The 12 Principles of Animation

The 12 Principles of Animation

What are the 12 principles of animation?

Without further ado, let’s see each of these principles.

Stretch and shrink / Compression and extension (Squash & stretch)

This principle adds to the idea of weight and flexibility. Stretching and shrinking consist of deforming the object of animation, increasing the sensation of movement. In turn, a more comical or dramatic effect is created. It is the technique that gives the object a feeling of flexibility, from a bouncing ball to the stretching of a figure or character to produce a comic effect.

Anticipation

Staging

Among the 12 principles of animation, this is to direct or define the most important in the field of view of the observer. This can be done using lights, shadow, and boxes, among others. The objective is to make clear the idea of ​​what happens on stage. It is based on the presentation of an idea in a clear way so that the viewer does not get distracted and focuses on the really important part of the scene. The use of the lights and shadows, the expressions and position of the characters involved, etc. They are some of the techniques used.

Direct animation and pose to pose

Direct animation is based on directly drawing a scene frame by frame from beginning to end, creating a more fluid and realistic scene. For its part, the pose-to-pose technique is based on drawing the key poses of the characters and then completing them with the secondary poses; it saves work but makes it more difficult to create compelling poses. Usually, these two techniques are usually combined.

Complementary and overlapping actions (Follow through & overlapping)

They are closely related animation techniques since they help to give realism to the movement and provide the illusion that an object moves to respect the principle of inertia. With the complementary action, the detached pieces of the object must continue their movement even after the object stopped moving. While the superimposed action is applied when the different elements of the object move in different ways, depending on their relationship with the main object and the speed at which it moves. Both techniques make the movement more realistic. The complementary action is based on what elements outside the body of the character must continue in the independent movement even if the character stops moving. On the other hand, the superimposed action refers to the different elements of the body of the character that must be moved differently, the movement of an arm is not the same as that of the hair or clothes.

Accelerate and decelerate / Slow Inputs and Slow Outputs / Ease In – Ease Out

In reality, objects do not pass from absolute rest to continuous movement in one step. On the contrary, it takes time to speed up or slow down. In this sense, a starting and braking effect that gives more realism must be created. It applies to both characters and objects to create naturalness. It is carried out by creating more movement at the beginning of the action and at the end. This gives prominence to the key pose.

Arcs

In the real world, movements generally follow a circular path, very few things move in a straight line, the same should happen in an animated story. Without this element, the created would feel rigid and mechanical. So they must create arcs in the movements of the characters. This technique is based on natural movements to follow a circular path. So any movement will have to have some curvature to give the feeling of realism. As an exception to this principle are strong movements since these normally occur in straight lines.

Secondary action

The main action can be emphasized by adding additional movements. The secondary action should never be marked more than the dominant action so that the viewer is not distracted consists of adding secondary actions to the main action. Thus giving more emphasis to the main action that is more enriched.

Synchronization (Timing)

Exaggeration

The exaggeration presents the characteristics and actions of the characters in an extreme way to achieve a comic or dramatic effect. With this resource, the emotional appeal is increased and the narrative is exalted. However, it is important to maintain harmony between the elements using the technique with a specific objective. This is a resource widely used in animated films but you have to be very careful not to ruin the truth of the scene, you must maintain a harmony between the elements and use the technique of exaggeration with the specific objective that we have set.

Solid / solid drawing

It means, represent shapes giving the illusion of volume and weight on a flat-screen. To achieve this it is necessary to apply basic concepts such as perspective, volume, weight, balance, lighting, etc. The creation of three-dimensional space of the drawings will help us see in 3D. To do this you have to take into account the volume and weight of the character to avoid falling into symmetry. Another aspect to take into account is that the assembly must maintain consistency and be consistent both in an individual pose and with all those that make up that animation.

Attractive (Appeal)

Finally, the last principle, it has to do with what the spectators will remember at the end of the work. The characters that feel real, interesting and attractive are the ones remembered which is what we would call the character’s charisma. What is sought is that the public connects with those characters. After all, the task of the animator is to give soul and life to a character. The appearance must also be solid and attractive.

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