12 princip animasi

8/6/2019 12 princip animasi

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1. SQUASH AND STRETCH

This action gives the illusion of weight and volume to a character as it moves.Also squash and stretch is useful in animating dialogue and doing facialexpressions. How extreme the use of squash and stretch is, depends on what is

required in animating the scene. Usually it's broader in a short style of pictureand subtler in a feature. It is used in all forms of character animation from abouncing ball to the body weight of a person walking. This is the most importantelement you will be required to master and will be used often.

2. ANTICIPATION

This movement prepares the audience for a major action the character is aboutto perform, such as, starting to run, jump or change expression. A dancer doesnot just leap off the floor. A backwards motion occurs before the forward action isexecuted. The backward motion is the anticipation. A comic effect can be done

by not using anticipation after a series of gags that used anticipation. Almost allreal action has major or minor anticipation such as a pitcher's wind-up or agolfers' back swing. Feature animation is often less broad than short animationunless a scene requires it to develop a characters personality.

3. STAGING

A pose or action should clearly communicate to the audience the attitude, mood,reaction or idea of the character as it relates to the story and continuity of thestory line. The effective use of long, medium, or close up shots, as well ascamera angles also helps in telling the story. There is a limited amount of time in

a film, so each sequence, scene and frame of film must relate to the overall story.Do not confuse the audience with too many actions at once. Use one actionclearly stated to get the idea across, unless you are animating a scene that is todepict clutter and confusion. Staging directs the audience's attention to the storyor idea being told. Care must be taken in background design so it isn't obscuringthe animation or competing with it due to excess detail behind the animation.Background and animation should work together as a pictorial unit in a scene.

4. STRAIGHT AHEAD AND POSE TO POSE ANIMATION

Straight ahead animation starts at the first drawing and works drawing to drawing

to the end of a scene. You can lose size, volume, and proportions with thismethod, but it does have spontaneity and freshness. Fast, wild action scenes aredone this way. Pose to Pose is more planned out and charted with key drawingsdone at intervals throughout the scene. Size, volumes, and proportions arecontrolled better this way, as is the action. The lead animator will turn chartingand keys over to his assistant. An assistant can be better used with this methodso that the animator doesn't have to draw every drawing in a scene. An animator



can do more scenes this way and concentrate on the planning of the animation.Many scenes use a bit of both methods of animation.

5. FOLLOW THROUGH AND OVERLAPPING ACTION

When the main body of the character stops all other parts continue to catch up tothe main mass of the character, such as arms, long hair, clothing, coat tails or adress, floppy ears or a long tail (these follow the path of action). Nothing stops allat once. This is follow through. Overlapping action is when the character changesdirection while his clothes or hair continues forward. The character is going in anew direction, to be followed, a number of frames later, by his clothes in the newdirection. "DRAG," in animation, for example, would be when Goofy starts to run,but his head, ears, upper body, and clothes do not keep up with his legs. Infeatures, this type of action is done more subtly. Example: When Snow Whitestarts to dance, her dress does not begin to move with her immediately butcatches up a few frames later. Long hair and animal tail will also be handled in

the same manner. Timing becomes critical to the effectiveness of drag and theoverlapping action.

6. SLOW-OUT AND SLOW-IN

As action starts, we have more drawings near the starting pose, one or two in themiddle, and more drawings near the next pose. Fewer drawings make the actionfaster and more drawings make the action slower. Slow-ins and slow-outs softenthe action, making it more life-like. For a gag action, we may omit some slow-outor slow-ins for shock appeal or the surprise element. This will give more snap tothe scene.

7. ARCS

All actions, with few exceptions (such as the animation of a mechanical device),follow an arc or slightly circular path. This is especially true of the human figureand the action of animals. Arcs give animation a more natural action and better flow. Think of natural movements in the terms of a pendulum swinging. All armmovement, head turns and even eye movements are executed on an arcs.

8. SECONDARY ACTION

This action adds to and enriches the main action and adds more dimension tothe character animation, supplementing and/or re-enforcing the main action.Example: A character is angrily walking toward another character. The walk isforceful, aggressive, and forward leaning. The leg action is just short of astomping walk. The secondary action is a few strong gestures of the armsworking with the walk. Also, the possibility of dialogue being delivered at thesame time with tilts and turns of the head to accentuate the walk and dialogue,but not so much as to distract from the walk action. All of these actions should



work together in support of one another. Think of the walk as the primary actionand arm swings, head bounce and all other actions of the body as secondary or supporting action.

9. TIMING

Expertise in timing comes best with experience and personal experimentation,using the trial and error method in refining technique. The basics are: moredrawings between poses slow and smooth the action. Fewer drawings make theaction faster and crisper. A variety of slow and fast timing within a scene addstexture and interest to the movement. Most animation is done on twos (onedrawing photographed on two frames of film) or on ones (one drawingphotographed on each frame of film). Twos are used most of the time, and onesare used during camera moves such as trucks, pans and occasionally for subtleand quick dialogue animation. Also, there is timing in the acting of a character toestablish mood, emotion, and reaction to another character or to a situation.

Studying movement of actors and performers on stage and in films is usefulwhen animating human or animal characters. This frame by frame examination of film footage will aid you in understanding timing for animation. This is a great wayto learn from the others.

10. EXAGGERATION

Exaggeration is not extreme distortion of a drawing or extremely broad, violentaction all the time. It¹s like a caricature of facial features, expressions, poses,attitudes and actions. Action traced from live action film can be accurate, but stiff and mechanical. In feature animation, a character must move more broadly to

look natural. The same is true of facial expressions, but the action should not beas broad as in a short cartoon style. Exaggeration in a walk or an eye movementor even a head turn will give your film more appeal. Use good taste and commonsense to keep from becoming too theatrical and excessively animated

11. SOLID DRAWING

The basic principles of drawing form, weight, volume solidity and the illusion of three dimension apply to animation as it does to academic drawing. The way youdraw cartoons, you draw in the classical sense, using pencil sketches anddrawings for reproduction of life. You transform these into color and movement

giving the characters the illusion of three-and four-dimensional life. Threedimensional is movement in space. The fourth dimension is movement in time.

12. APPEAL

A live performer has charisma. An animated character has appeal. Appealinganimation does not mean just being cute and cuddly. All characters have to haveappeal whether they are heroic, villainous, comic or cute. Appeal, as you will use



it, includes an easy to read design, clear drawing, and personality developmentthat will capture and involve the audience¹s interest. Early cartoons werebasically a series of gags strung together on a main theme. Over the years, theartists have learned that to produce a feature there was a need for storycontinuity, character development and a higher quality of artwork throughout the

entire production. Like all forms of story telling, the feature has to appeal to themind as well as to the eye.



Teknologi animasi telah berubah dimulai lebih dari 35.000 tahun yang lalumelalui usaha pertama manusia batu dalam menceritakan dalam bentuk lukisan

diatas batu, namun dan prinsip animasi akan tetap terjaga. Bagaimana danseperti apa prinsip animasi tersebut?

Secara teknis, metode produksi film animasi akan tetap sepanjang masa dan tidaberubah sejak Raole Barre menemukan Peg Hole dan john Bray menemukan seltahun 1914 sebagai sebuah metode/prinsip produksi animasi menggunakananimasi gambar manual (Hand Drawing) yang telah digunakan lebih dari 80tahun hingga kini dengan menggunakan teknologi komputer animasi, scanning,coloring dan compositing.

Prinsip animasi mencapai masa kejayaannya disekitar tahun 1930-1940 ketika

walt disney studio di Hyperion Boulevard di Hollywood mengimplementasikanprinsip tersebut dan sukses luar biasa. Hampir semua jenis film animasi yangdiproduksi saat ini masih menggunakan prinsip dasar animasi sebagai landasandalam membuat hasil karya animasi.Prinsip tersebut tetap digunakan denganapapun teknologi pembuatannya. Prinsip dasar ini tertuang juga dalam bukukarangan Frank Thomas & Ollie Johnston, Disney Animation, “The Illusion of Life”.

Adapun prinsip dalam karakter animasi yang diimlementasikan oleh studioDisney adalah :1. Squash and Stretch. (Distorsi/penyimpangan bentuk benda/objek dalam

proses pergerakannya)2. Anticipation. (Gerakan pendahuluan/antisipasi sebelum gerakan utamaterjadi)3. Staging. (Posisi kamera untuk merekam aksi terbaik)4. Straight-ahead vs. Pose-to-pose action. (2 prosedur dasar)5. Follow-through and Overlapping action. (Gerakan setelah berhenti tiba-tiba)6. Slow-in and Slow-out. (Gerakan halus dengan delay waktu ketika memulaidan mengakhiri gerakan)7. Arcs. (Rencana alur gerakan)8. Secondary Actions. (Kepala mengibas ketika kaki berjalan)9. Timing. (Relasi waktu atas gerakan untuk memunculkan ilusi yang real)lO.Exaggeration. (Gerakan dan waktu karikaturistik )11.Solid drawing. (Belajar membuat gambar dengan tangan untuk menjadianimator yang handal)12.Appeal. (Unik dan menarik)13.Mass and weight. (Massa dan isi untuk menunjukan volume dan berat)14.Character acting. (Bergerak dan berfikir layaknya seorang aktor film)



Hi there! As an animator, I often asked to share my experience in animation.Since I'm also a lecturer that teach Lightwave and Character Animation, I wouldlove to share it to everyone. Enjoy!I would divide 12 principles to first 3 principles which I think is the most important

things to understand for beginner :1. Timing. This is the most important thing. You should be able to judge timing of the movement of everything you see in reality and duplicate it in your animation.With timing you can make your object look sad, heavy, light, happy etc with onlya good timing. Nothing in this world would share same timing / pace and thereshould be a slight differences for every object. Say, A heavy object would takedifferent timing than a light one.Look at the examples:Light ( 815 KB, mpeg1 )Heavy ( 269 KB, mpeg1 )

2. Slow In and Slow out. Or Ease in Ease Out. It's the natural thing in this worldwhere object would start moving and stop gradually not abrupt. Except in someextreme cases. Every object has a momentum and according to Newton law,every object would try to keep current state. Uh, now we're talking physics...Look at the examples:With Slow In / Out ( 399 KB, mpeg1 )Without Slow In / Out ( 363 KB, mpeg1 ) 3. Arcs. A movement would naturally go with arcs not straight.Look at your arm,notice how it move when you want to reach something..it would moving in arcsbecause they has joints. Try to throw rock ( be careful not to break your neighbor

glass ) and notice how it fly with arcs.With Arcs (271 KB, mpeg1 )Without Arcs ( 295 KB, mpeg1 ) Now we go to other 5 principles4. Follow Through and Overlapping. It's most obvious in acharacter_that_have_many_limbs. Dog for example. Try this: grab enormous dogfood then go find a big and thick wood panel. Don't forget to have your favouritecamcorder too. Call your dog, show him the dog food ( for best result, don't feedyour dog at least a day ). Quickly push start button on your camcorder, and whenyour dog ( should be running like crazy after you, if not, you may be not feed it for a week, you must be totally a psycho ) at a point critical near you, put the bigthick wood panel in front of it. Bam. Now rewind your tape ( make sure it'sinserted before you roll the camcorder, if not, have your dog ram to you again )then play it in 1/4 speed. See when your dog hit the wood panel, the head stop,the neck still move forward a bit then bend, the body also move forward then maybent upward, the tail sway upward following belly, and so on. The point is,nothing stops in one time, and they always do some overshoot because a



momentum they carried. OK, I'm just kidding, don't do this to your dog........tryyour neighbor's dog...... ( just kiddin' again )With Follow Thru and Overlapping ( 815 KB, mpeg1 )Without Follow Thru and OverLapping ( 701 KB, mpeg1 )

5. Secondary Action. It's, cleverly, not a main movement. Ever saw peoplestanding in a Bus Stop ? They never standing still, they do some small action.The context is standing waiting for bus, but they might scratch their head, or move their jacket form left to right, etc. Got it? Just a small action. Even abreathe is considered Secondary Action.With Secondary Action ( 581 KB, mpeg1 )Without Secondary Action ( 24 KB, jpeg, this one is what you see in a very stiff robot all the time, so let's save bandwith :) 6. Squash and strecth. Ha! This one is tough to see in realistic world. It may dosome squash and stretch but in very small amount that your eyes will never

noticed. My eyes also. Except very flabby thing.With Squash and Strecth ( 815 KB, mpeg1 ) 7. Exaggeration. The heart of cartoony animation. It take ordinary animation to alevel where it catch the eye. I believe you already know this. If not, you wouldn'tbother learning animation. Two sample below is just simple examples. One isordinary move, it's appeared right because it has secondary movement,overlapping etc but lacks of eye catching-ish thing. Other example isexaggerated version.Ordinary ( 685 KB, mpeg1 )Exaggerated ( 1.323 KB, mpeg1 )

8. Straight Ahead and Pose to pose. This one is addressed for 2D animation. Butwe can translate it for 3D where we work in stages. I always work in stages.Means that I do some rough timing, then if it's considered okay, I refine andrefine and refine, and save it in different name. This way, I can match the timeneeded first and refine whatever necessary. It is considered Pose to pose style.While straight ahead is a style when you just do animation in detail from at verybeginning.Stage01 ( 465 KB, mpeg1 )Stage02 ( 1.317 KB, mpeg1 )Stage03 ( 1.317 KB, mpeg1 ) 9. Anticipation. A movement or act or scene preceeding another scene or act or movement. The purpose is to make viewer 'aware' of what will happen next ( andhopefully will hold a breath ). It's common in Horror movie that a character haveback shoot camera following that character. Purpose? For creating tense. Or inCartoon movie when a character jump off a cliff it usually do some hopeless grin,the "I'm doomed" style, then fall behind. Or in the example below, a character sway far back then.....Bam!



Anticipation ( 249 KB, mpeg1 ) Now we reach the last 3 principles

10. Staging. This principle isn't directly related with motion, as it more visually

related. The most famous example would be 'magician pose', if you recall ( and if you ever watched one ), the magician always stand with most of his gesturevisible. This meant for that viewer will easily understand what is happening ( andhide his/her tricks as well ).Let's see sample no. 1

Staging 01 in this sample wee see a character with no clue what is he doing?The best and classic way to judge is looking at his outline . We can't understandanything from this.Now let's see sample no.2Staging 02 ah...now we clearly get the idea. He's shocking...we also could see

his outline. The outline is clearly visible to viewer. Now why he is shocking ? Youcan finish the sequence with this. 11. Personality. A character should have distinct from the other character. Ibelieve that no one in this planet in the same time share same personality. Eventwins has different personality no matter small it is. If we clearly define whatpersonality a character has, it will drive the character to move in its ownmovement characteristic. If we achieve this, we will have a character that lookslike its move on it own thought, not just a puppet anymore. In samples you couldsee two different personalities on a same character.Cocky ( 1.323 KB, mpeg1, same as exaggerated sample above )

Dumb (1.183 KB, mpeg1 )

12. Appeal. Well, this one is a bit difficult to explain, as it more 'feeling' related.But let's see previous example, where a robot walking in cocky style. It has moreappeal than 'mere' walking, no matter good the cycle or secondary or follow thru.The cocky walking is better to watch, but please do not fall into a conclusion thatevery character should walk like that! Another example, I personally like DarthVader character in StarWars movie than Luke Skywalker, hell, even Han Solo ischarmer than Luke ( but I luuuuuv Leia in bikini... ). Again, do not fall into aconclusion where Bad Guys is charmer. It just how you define a character,visually and personality. Now, before I finished this, there's one thing to understand : You don't have toapply all these 12 principles in an animation. You have to understand the basicand why. They're just principles, a guideline. What we are trying to achieve isdelivering our message to viewer, and you decide how. You can omit one or twoor more if you understand and believe it's fine to do so. Happy animating!



Why

Real world Physics, again. For their own good, characters and objects don't come to a

stop or drastically change velocity immediately. They are accelerated to a given speed or

slowed down from it, even if this happens too fast to be noticed by naked eyes.

The effect is also present and very important in living creatures. Consider this: we use our

muscles for the needed contracting and relaxing to bend and straighten joints and let us

move. This system accelerates the moving parts from rest and slows them down for

stoping (to stay or to change direction). Without slow-out and slow-in, we easily get hurtand wear out muscles, tendons and articulations.

And that's why we use it when animating -- no, not to protect the characters! It's to make

them more believable, life-like.



12 basic principles of animation

1. Timing

2. Ease In and Out (or Slow In and Out)

3. Arcs

4. Anticipation

5. Exaggeration

6. Squash and Stretch

7. Secondary Action

8. Follow Through and Overlapping Action

9. Straight Ahead Action and Pose-To-Pose Action

10. Staging

11. Appeal

12. Personality

By following and knowing when, where and how to apply these basicideas, and by understanding them, one should be able to create goodanimation.

Simply memorizing these principles isn't the point.

It's whether or not you truly understand and can utilize these ideas.

It will show automatically in your work.

1. Timing



• Timing, or the speed of an action, is an important principlebecause it gives meaning to movement.

• The speed of an action defines how well the idea will be read tothe audience.

• Something like an eye blink can be fast or slow. If it's fast, a

character will seem alert and awake. If it's slow the charactermay seem tired and lethargic.• Timing and Motion are tied together because in animation the

two are basically the same thing. Change the time that it takes acharacter to complete an action and it will change it's motion.

• Cartoon motion is usually characterized as fast snappy timingfrom one pose to another.

• Realistic motion tends to have more to do about going betweenthe poses. But both require careful attention to the timing of every action.

Weight Timing can also defines the weight of an object. Two similar objectscan appear to be vastly different weights by manipulating timingalone.

For example, if you were to hit a croquet ball and a balloon with amallet, the result would be two different actions. The croquet ballwould require more force to place it into motion, would go farther, andneed more force to stop it. On the other hand, the balloon wouldrequire far less force to send it flying, and because of it's low mass andweight, it wouldn't travel as far, and would require less force to stop it.

Example

Example2

Scaling Properties Timing can also contribute to size and scale of an object or character.A larger character has more mass, more weight and more inertia thana tiny character, therefore it moves slower. In contrast, a tiny characterhas less mass, weight, and inertia, therefore its movements are

quicker.

Determining Emotion Timing plays an essential role in illustrating the emotional state of anobject or character. It is the varying speed of the charactersmovements that indicate whether a character is lethargic, excited,nervous, or relaxed.

http://facweb.cs.depaul.edu/sgrais/images/AnimationPrinciples/weight-ball.avi

http://www.siggraph.org/education/materials/HyperGraph/animation/character_animation/principles/timing.htm

http://facweb.cs.depaul.edu/sgrais/images/AnimationPrinciples/weight-ball.avi

http://www.siggraph.org/education/materials/HyperGraph/animation/character_animation/principles/timing.htm



2. Ease In and Out: (or Slow In and Out)

Ease in and out has to do with gradually causing an object toaccelerate, or come to rest, from a pose.

An object or limb may slow down at it approaches a pose (Ease In) orgradually start to move from rest (Ease Out).

"Gradually" doesn't have to mean slow, it just means the object isn'tmoving 100% and then in one frame coming to a complete stop.

You usually use ease in and out for most movements. Even if the

character is just turning their head, you will probably want a fewframes to soften up the start or end of the motion.

http://www.siggraph.org/education/materials/HyperGraph/animation/character_animation

/principles/bouncing_ball_example_of_slow_in_out.htm

Example

Speed

Eases can be used to create acceleration and deceleration. As a ballbounces, it accelerates and decelerates. When you drop the ball, itgains speed as it approaches the ground. After the impact on theground it bounces and begins to loose speed as it reaches the apex of its bounce. The graph of the balls acceleration would show anincreasing distance between the balls positions as it came closer to theground. Similarly, the graph of the balls bounce off the ground wouldindicate a decreasing distance between the balls positions as itreaches the apex.

3. Arcs

4. Anticipation

Motion in most animation can be broken down in to three sections:

http://www.siggraph.org/education/materials/HyperGraph/animation/character_animation/principles/bouncing_ball_example_of_slow_in_out.htm



http://facweb.cs.depaul.edu/sgrais/images/AnimationPrinciples/ease-ball.avi

http://facweb.cs.depaul.edu/sgrais/arcs.htm



http://facweb.cs.depaul.edu/sgrais/images/AnimationPrinciples/ease-ball.avi

http://facweb.cs.depaul.edu/sgrais/arcs.htm



1. Anticipation of an Action – the setup for an action2. The Action – the actual action3. The Follow Through- the movement at the end of a motion

For good clear animation, the viewer should know what (anticipation) is

about happen, what is happening (the actual action itself) and whathappened (related to follow through).

There are two main uses of anticipation:

1. Prepare for a movement2. To draw the viewers attention to something.

The first is the most basic. If you are throwing a ball the anticipationwill be bringing your arm back to prepare to throw the ball. Anythingdone in order to complete an action is anticipation.

For example, before a character takes a step to walk, they must shifttheir weight on one leg so they can lift the other.

The second is more for the viewer. By drawing the viewers attention tosome thing before it is going to happen it helps to keep the audiencelooking where the animator intends them look. A character looking off screen and reacting provides the audience with a cue to where animportant action is about to happen.

There are times when no anticipation is wanted, for example in a scarymovie you may not want the audience to know that some thing isgoing to happen. That way when it happens you get the surprise scarefactor in the movie.

Indicating Speed

Take the swing of a bat. If the bat is swung far back, one expects theball to fly far and away upon contact, or the batter to fall over from thepower of the swing. If the bat is only pulled slightly back, we expect a

http://ffden-2.phys.uaf.edu/211_fall2002.web.dir/George_Nash/08overlapping.htm

http://ffden-2.phys.uaf.edu/211_fall2002.web.dir/George_Nash/08overlapping.htm



ground ball, or a pop fly with very little distance. The amount of anticipation used considerably affects the speed of the action whichfollows it. If the audience isn't properly prepared for a fast action, theymay miss it completely. The anticipating action must be made larger orthe action slower.

RevealingIn addition, Anticipation could be used to indicate what a character isabout to do. When a person is about to steal something, their eyesshift up and down the grocery aisle, looking for security, and then atthe item they wish to take. This action gives the audience anopportunity to see what the thief will take before he acts.

Rules are made...Anticipation could also be used to mislead the audience. When a

person goes to lift a large object, their body bends over more and theywiden their stance. The anticipated action would be a struggle to raisethe object off the ground, however the action could result in theobjects flying off of the ground and the person falling over from themiscalculation.

Example

5. ExaggerationExaggeration can be used in animation with great results.

• It is used to accentuate an action.• It should be used in a careful and balanced manner, not

arbitrarily.

Figure out what the desired goal of an action or sequence is and whatsections need to be exaggerated.

One can exaggerate

• Motions• Poses• Expressions

http://facweb.cs.depaul.edu/sgrais/images/AnimationPrinciples/anticip-ball.avi

http://facweb.cs.depaul.edu/sgrais/images/AnimationPrinciples/anticip-ball.avi



Generally when animating to dialogue, one listens to the track andpicks out areas that sound like they have more stress exaggerateposes and motions that fall at those times.

The key is to take something and make it more extreme in order togive it more gesture, but not so much that it destroys believability.

In many cases, subtlety is good. Subtle action mixed with exaggerationhere and there can make for some of the best acting and animation.

Essence

However the key to proper use of exaggeration lies in exploring theessence of the action or idea, understanding the reason for it, so thatthe audience will also understand it. If a character is sad, make himsadder; if he is bright, make him shine; worried, make him fret.

Balance

A scene has many components to it including design, action, objectsand emotion. Exaggeration of every element in a scene creates afeeling of uneasiness in your audience. Everything is distorted andunrealistic. Find a balance in your scene. Allow your audience agrounds for comparison of the exaggeration and by so doing, the wholescene will remain very realistic to them.

6. Squash and Stretch

7. Secondary Action

A secondary action is an action that results directly from anotheraction.

http://facweb.cs.depaul.edu/sgrais/squash_and_stretch.htm





Secondary actions are important in heightening interest and adding arealistic complexity to the animation.

ConflictIf a secondary action conflicts with, becomes more interesting, or

dominates in any way, it is either the wrong choice or is stagedimproperly.

Facial Animation DangersGenerally, in facial animation, the movement is a secondary action,subordinate to the bodies movement. The danger with facial animationisn't that it will dominate the scene, but that it will not be seen. Thechange in expression should happen before or after a move, changesin the middle of a major move will mostly likely go unnoticed.

8. Follow Through and Overlapping Action

Follow Through

While anticipation is the preparation of an action, follow through is themovement that happens after the actual action. Actions rarely come toa sudden and complete stop, but are generally carried past theirtermination point.

This makes sense when you think about the conservation of momentum. If you throw a ball your hand would gain speed, since yourhand has mass it wants to keep going ( Newton’s First law). This is thefollow through time.



An example of this is a pony tail. If a character moves their head, thepony tail is moving because of secondary action. Once the head stops(the main action) the pony tail will still continue to move a bit longerbefore it comes to rest (it is overlapped).

Follow through also helps to define the mass of something if it is light itcan slow down very quickly. But if it is something large it will moveslowly and slow down slowly. If two objects are moving at the samespeed the larger one will travel farther unless more force is applied toslow it down.

If there is a large dinosaur in an animation it is going to make slowerchanges in movement; where as if there is a small bird it can hop frompoint A to B to C in a blink of an eye. The follow through action canalmost be disregarded with some thing small such as a bird and no onewould comment about it. If you ignore the follow through on something

large, it will be noticed.

Example

Example 2

Overlapping Action

Slight variations in the timing and speed of loose parts makes objectsseem more natural. This overlapping action makes the objects and

movement more interesting.

An action should never be brought to a complete stop before startinganother action. Overlapping maintains a continual flow between wholephrases of actions.

Overlapping Action is something else used to make things look real.Overlapping Action is the starting of a new action before the previousone was finished.

"It is not necessary for an animator to take a character to one point,

complete that action completely, and then turn to the following actionas if he had never given it a thought until after completing the first action. When a character knows what he is going to do he doesn't have to stop before each individual action and think to do it. He has it planned in advance in his mind." Walt Disney

InitiationIn figure movement, actions of the parts are not simultaneous, some

http://facweb.cs.depaul.edu/sgrais/images/AnimationPrinciples/follow-ball.avi

http://facweb.cs.depaul.edu/sgrais/images/AnimationPrinciples/snap-ball.avi

http://facweb.cs.depaul.edu/sgrais/images/AnimationPrinciples/follow-ball.avi

http://facweb.cs.depaul.edu/sgrais/images/AnimationPrinciples/snap-ball.avi



parts initiate moves, while others follow. For example, the wrist leadsthe hand and fingers in a gesture.

Weight and DragAppendages or loose parts of a character or object will drag behind theleading part of the object. Then as the object comes to a stop, thelooser parts continue to move taking longer to settle down and stop.

Weight of the appendages dictates the speed with which they followthe lead, heavier objects drag farther behind. The lighter the object thesmaller the drag and the quicker the stop.

9. Straight Ahead and Pose to Pose Action

There are 2 basic methods to creating animation

Straight Ahead Animation

In straight ahead animation the animator draws or sets up objects oneframe at a time in sequential order. For example, the animator drawsthe first frame of the animation, and then draws the second, and so on

until the sequence is complete. In this way there is one drawing orimage per frame that the animator has setup. This approach tends toyield a more creative and fresh look but can be difficult to timecorrectly, and tweak.

Straight ahead action is used for wild, scrambling actions wherespontaneity is important.



Pose-To-Pose Animation

Drawing or setting up key poses and then drawing or creatinginbetween images is how Pose-To-Pose animation is done. This is thebasic computer "keyframe" approach to animation. It is excellent for

tweaking, timing, and planning out the animation ahead of time.

Pose-to-pose is used for animation that requires good acting, whereposes and timing are important.

You won't see the straight ahead technique used for movies. Withcomputer animation it is almost imposable to do. It does, however,lend its self to creativity and strange zany looking work.

Because pose-to-pose animation lends its self to planning and theability to time the sequences it is used in movies

With computers, some people tend to create a hybrid of the two,planning out the overall poses, and then straight ahead animating thestuff in-between.

Relevance in CGIPose-to-pose action is an important tool in computer animation.Objects are built in a hierarchy, where each layer of the hierarchy hasan associated transformation. Animation is then built up onetransformation at a time from one pose to the next. For example, whenanimating a person walking, you would first set the pose position for

the hips at the start of the motion, then you would adjust the hiptranslation for the end of the action. Then building upon this originalpose, you would transform other objects in the model, until you hadtraversed the hierarchy.

All of your actions must be well thought out, and the timing and posesplanned so that even in the early stages, the action is clear.

10. StagingStaging has to do with the composition of an animation. This particularsection has less to do with the physics behind all of the movement butart.

When talking about staging there are a few things to consider thesilhouette of the character and the symmetry.



As a general rule the audience should be able to tell what is happening just by seeing the silhouette of the characters. If the actions are notclear enough to under stand when they are in silhouette, the odds arethey are not going to be interesting in a normal view. This also helps tocut out un-needed movement. If a movement happens on the side of

an object that will not be seen, don’t make that movement. If it is animportant movement the animator may want to conceder changing theaudiences view point, the stance, or the location of the character tomake all of the movements mean something to the viewer.

Symmetry in animation tends to also build a boring scene. Life likemovement is unsymmetrical. A person’s stance is not symmetricaleither. When jumping we tend to land one foot then the other not bothfeed at the same time. When animators animate an image carefulattention must be paid to keeping a realistic asymmetry in the scene. This is important with increased use of computers in animation. When

a computer is used to make a face it tends have to much symmetryresulting in a doll like look.

Staging also is important for drawing attention to what you want seen. This is done in may ways, most of which I already discussed in theanticipation section for the sake of brevity I will leave it at what Idescribed there.

ReadabilityAn action is staged so that it is understood. To stage an idea clearly,the audience's eye must be led to exactly where it needs to be at the

right moment. It is important that when staging an action, that onlyone idea be seen by the audience at a time.

For example, in a scene with plenty of action, the audience's eye willbe drawn to an object at rest. Conversely, in a still shot, the eye will bedrawn to the item in motion. The animator is saying, in effect, "Look atthis, now look at this, and now look at this."

Background characters must be animated such that they are still"alive", but not so much that they steal the viewer’s attention from the

main action.

PersonalityA personality is staged so that it is recognizable; an expression so thatit can be seen;. A shy child would turn their eyes down, and slightlyrotate their upper body away for the gaze of another child. The child's



actions reveal the fact that he is shy. When staging a personality, it isuseful to use characteristics that clearly define the character.

MoodA mood is staged so that it will affect the audience. The tight

composition of dark trees in a dense forest, leaning in toward a scaredyouth; eyes glowing from within the thick; hurried breathing filling theair; the child's eye wide open. All of these elements have been clearlystaged to inspire fear.

11. Appeal

Where the live action actor has charisma, the animated character hasappeal.

QualityAudiences like to see a quality of charm, pleasing design, simplicity,communication, or magnetism. A weak drawing or design lacks appeal.A design that is complicated or hard to read lacks appeal. Clumsyshapes and awkward moves all have low appeal.

PosingIn creating an appealing pose for a character, one thing to avoid iscalled "twins", where both arms and both legs are in the same position,doing the same thing. This creates a stiff pose that is unappealing.Vary the parts of the body a bit, including the facial features, makes acharacter more appealing.

12. Personality

• Refers to the correct application of the other principles.

• Personality determines the success of an animation. The idea is thatthe animated creature really becomes alive and enters the truecharacter of the role.

http://facweb.cs.depaul.edu/sgrais/images/AnimationPrinciples/cartman.jpg

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• One character would not perform an action the same way in twodifferent emotional states.

• No two characters would act the same.

• It is important to make the personality of a character distinct, but atthe same time be familiar to the audience.

Personality has a lot to do with:

1. What is going on in the mind of the character.

2. The traits of the character

3. Mannerisms of the character.

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12 princip animasi