12 Basic Principles of Animation
Whether done by hand, using software, in 2D or 3D, these rules apply to all types of animation
There are several ways to bring a drawing to life, but one in particular has become a reference over the years. In 1981, Disney animators Ollie Johnston and Frank Thomas published a book compiling 12 basic principles of animation for making characters seem more realistic, with a focus on physics and emotions.
Although these rules were applied to classic animations such as Snow White (1937), Pinocchio (1940), Fantasy (1940), Dumbo (1941), and Bambi (1942), they are still relevant today, despite technological advances and the advent of 3D. They are constantly being expanded and updated to include new styles and techniques.
Squash and stretch:This technique gives an object the illusion of gravity, weight, mass, and flexibility. This exaggeration and deformation of a flexible body or object, which creates a comic or dramatic effect, is to do with speed and inertia.
Anticipation:The animator prepares the viewer for what a character is going to do next, keeping them engaged. It is normally divided into three stages; anticipating the movement, the action itself, and their reaction or recovery.
Staging: This technique is used to direct the audience's attention using lights, shadows, setting, poses, and expressions, to make clear what is of the greatest importance in the scene.
Straight ahead action and pose to pose: Pose to pose animation consists of breaking down key movements separated by intervals of time, and later filling in the frames in between. It is more difficult to create more realistic poses using this technique. Straight ahead action is the process of drawing every frame from start to finish, chronologically. The latter creates a result that is much more fluid and convincing.
Follow through and overlapping action: Whenever an animated body starts or stops, secondary body parts move as a result, creating a chain of reactions that don’t all stop at the same time. These parts move differently from the rest of the character; for example, a cheek does not move in the same way as an eye, hair, or clothing.
Slow-in and slow-out: It is important to draw more frames at the beginning and the end of an action, and fewer during the middle of it. This creates a slow-in and slow-out effect, which is more natural.
Arcs: All natural actions, with a few exceptions, follow an arched trajectory, never moving in a perfectly straight line. It is important to apply this understanding to animation to make movements more natural-looking.
Secondary action: Additional action that reinforces and adds more dimension to the main action. These actions are small complementary movements that emphasize the action without distracting the viewer away from it.
Timing: Inserting more frames between poses softens the action. Fewer frames make the movement faster and more energetic. Timing also helps to define the weight of an object according to the laws of physics.
Exaggeration: Although you want your animation to seem realistic, there are moments where exaggerating a movement, or a pose, make an idea more interesting.
Solid drawing: This goes hand in hand with good modeling. It means taking into account the shapes and three-dimensional space that give volume and weight to your drawings, along with depth and balance.
Appeal: This is a charismatic quality that captures the attention of the viewer and enables them to create an emotional connection with your character.
In case you want to know more, see how graphic artist and illustrator Shawn Sheehan has taken these rules and applied them to the Pixar aesthetic.
You may also like:
–5 Online Courses to Learn 3D Animation For Beginners
–5 Styles of Art Direction for Motion Graphics
–5 Examples of Animation Combining 2D and 3D
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