The Twelve Principles of Animation
The Twelve Principles Of Animation
is a list of animation principles that came about during The Golden Age of Animation
, being discovered and refined by the many studios of the time. Walt Disney
, Looney Tunes
and Fleischer Studios
make the most notable usage of these principles.
The principles in question are: note
- Solid Drawingnote : Not "Solid" as in "Solid like granite", nor necessarily detailed or realistic drawing, but as in "solid geometry": space-occupying shapes with a defined form and an animateable, pliable mass. This essentially means having a mastery and proper understanding of drawing construction, perspective, form, anatomy and line control. Easily the most important of the principles, as it ideally allows the artist to draw and animate anything that comes to their mind—it is also highly encouraged by animators to learn to draw as well as possible before one should even consider learning how to animate. Disney films are commonly used as shorthand examples of solid drawing, such as Bill Tytla's animation of dwarfs in Snow White, or just about any animation done by Disney's Nine Old Men.
- Appealnote : Easily the most subjective principle, this essentially means giving the characters, good or bad, some charismatic aspect to like about them. Solid Drawing and carefully balanced designs and shapes can be appealing in and of themselves, although there are certainly far more ways to find appeal than that. It can range from being merely pretty or cute to being sardonic or even eerie in its charisma. Animation artists with notably dynamic appeal included Fred Moore and Mary Blair for the cuter side, and Ward Kimball, Tim Burton, John Kricfalusi and Ralph Bakshi for the more sardonic side of the scale.
- Exaggerationnote : Distortion of the drawings from their real life counterparts, be it in their designs or motion, often for comedic effect. Classic cartoon tropes such as Super Speed, the Wild Take and the smear are some of many examples of this. Some of the animation principles, particularly squash & stretch, can be exaggerated for not only comedic effect, but to bring out more timing, weight, power and emotion in one's drawings, bringing a rich subtlety to animation that allows it to hold its own against live action—the animation of Bill Tytla, Bob Clampett, Jim Tyer and Don Bluth for instance demonstrates this clearly. Exaggeration is not limited to motion either: it can likewise apply to not only the design and art direction of a show, but its subtext as well, such as in Ralph Bakshi's Heavy Traffic, which is a semi-autobiographical animated film, but features plenty of surreal visual hyperbole to put across the film's satirical undertones.
- Stagingnote : The presentation of an idea, scene, or action so that it is unmistakably clear, or directing the audience's attention to what is most important in a scene, what is happening, or what is about to happen. Only present one idea at a time to ensure your audience does not get confused and can register the presented idea clearly. This can extend from using negative spaces and broad gestures in your characters' movements and expressions, to as far as tailoring an entire background and layout around an action for the sake of clarity. Has close ties to the "Anticipation" principle. Timing also plays an important role in staging—Tex Avery for instance would have certain poses "held" on screen for a few frames, giving certain takes just enough time for the audience to read them clearly.
- Timingnote : Three versions:
- The first is Physical Timing. This helps objects appear to have a believable, but not always realistic, sense of weight and mass to them. One efficient technique animators use to keep the timing of their characters consistent and believable is to time the walks or runs to the tempo of a metronome beat (i.e. 12x beat=a step after every 12 drawings for a normal walk, an 8x beat for a fast chase scene). This was universally used by all of the Golden Age studios; one notable example is its use in the Tom and Jerry cartoons, as Bill Hanna used this technique constantly on the series, which was part of what gave the shorts their break-neck, but crisp timing.
- The second is Theatrical Timing, used both in dramatic situations and comedy. This is developed through natural experience, or could theoretically be learned by studying live action films—animators like Norm Ferguson of Disney and director Dave Fleischer of Fleischer Studios for instance applied much of their vast knowledge of vaudeville timing to their cartoons and animation.
- The third is Musical Timing. Not unlike the metronome technique, this can help an animator to not only plan out their animation or even the entire cartoon, but enhance the feeling and mood of it in motion, thus giving it a sensible structure. This principle is generally disregarded by modern animators as predictable and corny save for use in musical sequences, but some animators like Genndy Tartakovsky, Danny Antonucci and John Kricfalusi still use this principle to this day in any context they wish.
- Straight Ahead Action and Pose to Posenote : Either drawing each frame in a linear sequence or planning key poses ahead of time and filling them in. A combo of those two things is sometimes used. Pose to pose can be good preparation (and a good work saver) for an animator, but if done carelessly, can rob an action of vitality. Straight ahead can easily add spontaneity to animation, but is often much more time consuming to refine after the work is done.
- Anticipation, Action and Reaction, AKA Anticnote : The preparation of what action is going to happen next. This allows actions to read for an audience, and it gives breathing room for the next action, so that the illustrated actions have contrast against each other and don't bleed together. For example, a baseball player readies his bat before he swings, or Donald Duck prepares to launch himself into a run. A classic example of an antic is demonstrated by this image.◊ Antics not only provide readability for an action, but can also enhance them or be interesting in and of themselves—from something as typical as a lurch before a Wild Take, or as broad as a "Shrink Take" pioneered by Terrytoons animator Jim Tyer. Sometimes an antic can be avoided to add spontaneity to an action—an example of this would be a scene from the Bugs Bunny cartoon "Bugs Bonnets", when, as "Indian Bugs", he snaps out his arms to grab Elmer's rifle, with no antic. Animator Bill Tytla added two more steps to complete this principle; "Action", and "Reaction", all three serving as his basic rules of animation—an example of the latter two steps would be Fred Moore's animation of Donald Duck about to swing a bat at a piñata in "The Three Caballeros", where he anticipates, swings the bat and then abruptly screeches to a halt in mid-air.
- Squash and Stretchnote : Gives the drawings weight and flexibility while maintaining volume, making them look very organic and natural. The classic bouncing ball test is a perfect demonstration of this principle (among others) and is often used as an entry lesson exam for beginning animators. Squash And Stretch is not "cartoony" in and of itself (some realistic animation has been known to use it, albeit in a much more subdued form), but it can, and is often, exaggerated for comic effect. This principle is usually avoided or downplayed in TV cartoons, save exceptions like Ed, Edd 'n' Eddy, being percieved as "Too expensive", or, misguidingly, as "Too cartoony".
- Arcsnote : The lines of movement for paths of action, to make the movement feel natural instead of mechanical. Sometimes the arcs can be drawn out to aid the path of movement, with x marks dotting where the in-between drawings go.
- Secondary Actionnote : An extra action that helps support the primary action (i.e. walking). For example, a man is whistling while he walks, or Doc the Dwarf's cheeks drag as he turns his head.
- Slow In and Slow Outnote : A more specific variation of the Timing Principle—Every object needs time to both accelerate and slow down and everything is either accelerating or decelerating. This helps out with spacing in animation, which is essential for life-like smoothness and keeping your animation from looking mechanical and weightless.
- Follow Through and Overlapping Actionnote : Not all parts of the body move evenly together. Hard, bony parts move first and the fleshy parts have to catch up—this is demonstrated in the cheek animation of the Dwarfs in Snow White. For another example, when a character swings from a rope, the legs drag behind the body. Clothing also drags with movement.
Principles 6 to 12 pertain to the Disney School of Acting and Mime
is the Frank Thomas and Ollie Johnston
book The Illusion of Life: Disney Animation
Canadian animator Norman Mc Laren
also suggested his own variation of the basic animation principles; In his five part "Animated Motion" documentary, he says the three parts of animation fall under; "Motion", "Tempo"note
It should be noted that while Frank and Ollie's list covers a fairly good amount of the animation process, other Disney veterans like the late Walt Stanchfield suggested that there are actually a whopping 28
principles of animation, which are discussed in the two volumes of "Drawn to Life", which compile the thousands of notes taken during his acclaimed masterclasses. These principles are listed below:
- Pose and Mood
- Shape and form
- Model or Character
- Line and Silhoutte
- Action and Reaction
- Squash and Stretch
- Beat and Rhythm
- Depth and Volume
- Overlap and Follow Thru
- Working from Extreme to Extreme
- Straights and Curves
- Primary and Secondary Action
- Staging and Composition
- Positive and Negative Shapes