Do you know how animators breathe life into characters? How do they make them look so realistic that you can even start to have feelings for them? Well, to answer these questions and more, you must be familiar with the top principles for creating animatics.
The principles of animation were made popular by two of Walt Disney’s most exceptional animators, Frank Thomas and Ollie Johnstone. Currently, the twelve principles of animation have become a must-know for all working in the animation industry.
Squash and Stretch
Squashing and stretching gives a character life as it moves. Typically, it tweaks a character’s of volume and weight. Animators achieve this by compressing and expanding the character’s body.
Animators use anticipation to signal the audience of impending action. Animators create a minor effect or two before the main act to let the audience know that something big is about to happen.
Under staging principles, every move or stance that a character makes is supposed to send a clear message to the viewer. Staging relates to the placing and movement of the cameras and how this can send appropriate signs to audiences.
Of course, not all characters should be attractive. However, animators should do their best to develop images that will be both compelling and interesting to audiences.
To make use of this principle, animators are reminded that even though characters may be initially presented in two-dimension(2D), they should try to look three-dimensional (3D).
This principle suggests that you can overdo or exaggerate not all, but some actions. The reason for this is to help make a point while not making the scene too farcical.
Timing helps animators show that a character’s actions obey the laws of physics tweaking the number of frames per second, creators can make movements look either faster and clearer or slower and smoother.
Creators use an extra action to add more aspect to the primary action. An example could be arm movement when a character is crying.
The arc principle suggests that almost all moves have a vaguely circular motion integrated into the main movement. For example, when a head turns, will it rarely just pop in and out. In most cases, it will have a slightly curved motion added in.
Slow-In and Slow-Out
This is one aspect that helps animators add a more real aspect to the characters’ movements. For characters to move, animators will draw more frames at the beginning of an action, less in the middle and more frames again at the end.
Following Through and Overlapping Actions
This principle claims that, when a character is in motion and then stops, everything does not stop at once. For example, when a character is shaking their head and stops, the head will stop, but the hair will continue moving for several seconds after.