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Principles of Animation

The document outlines 12 principles of animation: 1. Squash and stretch - Objects get longer or flatter to emphasize speed, momentum, weight, and mass. More squash and stretch means softer, less means stiffer. 2. Anticipation - Characters prepare for actions to clue the audience and make movements seem realistic. 3. Staging - Presenting ideas clearly through camera angles, acting, timing, and setting. Knowing when to use close-ups versus long shots.

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170 views

Principles of Animation

The document outlines 12 principles of animation: 1. Squash and stretch - Objects get longer or flatter to emphasize speed, momentum, weight, and mass. More squash and stretch means softer, less means stiffer. 2. Anticipation - Characters prepare for actions to clue the audience and make movements seem realistic. 3. Staging - Presenting ideas clearly through camera angles, acting, timing, and setting. Knowing when to use close-ups versus long shots.

Uploaded by

api-523887638
Copyright
© © All Rights Reserved
Available Formats
Download as PPTX, PDF, TXT or read online on Scribd
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PRINCIPLES OF

ANIMATION
ONE | SQUASH AND STRETCH
This is the principle that animated objects will get longer or flatter to emphasize their speed, momentum,
weight, and mass. The more squash and stretch, the softer the object. The less squash and stretch, the
stiffer the object. You can also use squash and stretch to exaggerate facial expressions. It's very important
to keep the volume of the object consistent.
TWO | ANTICIPATION
This is when a character prepares for an action to give the audience a clue as to what is
happening next as well as to make the action appear more realistic. For example , when a
character is about to jump before leaping, he must prepare by crouching down to build energy.
Without the anticipation , the movement appears unrealistic. Anticipation helps communicate
actions to the audience by preparing them for the next action.
THREE |STAGING
Staging is the presentation of any idea so that it is completely and unmistakably
clear. It can apply to acting, timing, camera Angle and position and setting. So
when you're animating you want to be in full control of where the audience is
looking. The camera has a lot to do with this. It's important to know when to be
closed up and went to be far away. Far away is good for big actions while close-up
is good for expressions.
FOUR | STRAIGHT AHEAD & POSE TO POSE
This term describes two methods used to animate drawings. The first method
straight ahead is where you draw the first drawing and then you draw the second
drawing and then the third drawing and so on. The second method post a pose is
where you draw the beginning and end of each main pose and go back later to
fill in the drawings in between
FIVE | FOLLOW THROUGH & OVERLAPPING ACTION
This is a technique of having body parts and appendages dragged behind the rest of the body and continue to
move when the body stops. Follow through refers to the way parts of the body continue to move after the body
is stopped. Overlapping action describes the offset between the timing of the main body and its other parts.
Similar to squash and stretch the amount of drag that you give something says something about its mass.
SIX | SLOW IN & SLOW OUT
This principle refers to the way pretty much all movement starts slowly, build speed and finishes slowly. This is
one of the most important principles to achieving lifelike motion without slow in and slow out, things feel
mechanical.
SEVEN | ARCS
very few organisms are capable of movements that have a mechanical in, and out or up-and-down
precision Most living creatures will move in a circular path, otherwise known as an Arc. Arcs can be
added to almost any figure movement.
EIGHT | SECONDARY
ACTION
This principle is often associated with overlapping action. Secondary action describes
gestures that support the main action to add more dimension to the character animation.
For example, a character may be walking angrily. The primary action is the legs, and the
secondary action is everything else: the arms swinging, the head bobbing and the facial
movements.
NINE | TIMING
This principle states that the personality and nature of an animation is greatly affected by the number of
frames inserted between each main action. If you have many drawings that are very close together in
between the two main poses, the action will be very slow. If you have very few drawings set far apart from
each other, the action will be very fast. Less drawings means fast; more drawings means slow. One simple
action can have ten different meanings, depending on how many frames you give it.
TEN |EXAGGERATION
every action, pose and expression can be taken to the next level to increase the amount of
impact on the viewer. Adds more character and realism and convincing. When motions are
quick the exaggeration needs to be larger to make sure it is seen.
ELEVEN | SOLID DRAWING
This principle is about making sure that forms feel like they are in three-dimensional space with volume weight
and balance. When doing a rough pass of the character use basic solid shapes like spheres, cubes and cylinders to
construct the character instead of circles squares and rectangles to avoid the character looking flat.
TWELEVE | APPEAL
Characters that are in your animation should be somewhat pleasing and easy to look at, they should some sort
of charismatic aspect about them. Appeal doesn’t always mean good looking it can also mean interesting. A
variety of shape , proportions and keeping it simple can help create a dynamic design.

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