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12 Basic Principles of Animation

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Brian Ruiz

on 26 November 2012

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Transcript of 12 Basic Principles of Animation

12 Basic Principles of Animations This is the most important principle of the twelve Squash and Stretch Squash and stretch gives a sense of weight and flexibility to animated objects. It can be applied to simple objects, like a bouncing ball. The most important part of this principle is that an object's volume does not change What gets the excitement started Anticipation Anticipation helps the audience get into the mood for an action and make it appear more realistic. This technique can also be used for less physical actions, such as a character deciding on a choice you don't expect them to choose. Sometimes anticipation can be anticlimactic.
For example, if there is a bomb counting down for 3 seconds, when it reaches 0 you would expect it to blow up but nothing happens, that's anticlimactic. 3 Staging Its purpose is to direct the audience's attention Also to make it clear of what is happening, and what is about to happen. Johnston and Thomas defined it as "the presentation of any idea so that it is completely and unmistakably clear" The idea an be an action, a personality, an expression or a mood. Straight ahead has a different drawing method than action pose to pose. Straight ahead action and pose to pose Directing attention since 1999 First is straight ahead action, which creates a more fluid and dynamic illusion of movement. Second is pose to pose, which works better for a dramatic or an emotional scene. Second is pose to pose, which works better for dramatic and emotional scenes. Secondary action The entire purpose of a secondary action is to add a little bit of extra life to the scene. "Straight ahead action" means drawing out a scene frame by frame from beginning to end. Like flip book style animation. "Pose to pose" involves starting with drawing a few main frames, and then filling in the rest later. Making stuff realistic Follow through and overlapping action Follow through and overlapping action is a general heading for two closely related techniques. These techniques help make the characters movements more realistic and to follow the laws of physics. "Follow through" means that separate parts of a body will continue moving even after the character has stopped. "Overlapping action" is the tendency for body parts to move at different rates (an arm will move on different timing of the head and so on). More at the "tips", less in the middle Arcs Slow in and Slow out If it has more drawings near the beginning and end, of an action, and fewer in the middle it will be better. This is why most animations look more realistic. The movement of the human body, needs time to accelerate and slow down. The important thing about secondary actions is that they emphasize, rather than take attention away from the main action. Timing This principle is used for characters moving between two extreme poses. For example, a character sitting down and standing up. Most natural action follows a certain trajectory,the path that a moving object follows, or arc of movement. This can be used on a limb, joint or even a whole body. FASTER SLOWER Basically the faster an object is moving the wider an arc the object it is going to make. For example, if a car is moving quickly then turns, it will make a large arc. (It will crash if it is going TOO fast) This is a corner This principle refers to the number of drawings or frames used in the movement of a character. Like subplots! Main Story Subplot Think of it more as a subplot to a story. A story inside a story, it helps readers not to become bored of the main story. This is what Secondary Action does. It is better to put these at the end or beginning (like slow in and slow out) rather than in the middle of a story. The speed and way the character moves is extremely important in the profile of them. If a character is moving slowly they are trying to stay hidden or they are sad. It is important for movement Sometimes you need it but too much can ruin everything Exaggeration Solid Drawing Not ALWAYS about the looks Appeal This is useful especially in animation because if everything is realistic in cartoons it gets boring. How exaggerated you want it depends on if you want it realistic or just a little bit. The classical definition of exaggeration, employed by Disney, was to remain true to reality, just presenting it in a wilder, more extreme form. If a scene contains several elements, there should be a balance in how those elements are exaggerated in relation to each other, without confusing the viewer. Solid drawing turns things 3-D and to actually draw a solid drawing, you would have to be a very good artist. Making a solid drawing, you need to understand the basics of 3-D. (Shapes, anatomy, weight, balance, light and shadow) One thing that Johnston and Thomas mentioned about with animating people was making "twins" meaning that the both sides of the person's face are identical making them look lifeless. Appeal in a character is known as: Charisma. Not just "heroes" are appealing, villains can be appealing, in a way, as well. The important thing about this principle is that the viewer needs to think of the character as interesting. There are many tricks for making a character connect better with the audience; for likable characters a symmetrical or particularly baby-like face tends to be effective. A more "hard to read" face will be less appealing in a character. together we shall conquer all now go that way! Okay that way look at my awesome house that's a wall punching a tree like a boss (George) yeah the monster(cow) I am dying... No you're not Yes I am... i have been chosen to go to the land of Xbox I'M DYING DAMMIT! ok ok you're dying No you're not quick to the house now do you remember why are you zooming in im watching you creepy no stop right there
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