1. P RINCIPLES OF A NIMATION

2. 1. Squash and Stretch 2. Anticipation 3. Staging 4. Straight Ahead v. Pose to Pose 5. Follow Through and Overlapping Action 6. Slow In and Slow Out 7. Arcs 8. Secondary Action 9. Timing 10. Exaggeration 11. Solid Drawing 12. Appeal

3. N INE O LD M EN H ISTORY During the 1920’s and 1930’s, Disney had his animators attend the Chouinard Art Instititude in Los Angeles to develop their drawing skills. The outcome of this education was a set of twelve animation principles that Disney used in his productions. Meet the Nine Old Men http://craigbowman.com/animation/12- principles-of-animation-part-i http://craigbowman.com/animation/12- principles-of-animation-part-i The making of Snow White and the Seven Dwarfs http://www.youtube.com/watch?v=OebUzEhSLBI http://www.youtube.com/watch?v=OebUzEhSLBI

4. Gives the illusion of weight to an object as it moves An object’s volume must not be changed when squashed or stretched. Another Example and CC-BY-SA Lapman 2008

5. S QUASH AND S TRETCH D EFINITION Living flesh distorts during motion. Exaggerated deformations will emphasize motion and impact.

6. A NTICIPATION Prepares the audience for the action and makes the action appear more realistic The formula for most animations is anticipation, action and reaction.

7. A NTICIPATION D EFINITION Animation can occur before an action.

8. S TAGING A scene should reveal the attitude, mood, reaction or idea of the character or story. Camera angles help frame this for the audience.

9. S TAGING D EFINITION The clear presentation of an idea.

10. S TRAIGHT A HEAD V. P OSE TO P OSE Begins with the first drawing and works drawing toward the end of a scene. Planned out and charted Key drawings done at intervals throughout the scene Straight Ahead AnimationPose to Pose Animation

11. S TRAIGHT A HEAD VERSUS P OSE TO P OSE D EFINITION Drawing the frames in sequence versus creating strong posed (keyframes) first and adding the inbetween frames later.

12. F OLLOW T HROUGH AND O VERLAPPING A CTION When the main body of the character stops all other parts continue to catch up to the main mass of the character, such as arms, long hair, clothing, floppy ears, a dress or a long tail. Animated Example CC-BY-SA SunCreator 2010

13. F OLLOW T HROUGH AND O VERLAP D EFINITION The action that follows the main action; actions do not stop at the same time.

14. S LOW I N AND S LOW O UT More drawings near start and end pose. Softens the action CC-BY-SA Lapman 2008

15. S LOW I N AND S LOW O UT D EFINITION Also known as ease in and ease out.

16. A RCS All actions, with few exceptions follow an arc or slightly circular path. © Road2Animate 2010

17. A RCS D EFINITION The basis for almost all natural motion. Created using a pivot point or spline curve.

18. S ECONDARY A CTION Action adds to the main action and adds dimension to the character

19. S ECONDARY A CTIONS D EFINITION Minor actions that occur due to a major action.

20. T IMING Timing refers to the number of drawings or frames for a given action On a purely physical level, correct timing makes objects appear to abide to the laws of physics Timing is critical for establishing a character's mood, emotion, and reaction.

21. T IMING D EFINITION Amount of frames between poses.

22. E XAGGERATION Exaggeration is an effect especially useful for animation, as perfect imitation of reality can look static and dull in cartoons. The exaggeration should increase understanding of the feeling of the character.

23. E XAGGERATION DEFINITION Used to increase readability of emotions and actions.

24. S OLID D RAWING The basic principles of drawing apply to animation as it does to academic drawing.

25. S OLID D RAWING D EFINITION To get maximum feeling from the audience, animated characters must be drawn or modeled precisely.

26. A PPEAL Appeal includes an easy to read design, clear drawing, and personalit y developm ent to capture the audience’s interest

27. A PPEAL D EFINITION Animated characters need to have a unique personality and have a wide range of emotions.

28. S UMMARY The 12 Principles of Animation were developed by the animators at Disney studios. They serve as guidelines to make animation (drawn or computer generated) more realistic and appealing to an audience. Let’s take a look at how these principles have been applied in an animation.

30. E XAMPLES OF 12 P RINCIPLES 12 Principles of Animation Examples: http://craigbowman.com/animation/principles- of-animation-part-ii http://craigbowman.com/animation/principles- of-animation-part-ii 12 Principles of Animation (7-12) Examples: http://craigbowman.com/animation/principles- of-animation-part-iii http://craigbowman.com/animation/principles- of-animation-part-iii You try to find examples of the 12 Principles of Animation by going to http://phsanimation.wikispaces.com/Megan+G+- +12+Principles+-+Squash+and+Stretch http://phsanimation.wikispaces.com/Megan+G+- +12+Principles+-+Squash+and+Stretch

31. R EFERENCES "12 Basic Principles of Animation." Wikipedia, the Free Encyclopedia. 23 Apr. 2011. Web. 24 Apr. 2011.. "Frank & Ollie'sWebsite: Principles of Physical Animation." Frank & Ollie'sOfficial Site. Web. 24 Apr. 2011.. Lightfoot, Nataha. "Animation Toolworks' Library - 12 Principles." Animation Toolworks - Home of the LunchBox DV, LunchBox Sync and Video LunchBox. Web. 24 Apr. 2011.. Stefano, Ralph A. "The Principles of Animation." Evl | Electronic Visualization Laboratory. Web. 24 Apr. 2011.

32. I MAGES Arc. Digital image. Road2Animate. 30 Apr. 2010. Web. 24 Apr. 2011.. Dikeman, Rick. Pitcher's Motion. Digital image. Wikipedia, the Free Encyclopedia. 15 Sept. 2004. Web. 24 Apr. 2011.. Lampman. Squash and Stretch. Digital image. Wikipedia, the Free Encyclopedia. 27 June 2008. Web. 24 Apr. 2011.. Nystrom, J-E. Animhorse. Digital image. Wikipedia, the Free Encyclopedia. 6 Mar. 2010. Web. 24 Apr. 2011.. All images courtesy Microsoft Office ClipArt, unless otherwise noted.