![]() ![]() Your animation will look realistic if more drawings are added to the beginning and end of an action, emphasizing gradual speed up and slow down, and fewer in the middle. Or sometimes addressed as “ease in and ease out” the principle suggests that almost every movement needs time to accelerate and slow down. To achieve more realism make the same parts move at different speed with “overlapping action.” Notice how the plate moves in the example below: “Follow through” relates to parts of the subject that continue to move with inertia after a completed action. Most of computer animation tools assist with the principle by automatically filling in the missing sequences in transitions between keyframes. A combination of the two techniques is often used to create dynamic and dramatic illusion of movement. One either draws out a scene frame by frame from beginning to end ( “straight ahead action“) or starts with a few key frames, and then fills in the intervals (from “ pose to pose“). The essence of staging is keeping focus on what is relevant, eliminating unnecessary detail, and avoiding any confusion.Īction and Pose to Pose This principle matches two different approaches to the actual drawing process. ![]() Johnston and Thomas defined staging as “the presentation of any idea so that it is completely and unmistakably clear,” so as the audience’s attention is directed to what is of greatest importance in a scene. As as the action appears more realistic if the audience is given a clue of what happens next, anticipation is used to prepare for the main action of an animated scene. Even slightly exaggerating on shortening and widening animated objects will give them that realistic feel.Īlmost nothing happens suddenly. It is best described with a bouncing ball, which appears stretched when falling and squashed when it hits the ground. Squash and StretchĬonsidered the most important principle, “squash and stretch” gives a sense of weight and volume to drawn objects. Twelve basic principles of animation below are paraphrased from The Illusion of Life: Disney Animation, one of the “best animation books of all time,” and illustrated with examples made using Animatron. Since then the principles have been adopted by almost every professional animator, and have been referred to by some as the “Bible of animation.” Originally intended to apply to traditional, hand-drawn animation, the principles still have great relevance for today’s computer animation and can be found not only in character animation but also in user experience design. In 1981 two bright Disney animators Ollie Johnston and Frank Thomas introduced twelve basic principles of animation to produce more realistic works. Adhering to the laws of physics is how you begin, but what about more abstract issues, such as emotional timing and character appeal? Our previous post on the topic revealed that brilliant animation is all about sticking to the very basics. Despite a lot of efforts made to facilitate animation with computer technology, many artists struggle to produce compelling works in the field. ![]()
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