2017-18
「A N I M AT I O N J A M 」
「P R I N C I P L E S O F A N I M A T I O N 」
PRINCIPLES OF ANIMATION 1
S Q U A S H A N D S T R E T C H
This action gives the illusion of weight and volume to a character as it moves.
S L O W I N & O U T
Fewer drawings make the action faster and more drawings make the action slower.
A R C S
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.
S T R A I G H T A H E A D & P O S E T O P O S E
Straight ahead animation starts at the first drawing and works drawing to drawing to the end of a scene.
PRINCIPLES OF ANIMATION 2
A N T I C I P A T I O N
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. Almost all real action has major or minor anticipation such as a pitcher's wind-up or a golfers' back swing. Feature animation is often less broad than short animation unless a scene requires it to develop a characters personality.
T I M I N G
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 crispier.
E X A G G E R A T I O N
Exaggeration is not extreme distortion of a drawing or extremely broad, violent action all the time. Its like a caricature of facial features, expressions, poses, attitudes and actions.
S T A G I N G
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.
PRINCIPLES OF ANIMATION 3
F O L L O W T H R O U G H
When the main body of the character stops all other parts continue to catch up to the main mass of the character, such as arms, long hair, clothing, coat tails or a dress, floppy ears or a long tail (these follow the path of action)
S O L I D D R A W I N G
The basic principles of drawing form, weight, volume solidity and the illusion of three dimension 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.
A P P E A L
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's interest.
S E C O N D A R Y A C T I O N
his action adds to and enriches the main action and adds more dimension to the character animation, supplementing and/or re-enforcing the main action. Example: A character is angrily walking toward another character.
