PRINCIPLES OF ANIMATION
12 PRINCIPLES OF ANIMATION:
1. Squash & Stretch
2. Arcs
3. Timing
4. Appeal
5. Exaggeration
6. Overlapping/ Follow through
7. Slow in & Slow out
8. Secondary action
9. Anticipation
10. Pose to Pose
11. Solid drawing
12. Staging
VIDEO 1: ARCS, SQUASH & STRETCH, TIMING, SLOW IN & SLOW OUT (WITH GUIDE)
VIDEO 1: ARCS, SQUASH & STRETCH, TIMING, SLOW IN & SLOW OUT
POA 1 NOTES
TIMING:
- personality and nature of an animation is greatly affected by the number of frames - inserted between each main action
- many in between frames = slow
- fewer in between frames = fast
- standard frame rate is 14fps
- drawing on each frame (out of 24) is called ‘drawing on the ones’
- drawing on every second frame is called ‘drawing on the twos’
- drawing on every third frame is called ‘drawing on the threes’
- more common to draw on the twos than the ones
- animation is a time based art form
SQUASH N STRETCH:
- principle that animated objects will get longer or flatter to emphasize: speed, momentum, weight, & mass
- the amount that an object squashes and stretches says something about its mass
- squash and stretch applies to characters as well
- you can use squash and stretch to exaggerate facial expressions
- important to keep the volume of an object the same
SPACING:
- spacing is the change of position
SLOW IN & SLOW OUT:
- all movements start slow -> fast -> slow
- unrealistic to go from still -> fast right away
- most important to achieve lifelike motion
ARCS:
- most living creations move in arcs
- it can be added to any character or object
- adding more arc can add a little bit more character/expression
- can be added to any figure movement
- if a movement is fast you can add arcs in a form of a smear
VIDEO 2: ANTICIPATION, FOLLOW THRU/ OVERLAPPING, SECONDARY ACTION, EXAGGERATION
POA 2 NOTES
ANTICIPATION:
- prepares for action to give audience a clue of what they're going to do
- multiple levels of anticipation
OVERLAPPING/ FOLLOW THRU:
- also associated w drag
- tip of appendage should be last to catch up to the main body
- amount of drag says something about its mass
SECONDARY ACTION:
- not overlapping action
- describes gestures
EXAGGERATION:
- not more distorted but more convincing
- usually enlarging the exaggerated action and shrinking the boring other actions
VIDEO 3: POSE TO POSE, STRAIGHT AHEAD, SOLID DRAWING, STAGING (WITH GUIDE)
VIDEO 3: POSE TO POSE, STRAIGHT AHEAD, SOLID DRAWING, STAGING
POA 3 NOTES
POSE TO POSE/ STRAIGHT AHEAD:
- describes two methods used to animate drawings
- straight ahead = drawing the first drawing then the second then the third etc.. (animating as u go)
- pose to pose = drawing the first and last drawings first and then going back to fill in the drawings in between
- Ptp is better for most actions because it gives you most control
- having a good idea of what the action will look like very early in the process
- Sa can lead to distortion of the character’s size
- ptp can save alot of work
- Sa is good for actions that are unpredictable
eg. fire, water particles, clouds of dust n explosions
- main poses = keys , secondary poses = extremes , further broken down poses = breakdowns
SOLID DRAWING:
- principle makes sure that forms/objects feel like they are in a three dimensional space with: volume, weight, and balance
- it is easier to animate if you can draw and figure from all angles ( knowledge of three dimensional drawing )
- rough drawings using basic solid shapes: spheres, cubes, cylinder
- avoid using symmetry
- avoid using twinning: when the arms/legs are doing the exact same thing as the other
APPEAL:
- what you animate should be somewhat pleasing to look at
- your character should have some kind of charismatic aspect about them ( not just the protagonist but also all side characters and villains )
- appealing doesn’t always mean good looking, it could mean look interesting and not boring
- dynamic design -> appeal:
1. variety of shapes - use different shapes for every character
2. proportions - magnify the things we find interesting and shrink the things that are ugly or boring
3. keep it simple - too much info can overcomplicate a character and harder too animate
STAGING:
- the presentation of any idea so that its completely and unmistakably clear
- can apply to: acting, timing, camera angle, position and setting
- “ look at this, now look at this, and now look at this “
- main action shouldn’t be on the side of the screen, put it in the center or on one of the thirds of the screen
- main action should be simple and clear
- let one action finish before starting another
- convey an idea by going over the top so the viewer knows what the character or stage is feeling
