1. Squash and stretch
Squash flattens an object by its own power or external pressure. A squash makes objects look shorter and compressed.
Stretch can increase the sense of speed and helps to the squash by contrast. A stretch makes objects look elongated and thinner.
The most basic application of squash and stretch is the bouncing ball animation. In this case, squash occurs at the time of impact when a ball hits a surface while stretch occurs when the ball gains speed. Other than that, squash and stretch is also occurs with the changing of facial expression as evidenced by the example below.
Important Note: Although the shape of objects changes as they are being squashed and stretched, their volume will remain the same.
As Meg blinks, her eyelids squashes while her forehead and lips stretch.
As she loosen up, her eyelids stretches back to its original position while her forehead and lips squash.
2. Anticipation
Anticipation foreshadows what is going to happen. For almost all action, there is always be anticipation. Anticipation is when the character think of a major action before they do it. Anticipation itself is an action which can be subtle at times.
So, anticipation is the movement that a character or object makes before a major action.
Anticipation is always in the opposite direction to where the main action is going to go.
Anticipation is usually slower and less violent than the major action
(i.e: Slow anticipation.... ZIP!!! Fast Action)
George anticipates by stretching his right arm towards the paper plane.
George tries to catch the paper plane with his right arm.
3. Staging (Mis-en-scene)
Staging is the presentation of an idea so that it can be clearly communicates to the audience. It shows mood, attitude and emotional state within a story which can be established through variations of shot framing so that it directs the audience's attention to the idea or story being told.
It is a good idea to present one idea at a time otherwise the audience would not know which way to look.
It is a good idea to present one idea at a time otherwise the audience would not know which way to look.
In this scene, Meg brushes her hair with her finger and tries to get the attention of George. Her action sparks a romantic chemistry between them.
4. Straight ahead and pose to pose animation
Straight ahead is when the animator animate frame after frame without the use of keyframing. The outcome will be surprising to the animator. Straight ahead is commonly used to animate fast action so that they often feels fresh and fun. However, there are some downsides for using this technique as you can wander off and you can lose sense of scale of volume. Hence, the size of the character or object animated might be inconsistent.
Pose to pose is when the animator meticulously plan and works out the key poses needed to make an animation work, then their work will be passed to his assistants who will draw the 'in between's.It allows a key animator to focus on key drawings to allow more control hence he can get people to help him do the 'in between's easily as by doing so he has provided guidelines for them. Therefore, the imbetweeers know what they are working toward while the director can track their progress. This technique is especially useful in the production of weekly animated series like The Simpsons because it saves up time.
Best of both:
- Thumbnail drawing of key poses
- Starts filling up the 'in between's
- Identify contact point and extremes
- Filling up more 'in between's and even more
Both straight ahead and pose to pose is used in the scene when George is crossing a busy street to chase after the paper plane.
5. Follow through and overlapping action
Follow throughs are actions that happen when the main body of the object/character stopped moving.
An example of follow through : Meg lean her body forward, her hair swings to the front following her body movement.
6. Slow-in and slow-out (Ease-in and ease-out)
This principle is used to show momentum which softens the animation, to make it more realistic. More drawings are drawn for slower action and vice versa.
It is usually used in this manner:
It is usually used in this manner:
- More drawings at the beginning of the action (slower)
- One or two in the middle (faster)
- More drawing at the end of the action (slower)
The basic application of this principle can be seen in oscillating pendulum animation.
7. Arcs
All action, except perhaps some mechanical ones, follows an arc or circular path since it is believed that the movement of human and animal figures tend to follow arc.
When considering arcs, think about a pendulum oscillating or the motion of your arm as you walk.
When considering arcs, think about a pendulum oscillating or the motion of your arm as you walk.
8. Secondary Action
Secondary action is an action that supports and reinforces the action of the first. Tex Avery always uses this principle to exaggerate or give more life and meaning to the first action
9. Timing
It takes countless number of practices to get the timing right since an animator must get the feel of it.
Some basics on timing:
Some basics on timing:
- More drawings between poses slows and smooths the action.
- Fewer drawings make the action faster and crisper.
- A variety of slow and fast timing within a scene adds texture and interest to the movement.
- Most animation is done in twos. (i.e: each drawing for 2 frames)
- and sometimes on ones (i.e: each drawing for 1 frame) for fast actions or when there is camera movement.
A really important thing is REFERENCE. Use a real life model if possible or you can also watch and record actors or animals performing the action.
10. Exaggeration
Subtle characterisation of expressions, poses and facial features. Chuck Jones uses them effectively in the Looney Tunes Series, in fact he is really good at it. It gives the animation more appeal by having it in walk, head turn or even just an eye movement.
Exaggeration makes movements of character in animation different to real life actions. Animators often makes the characters do movements that is impossible in real life.
What George did here is an exaggeration because his head is stretched as he drags it down. Exaggeration dramatises his action so that the audiences will give emotional responses.
11. Solid Drawing
The basic principles of drawing applies to make an animation. Form, weight and volume solidity helps to create the illusion of 3D in animation. Solid drawing also includes the variety of colours used. It give characters and objects the illusion of life as they move through space and time.
12. Appeal or Character Personality
Appeal facilitates the emotional connection between characters and audience. A good character design can be distinguished from its silhouette.
Check out this video which concisely explains the 12 principles of animation:
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