Animation principles
1.Timing and Spacing
Timing and spacing in animation create the illusion of motion within the laws of physics. Timing is the number of frames between two poses, determining the speed of movement. Spacing is the placement of individual frames, with closer spacing creating a slower appearance and wider spacing resulting in faster movement.
2. Squash & Stretch
Squash and stretch add flexibility to objects, commonly exaggerated in animation. Similar to real-life occurrences, like a falling ball stretching before impact and squashing upon hitting the ground, this principle is evident in animated elements such as facial expressions—where eyes squash during a blink or stretch when expressing surprise or fear.
3. Anticipation
Anticipation in animation preps the audience for upcoming actions, enhancing believability. Whether a baseball pitcher winding up before a throw or a parkour runner bending their knees before a jump, these preparatory movements are essential for realistic and convincing animation. Without anticipation, these actions would lack authenticity.
4. Ease-In and Ease-Out
Ease-In and Ease-Out, also known as slow-in and slow-out, involve incorporating acceleration and deceleration into movements. Just as a car gradually accelerates from a standstill or slows down before a complete stop, animation benefits from starting slower (closer frames), accelerating (wider frames), and then slowing again (closer frames). This principle prevents unnatural, robotic-looking movements, adding a more realistic and fluid quality to animation.
5. Follow Through and Overlapping
Follow Through and Overlapping, while distinct, are closely related principles. When a character stops walking, not every body part halts instantly; there’s a natural follow-through where clothing and body parts continue moving. Overlapping action involves different body parts moving at different times, creating a realistic effect. In a waving motion, for instance, the shoulder initiates the movement, followed by the arm, and the elbow and hand lag behind by a few frames. These principles capture realistic movement with elements moving at slightly varying speeds.
6. Arcs
Arcs are crucial in animation as virtually everything in real life moves in some form of arching motion. People don’t move in straight lines unless you’re animating a robot. When a person turns their head or a character moves, there’s a natural inclination for the motion to follow an arched trajectory, such as the dip of the head during a turn or the toes moving in a rounded, arching motion.
7. Exaggeration
Exaggeration is employed in animation to enhance the appeal of movements. Whether creating highly cartoony actions or adding a touch of exaggeration for realistic effects, it elevates the animation’s visual interest. In realistic animation, exaggeration can be used to make movements more readable or enjoyable while maintaining a connection to reality. For instance, when depicting a diver preparing to dive, exaggeration can be applied by pushing them down a bit further before the leap, adding a dynamic touch. Timing can also incorporate exaggeration to emphasize different movements or enhance the perception of a character’s weight.
8. Solid Drawing
Solid Drawing is vital for maintaining balance and anatomical accuracy in poses. In 3D animation, although animators may rely less on hand-drawn elements, the concept of solid drawing remains crucial. It involves creating drawings with a sense of volume and weight, ensuring accuracy in the pose. In 3D character rigging, attention to balance, weight distribution, and silhouette clarity is essential. Additionally, avoiding ‘twinning’—mirroring a pose on both sides of the character—helps create more dynamic and realistic animations.
9. Appeal
Appeal in animation extends to various aspects, such as appealing poses and character design. A key aspect is the character’s design, aiming for a connection with the audience. Complex or unclear designs may lack appeal. Enhancing character uniqueness involves pushing and exaggerating certain features, like exaggerating the jaw or emphasizing youthfulness in the eyes, contributing to a more memorable and appealing character design.
10. Straight Ahead And Pose to Pose Action
Straight Ahead Action, also known as Pose to Pose, represents two distinct animation techniques.
- Straight Ahead Action:
- Spontaneous and linear approach.
- Each pose or drawing is created sequentially, one after another.
- Pose to Pose:
- Methodical and planned.
- Involves creating only the essential poses needed to convey the action.
- Allows for a simpler and more focused workflow, ensuring correct posing and timing before adding finer details.
11. Secondary Action
Secondary Action involves creating supporting actions that emphasize the main action in an animation, adding depth and authenticity to the performance. It should be subtle, complementing rather than distracting from the primary action. For instance, in a scene where characters are talking (main action), a character tapping their fingers nervously (secondary action) enhances the overall realism. Another example could be a character walking down the street while whistling, where the whistling serves as a secondary action.
12. Staging
Staging involves setting up a scene, including character placement, background elements, and camera angles, to ensure the animation’s message is clear. It focuses on communicating character expressions or interactions effectively, using camera angles that best convey the intended message. The goal is to prevent viewer confusion by maintaining a clear focus on the shot’s purpose and the desired communication.