a bowling ball. A rubber ball, would naturally have
more S&S.
Why do animators need Squash and Stretch?

- Squash and Stretch can make characters and inanimate objects have a feeling of
life by introducing a flexible quality. S&S can be applied to a single body part, say
an eyeball, or the entire character’s pose. The latter is particularly useful when
making rigid objects come to life, like the classic Disney Flour Sack, which is a
beginning traditional animator’s test case.

A thing to remember when using broad S&S but want to achieve ‘feel it, not see
it’, is to recover out of the extreme S&S poses quickly

ANTICIPATION
Anticipation is the energy or driving force behind any action. Isaac Newton said it best,
stating that “every object will remain at rest or in motion unless compelled by an external
force.”

This Law of Inertia applies to everything in nature.

Here’s an example of anticipation using a simple shape: a bouncing ball.

This motion prepares a viewer for the main action, which the character intends to do. For
instance, starting to run, jump or make a dash. To jump up, first you need to squat - this is
preparation or anticipation. Comic effect can be achieved without preparation or anticipation
after you used it several times. Virtually all real motions to a greater or lesser extent contain
preparation or anticipation - a sweeping motion with the bandy before a strike, squat before a
jump, swinging your arm back before throwing a stone, etc.

Anticipation is really something that tells the audience that a new idea is going
to occur. It prepares them for it so when it happens they can enjoy it and not
get caught off-guard. That’s not to say the nature of it can’t be a surprise. In
fact, anticipation can actually help a surprise moment by helping build the
suspense that something is about to happen (like in our Daffy Duck example
below). The audience is then prepared to look for it instead of missing it.

STAGING
Film duration is limited therefore each succession, each scene, each film frame shall be relevant
to the whole story. Do not confuse the viewer with too many simultaneous actions, use one clear
action at a time to convey the idea. Exceptions are the cases when you really need to show the
turmoil or confusion. Staginess directs viewer’s attention towards the story being told. Chosen
background shall neither distract the viewer from the story or a character nor attract his attention
by too many details. Foreground, character and background shall complement each other and
work as a whole in the course of storytelling.

taging is how you direct the viewer's attention to the shot. For the aim of grabbing
the viewer's attention, animators use poses and actions of characters, their placement
in the frame, background, and other elements of the scene.

STRAIGHT AHEAD AND POSE TO POSE


Using this method you may lose the size, volume and proportions of the character. This method
helps to achieve more spontaneity in animation, but makes it difficult to control its duration. It is
more often used in hand-drawn animation creating quick chaotic scenes.

Straight Ahead Action is the drawing out of a scene frame by frame from start to
finish, whereas in Pose to Pose the action is planned out by the animator using a few
key frames and then the intervals are filled in

The straight-ahead technique means to animate your action from drawing 1 to the
end in sequence order. The pose-to-pose technique is a bit more intricate as it
means to draw the key poses first (often the beginning and end drawing of the action
and some other key moment between.

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