1. Squash and Stretch
https://youtu.be/INC1MjmDccs
Squash and stretch is all about weight, and how it is manipulated by certain movements and exaggerations. It also gives your characters volume, and if used subtly, can mimic natural movements. Notice in the video how the little character stretches when he is pulled, and squishes up when he is pushed together. Now this may not appear as natural movement, but from an exaggerated standpoint, and even from an unbiased viewer, the movement should appear fluid, and without any odd pauses
2. Anticipation
https://youtu.be/KJJW7EF5aVk
(start at :22 and end at :36)
Anticipation can not only be applied to movement, but to keeping the audience in mind as well. Anticipation is mostly related to a backwards movement before a follow through motion, as in how a character swings backwards a bit before leaping off of something tall. It could also include how the audience anticipates the reaction of a character, or in this video's case, the character doesnt react. As it had been decades since Wil E Coyote and the Roadrunner had been on TV, and Wil E Coyote surprisingly called the Roadrunner over in this animation, and the roadrunner complies, much to the audience's shock. But what is even more shocking is that Wil E lets him go by!
3. Staging
https://youtu.be/3isQI0nXQRE
Staging not only relates to a character's body language when they react to something, but also how the scene is set up as well, and how camera angles are used to convey certain emotions, or set the mood of the scene entirely. This video is a bit long, but is a great example of visual staging, and setting up a scene (or movie in this case). As it is from Back to the Future, and this intro is a perfect set up for the movie, as it now only allows the viewer to understand Doc's character, but also what is going on in the setting of the story as well. Just by the camera panning over different objects, and a tv, letting the audience figure out for themselves.
4. Straight ahead and Pose to Pose Animation
https://youtu.be/ljVDfgbSybA
(start at :11 and end at :17)
Straight ahead and pose to pose is mainly just a straight, drawn out process that loses size and volume, but adds speed and freshness. Wild action scenes are better for this, as some audiences enjoy watching the quick chase scenes that accompany this technique. In this scene, Tom is running from Spike, and his movements are wild and over exaggerated. Most of this scene is also running, but it is too quick for the viewer to make out specific movements, so not a lot of work needs to be done if the character is moving too fast to be fully seen or viewed.
5. Follow Through and Overlapping Action
https://youtu.be/7l_tFa4-5OM
(start at :11 and end at :17)
Follow through is a great principle of animation, and dictates mostly how things should move. Naturally, when things move, it takes a few seconds for something attached to that object to begin moving as well. In this clip, pay special attention to dory's tail, as it does not move as fast as she does when she turns around. As this is a perfect example of Follow Through, her tail, being made of a more thin material, and given the water around her, did not turn as quickly as her body did. The tail actually paused for a bit, and then fluttered gently out, as did Marlin's fins when he swam.
6. Slow out and Slow In
https://youtu.be/VSnPjiLEA2Y
(start at 2:29 and end at 2:41)
Slow out and slow in can also be applied to velocity, and moving objects. As the heavier the object is, the slower its reaction time will become. Pay special attention to how the boat starts in the scene , and how it does not automatically go into full speed. The animators for this scene ingeniously studied how an old boat would accelerate, and copied the motion so that the boat appeared to move naturally through the water. Since nothing automatically starts at top speed, everything must start off slow, and the boat was even hindered by the water, and the animation showed that.
7. Arcs
https://youtu.be/vq9A5FD8G5w
Arcs can be applied to everything, especially movement. Not everything moves in a straight line, especially if it is natural and organic. If it is a natural object, there is usually an arc involved in the movement, as nothing attached to something can just move wherever it wants, as there are limits. In the video, it shows a simple man's walk cycle, alongside a grid, to make it easier to copy into animated form. As the man walks, his legs do not just go up and down. He walks with a sort of curve, as his legs act like hinges to his torso, and can only go in a certain direction.
8. Secondary Action
https://youtu.be/VSnPjiLEA2Y
(start at 2:26 and end at 2:31)
Secondary action mainly is applied to movements. As this principle is more subtle, but still adds depth to any animation, and in turn makes it more believable and real. This action can also be used to reinforce the main action or set of actions, and can be added in to convey emotions and speed as well. In this video pay attention to the boat's motor and how it 'jumps' when it first starts before it begins a full spin. The animators had to have studied how an old boat like that would turn on, and succeed in making the motion seem real and natural. An old sea boat like that, with an old motor that showed signs of disrepair, definitely would not start up naturally without some sort of pause or cranking first.
9. Timing
https://youtu.be/LGtJn-L5xEs
(start at 2:00 and end at 2:20)
Timing is highly important to any animation, to make it not only believable, but to make it seem real. Timing helps add flow to your character's or objects movements, and helps make your animation better overall. It also helps improve the speed and emotion to every scene. In this clip, Simba's timing is almost perfect, as he approaches his dad, his movements slow dramatically, and several pauses are added to give the animation even more depth. As this is a very important moment in the movie, and emotional for the viewers, the animators had to make sure that Simba acted just like a child would if they saw their own parent was dead.
10. Exaggeration
https://youtu.be/J8P2nGRgUT4
Exaggeration technically does not have to be extreme displays of emotion or a contortion of facial expressions, but it can help with making animated sequences seem to flow naturally other than being stiff. Although in this video, Tom and Jerry's fighting sequences are extremely exaggerated. Though mostly for comedic effect and because of the age of their target audience. But even though Tom and Jerry's faces and bodies contort in such a fashion, their motions still seem fluid, not mechanical.
11. Solid Drawing
https://youtu.be/xOVlVF3RJQc
(start at 1:05 and end at 2:27)
Drawing is just as important in animation as movement, timing, and setting up the scene. Drawing animators have to keep in mind how to create a character, and not only give them life, but enable everyone else on their team to keep them alive through their movements, emotions, and what they say and think, and also how they interact with objects in a 2-D or 3-D space, and how they act through a period of time. In this video, it's a simple story board of the animation in Beauty in the Beast, more specifically the final moments of the movie. The animators in this scene not only had to make sure to follow the other 11 Principles of animation, but convey certain dramatic emotions through the characters, and remember how the characters would react to certain scenes.
12. Appeal
https://youtu.be/3w_dxRh32fQ
Appeal is basically the characteristics that make an animated character rememberable throughout all time. The aspects that make them who they are, and different from the average hero, villian, and comedic characters. Appeal is also the traits that set these characters apart, and give them developed personalities and actions. In this video, I have found an amazing character that is the definition of a villainous character. Scar from the Lion king. Not only does he look the part, with his darker fur, triangular body proportions, and dark, oozing voice, but he is intelligent, and extremely wicked. Having killed his own brother for power, and even plotting to kill his brother's son, the heir to the throne and the only one standing in his way.
https://youtu.be/INC1MjmDccs
Squash and stretch is all about weight, and how it is manipulated by certain movements and exaggerations. It also gives your characters volume, and if used subtly, can mimic natural movements. Notice in the video how the little character stretches when he is pulled, and squishes up when he is pushed together. Now this may not appear as natural movement, but from an exaggerated standpoint, and even from an unbiased viewer, the movement should appear fluid, and without any odd pauses
2. Anticipation
https://youtu.be/KJJW7EF5aVk
(start at :22 and end at :36)
Anticipation can not only be applied to movement, but to keeping the audience in mind as well. Anticipation is mostly related to a backwards movement before a follow through motion, as in how a character swings backwards a bit before leaping off of something tall. It could also include how the audience anticipates the reaction of a character, or in this video's case, the character doesnt react. As it had been decades since Wil E Coyote and the Roadrunner had been on TV, and Wil E Coyote surprisingly called the Roadrunner over in this animation, and the roadrunner complies, much to the audience's shock. But what is even more shocking is that Wil E lets him go by!
3. Staging
https://youtu.be/3isQI0nXQRE
Staging not only relates to a character's body language when they react to something, but also how the scene is set up as well, and how camera angles are used to convey certain emotions, or set the mood of the scene entirely. This video is a bit long, but is a great example of visual staging, and setting up a scene (or movie in this case). As it is from Back to the Future, and this intro is a perfect set up for the movie, as it now only allows the viewer to understand Doc's character, but also what is going on in the setting of the story as well. Just by the camera panning over different objects, and a tv, letting the audience figure out for themselves.
4. Straight ahead and Pose to Pose Animation
https://youtu.be/ljVDfgbSybA
(start at :11 and end at :17)
Straight ahead and pose to pose is mainly just a straight, drawn out process that loses size and volume, but adds speed and freshness. Wild action scenes are better for this, as some audiences enjoy watching the quick chase scenes that accompany this technique. In this scene, Tom is running from Spike, and his movements are wild and over exaggerated. Most of this scene is also running, but it is too quick for the viewer to make out specific movements, so not a lot of work needs to be done if the character is moving too fast to be fully seen or viewed.
5. Follow Through and Overlapping Action
https://youtu.be/7l_tFa4-5OM
(start at :11 and end at :17)
Follow through is a great principle of animation, and dictates mostly how things should move. Naturally, when things move, it takes a few seconds for something attached to that object to begin moving as well. In this clip, pay special attention to dory's tail, as it does not move as fast as she does when she turns around. As this is a perfect example of Follow Through, her tail, being made of a more thin material, and given the water around her, did not turn as quickly as her body did. The tail actually paused for a bit, and then fluttered gently out, as did Marlin's fins when he swam.
6. Slow out and Slow In
https://youtu.be/VSnPjiLEA2Y
(start at 2:29 and end at 2:41)
Slow out and slow in can also be applied to velocity, and moving objects. As the heavier the object is, the slower its reaction time will become. Pay special attention to how the boat starts in the scene , and how it does not automatically go into full speed. The animators for this scene ingeniously studied how an old boat would accelerate, and copied the motion so that the boat appeared to move naturally through the water. Since nothing automatically starts at top speed, everything must start off slow, and the boat was even hindered by the water, and the animation showed that.
7. Arcs
https://youtu.be/vq9A5FD8G5w
Arcs can be applied to everything, especially movement. Not everything moves in a straight line, especially if it is natural and organic. If it is a natural object, there is usually an arc involved in the movement, as nothing attached to something can just move wherever it wants, as there are limits. In the video, it shows a simple man's walk cycle, alongside a grid, to make it easier to copy into animated form. As the man walks, his legs do not just go up and down. He walks with a sort of curve, as his legs act like hinges to his torso, and can only go in a certain direction.
8. Secondary Action
https://youtu.be/VSnPjiLEA2Y
(start at 2:26 and end at 2:31)
Secondary action mainly is applied to movements. As this principle is more subtle, but still adds depth to any animation, and in turn makes it more believable and real. This action can also be used to reinforce the main action or set of actions, and can be added in to convey emotions and speed as well. In this video pay attention to the boat's motor and how it 'jumps' when it first starts before it begins a full spin. The animators had to have studied how an old boat like that would turn on, and succeed in making the motion seem real and natural. An old sea boat like that, with an old motor that showed signs of disrepair, definitely would not start up naturally without some sort of pause or cranking first.
9. Timing
https://youtu.be/LGtJn-L5xEs
(start at 2:00 and end at 2:20)
Timing is highly important to any animation, to make it not only believable, but to make it seem real. Timing helps add flow to your character's or objects movements, and helps make your animation better overall. It also helps improve the speed and emotion to every scene. In this clip, Simba's timing is almost perfect, as he approaches his dad, his movements slow dramatically, and several pauses are added to give the animation even more depth. As this is a very important moment in the movie, and emotional for the viewers, the animators had to make sure that Simba acted just like a child would if they saw their own parent was dead.
10. Exaggeration
https://youtu.be/J8P2nGRgUT4
Exaggeration technically does not have to be extreme displays of emotion or a contortion of facial expressions, but it can help with making animated sequences seem to flow naturally other than being stiff. Although in this video, Tom and Jerry's fighting sequences are extremely exaggerated. Though mostly for comedic effect and because of the age of their target audience. But even though Tom and Jerry's faces and bodies contort in such a fashion, their motions still seem fluid, not mechanical.
11. Solid Drawing
https://youtu.be/xOVlVF3RJQc
(start at 1:05 and end at 2:27)
Drawing is just as important in animation as movement, timing, and setting up the scene. Drawing animators have to keep in mind how to create a character, and not only give them life, but enable everyone else on their team to keep them alive through their movements, emotions, and what they say and think, and also how they interact with objects in a 2-D or 3-D space, and how they act through a period of time. In this video, it's a simple story board of the animation in Beauty in the Beast, more specifically the final moments of the movie. The animators in this scene not only had to make sure to follow the other 11 Principles of animation, but convey certain dramatic emotions through the characters, and remember how the characters would react to certain scenes.
12. Appeal
https://youtu.be/3w_dxRh32fQ
Appeal is basically the characteristics that make an animated character rememberable throughout all time. The aspects that make them who they are, and different from the average hero, villian, and comedic characters. Appeal is also the traits that set these characters apart, and give them developed personalities and actions. In this video, I have found an amazing character that is the definition of a villainous character. Scar from the Lion king. Not only does he look the part, with his darker fur, triangular body proportions, and dark, oozing voice, but he is intelligent, and extremely wicked. Having killed his own brother for power, and even plotting to kill his brother's son, the heir to the throne and the only one standing in his way.
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