The 12 Principles of Animation
From the "Illusion of Life" by Frank Thomas & Ollie Johnston.
The 12 principles were developed by Disney animators in the early years when the art form was only at the beginning. They're the ones who figured out how to make things look alive, how to make characters seem to be thinking and reacting to everything going on around them, they made belief in the surreal, real.
Here are the 12. Afterwards I'll give an explanation of each in my own understanding from what I've learnt.
1. Squash and stretch
2. Anticipation
3. Staging
4. Straight Ahead Action and Pose to Pose
5. Follow Through and Overlapping Action
6. Slow In and Slow Out
7. Arcs
8. Secondary Action
9. Timing
10. Exaggeration
11. Solid Drawing
12. Appeal
1. Squash and Stretch
The concept of squash and stretch is this; when a ball hits the floor, it contorts and squashes out with the impact. As it bounces back up, it stretches back out and elongates, then returns to its normal shape - then it repeats. This principle relates to a lot of other objects and the human figure is not an exception. When we move, parts of our body 'squash and stretch' but we lose no mass or volume when doing so; therefore this needs to be portrayed in an animation - whether it's used in exaggeration for comical value or not for a realistic perspective.
2. Anticipation
Anticipation is the wind up to an action, for example before somebody jumps - they bend their knees and then project. This is extremely essential to keep the viewers attention focused on the characters movement and their actions rather than anything else going on around it. Again a comical effect can be added for laughs, extending the 'Anticipation' action helps do this.
3. Staging
Staging directs the audience's attention to the storyline or the idea that the writer is trying to portray. The character needs to clearly show the attitude, mood and/or situation through a pose or action for the storyline to flow continuously and avoid confusion for the audience. Using less detail/focus in the background and more on the character helps significantly with keeping the attention on what's happening, they shouldn't be competing due to excess detail.
4. Straight Ahead and Pose to Pose Animation
Method 1 - Straight ahead animation starts at the first drawing and works frame by frame until the last image. The downside to this is that proportion and volume can be lost and it takes a long time to do. Much longer than Pose to Pose.
Method 2 - Pose to Pose animation works with key frames and uses software to fill in the gaps in between. This method lacks the subtle creativity that straight ahead animation has but is effective on a time based project.
A lot of media uses both these methods on an animation combined.
5. Follow Through and Overlapping Action
This rule is one of the most important, or so I believe. This is where an animation gets most of it's realism from. If a character was running - as the body moves forward, the coat, the hair and other clothing would blow behind from the force of the wind - obeying the laws of physics. When the character stops running, these items don't immediately stop reacting as soon as the character does, they continue to be affected for a few frames afterwards. The same would apply to a dogs tail, long ears, a dress. They all follow the path of action - This is follow through. Overlapping action is when a character changes direction and the hair or clothing still continues to go forward. Timing is critical.
6. Slow-Out and Slow-In
Taking the example of the running character again - He doesn't always have a constant pace. At the beginning he will start off slow, then increase his speed and as he comes to a halt he will slow down again. Fewer drawings make the action faster and more drawings make the action slower. This is another rule for a realistic effect during animation.
7. Arcs
Within the human and animal figure, all actions follow an arc or circular path. There are very few exceptions, such as the animation of a mechanical device. Arcs are there to give the animation a more natural and again, realistic flow. You move your arm, turn your head, swing your leg - These all follow the pattern of an arc.
8. Secondary Action
The secondary action is the support of the main action, the supplement, the icing on the cake. Taking my example of a character running, we'll slow him down to a jolly stroll down the street - At this point the main action is him walking, his legs back going backwards and forwards. He starts to whistle, swing his arms and sway his head a little - This is his secondary action, these actions work together in combination with the main action but not so much as to distract from what is actually happening.. Him walking down the street. Easy.
9. Timing
Timing is essential to help determine the mood, emotions and reactions of a character in a particular situation. As mentioned in the Slow-Out and Slow-In rule - more drawings between poses, slow and smooth the action. Fewer drawings make the action faster.
10. Exaggeration
Exaggeration within the principles is where characters truly come to life. Yes - As mentioned before you are trying to keep the realistic effect of the natural form but using slight exaggeration on facial expressions, poses, reactions and features gives it much more depth and personalisation. Using a good eye and an educated guess you can make an animation extremely appealing but keep it within that limit of it getting too excessively animated and theatrical to the extent the character becomes distorted and out of proportion.
11. Solid Drawing
Number 11 is basically; a good animator must be able to draw within the basic principles. Following weight, proportion, volume and to take account of three dimensional space to make things come to life and be believable. Everything is practised on a daily basis, starting with a classically drawn cartoon, adding in movement that then gives you the three and four dimensional aspect of things. (Fourth dimension is movement in time).
12. Appeal
An animation needs appeal. The audience needs to be able to bond with the character whether they're a hero, a villain, big or small, ugly or insanely cute. It needs to capture the characters personality, just as with a film, an actor needs to provoke a response from the audience.
3. Staging
Staging directs the audience's attention to the storyline or the idea that the writer is trying to portray. The character needs to clearly show the attitude, mood and/or situation through a pose or action for the storyline to flow continuously and avoid confusion for the audience. Using less detail/focus in the background and more on the character helps significantly with keeping the attention on what's happening, they shouldn't be competing due to excess detail.
4. Straight Ahead and Pose to Pose Animation
Method 1 - Straight ahead animation starts at the first drawing and works frame by frame until the last image. The downside to this is that proportion and volume can be lost and it takes a long time to do. Much longer than Pose to Pose.
Method 2 - Pose to Pose animation works with key frames and uses software to fill in the gaps in between. This method lacks the subtle creativity that straight ahead animation has but is effective on a time based project.
A lot of media uses both these methods on an animation combined.
5. Follow Through and Overlapping Action
This rule is one of the most important, or so I believe. This is where an animation gets most of it's realism from. If a character was running - as the body moves forward, the coat, the hair and other clothing would blow behind from the force of the wind - obeying the laws of physics. When the character stops running, these items don't immediately stop reacting as soon as the character does, they continue to be affected for a few frames afterwards. The same would apply to a dogs tail, long ears, a dress. They all follow the path of action - This is follow through. Overlapping action is when a character changes direction and the hair or clothing still continues to go forward. Timing is critical.
6. Slow-Out and Slow-In
Taking the example of the running character again - He doesn't always have a constant pace. At the beginning he will start off slow, then increase his speed and as he comes to a halt he will slow down again. Fewer drawings make the action faster and more drawings make the action slower. This is another rule for a realistic effect during animation.
7. Arcs
Within the human and animal figure, all actions follow an arc or circular path. There are very few exceptions, such as the animation of a mechanical device. Arcs are there to give the animation a more natural and again, realistic flow. You move your arm, turn your head, swing your leg - These all follow the pattern of an arc.
8. Secondary Action
The secondary action is the support of the main action, the supplement, the icing on the cake. Taking my example of a character running, we'll slow him down to a jolly stroll down the street - At this point the main action is him walking, his legs back going backwards and forwards. He starts to whistle, swing his arms and sway his head a little - This is his secondary action, these actions work together in combination with the main action but not so much as to distract from what is actually happening.. Him walking down the street. Easy.
9. Timing
Timing is essential to help determine the mood, emotions and reactions of a character in a particular situation. As mentioned in the Slow-Out and Slow-In rule - more drawings between poses, slow and smooth the action. Fewer drawings make the action faster.
10. Exaggeration
Exaggeration within the principles is where characters truly come to life. Yes - As mentioned before you are trying to keep the realistic effect of the natural form but using slight exaggeration on facial expressions, poses, reactions and features gives it much more depth and personalisation. Using a good eye and an educated guess you can make an animation extremely appealing but keep it within that limit of it getting too excessively animated and theatrical to the extent the character becomes distorted and out of proportion.
11. Solid Drawing
Number 11 is basically; a good animator must be able to draw within the basic principles. Following weight, proportion, volume and to take account of three dimensional space to make things come to life and be believable. Everything is practised on a daily basis, starting with a classically drawn cartoon, adding in movement that then gives you the three and four dimensional aspect of things. (Fourth dimension is movement in time).
12. Appeal
An animation needs appeal. The audience needs to be able to bond with the character whether they're a hero, a villain, big or small, ugly or insanely cute. It needs to capture the characters personality, just as with a film, an actor needs to provoke a response from the audience.
Reference video from our Animation Fundamentals lecture.
