For instance, likable characters can have a symmetrical and child-like face. Animations that try to create an exact imitation of real life movements can appear stiff and lifeless. Correct timing makes objects look like they have weight and presence. I remember reading about them in a giant coffee table book when I was a kid, but it wasn’t until I had them demonstrated by animation professors right in front of me that I really started to understand them. I teach them timing through experimenting with stop motion, staging with cut-out animation, and show them how squash and stretch can really enhance a bouncing ball flipbook. The 12 principles can be found at the root of all motion-based media. Pose to pose, however, is a method that requires drawing a few key frames first (each one being a “pose” in the motion) and then going back and drawing the in-between frames that get the motion from keyframe to keyframe. Programs for first time students, transfers, and adults. If you were to isolate Tink and make a silhouette of each of her poses, you would still be able to get the idea that Tink is overjoyed in the first pic, annoyed in the second pic, and feeling the zzzs in the final. If a pitcher is about to throw a ball, they bring the ball back first and wind up into the action, like the example of the character getting ready to run below. Often it will have a little curve to it. But I do think you can teach them some of the important ones subconsciously. If an action takes 30 drawings to complete, then it will take 1 second when played back. How do they make us believe that the things they’ve rendered are actually alive? Secondary actions are actions that enhance the primary action. 7. Think of the large eyes of most anime protagonists! It’s not important to me that they can name all 12 Principles. But in the bottom example, the ball is stretched as it heads down toward the ground - giving the illusion of fast movement and motion blur - and then squashed when it hits the ground to give the illusion that the ball is flexible. However, when animating this small exaggeration is needed to make the motion “read” correctly in the viewer’s brain. When applied, it … While I don’t think they’re the only important things to learn about animation, I think the 12 Principles are a really good launching point, especially for students studying to be professional animators. The main action in this scene is Bolt’s mouth and the carrot, but the animators also threw in some adorable secondary leg action to reinforce the cuteness of the scene. Most 3-D animation today works by using Pose-to-Pose, letting the computer handle the in-betweening. There’s no doubt that animation would not be what it is today without these twelve pieces of wisdom. To have good staging, you should keep the focus on what is relevant and avoid unnecessary details. 6. Though these principles were originally applied to traditional hand-drawn animation, they also have relevance in today’s computer animations. Tied to this idea is the overlapping action principle, which expresses the idea that if a character is in motion, some parts of the character move faster than others. Secondary Action – A secondary action is an additional action that reinforces and adds more dimension to the main action. for a short video of each principle! Online programs providing flexibility, convenience, and quality. There are tricks the artist can use to make characters connect with an audience. Especially solid drawing and appeal. In response to COVID-19, university courses and operations remain predominantly online for fall. Arc – The arc principle is that almost all actions in life have a slightly circular motion. Follow-through has another closely-related principle that is usually grouped together with it, called “overlapping action”. Learn more about the curriculum and other offerings from the Animation and Motion Media department at Lesley’s College of Art and Design. Anticipation can also be used in less physical ways. As you can probably guess from the previous GIFs, Disney is pretty darn good at this. To do this, animators will often work in a smaller action or two, right before the major action to signal that something is coming. (link is external) is a group of key teachings for the professional animator. So when a character is running and stops, their main body will stop, but the other parts of their body will keep moving for a bit after. Notice how Snow White’s actions in this scene are slow at the beginning and fast in the middle and then slow at the end. When it was finally taught to me, it felt like an incredible magic trick that took my work from “oh cool, my cartoons move” to “oh wow, my cartoons are alive.” My professor at the time was a former Disney animator and she made us chart our in-betweens, old school.