The 12 Principles of Animation

Squash and stretch is the movement in animation for example when a ball bounces on the floor is has to bounce and release the energy somewhere so when it makes contact with the ground it has to stretch the width out and shrink the height of the ball at the same time as if the ball just stretches the width out but doesn’t change the height then it will have just created more space from nowhere which is unrealistic and so squash and stretch allows for animations using anything bouncing up and down to stay looking realistic.

In animation, anticipation is used to prepare the audience for upcoming action and is necessary to convey believable action. A simple way to think about it is this: Before a baseball player can pitch, he must first move his entire body and arms backward to gain enough energy to throw the ball forward. Therefore, if a dynamic person needs to move forward, they must first move backward. Or, if a character reaches for a glass on the table, they must first pull their hand back. This not only increases their momentum, but also shows the audience that this person is about to act.

Staging is about how a scene is set, from character placement, to background and foreground elements, to setting the character's mood and camera angles. The purpose of animation should be clearly understood by the audience through the stage. You need to focus on what you want to convey to your audience (and avoid unnecessary details) so they don't get confused.

Linear motion is a very spontaneous and linear animation method that is animated frame by frame from start to finish. This will create each pose of the animation in turn. So if your character lands after jumping into the air, you'll create a pose where he's standing, then a pose where he starts kneeling, and then a full crouch. In other words, you are animating to make fast movements smooth and dynamic. From pose to pose, the animation is more organized, requiring only the most important poses to tell the story properly. You can use fewer poses to animate a character jumping into the air and then landing. This makes it easier to work and make sure the proportions and timing are correct before adding more intervals. This is perfect for slow, dramatic or emotional scenes.

follow through and overlapping in animation is done so that the movements of a character looks smooth and realistic with every component attached to the character moving as well not just the main character moving but their clothes staying stationary as this look unnatural

When an object moves or stops, there must be a process of acceleration and deceleration. Without getting in and out (or braking in and out), the movement becomes very unnatural and mechanical. When a car leaves a stop, it does not immediately reach full speed. It has to gain speed first. When it comes time to stop, it doesn’t go from sixty to zero in the blink of an eye. Instead, it slows down until it comes to a complete stop. The same thing needs to be achieved in animation, and the easiest way to achieve entry and exit is to use the distance principle. When a character stands up from a seated position, each pose will initially be closer together to make it easier for them to move easily. When standing up, they avoid movement by holding their positions further apart at the end of the movement. Without this acceleration and deceleration of action, everything would happen very suddenly and erratically.

Most things in the real world tend to follow a curved path when they move. It's unusual for humans to move in entirely straight lines, so it's important to apply this animation principle to achieve smooth and lifelike motions. The faster an object moves, the flatter its trajectory and the wider its turn. The only exception to this rule is when something is mechanically controlled, like a robot.

When a character turns their head, they should lower it slightly during the motion to introduce a curved trajectory. It's also essential to ensure that even subtle movements adhere to this principle. For instance, when a character is walking, even the tips of their toes should display a gentle, curved motion.

Secondary actions are actions that support or highlight the primary action, bringing more energy to the animation and creating a more convincing performance. It's important to remember that secondary actions should generally be subtle and not interfere with what's going on in the primary action. That's why dramatic movements take priority over things like facial expressions.

Timing relates to the quantity of frames separating two key poses, or the pace of a movement. For instance, if a ball moves from the left side of the screen to the right in 24 frames, this represents timing. In this scenario, it requires 24 frames, or one second (when operating at the standard film rate of 24 frames per second), for the ball to traverse the screen. Furthermore, timing can be instrumental in conveying mood, emotion, and character traits.

Exaggeration serves to amplify motions, injecting greater visual appeal into actions, and should always be employed to some extent. Exaggeration can be harnessed to craft exceptionally whimsical movements, involving physical transformations or supernatural elements. Conversely, it can also be employed more subtly to infuse realism into actions. Nonetheless, even in the latter case, exaggeration can still be leveraged to elevate the clarity and enjoyment of a motion while maintaining a semblance of authenticity. For instance, when a character is about to dive off a diving board, you can slightly accentuate the downward motion just before the leap. Alternatively, exaggeration can be introduced into the timing to heighten various movements or enhance the perceived weight of a character or object.

In 2D animation, the concept of solid drawing revolves around producing a precise illustration that conveys volume, weight, balance, shading, and anatomical accuracy in a given posture. In the realm of 3D animation, animators must carefully consider the arrangement of their 3D character rig to establish proper equilibrium, weight distribution, and a distinct silhouette. It's important to steer clear of "twinning," a practice where a mirrored pose is replicated on both sides (such as placing both arms on the hips or both hands in pockets). This should be avoided because it results in a rather dull and uninteresting posture.

This principle essentially boils down to infusing more charm and allure into various aspects of your animation, such as character posing. However, the most evident example is the appeal found in character design since it's vital for creating a character that the audience can connect with and relate to. On the contrary, a convoluted or perplexing character design may lack this essential appeal. You can identify aspects of the character to enhance and amplify, resulting in a distinctive design that remains memorable to your audience. For instance, you can exaggerate the jawline or emphasize the youthful qualities in the eyes, both of which contribute to enhancing the overall appeal. It's crucial to note that even villains require a degree of appeal.