Multimedia:Twelve Principles Of Animation
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This document outlines the twelve principles of animation as introduced by Disney animators Ollie Johnston and Frank Thomas. The principles are: squash and stretch, anticipation, staging, straight ahead and pose to pose animation, follow through and overlapping action, slow-out and slow-in, arcs, secondary action, timing, exaggeration, solid drawing, and appeal. Each principle is described in 1-2 sentences with examples to illustrate how it can be applied. The principles aim to make animated movements and characters more natural, dynamic, and engaging for audiences.
Multimedia:Twelve Principles Of Animation
- 1. Twelve Principles Of Animation Tiya Jose Assistant Professor Department of Vocational Studies St. Mary’s College ,Thrissur
- 2. Twelve Principles of Animation, Tiya Jose, St.Mary’s College INTRODUCTION TO 12 PRINCIPLES OF ANIMATION The principles of animation were introduced by the Disney animators Ollie Johnston and frank Thomas in their 1981 book The illusion of Life : Disney Animation. The book and some of its principles have been adopted by some traditional studios, and have been referred to by some as the "Bible of animation."
- 3. Twelve Principles of Animation, Tiya Jose, St.Mary’s College PRINCIPLES OF ANIMATION 1. Squash and Stretch. 6. Slow-out and Slow-in. 2. Anticipation. 7. Arcs. 3. Staging. 8. Secondary Action. 4. Straight ahead and 9. Timing. pose to pose animation. 10. Exaggeration. 5. Follow through and 11. Solid drawing. overlapping action. 12. Appeal.
- 4. Twelve Principles of Animation, Tiya Jose, St.Mary’s College 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 facial expressions. It is used in all forms of character animation from a bouncing ball to the body weight of a person walking. This is the most important element you will be required to master and will be used often. Example: A bouncing ball expands on impact
- 5. Twelve Principles of Animation, Tiya Jose, St.Mary’s College Anticipation This movement prepares the audience for a major action the character is about to perform, such as, starting to run jump or change expression. A dancer does not just leap off the floor. A backwards motion occurs before the forward action is executed. The backward motion is the anticipation. A comic effect can be done by not using anticipation after a series of gags that used anticipation. Example: Jumping character would bend knees and swing arms back
- 6. Twelve Principles of Animation, Tiya Jose, St.Mary’s College 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 the story line. The effective use of long, medium, or close up shots, as well as camera 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. Example: Seeing a character in the distance with their head in their hands sets the stage for a sad mood
- 7. Twelve Principles of Animation, Tiya Jose, St.Mary’s College 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 this method, but it does have spontaneity and freshness. Fast, wild action scenes are done this way. Pose-to-Pose is more planned out and charted with key drawings done at intervals throughout the scene. Size, volumes, and proportions are controlled better this way, as is the action.
- 8. Twelve Principles of Animation, Tiya Jose, St.Mary’s College Follow through and overlapping action Follow through – when the main body of the character stop all other parts continue to catch up to the main mass Example: Arms or long hair move after character has stopped Overlapping action – when the character changes direction while his clothes or hair continues forward. Example: Bugs bunny stops turns around, but his legs continue in the opposite direction
- 9. Slow-out and Slow-in As action starts, we have more drawings near the starting pose one or two in the middle and more drawings near the next pose. Fewer drawings make the action faster and more drawings make the action slower. Slow-ins and slow-outs soften the action making it more life-like. For a gag action we may omit some slow-out or slow-ins for shock appeal or the surprise element. This will give more snap to the scene. Examples: *car chase should take few frames for fast action *More drawing make the action slower Twelve Principles of Animation, Tiya Jose, St.Mary’s College
- 10. Twelve Principles of Animation, Tiya Jose, St.Mary’s College 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 figure and 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 arm movement, head turns and even eye movements are executed on an arcs. Examples: A thrown ball travels in a curve, not a straight line
- 11. Secondary Action This action adds to and enriches the main action and adds more dimension to the character animation, supplementing and/or re-enforcing the main action. Examples: * Small yawn = Small cheek movements *Big yawn = Exaggerated arm movements and several facial movements Twelve Principles of Animation, Tiya Jose, St.Mary’s College
- 12. Timing Expertise in timing comes best with experience and personal experimentation, using the trial and error method in refining technique. The basics are: more drawings between poses slow and smooth 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. Twelve Principles of Animation, Tiya Jose, St.Mary’s College
- 13. Exaggeration Exaggeration is not extreme distortion of a drawing or extremely broad, violent action all the time. It's 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 be as broad as in a short cartoon style. Exaggeration in a walk or an eye movement or even a head turn will give your film more appeal. Twelve Principles of Animation, Tiya Jose, St.Mary’s College
- 14. Solid drawing The basic principles of drawing form, weight, volume solidity and the illusion of three dimensions apply to animation as it does to academic drawing. The way you draw cartoons you draw in the classical sense using pencil sketches and drawings for reproduction of life. You transform these into color and movement giving the characters the illusion of three-and four-dimensional life. Example: Drawing should be proportionate, head not too large, legs not too long Twelve Principles of Animation, Tiya Jose, St.Mary’s College
- 15. Appeal A live performer has charisma. An animated character has appeal. Appealing animation does not mean just being cute and cuddly. All characters have to have appeal whether they are heroic, villainous, comic or cute. Appeal, as you will use it, includes an easy to read design, clear drawing, and personality development that will capture and involve the audience interest. Early cartoons were basically a series of gags strung together on a main theme. Over the years, the artists have learned that to produce a feature there was a need for story continuity, character development and a higher quality of artwork throughout the entire production. Twelve Principles of Animation, Tiya Jose, St.Mary’s College
- 16. Twelve Principles of Animation, Tiya Jose, St.Mary’s College REFERENCE Wiki Pedia www.animationtoolworks.com
- 17. THANK YOU