Marwan Hasabo – Communication Technology

The 12 Principals of Animation

1. Squash and Stretch

Considered the foremost important discovery, squash and stretch allows organic and

inorganic objects to return to life in an exaggerated manner. The squashed position

can depict the shape either flattened out by great pressure or bunched up and

pushed together. The stretched position always shows the identical form in an exceedingly very

extended condition. The movement from one drawing to the following became the very

essence of animation.

2. Anticipation

An audience must be taken through a planned sequence of actions that may lead

them clearly from one activity to the following. The viewer must be prepared for the following

movement and expect it before it actually occurs. this is often achieved by preceding each

major action with a particular move that anticipates for the audience what’s near to

happen. This movement is as small as a change of face expression or as big as

the broadest physical action – consider the founded for an over the highest sword fight.

3. Staging

This is the foremost general of principles, it covers such a lot of areas and goes back thus far in

the theater. The meaning however is incredibly precise, it’s the presentation of any idea

so that it’s completely and unmistakable clear. An action is staged in order that it’s

understood, a personality in order that it’s recognizable, an expression in order that it is

seen, a mood in order that it’ll affect the audience. Each is communicating to the fullest

extent with the viewers when it’s properly staged.

4. Straight Ahead Action and Pose to Pose

There are two main approaches to animation. the primary is Straight Ahead Action,

which means literally that you simply begin with the primary drawing then the second and

so forth. Pose to Pose animation is where the animator will lengthen key poses in an

animated scene to dam out the action, once the key poses are excellent the

animator will fill within the animation with what are called in-between drawings to

polish off feel and timing.

5. Follow Through and Overlapping Action

This is the term for animation that’s applied to items that are attached to a

characters that don’t move independently. When a personality entering a scene

reached the spot for his next action, the character often has got to come to a sudden

stop. this may look stiff and not natural unless items like clothes, hair, necklaces,

tails (with the exception that a tail may have secondary action), and then on keep

moving after the character has stopped then settling into place.

6. Slow in and Slow out

Based on the concept of the animator desperate to boast the extremes or key poses in

an animated sequence, the animator would draw more in-betweens around these

poses to draw the audience’s attention to the key pose. These drawings or

movements also are about the sensation of the animation, consider the way it feels

to get on a rollercoaster, because the ride reaches the arc of a hill within the track the cars slow

down for effect before dropping into the following plunge.

7. Arcs

Animators use arcs to form sure that the animation of a personality for instance looks

solid and therefore the proportions stay the identical, whether or not squash and stretch is being applied.

Arcs is plotted everywhere a personality contains a joint and something that moves from

that joint, for instance a hand would pass on an arc that’s designated by the wrist

and so on. In 3D animation the rotation tool has made this principle clear to use.

8. Secondary Action

This principle deals with actions that happen additionally to the characters primary

action. for instance if you have got a personality that’s walking down the road, the

action of walking would be primary. If that very same character raises an arm to wave at

someone while they’re walking, the arm movement and wave is that the secondary

action. The secondary action usually works to always support the first action.

9. Timing

Timing is everything, in an animated film there are 24 frames per second, some

animators will shoot on twos meaning that for each 2 frames of film one drawing

will be held, therefore for one second the animator would do 12 drawings.

Animators play with timing all of the time, sometimes you hold a drawing or image

for 3, 4, 1 frames and then on, until the required look appears within the playback. Timing also has got to do with the spacing of your drawings.

10. Exaggeration

Also referred to as pushing the pose, exaggeration has got to do with taking an action and

pushing it to the following level for clarity of story. it’s what makes a drawing sometimes

look “cartoony” but with great effect will get the action or expression of a personality

across to the audience with zero confusion to what’s happening within the scene.

11. Solid Drawing

Pertaining to an artist draftsmanship skills, solid drawing has got to do with the

understanding of drawing. Creating a visible that becomes three dimensional on a

a two dimensional surface is the main goal of solid drawing. Drawing through the

form and pondering staging for your animation, does the silhouette add up

for the action then confirm it’s believable as a solid object.

12. Appeal

The last principle is appeal and this is often one amongst the foremost important principles to be told.

To have appeal the image doesn’t always must be what’s considered a

traditionally pretty or a gorgeous image, villains have an appeal all their own.

Basically, appeal is just like the hook of an honest novel it grabs an audience’s attention so

they will continue the story, appeal within the sense of film uses unique imagery to achieve

attention then wow with the actions and good storytelling.