12 Principles of Animation (an overview)

From the 1930’s onwards at Disney Animation Studios the principles of animation were developed. These principles were based upon observation and study of the movement of humans and animals. Disney’s Animators closely studied and observed movement breaking it down into its component parts. Each of these components become a principle of animation, the 12 are the most widely accepted and taught.

They are: timing, spacing, arcs, squash and stretch, ease in and ease out (slow in/slow out), solid drawing, anticipation, secondary action, overlap and follow through, exaggeration, appeal, and staging.

The animators who became known as the Nine Old Men: Les Clark, Wolfgang Reitherman, Eric Larson, Ward Kimbal, Milt Kahl, Frank Thomas, Ollie Johnson, John Lounsbery and Marc Davis refined the principles of animation.

These principles are used to analyze movement, determine what is happening, and translate it into animation. The principles are tools for an animator to use to enhance the movement and emotions in their animation. These principles are also a common language for animators to use when communicating with one and another and to assist them in interrupting movement and performance for animation.

1. Timing-

• Timing can be an amount of time. This can be the total number of frames for an action, the number of frames between poses, or even the length of a shot. Timing is also the speed of an action (how fast or slow it is). Timing can help create emphasis during a particular action or emotion or emphasize part of an action or emotion. Timing is also when an action happens. Utilizing and varying the timing in animation creates rhythm.

2. Spacing-

• is the distance (space) between poses. This distance influences how fast or slow an action appears to be. Poses placed close together typically move slower. Poses that are placed farther apart tend to move faster. The distance an action or parts of an action covers between poses influences how sharp or soft the action feels. Spacing is closely tied to and influenced by timing.

3. Arcs-

• all actions with few exceptions move in arcs. Arcs create fluid appealing motion that is easy for the audience to follow. It is a reflection of how the natural world and its inhabitants move and navigate space. Arcs are a result of the combination of anatomical (skeleton) structure and gravity.

4. Squash and Stretch-

• is all about conveying force and weight. Squash and stretch helps to convey weight, force, and power behind an action. It reflects the balance and counter balance that occurs in a body and enables movement.

5. Ease In and Ease Out (slow in and slow out)-

• reflects the loss or build up of energy. It takes time for an objects to gain momentum and to slow down to a stop.

6. Solid Drawing/Solid Posing-

• In 3D animation we are not drawing each frame of animation with pencils on paper instead we are working with digital puppets. However, the concepts created for 2D drawing strongly applies to 3D puppets. As a 3D animator I prefer to think of principle as Solid Posing. Each pose needs to convey a strong sense of volume, weight, and balance. A Pose should clearly convey an action and/or emotion. The audience should be able to read and understand a pose even when placed in silhouette.

7. Anticipation-

• the amount of time (either long or short) needed to build up energy to execute an action. Anticipation directs the audience’s attention and helps their eyes follow a series of fast actions without becoming lost.

8. Secondary Action-

• is an action that is the direct result of another action. Such when a character skips across the screen, the up and down motion of their body causes their ponytail to bounce. Secondary action adds subtly and complexity to movement, heightening the believablity and reinforces the main action.

9. Overlap and Follow Through-

• establishes the flow between actions and phases of movement. Overlap and follow through helps to convey a sense of gravity, weight and drag upon a character, creature or object. One part of the body initiates an action, while the rest of the body follows, lagging behind. After an action is executed it takes time for the energy and power of the action to dissipate and for each part of the body to reach its point of rest.

10. Exaggeration-

• is about enhancing poses, action and emotion. The amount of exaggeration can be small or large, but the result is the same. Movement becomes easier to read and follow, emotion and personality stand out and the sense of power and weight is reinforced.

11. Appeal-

• All actions and all characters need to have appeal. Appeal is what keeps animation engaging and keeps the audience watching.

12. Staging-

• is layout. Planning and arranging all the objects and characters in front of the camera frame directing the audience to where they need to look. Staging establishes relationships and atmosphere.