Twelve basic principles of animation: Difference between revisions

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[[Disney's]] '''twelve basic principles of animation''' were introduced by the Disney [[animator]]s [[Ollie Johnston]] and [[Frank Thomas (animator)|Frank Thomas]] in their 1981 book ''[[The Illusion of Life: Disney Animation]]''.{{Ref_label|A|a|none}}<ref name="IoL">{{cite book|last=Thomas|first=Frank|author2=Ollie Johnston|title=The Illusion of Life: Disney Animation|publisher=Hyperion|orig-year=1981|year=1997|pages=47–69|isbn=978-0-7868-6070-8}}</ref> The principles are based on the work of [[Disney's Nine Old Men|Disney animators from the 1930s onwards]], in their quest to produce more realistic animation. The main purpose of these principles was to produce an [[illusion]] that [[cartoon]] characters adhered to the basic [[Physical law|laws of physics]], but they also dealt with more abstract issues, such as emotional timing and character appeal.

The book has been referred to by some as the "[[Bible]] of animation",<ref>{{cite web|last=Allan|first=Robin|title=Walt Disney's Nine Old Men & The Art Of Animation|url=http://www.awn.com/articles/reviews/walt-disneys-nine-old-men-art-animation/page/2%2C1|publisher=Animation World Network|access-date=October 21, 2011 |archive-url=https://web.archive.org/web/20131102024027/http://www.awn.com/articles/reviews/walt-disneys-nine-old-men-art-animation/page/2%2C1 |archive-date=November 2, 2013 }}</ref> and some of its principles have been adopted by [[Traditional animation|traditional]] [[Animation studio|studios]]. In 1999, ''The Illusion of Life'' was voted the "best animation book[...] of all time" in an online poll done by [[Animation World Network]].<ref>{{cite web|title=List of Best Animation Books|url=http://news.awn.com/index.php?&newsitem_no=1454|publisher=Animation World Network|access-date=October 21, 2011 |archive-url=https://web.archive.org/web/20090903005632/http://news.awn.com/index.php?&newsitem_no=1454 |archive-date=September 3, 2009 }}</ref> While originally intended to apply to traditional, [[Traditional animation|hand-drawn animation]], the principles still have great relevance for today's more prevalent [[computer animation]].

==The 12 principles of animation==

===Squash and stretch===

[[File:Squash and Stretch.svg|thumb|right|300px|The squash and stretch principle:<br />rigid, non-dynamic movement of a ball is compared to a "squash" at impact and a "stretch" during the fall and after the bounce. Also, the ball moves less in the beginning and end (the "slow in and slow out" principle).]]

[[File:Squash and Stretch.svg|thumb|right|300px|The squash and stretch principle:<br />rigid, non-dynamic movement of a ball is compared to a "squash" at impact and a "stretch" during the fall and after the bounce. Also, the ball moves less in the beginning and end (the "slow in and slow out" principle).]]The purpose of [[squash and stretch]]<ref name="Johnston">Johnston & Thomas (1981), p. 47.</ref> is to give a sense of weight and flexibility to drawn or computer-animated objects. It can be applied to simple objects, like a bouncing ball, or more complex constructions, like the musculature of a human face.<ref>Johnston & Thomas (1981), pp. 47–51.</ref><ref>{{cite web|url=http://www.evl.uic.edu/ralph/508S99/squash.html|title=Squash and stretch|last=De Stefano|first=Ralph A|publisher=Electronic Visualization Laboratory, [[University of Illinois at Chicago]]|access-date=June 26, 2008}}</ref> Taken to an extreme, a figure stretched or squashed to an exaggerated degree can have a comical effect.<ref>{{cite web|url=http://wiki.blender.org/index.php/BSoD/Introduction_to_the_Principles_of_Animation/Principles/Squash_and_Stretch|title=Squash and Stretch|last=Willian|date=July 5, 2006|publisher=Blender|access-date=June 27, 2008|archive-url=https://web.archive.org/web/20090216225029/http://wiki.blender.org/index.php/BSoD/Introduction_to_the_Principles_of_Animation/Principles/Squash_and_Stretch|archive-date=February 16, 2009|url-status=dead|df=mdy-all}}</ref> In realistic animation, however, the most important aspect of this principle is that an object's volume ''does not'' change when squashed or stretched. If the length of a ball is stretched vertically, its width (in three dimensions, also its depth) needs to contract correspondingly horizontally.<ref>Johnston & Thomas (1981), p. 49.</ref>

===Anticipation===

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These are two different approaches to the drawing process. [[Straight ahead animation|Straight ahead action]] scenes are animated frame by frame from beginning to end, while "[[Pose to pose animation|pose to pose]]" involves starting with drawing key frames, and then filling in the intervals later.<ref name="AT"/> "Straight ahead action" creates a more fluid, dynamic illusion of movement, and is better for producing realistic action sequences. On the other hand, it is hard to maintain proportions and to create exact, convincing poses along the way. "Pose to pose" works better for dramatic or emotional scenes, where composition and relation to the surroundings are of greater importance.<ref>Johnston & Thomas (1981), pp. 56–8.</ref> A combination of the two techniques is often used.<ref name="IPA SAA&PtP">{{cite web|url=http://wiki.blender.org/index.php/BSoD/Introduction_to_the_Principles_of_Animation/Principles/Straight_Ahead_Action_and_Pose_to_Pose|title=Straight Ahead Action and Pose to Pose|last=Willian|date=July 5, 2006|publisher=Blender|access-date=June 28, 2008|archive-url=https://web.archive.org/web/20070504053536/http://wiki.blender.org/index.php/BSoD/Introduction_to_the_Principles_of_Animation/Principles/Straight_Ahead_Action_and_Pose_to_Pose|archive-date=May 4, 2007|url-status=dead|df=mdy-all}}</ref>

Computer animation removes the problems of proportion related to "straight ahead action" drawing; however, but "pose to pose" is still used for computer animation, because of the advantages it brings in composition.<ref>{{cite web|url=http://www.evl.uic.edu/ralph/508S99/straight.html|title=Straight Ahead Action and Pose-To-Pose Action|last=De Stefano|first=Ralph A|publisher=Electronic Visualization Laboratory, [[University of Illinois at Chicago]]|access-date=June 28, 2008}}</ref> The use of computers facilitates this method and can fill in the missing sequences in between poses automatically. It is still important to oversee this process and apply the other principles.<ref name="IPA SAA&PtP"/>

==== In computer animation ====

Computer animation removes the problems of proportion related to "straight ahead action" drawing; however, "pose to pose" is still used for computer animation, because of the advantages it brings in composition.<ref>{{cite web|url=http://www.evl.uic.edu/ralph/508S99/straight.html|title=Straight Ahead Action and Pose-To-Pose Action|last=De Stefano|first=Ralph A|publisher=Electronic Visualization Laboratory, [[University of Illinois at Chicago]]|access-date=June 28, 2008}}</ref> The use of computers facilitates this method and can fill in the missing sequences in between poses automatically. It is still important to oversee this process and apply the other principles.<ref name="IPA SAA&PtP"/>

===Follow through and overlapping action===

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===Slow in and slow out===

The movement of objects in the real world, such as the human body, animals, vehicles, etc. needs time to accelerate and slow down. For this reason, more pictures are drawn near the ''beginning'' and ''end'' of an action, creating a ''slow in'' and ''slow out'' effect in order to achieve more realistic movements. This concept emphasizes the object's extreme poses. Inversely, fewer pictures are drawn within the ''middle'' of the animation to emphasize faster action.<ref name="AT"/> This principle applies to characters moving between two extreme poses, such as sitting down and standing up, but also for inanimate, moving objects, like the bouncing ball in the above illustration.<ref name="IPA SI&SO">{{cite web |url=http://wiki.blender.org/index.php/BSoD/Introduction_to_the_Principles_of_Animation/Principles/Slow_In_and_Slow_Out |title=Slow In and Out |last=Willian |date=July 5, 2006 |publisher=Blender |access-date=June 28, 2008 |archive-url=https://web.archive.org/web/20090216173559/http://wiki.blender.org/index.php/BSoD/Introduction_to_the_Principles_of_Animation/Principles/Slow_In_and_Slow_Out |archive-date=February 16, 2009 |url-status=dead |df=mdy-all }}</ref>

===Arc===

Most natural action tends to follow an arched [[trajectory]], and animation should adhere to this principle by following implied "arcs" for greater realism. This technique can be applied to a moving limb by rotating a joint, or a thrown object moving along a [[parabola|parabolic]] trajectory. The exception is mechanical movement, which typically moves in straight lines.<ref>Johnston & Thomas (1981), pp. 62–3.</ref>

As an object's speed or momentum increases, arcs tend to flatten out in moving ahead and broaden in turns. In baseball, a fastball would tend to move in a straighter line than other pitches; while a figure skater moving at top speed would be unable to turn as sharply as a slower skater, and would need to cover more ground to complete the turn.

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===Secondary action===

Adding secondary actions to the main action gives a scene more life, water bottlesand can help to support the main action. A person walking can simultaneously swing their arms or keep them in their pockets, speak or whistle, or express emotions through facial expressions.<ref>Johnston & Thomas (1981), pp. 63–4.</ref> The important thing about secondary actions is that they emphasize, rather than take attention away from the main action. If the latter is the case, those actions are better left out.<ref name="PoA SA">{{cite web|url=http://www.evl.uic.edu/ralph/508S99/secondar.html|title=Secondary Action|last=De Stefano|first=Ralph A|publisher=Electronic Visualization Laboratory, [[University of Illinois at Chicago]]|access-date=June 28, 2008}}</ref> For example, during a dramatic movement, facial expressions will often go unnoticed. In these cases, it is better to include them at the beginning and the end of the movement, rather than during.<ref>Johnston & Thomas (1981), p. 64.</ref>

Adding secondary actions to the main action gives a scene more life, water bottles can help to support the main action. A person walking can simultaneously swing their arms or keep them in their pockets, speak or whistle, or express emotions through facial expressions.<ref>Johnston & Thomas (1981), pp. 63–4.</ref> The important thing about secondary actions is that they emphasize, rather than take attention away from the main action. If the latter is the case, those actions are better left out.<ref name="PoA SA">{{cite web|url=http://www.evl.uic.edu/ralph/508S99/secondar.html|title=Secondary Action|last=De Stefano|first=Ralph A|publisher=Electronic Visualization Laboratory, [[University of Illinois at Chicago]]|access-date=June 28, 2008}}</ref> For example, during a dramatic movement, facial expressions will often go unnoticed. In these cases, it is better to include them at the beginning and the end of the movement, rather than during.<ref>Johnston & Thomas (1981), p. 64.</ref>

===Timing===

{{Redirect|Timing (animation)|the animationrelated technique|Blocking (animation)|sheet timing|Exposure sheet}}

Timing refers to the number of drawings or frames for a given action, which translates to the speed of the action on film.<ref name="AT"/> On a purely physical level, correct timing makes objects appear to obey the laws of physics. For instance, an object's weight determines how it reacts to an impetus, like a push: a lightweight object will react faster than a heavy one.<ref name="PoA T">{{cite web|url=http://www.evl.uic.edu/ralph/508S99/timing.html|title=Timing|last=De Stefano|first=Ralph A|publisher=Electronic Visualization Laboratory, [[University of Illinois at Chicago]]|access-date=June 28, 2008}}</ref> Timing is critical for establishing a character's mood, emotion, and reaction.<ref name="AT"/> It can also be a device to communicate aspects of a character's personality.<ref>Johnston & Thomas (1981), pp. 64–5.</ref>

===Exaggeration===

[[Exaggeration]] is an effect especially useful for animation, as animated motions that strive for a perfect imitation of reality can look static and dull.<ref name="AT"/> The level of exaggeration depends on whether one seeks realism or a particular style, like a caricature or the style of a specific artist. The classical definition of exaggeration, employed by Disney, was to remain true to reality, just presenting it in a wilder, more extreme form.<ref>Johnston & Thomas (1981), p. 65-6.</ref> Other forms of exaggeration can involve the supernatural or surreal, alterations in the physical features of a character; or elements in the storyline itself.<ref>{{cite web|url=http://wiki.blender.org/index.php/BSoD/Introduction_to_the_Principles_of_Animation/Principles/Exaggeration|title=Exaggeration|last=Willian|date=June 29, 2006|publisher=Blender|access-date=June 28, 2008|archive-url=https://web.archive.org/web/20090207202658/http://wiki.blender.org/index.php/BSoD/Introduction_to_the_Principles_of_Animation/Principles/Exaggeration|archive-date=February 7, 2009|url-status=dead|df=mdy-all}}</ref> It is important to employ a certain level of restraint when using exaggeration. If a scene contains several elements, there should be a balance in how those elements are exaggerated in relation to each other, to avoid confusing or overawing the viewer.<ref name="PoA E">{{cite web|url=https://www.evl.uic.edu/ralph/508S99/exaggera.html |title=Exaggeration |last=De Stefano |first=Ralph A |publisher=Electronic Visualization Laboratory, [[University of Illinois at Chicago]] |access-date=June 28, 2008 |df=mdy }}{{cbignore|bot=medic}}</ref>

===Solid drawing===

The principle of [[solid geometry|''solid'']] drawing means taking into account forms in three-dimensional space, or giving them volume and weight.<ref name="AT"/> The animator needs to be a skilled artist and has to understand the basics of three-dimensional shapes, anatomy, weight, balance, light and shadow, etc.<ref>Johnston & Thomas (1981), pp. 66–7.</ref> For the classical animator, this involvedwould takingbe artachieved classeswith andclassical doingtraining sketchesincluding fromextensive art classes and [[life drawing]].<ref name="IPA SD">{{cite web|url=http://wiki.blender.org/index.php/BSoD/Introduction_to_the_Principles_of_Animation/Principles/Solid_Drawing&oldid=116790|title=Solid Drawing|last=Willian|date=July 5, 2006|publisher=Blender|access-date=June 15, 2010|archive-url=https://web.archive.org/web/20110719173249/http://wiki.blender.org/index.php/BSoD/Introduction_to_the_Principles_of_Animation/Principles/Solid_Drawing%26oldid%3D116790|archive-date=July 19, 2011|url-status=dead|df=mdy-all}}</ref> One thing in particular that Johnston and Thomas warned against was creating "twins": characters whose left and right sides mirrored each other, and looked lifeless.<ref>Johnston & Thomas (1981), p. 67.</ref>

==== In computer animation ====

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* {{cite book |last=Bancroft|first=Tom|author2=Glen Keane|title=Creating Characters with Personality: For Film, TV, Animation, Video Games, and Graphic Novels|publisher=Watson-Guptill|year=2006|isbn=978-0-8230-2349-3}}

* {{Cite web |last=Kilmer |first=David |date=28 September 1999 |title=Disney's ILLUSION OF LIFE tops best animation books poll |url=https://www.awn.com/news/disneys-illusion-life-tops-best-animation-books-poll |archive-url=https://web.archive.org/web/20151125220757/http://www.awn.com/news/disneys-illusion-life-tops-best-animation-books-poll |archive-date=25 November 2015 |url-status=live |publisher=[[Animation World Network]] |access-date=16 June 2021}}

* {{cite journal |last=Lasseter|first=John|date=July 1987|title=Principles of Traditionaltraditional Animationanimation applied to 3D Computercomputer animation Animation|journal=ACM SIGGRAPH Computer Graphics |date=July 1987 |volume= 21|issue= 4|pages=35–44|url=http://www.siggraph.org/education/materials/HyperGraph/animation/character_animation/principles/prin_trad_anim.htm|doi=10.1145/37402.37407|url-access=subscription}}

* {{cite book |last=Mattesi|first=Mike|title=Force: Dynamic Life Drawing for Animators, Second Edition|publisher=Focal Press|year=2002|isbn=978-0-240-80845-1|url=https://www.amazon.com/gp/reader/0240808452/ref=sib_dp_pt#reader-link}}

* {{cite book |last=Osipa|first=Jason|title=Stop Staring: Facial Modeling and Animation Done Right|publisher=John Wiley & Sons|year=2005|edition=2nd|isbn=978-0-471-78920-8|url=https://www.amazon.co.uk/gp/reader/0471789208/ref=sib_dp_pt#reader-link}}

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[[Category:1981 introductions]]

[[Category: 12 (number)|Animation, basic principles of]]

[[Category:Animation techniques]]

[[Category:Walt Disney Animation Studios]]