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The Principles of Animation
Sq u a s h & S t r e t c h
One place we see "squash and stretch" is in the way our
eyes interpret motion. As an object moves, our eyes do not see a
rigid form. Rather, objects appear to "stretch" as they
speed up and "squash" when they come to a sudden stop.
Incorporating this into your animations will result in a much more
natural looking motion. One way to think of "squash and stretch"
is a bouncing ball. As a ball hits the floor, it appears to "squash"
into the surface before bouncing back up. "Squash and stretch"
is the easiest way to demonstrate the weight or personality of an
object as it moves. Heavy objects tend to squash more than lighter
objects. Sad objects tend to squash more than happy or energetic
objects. This simple principle can be used to show personality in
just about anything.
A n t i c i p a t i o n
A wind-up before a baseball pitch, a character's eyes opening wide
at the sight of something, or stepping back and pausing before lunging
forward to push a heavy object. Anticipation is a way of letting
the viewer know what is going to happen before it actually takes
place. Just about every motion involves some sort of anticipation,
and leaving anticipation out of your animation can result in overly
sudden movements. From simple movements to the most complex, anticipation
is important. Before turning to the side, a character will usually
lead with her head. In addition to showing natural movement, anticipation
can be used as a story-telling device, having a character react
to something off-screen before the audience is actually shown the
event. This prepares the viewers for what they are about to see
and demonstrates the character's emotion and reaction to the event
before it even occurs. You can tell the audience that there is something
scary off-screen without ever showing what it is.
S t a g i n g
This is a principle which finds its roots in the theatre and is
basically the placement of objects and characters in relation to
each other and to the camera. Proper staging is important to keep
the viewer from getting confused and to clearly demonstrate the
action which is taking place.
F o l l o w - Th r o u g h
Whereas anticipation precedes motion, follow-through is present
after a motion. After throwing a ball, a pitcher's arm continues
along its path and he makes a step forward to catch his balance.
When a car comes to a stop, it rocks forward a bit, then settles
back. Motion without follow-through can look very stiff and robotic.
A little follow-through should be used with every motion, even if
you are animating a stiff robot.
O v e r l a p p i n g A c t i o n
When catching a ball, your eyes follow it, your arms reach out,
and your hands turn to catch the ball, all at the same time. This
is an example of overlapping action. Showing a character's arms
simply jut out and catch a ball is unnatural. Showing a character's
head turn to look at something without his shoulders and torso turning
as well is unrealistic. Most motion is accompanied by overlapping
action. When you are creating a motion, be sure to look beyond the
motion itself and see what other elements are involved in making
that motion possible. Your head cannot turn 180 degrees, but you
can look 180 degrees behind you with the help of overlapping action.
S l o w I n, S l o w O u t
This is the basic, but very important observation that objects do
not simply move and stop in rigid increments. When you turn your
head, it moves slowly for a moment before it can turn quickly. Before
it comes to a stop, it slows down. This keeps our necks from breaking,
and it keeps your animations looking smooth and natural. Jerky movements
result from failing to "slow in" to motions and "slow
out" from them.
A r c V s . Linear Motion
Another important observation is that very few beings in this world
move in a linear fashion. You may think that as you reach down to
pick up a ball, your hand is following a linear motion. In fact,
it follows a slight curve. When you sit down, your body does not
move straight towards the chair. It follows a curve as well. Incorporating
and observing curves in your motions will result in a more natural
appearance.
S e c o n d a r y A c t i o n
Secondary action is just as it sounds- an action is taking place
in addition to the main action. One example would be a character
walking forward and simultaneously looking to his left at an attractive
woman passing by. The primary action is walking. The secondary action
is looking. Secondary action can be used to convey emotion and thought.
When you are animating, do not limit yourself to: "Character
does A, then B, then C, then D." Remember that the character
can do "A, then B while doing C, then D". Complex characters
sometimes require complex secondary actions.
T i m i n g
Timing is at the root of all motion. As you walk, when does your
right foot hit the ground in relation to your left? How long does
it take a character to react to a gun shot? Does a happy character
react differently than a sad one? Timing can be used to show emotion,
character, and action itself. Timing can also be used to build suspense,
cause panic, or relaxation. The human eye reacts strongly to the
timing of events. Consider carefully when certain events should
occur, and use timing to your advantage to convey character, emotion,
and in storytelling.
E x a g g e r a t i o n
Exaggeration should be used to draw attention to the main motion
in a scene. Although it may seem silly at times, exaggeration creates
a more believable motion that the eye is drawn to. It is a common
mistake to under-emphasize a motion. The result is tired-looking,
lifeless characters. Try to keep your motions deliberate by exaggerating
them a little and giving your characters life.
K n o w l e d g e o f T e c h n e q u e
Simply put, to create a successful animation, you need to know what
you are doing. If you are drawing a traditional animation, you better
know how to draw. If you are creating a computer animation, you
must learn the software. You do not need to be a computer wiz to
create a successful animation, but you do need to have a grasp of
the tools at hand.
O b s e r v a t i o n a n d T r a n s l a t i o n
A very important part of animating successfully is being able to
observe the world around you and translate it into animating terms.
Creating a character throwing a ball? Throw a ball yourself and
observe what motions you make. Repeat about 100 times. Better yet,
videotape yourself and play the tape back, first looking at your
arm, then at the other elements such as your torso and legs. By
observing reality, you are far more likely to create a great-looking
animation than if you just sit down and try to fake what it would
look like.
A p p e a l
A successful animation is appealing to the viewer. Jerky motion
can detract from an animation's appeal, as can poor execution, a
poor story, and lack of imagination. Try to create something original
that the viewer will enjoy. Most of all, work on something that
you are excited about. If you are excited about what you have created,
the odds are that someone else will be excited by it as well.
I m a g i n a t i o n
Without a little imagination, it would be impossible to bring all
of these principles together and use them in a meaningful way. Imagination
is essential to your success as an animator. Every motion that you
make, use your imagination to explore how the motion can vary to
show the image you are trying to create.
- by Rick Delaney
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