1. Squash and Stretch - This action gives an illusion of weight and volume to a character when it moves. It can also be useful towards animating speech as well as facial expressions.
2. Anticipation - This movement allows the audience to get ready for a major action the character is about to perform e.g. when they begin to run, jump or change expression.
3. Staging - A pose or action should clearly convey to the audience the attitude, mood, reaction or idea of a character as this relates to the story and continuity of the story line. However effectively using the correct shots e.g. long, medium or close up shots as well as the use of camera angles can aid telling the story.
4. Straight ahead and pose to pose animation - A straight ahead animation starts at the first drawing and works drawing to drawing to the end of the scene. Although this can lead to the lost of size, volume and proportions with the method, it can be considered spontaneous as well as rather fresh. Usually straight ahead animations would be used to create fast, wild action scenes. Whilst pose to pose is more planned out and outlined with key drawings done at intervals throughout the scene. By doing this, it means that the size, volumes and proportions can be controlled better as well as the action.
5. Follow through and overlapping action - A follow through is when the main body of the character stops, all other parts continue to catch up to the main mass of the character e.g. arms, long hair etc. However nothing stops all at once. Whilst an overlapping action is when the character changes direction whilst their clothes or hair continues forward.
6. Slow-out and slow-in - These are often used to soften the action, making it more life like. For a gag action, you may omit some slow-out or slow-ins for shock appeal or the element of surprise. This will result in giving the scene more snap.
7. Arcs - All actions with a few exceptions (such as the animation of a mechanical device) will follow an arc or slightly circular path. Arcs given animation a more natural action and better flow.
8. Secondary action - The is an action which can be an additional effect to enrich the main action as well as adding more dimension to the character animation, supplementing and/or re-enforcing the main action.
9. Timing - To become an expert with timing, the best way to do so is through experience and personal experimentation, The basics involve using more drawings between poses to slow and smooth the action whilst fewer drawings make the action faster and crisper. Also timing is important in the acting of a character to establish mood, emotion and reaction to another character or situation.
10. Exaggeration - It is not considered an extreme distortion of drawing or extremely broad, violent action all the time. Its like a caricature of facial features, expression, poses, attitudes and actions. Using exaggeration in a walk or an eye movement or even a head turn can add appeal to a film.
11. Solid drawing - Animation focuses on the basic principles of drawing which are form, weight, volume solidity and the illusion of 3-D. The way you draw cartoons and then transform them into colour and movement can give the characters the illusion of 3-D and 4-D life.
12. Appeal - This will be used to capture and involve the audience's interest as it includes an easy to read design, clear drawing and personality development.
7. Arcs - All actions with a few exceptions (such as the animation of a mechanical device) will follow an arc or slightly circular path. Arcs given animation a more natural action and better flow.
8. Secondary action - The is an action which can be an additional effect to enrich the main action as well as adding more dimension to the character animation, supplementing and/or re-enforcing the main action.
9. Timing - To become an expert with timing, the best way to do so is through experience and personal experimentation, The basics involve using more drawings between poses to slow and smooth the action whilst fewer drawings make the action faster and crisper. Also timing is important in the acting of a character to establish mood, emotion and reaction to another character or situation.
10. Exaggeration - It is not considered an extreme distortion of drawing or extremely broad, violent action all the time. Its like a caricature of facial features, expression, poses, attitudes and actions. Using exaggeration in a walk or an eye movement or even a head turn can add appeal to a film.
11. Solid drawing - Animation focuses on the basic principles of drawing which are form, weight, volume solidity and the illusion of 3-D. The way you draw cartoons and then transform them into colour and movement can give the characters the illusion of 3-D and 4-D life.
12. Appeal - This will be used to capture and involve the audience's interest as it includes an easy to read design, clear drawing and personality development.
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Reference:
http://minyos.its.rmit.edu.au/aim/a_notes/anim_principles.html
http://minyos.its.rmit.edu.au/aim/a_notes/anim_principles.html
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