The 12 principles of animation.
1. Squash and Stretch
This gives the illusion that the character has weight and volume as it is moving, this principle is also useful when it comes to the character talking and also with different facial expressions. Whatever is being animated has an effect on how extreme the squash and stretch is used in the scene. Squash and stretch is used in all forms of animation from bouncing a ball or the body weight of a person who is walking. This is the most important principles of animation because it is used the most.
2. Anticipation
With this it prepares the audience for something that will happen for the major character for example running, jumping or changing facial expression. It is mainly used to develop a characters personality.
3. Staging
This is a action or pose that should communicate to the audience the mood, attitude, idea or reaction or the idea of the character and it continuity of the story line. The effectiveness of using long, medium or close up shots helps tell the story in a better way, also there is a limited amount of time in a film so each scene of a film must relate to the overall story. You must make sure that confuse the audience with too many actions at once. You have to use one action clearly stated to get the idea across the only time you will not have to do this is when animating a scene that is to depict clutter and confusion. Staging directs the audience's attention to the story or idea being told. When designing the background so it does not obscuring the animation or competing with it due to excess detail behind the animation.
4. Straight ahead and pose to pose animation
The straight ahead animation starts at the first drawing and works, drawing to drawing to the end of a scene. The down side of this is that you can lose size, proportions and volume but it does give the animation freshness and spontaneity. fast, the wild action scenes are done like this, pose to pose is a more planned out and carted with certain drawings done at intervals throughout the scene. The size and volumes and the proportions are controlled better this way, as is the action.
5. Follow through and overlapping animation
When the main body of the character stops all other parts continue to catch up to the main mass of the character, such as arms, long hair, coat tails, clothing, dress, long tail or floppy ears. Nothing stops all at once this is the follow through. The overlapping action is when the character changes direction while their hair and clothes carry on going in the other direction. When a character moves in a new direction and after a number of frames later his clothes are following him in the new direction. 'DRAG' is used in animation and a example of this would be when Goofy starts to run, but his ears, head, clothes and upper body do not keep up with his legs. Timing becomes critical to the effectiveness of drag and the overlapping action.
6. Slow-out and Slow-in
As action starts, there are more drawings near the starting pose, there is one or two in the middle and more drawing near the next pose. Having fewer drawings makes the action faster and having more drawings makes the action a lot slower. The slow-ins and the slow-outs soften the action making it more life-like. Making a gag action you may omit some slow-ins or slow-outs for the shock appeal or the surprise element, this will give more snap to the scene.
7. Arcs
Most action follow an arc or a slightly circular path, this is especially true for the human figure and the actions of animals. Arcs give animation a more natural action and better flow. Thinking of natural movements in the terms or a pendulum swinging. All head turns, eye movement and arm movements are executed on an arcs.
8. Secondary action
With this action adds to and enriches the main action and adds more dimension to the character animation, supplementing and/or re-enforcing the main action. A good example of this is that when a character walks angrily to another character. Their walk is forceful, forward leaning and aggressive. The secondary action is some strong gestures of the arms working with the walk. Also there is a possibility of dialogue being delivered at the same time.Think of the walk as the other primary action and arm swings, head bounce and all the other action of the body.
9. Timing
Timing in animation comes best with experience and personal experimentation, using the trail and error method in refining technique. The basics for this are; more drawings between poses slow and smooth the action, but having fewer drawings means that the action will be faster and crisper. Having a variety of fast and slow timing within a scene means that it adds to the texture and interest to the movement.
10. Exaggeration
It is not extreme distortion of a drawing or extremely broad, violent action all the time. It is like a caricature of facial features, poses,expressions, actions and attitudes. Action traced from live action film could be accurate but stiff and mechanical. In animation a character must move more broadly to look natural
11. Solid Drawing
The basic principles of drawing from, volume, weight, solidity and the illusion of three dimension apply to the animation as it does to academic drawing. . The way in which you draw cartoons is that you start off with the classic sense by using pencil sketches and drawings for reproduction of life. Then you transforms these drawings by adding colour and movement giving the character the illuion of a three dimensional life.
12. Appeal
With animated character has appeal, and with appealing animations they do not have to be cute and happy. All the characters have to be appealing in their own way even if they are a villain. Appeal includes an easy to read design, clear drawing and personality development that will capture the audience's interest. With the early cartoons were basically a series of gags strung together on a main theme.
i got my information from: http://minyos.its.rmit.edu.au/aim/a_notes/anim_principles.html
4. Straight ahead and pose to pose animation
The straight ahead animation starts at the first drawing and works, drawing to drawing to the end of a scene. The down side of this is that you can lose size, proportions and volume but it does give the animation freshness and spontaneity. fast, the wild action scenes are done like this, pose to pose is a more planned out and carted with certain drawings done at intervals throughout the scene. The size and volumes and the proportions are controlled better this way, as is the action.
5. Follow through and overlapping animation
When the main body of the character stops all other parts continue to catch up to the main mass of the character, such as arms, long hair, coat tails, clothing, dress, long tail or floppy ears. Nothing stops all at once this is the follow through. The overlapping action is when the character changes direction while their hair and clothes carry on going in the other direction. When a character moves in a new direction and after a number of frames later his clothes are following him in the new direction. 'DRAG' is used in animation and a example of this would be when Goofy starts to run, but his ears, head, clothes and upper body do not keep up with his legs. Timing becomes critical to the effectiveness of drag and the overlapping action.
6. Slow-out and Slow-in
As action starts, there are more drawings near the starting pose, there is one or two in the middle and more drawing near the next pose. Having fewer drawings makes the action faster and having more drawings makes the action a lot slower. The slow-ins and the slow-outs soften the action making it more life-like. Making a gag action you may omit some slow-ins or slow-outs for the shock appeal or the surprise element, this will give more snap to the scene.
7. Arcs
Most action follow an arc or a slightly circular path, this is especially true for the human figure and the actions of animals. Arcs give animation a more natural action and better flow. Thinking of natural movements in the terms or a pendulum swinging. All head turns, eye movement and arm movements are executed on an arcs.
8. Secondary action
With this action adds to and enriches the main action and adds more dimension to the character animation, supplementing and/or re-enforcing the main action. A good example of this is that when a character walks angrily to another character. Their walk is forceful, forward leaning and aggressive. The secondary action is some strong gestures of the arms working with the walk. Also there is a possibility of dialogue being delivered at the same time.Think of the walk as the other primary action and arm swings, head bounce and all the other action of the body.
9. Timing
Timing in animation comes best with experience and personal experimentation, using the trail and error method in refining technique. The basics for this are; more drawings between poses slow and smooth the action, but having fewer drawings means that the action will be faster and crisper. Having a variety of fast and slow timing within a scene means that it adds to the texture and interest to the movement.
10. Exaggeration
It is not extreme distortion of a drawing or extremely broad, violent action all the time. It is like a caricature of facial features, poses,expressions, actions and attitudes. Action traced from live action film could be accurate but stiff and mechanical. In animation a character must move more broadly to look natural
11. Solid Drawing
The basic principles of drawing from, volume, weight, solidity and the illusion of three dimension apply to the animation as it does to academic drawing. . The way in which you draw cartoons is that you start off with the classic sense by using pencil sketches and drawings for reproduction of life. Then you transforms these drawings by adding colour and movement giving the character the illuion of a three dimensional life.
12. Appeal
With animated character has appeal, and with appealing animations they do not have to be cute and happy. All the characters have to be appealing in their own way even if they are a villain. Appeal includes an easy to read design, clear drawing and personality development that will capture the audience's interest. With the early cartoons were basically a series of gags strung together on a main theme.
i got my information from: http://minyos.its.rmit.edu.au/aim/a_notes/anim_principles.html
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