Principles of - PowerPoint Presentation

Slide1

Principles ofAnimation

Dr. Midori Kitagawa

University

of Texas at Dallas

Arts

and Technology ProgramSlide2

Created by animators at the Walt Disney Studios in the early 1930’sHelped to transform animation from a novelty into an art form 

Still today

Guide production and creative discussionsTrain young animators better and fasterApplicable to 2D/3D computer animation as well as traditional hand-drawn animation

Principles

of animationSlide3

From Illusion of Life: Disney Animation

by Ollie Johnson and Frank Thomas

Squash and stretchAnticipationStaging

Straight ahead action and pose to pose

Follow through and overlapping action

Slow-in and slow-out

ArcsSecondary actionTimingExaggerationSolid drawingAppeal

Principles of animationSlide4

Principles of animation

Squash and stretch

Follow throughTimingSlow-in and slow-outSecondary action

Arcs

Anticipation

Staging

Physics

Aesthetics

Presentation

of action

Production methods

Straight ahead action and pose to pose

Exaggeration

Solid drawing

Overlapping action

AppealSlide5

Physics

Squash and stretch

Follow throughTimingSecondary actionSlow in and slow out

Arcs

Principles of animationSlide6

While many real world objects, e.g. a rock, have little or no flexibility most organic objects, e.g. a human body, have some flexibility in their shapesWhen an object moves, its movement indicates the rigidity of the object

Squash and stretchSlide7

No matter how squashed or stretched out an object gets, its volume should remain constant

Squash and stretchSlide8

Termination of actionNothing stops at onceWhen the main body of a character stops all other parts continue to catch up it, such as arms, long hair, clothing, floppy ears, and a long tail

Follow throughSlide9

Follow throughSlide10

Timing, i.e., the speed of an action, gives meaning to movement, both physical and emotional meaningTiming affects the perception of mass of an object

TimingSlide11

Timing gives meaning to movement

A character looks first over the right shoulder and then over the left shoulder. Varying the number of inbetweens can imply:

0: hit by a strong force and its head almost snapped off

1: hit by something substantial, .e.g., frying pan

2: has a nervous twitch

3: dodging a flying object

4: giving a crisp order6: sees something inviting9: thinking about something10: stretching a sore muscleTimingSlide12

Timing affects the perception of mass of an object

The slower the object moves the heavier it looks

TimingSlide13

Spacing of inbetweens at extremesSoften the action and make it more life-like

Slow-in and slow-out

Without slow-out

With slow-outSlide14

Smaller motions that complement the main action, e.g. hair flows as a character turns its headIncreases the complexity and interest in a scene

Secondary actionSlide15

All actions, with few exceptions (e.g., motion of a mechanical device), follow an arc or slightly circular pathEspecially true of the human figure and the action of animals

Arcs

Arcs give animation a more natural action and better flow  Slide16

Aesthetics

Exaggeration

AppealOverlapping action

Principles of animationSlide17

A caricature of facial features, expressions, poses, attitudes, and actionsMakes it more realistic and entertainingNot arbitrary distortion of shapes nor making an action more violent or unrealistic

ExaggerationSlide18

“If a character is sad, make him sadder; if he is bright, make him shine; worried, make him fret; wild, make him frantic.” (Lasseter, 1987)

ExaggerationSlide19

Ability to draw weight, volume, and balanceAesthetic sensibility for forms, textures, lights, and motions

Solid drawingSlide20

Animated characters must appeal to the audience.They don't need to be lovely, cute and nice, but they must be interesting, somehow attractive.

Villains as well as heroes and heroines should have appeals

AppealSlide21

A live performer has charisma; an animated character has appeal

AppealSlide22

Starting a second action before the first action has completely finishedKeeps the interest of the viewer, since there is no dead time between actions

Overlapping actionSlide23

"When a character knows what he is going to do he doesn't have to stop before each individual action and think to do it. He has it planned in advance in his mind.

" Disney

Overlapping actionSlide24

Presentation of action

Anticipation

StagingPrinciples of animationSlide25

Preparation for an action, e.g., when a character is about to jump, he first crouches to gain momentum and the takes offPrepares the viewer for the action that will happen

Longer anticipation is needed for faster actions

AnticipationSlide26

Clear presentation of an idea, where the idea can be an action, a personality, an expression, or a moodAn idea should be unmistakably clear to the viewer

StagingSlide27

One idea at a timeA personality should be staged so that it is recognizable

StagingSlide28

Production methods

Straight ahead

Pose to posePrinciples of animationSlide29

Starts at the first drawing in a scene and then draws all of the subsequent frames until the end of the scene Creates very spontaneous and zany looking animation

Used for wild, scrambling action

Straight aheadSlide30

Planned out and charted with key drawings done at intervals throughout the sceneAction, size, volumes, and proportions are controlled than straight ahead

The lead animator will turn keys over to his assistant

Pose to poseSlide31

Another way to look at the principles

Principles of animation

Before

action

Beginning of action

Middle of action

End of action

Anticipation

Slow-in

Slow-out

Staging

Follow through

Squash

and stretch, straight ahead, pose to pose, overlapping action, arcs, secondary action, timing, exaggeration, solid drawing, appealSlide32

Essential for 3D computer animation

Principles of animationSlide33

Midori Kitagawa, Ph.D.

midori@utdallas.edu