12 Basic Principles Of Animation

Squash and stretch

 Classed as 'the most important principle' of animation, this rule covers the belief that weight and flexibility should be 'enhanced' within animation. For instance when a ball bounces, in reality the physical mass of the ball doesn't shift and it remains the same shape. However, when animating a ball you should 'squash and stretch' it; this gives the illusion of 'bouncing' by drawing the ball slightly squished against the mass it's hitting. This rule can also cover a range of animation, such as a character looking shocked; their eyes may open dramatically and even change shape for a frame or two. This enhances the over all emotional reaction and gives the appearance of a much more smoother/faster movement.

 

Anticipation

 Anticipation can also be classed as a 'pause'. It gives the audience the time to resistor what's about to happen or how that character may even react; It also makes the animation appear more realistic.
 

Staging

 Staging, is when you frame a scene in such a way to highlight the elements within that shot to the audience. For instance, if there was a scene within an animation of a city and you wanted your audience to notice a certain character clearly; You'd place that character in a noticeable place. Rather then clustered together with background characters (unless that's the purpose for the scene).

 

Straight Ahead Action and Pose to Pose

 Straight ahead means to draw a scene out frame by frame, from beginning to end. However, Pose to pose is when a scene is covered first with 'important' frames then filled in later. Straight ahead gives a more fluid and often fast vibe to the audience. But pose to pose works much better for dramatic or emotional scenes.

 

Follow Through and Overlapping Action

 This rule covers the ideals of making something look physical possible or realistic. Follow through covers the idea that loosely tied parts of a body should continue moving after main mass of that body has stopped; for example if a character stops suddenly that characters hair or clothes will continue moving forward for another few frames, then move back into place. Overlapping is the 'law' that different parts of the body move at different rates, if a character turns suddenly they may turn their head faster then turning their body. 'Drag' is also important here, where heavier parts of the body move slower and almost harder then lighter parts.

 

Slow In and Slow Out

 Animation looks more realistic when the beginning/ending of the animation contain more frames; for instance when a character begins to walk, that character must first get into the 'sway' of movement.

 

Arc

 Realistic movement both in animation and the real world around us, covers the theory of 'Arc'. This theory implies most movement is based on a arc or swing. When a character walks, that characters head doesn't remain in line with past frames; it arcs slightly up and down, with each step.

  

Secondary Action

 Secondary actions is when a primary action is followed up with a second that emphasizes the first. If a character suddenly stops, then looks shocked. Looking shocked is the secondary actions. It supports the reason that character stopped suddenly in the first place; it emphasizes and gives the animation 'reason'.

 

Timing

Timing is very important within animation, however is sort of backwards. When an action is seen as fast, it contains less frames then a slow action. This lack of or extra frames gives the illusion of realistic timing.

 

Exaggeration

 As defined by Disney, Exaggeration is ''to remain true to reality, just presenting it in a wilder, more extreme form.'' For instance, a cartoon horse may stand on its hind legs within a cartoon; which is impossible for a real horse. However, the bone structure of that cartoon horse is still realistic compared to a real horse. They exaggerate the capabilities of the cartoon horse.

 

Solid drawing

 This means to give an object weight and mass, to claim a three-dimensional space. This also covers the ideals of lighting and anatomy.

 

Appeal

This is the ideal that every character must be appealing on one level or another, be that character 'good', 'evil' or just a background character. Something must attract the viewer to the character, to imply that characters 'realism'.