1. The Fundamental Principles
Animation
The Fundamental Principles

2. Early Animation Processes
Animation is created when still images are played in rapid succession so that they appear to produce images that are constantly moving.
Animation appears to have continuous motion because the human eye (brain) “holds-onto” the still image for just a brief moment after it is viewed, and the image is still “there” (in your brain) when the next image is viewed.
The timing between individual images must be fast enough for the sequence to appear smooth.

3. Animation
Persistence of vision is the phenomenon of the eye by which an after image is thought to persist for approximately one twenty-fifth of a second on the retina.
Given a typical 24FPS animation the human eye will view 24 frames in one second
The brain storing will store each frame for a time slightly longer than the image stays on the screen
This gives the illusion of movement rather than the eye seeing a series of different pictures.

4. Early Animation Processes
The National Television Standards Committee (NTSC) frame rate = 30 frames per second for television (North America and Japan).
PAL (Phase Alternate Line) is the European standard of 25 frames per second.
The standard rate for film (motion pictures) = 24 frames per second.
A frame rate of 30 fps will require 1800 images for one minute of animation (30 fps x 60s).

5. Computer Animation
Position the object to be animated where you want the action to begin; this is first keyframe.
Set the number of frames that you want to use for the animation sequence. A one second “movie’ would typically use 30 frames per second (30 fps NTSC); two seconds would use 60 frames, etc.
Move, scale, or deform the object to become the next keyframe.

6. Animation Fireworks basic animation Frame by Frame animation
‘Inbetweening’ or ‘tweening’ is the process of generating intermediate frames between two images to give the appearance that the first image evolves smoothly into the second image. Inbetweens are the images between the key frames which aid in creating the illusion of motion
A key frame is a drawing that defines the starting and ending points of any smooth transition or tween

7. Animation

8. Computer Animation
Instruct the computer to calculate all of the transformations that will occur between the first keyframe and the last.
The computer will produce the 28 additional “in-between” images (tweens) needed for the one second of animation (you created the other two frames, the keyframes, for a total of 30).

9. Simple Animation Using Key Framing & Tweening

10. Creating Animation
Sample Storyboard

11. Storyboarding
A storyboard is a graphic, sequential depiction of an animation that is going to be created. It is a visual script designed to make it easier to see the animation scenes before they are created.
A storyboard identifies the major events in the story and illustrates them in cells (small squares or rectangles), which are drawn out in a sequential pattern.
Example Storyboard

12. Storyboarding
Storyboards are used for movies, TV, commercials, and animation.
The artwork does not have to be pretty or complex, but it should be neat and comprehensible.
The pictures in the storyboard should be accompanied by text.

13. Stages of Implementation
Creating Animation
Stages of Implementation
Ruff
EFX
Mattes
(Portions of frame)

14. Walt Disney’s 12 Principles of Animation
During the late 1920’s through the 1930’s, Walt Disney worked to improve the techniques of his studio animators.
Disney set up drawing classes for his animators at the Chouinard Art Institute in Los Angeles under Instructor Don Graham.
Through these lessons and interaction between Disney and his staff, a set of 12 principles was developed.
These principles were used in Disney animated productions including Snow White, Pinocchio, Fantasia, Dumbo, and Bambi.
This work is in the public domain because it was published in the United States between 1923 and 1963 and although there may or may not have been a copyright notice, the copyright was not renewed.
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15. 12 Fundamental Principles
Timing + Spacing
Timing is how long does it takes to get from one key pose to another
Spacing is the way to get from one key pose to another, whether its fast or slow e.g. eye blinking

16. 1. Timing Timing is the amount of frames between poses.
Comedians and actors work with their timing to get the maximum impact from their lines.
Timing can imply weight. Light objects have much less resistance and usually move much quicker than heavy objects.
Speed can imply emotion. A fast walk may mean happiness and a slow walk may mean depression.
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17. 12 Fundamental Principles
Arcs
An arc is the visual path of action for natural movement.
All actions, with few exceptions follow an arc or slightly circular path.
This is especially true of the human figure and the action of animals. Arcs give animation a more natural action and better flow.
Trajectory of a kicked ball

18. 2. Arcs Visual path of action for natural movement.
Makes animation much smoother and less stiff than a straight line.

19. 2. Arcs Almost all natural motion is in some form of an arc.
In 3D animation, a motion arc is usually created using a spline curve.
Pivot points often define the arc. The pivot point for the thigh is the hip, and the pivot point for the calf is the knee.
Most human motion follows an arc. If a boxer throws a punch, the motion of his glove follows an arc.
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20. 12 Fundamental Principles
Arcs

21. Spline Curves
Piecewise polynomials with smooth connections

22. 3. Anticipation Example: Goofy prepares to hit a baseball.
Preparation for an action
Example:
Goofy prepares to hit a baseball.

23. 12 Fundamental Principles
Anticipation
Anticipation of movement prepares the audience for a major action the character is about to perform
For example starting to run, jump or change expression.
A backwards motion occurs before the forward action is executed.
Anticipation is used to lead the viewers eye and prepare them for what will happen
Run off the screen... Starts with pose

24. 12 Fundamental Principles
Anticipation

25. 3. Anticipation
Animation can occur before an action. Before you jump, you bend your knees.
By exaggerating this action, the animator can guide the viewer’s eyes.
The formula for most animations is anticipation, action, and reaction.

26. 3. Anticipation
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28. 4. Exaggeration
Exaggeration is used to increase the readability of emotions and actions.
Animation is not a subtle medium.
Individual exaggerated poses may look silly as stills but add dramatic impact when viewed for a split second.
Animators should be careful to use exaggeration to increase understanding of feeling. Be careful not to over-exaggerate everything.
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29. 4. Exaggeration
Accentuating the essence of an idea via the design and the action.
Needs to be used carefully.
Example: Luxo Jr. made smaller to give idea of a child.
Obvious method but it.
Does not mean distorting shapes or objects or making an action more violent or unrealistic.
If one part exaggerated it runs the risk of standing out too much.
If everything is exaggerated it runs the risk of unrealism.

30. 12 Fundamental Principles
Exaggeration
Accentuating the essence of an idea via the design and the action.
Exaggeration does not mean just distorting the actions or objects arbitrarily, but the animator must carefully choose which properties to exaggerate.
If only one thing is exaggerated then it may stand out too much. If everything is exaggerated, then the entire scene may appear too unrealistic.

31. 5. Squash and Stretch Living flesh distorts during motion.
Exaggerated deformations will emphasize motion and impact.
Although objects deform like rubber, they must maintain volume while being squashed and stretched.
A bouncing ball will squash or elongate on impact and stretch vertically as it leaves the point of impact.
This is the most well known and often used principle.
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32. 5. Squash and Stretch Teaches basic mechanics of animation.
Defines rigidity of material.
Important in facial animation.
Drastic stretches = more pliable
Volume remains constant.

33. Squash and Stretch Cont.
Can relieve the disturbing effect of strobing.

34. 12 Fundamental Principles
Squash + Stretch
This helps to define the rigidity and mass of an object by distorting its shape during an action + adding realism

35. 6. Secondary Action Example:
Action that results directly from another action.
Used to increase the complexity and interest of a scene.
Example:
Body movement is the primary action, facial expression is the secondary action

36. 6. Secondary Actions
Secondary actions are minor actions that occur due to a major action. Most people blink their eyes when they turn their head.
Facial expressions are secondary actions.
Secondary actions are also actions caused by the impact of another object. The movement of a ball that has been kicked is a secondary action.
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37. 12 Fundamental Principles
Secondary Action
An action which adds to and enriches the main action and adds more dimension to the scene
Should be staged so as not to overpower the main action
Character sitting talking at a table
Secondary action may be the characters thumbs twiddling
Should be more and ‘felt’ more than noticed immediately

38. 6. Secondary Actions

39. 12 Fundamental Principles
Follow Through + Overlapping
Follow through is like anticipation but at the end of an action. When the main body of the character stops all other parts continue to catch up to the main mass of the character e.g. long hair, floppy ears or a long tail
Overlapping action is an action caused by another
If a character changes direction, a number of frames later, his clothes & hair will follow in the new direction. Timing becomes critical to the effectiveness of overlapping action.

40. 7. Follow Through and Overlap
Follow Through is the action that follows the main action. It is the opposite of anticipation.
When a baseball bat hits the baseball, it does not stop abruptly. A boxer does not freeze at the moment a punch lands.
Overlapping actions means that all elements do not stop at the same time.
Overlapping action also means that a new action may begin before the earlier action is terminated. When hitting a baseball, the legs may begin moving to first base while the bat is finishing the swing.
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41. 7. Follow Through and Overlapping Action
Example: after throwing a ball
1. Follow Through
Termination part of an action.
2. Overlapping Action
Starting a second action before the first has completed.
Series of overlapping actions.

42. 12 Fundamental Principles
Follow Through + Overlapping

43. 8. Straight Ahead Action and Pose-to-Pose Action
Animator start from first drawing in the scene and draw all subsequent frames until the end of scene.
2. Pose-to-Pose
Animator plans actions, draws a sequence of poses, in between frames etc.
Used when scene requires more thought and poses and timing are important.

44. 8. Straight Ahead Versus Pose To Pose
Straight Ahead animation means drawing the frames in sequence. This leads to spontaneous motion. It works well with abstract animation.
Pose To Pose is the more often used animation technique. It requires the animator to create strong posed (keyframes) first and add the in-between frames later.
Pose to Pose is used for animation that requires good acting, where the poses and timing are all important.
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45. 8. Straight Ahead Versus Pose To Pose
Straight Ahead animation means drawing the frames in sequence. This leads to spontaneous motion. It works well with abstract animation and fluids.
Image 03. Used with permission.
Pose To Pose is the more often used animation technique. It requires the animator to create strong poses (keyframes) first and then add the in-between frames.
Image 04. Used with permission.
Copyright © Texas Education Agency, All rights reserved. Images and other multimedia content used with permission. 

46. 12 Fundamental Principles
Straight Ahead Action and Pose-to-Pose Action
2 basic methods of creating animation SAA + PPA
SAA: Animator draws or sets up objects one frame at a time until the sequence is complete
Can yield a fresh look but can be difficult to time correctly & tweak
PPA: Setting up key poses & then drawing or generating in-between images – key frame approach
Excellent for tweaking or timing
Generally a hybrid approach is applied to contemporary animation

48. 9. Staging Staging is the clear presentation of an idea.
The animator can use the camera viewpoint, the framing of the shot, and the position of the characters to create a feeling or strengthen understanding.
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49. 9. Staging A clear presentation of an idea. Some Techniques:
Use motion in a still scene or use of static movement in a busy scene.
Use of silhouettes (to the side)
Important that only one idea is seen by the audience at a time.
Too much leads to main idea being “upstaged” or overlooked.

51. 12 Fundamental Principles
Staging
This is presenting an action or idea so that it is easily understood
Objective of staging is to lead the viewers eye to where the action will occur so that they do not miss anything
This can be achieve by the framing of the camera, the positioning of the character, the flow lines of the character’s line of actions, and also movements.
Present only one idea so as not to upstage

52. 10. Solid Drawing
In 3D animation, this would be equivalent to Solid Modeling.
To get maximum feeling from the audience, animated characters must be drawn or modeled precisely.
Proper drawing and modeling can reveal a character’s weight, character, and emotion.
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53. Image 15. Used with permission.
10. Solid Drawing
Proper drawing and modeling are needed to give the character proper depth and balance.
When creating animated characters, it is a good idea to not add too much detail.
Image 15. Used with permission.

54. 12 Fundamental Principles
Solid Drawing
Solid in-betweens are just as important as solid keys. Without solid drawing, animations can appear to morph or dither as they change in quality.
Once you can pause an animation at any time and the frame can stand out on its own as an individual piece of still art – you have achieved solid drawing

56. 11. Appeal Refers to what an audience would like to see.
Character cannot be too simple (boring) or too complex.
Examples:
Avoid mirror symmetry, assymmetry is interesting.
Such as two arms doing the exact same thing.

57. 11. Appeal
Animated characters need to have a unique personality and have a wide range of emotions (happy, excited, fearful, embarrassed, angry, scared, etc.).
Character flaws are actually a good thing. Audiences can be sympathetic to characters that have a flaw or two.
Complex personalities and moral ethical dilemmas add to character appeal.
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58. 12 Fundamental Principles
Appeal
Appeal means creating something that the audience will want to see.
This is equivalent to charisma in a live actor.
A scene or character should not be too simple (boring) or too complex (can’t understand it).

60. 12 Fundamental Principles
Ease In and Out
Refers to the variation of the movement speed between different poses
Object or limb may slow down (Ease In) or speed up (Ease Out) as it approaches a pose

61. 12. Slow in and Out
Spacing of inbetween frames to achieve subtlety of timing and movement.
3d keyframe comp. Systems uses spline interpolation to control the path of an object.
Has tendency to overshoot at extremes (small # of frames).
Early on, animation was drawing fairly even. But when poses of pose-to-pose animation became more expressive, animators wanted them to see them.

62. 12. Slow In and Slow Out
Most motion starts slowly, accelerates, and then slows again before stopping. Imagine a car that went 40 mph immediately when stepping on the accelerator and went to 0 mph when hitting the brake.
Gravity has an effect on slow in/slow out. When a ball bounces, it increases in speed as it gets closer to the ground. It decreases in speed at the top of the arch.
In many 3D applications, easing is created by setting the tension of a TCB spline to 1.0. To get the opposition effect from a keyframe, tension is set to -1.0.
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63. 6. Slow In and Slow Out
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65. What techniques used for Wally B.?
Preparation
Action proper
Termination of action.

66. What do you think Wally B’s going to do?
Use of squash and stretch, anticipation, follow through, overlapping action, and secondary action.

67. The Action: Zooooooooooommmm!

68. Termination: Poof! He’s gone!

69. Role of Personality Conclusion
Animator’s first goal is to entertain.
Success of animation lies in the personality of the characters.
Conclusion
Hardware/Software are simply not enough, these principles are just as important tools too.

70. Critique
PROs
Clear and concepts explained well with pictures and examples.
CONs
Need more examples on “bad animation”
What really makes good vs bad animation? Need to make a better one on one comparison.
Personality section: is it necessary?

71. Evaluating Animation
Needs to be compared to graphics that do not change with time, as it is change with time that animation adds.
How well does animation teach complex systems: mechanical, biological, physical, and operational.

72. Why Do Animations Fail? Animations may be hard to perceive.
Animations may be comprehended discretely.
Not universally preferred and often require expertise for understanding.
Some kinds of motions, observers can select the correct path from an animation, but still produce it incorrectly.
If motion is conceived as in discrete steps, then it should be potrayed in discrete steps instead of being animated. IE. Operating a machine or assembling an object of some sort.
Already shown in previous talks that interactivity can facilitate learning but no studies on interactivity of animation vs interactivity of static graphics.

73. Three Major Drawing Objects
Parameterized diagrams - functions that draw objects and are redrawn each time it is executed.
Animation Objects - One scalar parameter and provides mapping to a set of other drawing objects to be invoked.
Interactive Objects - same as animated objects except can be edited while being played.
2. System also has a number of built-in objects to display things like background fills, text boxes, still images, and bulleted lists.

74. Example of Parameterization
Parameterization lets us animate the diagram by manipulating a single abstract “amount of pull” parameter, rather than managing all the individual graphical elements individually.

75. The End