#12 principles of animation

[kawtharosaceae]

Well i tried.., it's the flour assignment but horrible TT

[tutorialdrawix]

RESOURCES FOR ANIMATION

Book Disney Animation: The Illusion of Life by Frank Thomas & Ollie Johnston

Book The Animator's Survival Kit by Richard Williams

Book Drawing Lessons from the Great Masters by Robert Beverly Hale

Book Character Animation Crash Course! by Eric Goldberg

TUTORIAL VIDEOS:

[kakoetomesto]

Not me explaining timing and spacing in animation to my students using Homestuck references

You’re welcome

[mrblitzsanimationtakes]

What is Appeal To Me?

In my days of drawing, I stumbled upon this principle of animation: Appeal. I was like, "Isn't appeal subjective?" I had a really hard time just defining it since it's such a subjective thing. But anyways, here's what I believe appeal to be.

Cute Characters

Yeh, this is the biggest part of appeal. Our brains are trained to accept friendly looking characters, like women, kids, and animals and find them appealing, especially if they've got big eyes and small noses like Clampett's Porky and Raven's Steven have. This is why SpongeBob and Steven Universe are more popular than....

...whatever this is.

Exaggerated Posing

Exaggerated posing is another way to appeal, I think. It immediately catches the audience's eye more than any of the poses you see on Family Guy do.

Cartoony emotions are very appealing, too.

Artists To Study When Searching For Appeal.

Katie Rice

Katie Rice is a very cool designer and a profoundly underrated artist. She reminds me a lot of Over The Garden Wall, Adventure Time, and the like. I believe you can check out her work on @katiejrice! I'd like to post some of her art on Skadi and Camp Weedontwancha, but unfortunately, some of them are lost.

Raven Molisee

Molisee worked on Ed, Edd, N' Eddy as a storyboarder, and it shows in her Steven Universe work! Her expressions are very loose and wacky, yet adorable at the same time. Especially when she draws steven. Such a shame she left the show. You can find her on @raveneesimo

Chris Reccardi

Alas, Chris Reccardi's gone to his final reward. But his reputation as an ANIMATION LEGEND lives on! His poses are full of zest and appeal, just stripping an action to their most wackiest essential! ESPECIALLY in Hermit Ren and Hard Times For Haggis.

I'd post more of appealing artists, but i'm running out of time, and besides, my computer's lagging. Just remember the principles of appeal:

Cute, or minimalist characters that are easy to see, and easy to draw. (Clampett, Molisee, Rice)

Funny poses that strip down an action to it's most exaggerated variant (Tex Avery, Reccardi, Kurtzman)

Exagerrated faces that are funny but not grotesque (Modern SpongeBob Crew, Reccardi, Bob Camp)

That's all for now! I'll talk more about this some other time.

[animationdesk]

I finished watching this and I enjoyed revisiting the 12 Principles of Animation! This video shares many examples to illustrate the Principles (Disney, Pixar, Warner Bros., Studio Ghibli, and more).

I also enjoyed the section about Timing and the different use of Framing (1s, 2s, 3s). Whether you are an animator, an illustrator/character designer, or passionate about animation, this video is fun!

[motionpandey]

Unlocking the Power of Animation: A Guide to the 12 Principles of Animation

The 12 Principles of Animation: Bringing Life to Art

Animation is a captivating and ever-evolving art form that has the power to transport audiences to fantastical worlds and stir deep emotions.

Behind the magic of animated films and videos lie the "12 Principles of Animation" a set of guidelines that have been the cornerstone of animation since their introduction by Disney animators Frank Thomas and Ollie Johnston in their 1981 book, "The Illusion of Life" These principles are the building blocks of animation, allowing artists to breathe life into characters and create fluid, engaging motion.

Here are the 12 principles, along with explanations for each:

1. Squash and Stretch (Flexibility and Elasticity)

This principle emphasizes the need to give volume and weight to objects and characters by distorting them when they move. It adds a sense of realism and exaggeration to the animation.

2. Anticipation (Preparing for Action)

Before a character makes a significant movement or action, there should be a brief moment where they prepare for it. This helps the audience understand what's about to happen and adds depth to the animation.

3. Staging (Presentation and Clarity)

Staging involves arranging elements in the scene to convey the story clearly. Proper framing, camera angles, and composition guide the viewer's focus to the most important elements.

4. Straight Ahead and Pose to Pose (Two Approaches to Animation)

These are two different methods of animating. Straight ahead involves creating each frame in sequence, while pose to pose focuses on defining key poses and then filling in the gaps. Both methods have their uses, depending on the desired effect.

5. Follow Through and Overlapping Action (Secondary Motion)

Objects and characters should continue moving slightly after their primary action has stopped (follow through) and some parts of the character may move at different rates or in different directions (overlapping action). This adds realism to motion.

6. slow in and out (Easing In and Out)

To make movements look more natural, objects should start and end their actions gradually, with acceleration and deceleration. This principle prevents abrupt and robotic motion.

7. Arcs (Natural Paths of Action)

Most natural movements follow an arcing path rather than straight lines. Animators should ensure that characters and objects move in arcs to mimic real-world physics.

8. Secondary Action (Supporting Actions)

Secondary actions complement the primary action and add depth to the character or scene. These actions can be facial expressions, gestures, or any other movement that enhances the animation.

9. Timing (Pacing and Rhythm)

Timing is crucial to establish the mood and rhythm of the animation. It determines how fast or slow actions occur and can evoke different emotions in the audience.

10. Exaggeration (Accentuating Reality)

Exaggeration is used to amplify the actions and emotions of characters, making them more expressive and engaging. However, it should be used judiciously to maintain believability.

11. Solid Drawing (Three-Dimensional Forms)

Animators must understand the principles of traditional drawing, including anatomy, perspective, and form, to create characters and objects that appear three-dimensional and solid in a 2D space.

12. Appeal (Attractiveness and Personality)

Appeal refers to the likability and charisma of characters. It involves designing characters with unique and interesting traits that draw the audience's attention and empathy.

Mastering Animation: 12 Essential Principles Explained These principles serve as a foundation for animators to craft compelling stories and characters.

While they were developed in the realm of traditional hand-drawn animation, they continue to be relevant in today's digital animation techniques.

Aspiring animators and seasoned professionals alike still rely on these principles to captivate audiences and breathe life into their creations, reminding us that the magic of animation lies in its ability to make the impossible seem real.

As i conclude this journey through the intricate world of animation, extend our heartfelt gratitude to each reader.

Thank You for Reading ♥

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[erichidalgocartoonistart]

Animator Eduardo Quintana animated the illustrations shown in The Animator’s Survival Kit by Richard Williams! Here, Richard asksanimation legend Milt Kahl about animating to music! 

Here are the images of the original exchange (in case you are unfamiliar):

The acting, pacing, and looseness are superb, and a real joy to watch! May it inspire you to push your animation skills! 

[jadethest0ne]

Trying out a daily animation challenge for a few weeks. For the first few days I want to focus on the 12 principles of animation to practice the fundamentals. But I figured I’d give them a fun twist. The first principle of animation is “squash & stretch” and is normally demonstrated with a bouncing ball. Decided to animate some cousin shenanigans with Gwen and Cannonbolt from Ben 10 for the purposes of this practice.

Some things I learned from this animation:

I need to remember the confines of the space I have to work with (should probably plan out the range of motion beforehand).

Pace myself better - I think I only want to spend a couple hours with each of these, maybe 3 at most, and this one took me a little over 4

Overall, I’m happy with how it came out, especially since it’s almost exactly what I had in my head! Wish me luck with future dailies!