12 Principles of Animation
The 12 principles of animation was developed by Walt Disney and introduced by Disney animators Frank Thomas and Olli Johnston in 1930, many animation have been created through without any knowledge of the principles.
1. Squash and Stretch
-Squash and Stretch gives the illusion of weight and volume
-Lots of squashing and stretching could mean that the object is more rubbery and pliable
Tip- Keep the volume of squash or stretch constant
2.Anticipation
-to paraphrase Richard Williams
-Anticipation communicates what is going to happen because for almost every action weaker there is anticipation
-Anticipation is preparation
-Simply put anticipation is the movement that a character or object makes before a major action
3.Staging
-Staging, or mis-en-scene as it also known is the presentation of an idea so it clearly communicates to the audience
-is should communicates a character or an objects mood, attitude or emotional state within a story
-The use of shot framing eg. long medium of close ups and camera angles
-Staging directs the audiences attention to the ideas or story being told
-It's a good idea to present one idea at once otherwise the audience won't know where to look, or what is going on
-You don't wont the main character to be upstaged
4.Straight ahead and pose to pose animation
-Two different ways of animating is the process of animating frame after frame without the use of key framing
-Literally starts with the first drawing and you continue to the end of a scene if you aren't careful you can wonder off, lose a sense of scale, size and volume
-Pose to pose animation is meticulously planned and the animator works out what key poses will be needed to make an animation work, an assistant will then draw out the 'in between' frames that will for the animation
-This allows the animator to focus on key drawings to allow for the more control over the movement and performance of the animation
-With pose to pose this is clarity and strength
-Working pose to pose means that its easy for the people to assist as they know what they are working towards, the director can see how far on progress is
-As there are positives and negatives for both ways or working the obvious solution would be to combine both
-Plan using thumb nail sketches
5.Follow through and overlapping action
-Follow through is/are actions that happen when the main body of the character has stopped moving
-Follow through is the termination of an action
-Overlapping action, we observe overlapping action when an object or character is trailing behind in action this is sometimes called 'drag' it often gives a sense of looseness and at the same time solidity
6.Slow-out and slow- in
-Is also referred to as ease-out and ease-in
-As an action starts we will have more drawings at the beginning at the start of pose, one of two in the middle and more drawing near the end
-Fewer drawings makes faster action
-More drawings makes action slower
-Slow-out and ins soften the animation making in it feel more life-like
7.Arcs
-All actions, except perhaps some mechanical ones follow and arc or circular path
8. Secondary action
-Simply put it secondary action is an action that support and reinforces in the intention of the first
9. Timing
-To make effective use of timing come from experience. It requires you to try again, refine and again
-More drawings between poses slows and smooths the action. Fewer drawings make the action faster and crisper
-A variety of slow and fast timing within a scene adds texture and interest to the movement
-Most animation is done on twos (one drawing photographed on two frames of film) or on ones (one drawing photographed on each frame of film)
-Twos are used most of the time, but ones are used during camera moves such as panning
-Twos are also used for quick dialogue animation
10.Exaggeration
-Is not always something about making it bigger and better you can make it subtly
-It is a walk, head turn or even eye movement to make your animation have more appeal
11.Solid drawing
-The basic principles of drawing and turning them into colour movement, and give characters and objects the illusion of life, moving them through space
12.Appeal, or character personality
-Appeal facilitates the emotional connection between character and audience. Characters must be well developed, and have an interesting personality.
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