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Principles of traditional
animation
Presenter: Yuliya Akkuzhyna
Supervisor: Dr. Alexis Heloir
2
History
• late 20’s -30’s at the Walt Disney Studio:
fundamental principles
• 90’s - computer animation
1982 film Tron
Toy Story by Pixar Animation Studios in
1995
3
The principles of animation� Squash and Stretch
• Anticipation
• Staging
• Exaggeration
� Straight Ahead Action and Pose to Pose
• Follow Through and Overlapping
Action
� Slow In and Slow Out
• Timing
� Arcs
• Secondary Action
� Appeal
� Different application in 3D
4
Squash and Stretch
Shape expresses the action.
Volume is preserved.
5
Squash and Stretch
• Softness of material
• the relationship of between the parts of the
face. The entire face moving with the
mouth motion.
• if the motion is too fast, stretch the object
to retain the overlap and smooth motion
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Squash and Stretch
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Squash and Stretch in 3D
• Stretch in x – Squash in y and z.
• Stretch direction = Motion direction, othw.
rotation is required.
� Tip: The Face Is One Cohesive Unit
8
Anticipation
• Prepare the audience for the nextmovement.
• Preceding the major action with the movethat make clear what is going to happennext.
• Anatomical motivation: a muscle must extend before it can contract.
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Staging
� Present the idea completely and unmistakably
clear.
� Each scene and frame help to make a „Story
point“.
Spooky feeling - bright flower is out of place.
� Tip: operative words
� Tip: Expression Changes Get Lost in Movement
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Staging
�Tip: work in silhouette.
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Exaggeration
To make the film more realistic, while making
it entertaining
Varying the scale of some parts of the figure
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Exaggeration
• Exaggeration can work with any
component but not in isolation
• The exaggeration of the various
components should be balanced
• Some elements must stay natural
13
Straight Ahead Action and Pose to
Pose
• SAA
get new ideas as proceeding. No plan,
only „story point“.
• PtP
Planned related key drawings
14
Pros and Cons
SAA
+ good for wild, scrambling actions
- doesn‘t match layout or perspective
PtP
+ action is the sequence of poses, timing is
important
- actions are tedious and predictable
- need support of stronger poses, Timing,
Secondary Action, the Moving Hold
15
Pose to Pose in 3D
• Object has a hierarchical structre
• Different parts of hierarchy transformed at
different keyframes
Jump
1) 2 keyframes in X: start and landing ~ time
2) 1 keyframe in Z: height of the hop
3) Arms and legs rotation
4) Base and shade rotation
16
Follow Through and Overlapping
Action
Follow Through
gradual termination of the action
Overlapping
start the next action before the previous is finished.
Gains smooth and natural acting.
17
Follow Through
Action seldom come to an abrupt stop
Physical motivation: inertia
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Follow Through
• Appendages (tail, coat) continue to move
after the figure has stopped.
• As one part of the body stops, others may
still be mooving.
• The loose flesh on a figure moves slower
than a skeleton.
• Completion of the action tells about the
personality.
19
Slow In and Slow Out
"slow out" of one extreme and "slow in" to
the next extreme.
• Mathematically, second- and third-order
continuity of motion.
• Spirited result
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Timing
The speed of an action
• reflects the weight and size of an object
a heavy body is slower to accelerate and
decelerate
• can carry emotional meaning
21
Timing. Emotional meaning
0 has been hit by a strong force and
its head almost snapped off
4 is giving a crisp order “Get going”
8 searches for the peanut butter on
the shelf
10 is stretching a sore muscle
22
Slow In and Slow Out in 3D
• Inbetweening by spline interpolation
tension
direction or bias
continuity
Problem
Large extremes values‘ difference, small# of frames
-overshooting at extremes
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Arcs
The trajectory is the arc.
Involve natural motion, all about a arcs.
3D: a timeline view using splines.
Linear Interpolation
� Tip: ACTIVELY studying the world around.
24
Secondary Action
• Entailed from the primary action
• Subordinate and not compete with primary
action
Examples
• The body –primary action, the facial expression-
secondary one.
• The trailing cord of Luxury Jr.
�Tip: thumbnails - little exlporatory sketches
�Tip: blinks have meaning
25
Appeal
• make form „plastic“ opposed to „static“
• avoid mirror symmetry
�Tip: study favorite actors
26
Ratatouille
• Simple shape and silhouette
27
Ratatouille
Directing eyes with lips
Squash and Stretch
28
Ratatouille
• Framing teeth with lips
29
Summary
• Motion in 3D
set keyframe poses, interpolate
inbetweens.
• Physical characteristics of the action have
new application in 3D.
• Devices of the theater stay the same.
30
References1. Hardtke, Ines, and Bartels, Richard. "Kinetics for Key-Frame
interpolation", unpublished
2. Franck Thomas and Ollie Johnson (1981) The illusion of Life, Disney animation, chapter 3. "The principles of animation".
3. Lasseter (1987) Principles Of Traditional Animation Applied To 3d Computer Animation
4. Shawn Kelly (2008) Animation tips and tricks
5. Sonoko Konishi, Michael Venturini (2007) Articulating the Appeal
6. http://home.ca.rr.com/harrymott/principles2-8.html
7. http://www.siggraph.org/education/materials/HyperGraph/animation/character_animation.htm