12 Principles of Animation
1. Squash & Stretch
- Can show if an object has more or less mass/ softer or stiffer object. If an object is longer or flatter. Speed, momentum, weight, or mass.
- "To us, it meant anything that a person likes to see, a quality of charm, pleasing design, simplicity, communication, and magnetism."
- "Anything composed of living flesh, no matter how bony, will show considerable movement within its shape in progression through an action."
- Can show if an object has more or less mass/ softer or stiffer object. If an object is longer or flatter. Speed, momentum, weight, or mass.
2. Anticipation
- When an animation prepares for an action when it appears more realistic. Without anticipation, it makes an animation less realistic.
- When an animation prepares for an action when it appears more realistic. Without anticipation, it makes an animation less realistic.
- Anticipation helps communicate actions to the audience by preparing them for the next action.
3. Staging
-Presenting ideas with great clarity
-Presenting ideas with great clarity
- "It is the presentation of any idea so that it is completely and unmistakably clear"
4. Straight Ahead Action Pose to Pose
- one drawing to another, going with the flow and is unpredictable.
-pose to pose will eventually draw the beginning and end then filled back later. better to use pose to pose with is easier to find out how an animation will end up.
-pose to pose will eventually draw the beginning and end then filled back later. better to use pose to pose with is easier to find out how an animation will end up.
5. Following Through and Overlapping Action
- Things don't come to a stop all at once; First one part and then another.
- "The body Itself does not move all at once, but instead, it stretches, catches up, twist, turns, and contracts as the forms work against each other."
6. Slow in and Slow out
-How movements will start slowly and build speed and slow down. Lifelike motion.
-How movements will start slowly and build speed and slow down. Lifelike motion.
7. Arc
- "Very few living organisms are capable of moves that have a mechanical in and out or up and down precision most movements will describe an arc of some kind."
- Arcs help out an animation avoid moving key to keyframe. Example a bouncing ball would not be able to bounce without arcs they will just end up moving from key to key.
- "Very few living organisms are capable of moves that have a mechanical in and out or up and down precision most movements will describe an arc of some kind."
- Arcs help out an animation avoid moving key to keyframe. Example a bouncing ball would not be able to bounce without arcs they will just end up moving from key to key.
8. Secondary Action
- Describes gestures that support the main action to add more dimension to the character animation.
9. Timing
-Typically how long will an animation last/take? More frames take more time and feels slower while few frames take less time and feels faster.
- "The number of drawings used in any move determines the amount of time that action will take on screen."
-Typically how long will an animation last/take? More frames take more time and feels slower while few frames take less time and feels faster.
- "The number of drawings used in any move determines the amount of time that action will take on screen."
10. Exaggeration
- Animations can be taken to the next level. More convincing
- Animations can be taken to the next level. More convincing
11. Solid Drawing
- Crafting poses that are living forms with strong design.
- "To us, it meant anything that a person likes to see, a quality of charm, pleasing design, simplicity, communication, and magnetism."
12. Appeal
- A design that holds the attention of the audience.
- " Our Main search was for an 'animatable' shape, one that had volume but was still flexible, possessed strength without rigidity, and gave us opportunities for the movements that put over our ideas. We needed a shape that was a living form, ready to move..."
(The Illusion of Life, Frank Thomas and Ollie Johnston)
- " Our Main search was for an 'animatable' shape, one that had volume but was still flexible, possessed strength without rigidity, and gave us opportunities for the movements that put over our ideas. We needed a shape that was a living form, ready to move..."
(The Illusion of Life, Frank Thomas and Ollie Johnston)
Comments
Post a Comment