1. SQUASH AND STRETCH
Defining the rigidity and mass object distorts its shape during operation. This action gives the illusion of weight and volume of the mark when it moves. Also squash and stretch is useful in animating dialogue and doing facial expressions. How extreme the use of squash and stretch is, depends on what is required for animating a scene. In general, it is a broader picture and short style is more subtle feature. It is used in all forms of character animation of a bouncing ball weight of a person walking. This is the most important element you need to master, and is often used.
2. ANTICIPATION
Preparatory activities. This movement is preparing a major public nature of the activity is about to perform, such as starting to run, jump or change expression. The dancer does not just jump off the floor. Backwards motion occurs before the forward action is performed. Backward motion is the anticipation. Comic effect can be done in anticipation of the series will not be used after the gags that used anticipation. Almost all real action has major or minor anticipation such as a pitcher's wind-or golfers' back swing. Feature animation is often less broad than short animation unless a scene requires it to develop a characters personality.
3. STAGING
Presenting the idea so that it is obvious to. Pose or action should clearly inform the public attitude, mood, reaction or idea of character as it relates to the continuity of the story and plot. Effective use of long, medium or close-up shots, as well as camera angles also helps to tell the story. There are a limited amount of time to film, so each sequence, scene and frame the movie is to embrace the whole story. Do not confuse the audience too much work at one time. Use one of the steps to get a clear idea of the cross, if you are animating a scene, which is to describe the clutter and confusion. Sets directs the audience's attention to a story or an idea multiplied. Care must be taken in the background in the design, so it is not covered by the animation or competing because too many details behind the animation. Background and animation should work together with the photo unit of the scene.
4. STRAIGHT AHEAD AND POSE TO POSE ANIMATION
Two opposite approaches to the creation of the movement. Straight ahead animation starts the first drawing and works drawing drawing of the end of the scene. You can lose size, volume, and proportions with this method, but it is not a spontaneity and freshness. Fast, wild action scenes are done this way. Cause Pose is more planned out and mapped the key drawings done at intervals throughout the scene. Size, amount and proportions are controlled better in this way, because it operates. Lead animator changes the mapping and the keys over to his assistant. Attorney may be better to use this method in order to animator do not need to do any drawing scene. Animator can do more scenes this way and concentrate on the design of the animation. Many of the scenes use a bit of both methods of animation.
5. FOLLOW THROUGH AND OVERLAPPING ACTION
Termination of an action, and establish its relationship to the next function. 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, coat tails or a dress, floppy ears or a long tail (these are the path of action). Nothing will stop all at once. This is the follow through. Overlapping action is when the character changes direction while his clothes or hair continues forward. Character is going in a new direction, to be followed, a number of frames later, his clothes in the new direction. "Energized" animation, for example, would be when Goofy starts, but his head, ears, upper body, and clothes do not stay on his feet. Features, such behavior is more subtle. Example: When Snow White starts to dance, her dress does not begin to move in with him right away, but caught a few frames later. Long hair and animal tail also be treated in the same way. Timing becomes critical to the effectiveness of drag and the overlapping action.
6. SLOW-OUT AND SLOW-IN
Spacing between frames to achieve subtlety of timing and movement. As the action begins, we have more drawings near the starting point cause, one or two in the middle, and more drawings near the next pose. Fewer drawings make operations faster and more drawings make the action slower. Slow-ins and slow-outs soften the action, making it more life-like. For a gag action, we may leave some slow-out or slow-ins for shock appeal or the surprise element. This will give more snap of the scene.
7. ARCS
Visual path function of natural movement. All actions, with few exceptions (eg, animation mechanical device), follow the arc or slightly circular path. This is particularly true of the human figure and function of animals. Curves give the animation a more natural action and better flow. Think of the natural movements of the pendulum swing. All arm movement, head turns and even eye movements were executed arches.
8. SECONDARY ACTION
Operation of the second object in the resulting activity. These activities will complement and enrich the main thing that adds dimension and character animation, supplementing and / or re-implementation of the main thing. Example: character angrily walking toward another character. The walk is a powerful, aggressive, and forward leaning. Foot work is just stomping walk. The secondary action is a few strong gestures of the arms with a walk. Also, the possibility of dialogue delivered at the same time tilts and turns the head to emphasize the walk and dialogue, but not so much as bother to walk activity. All of these actions should work together to support each other. Think of walking as a priority and arm swings, head bounce and all other actions and support the body as a secondary.
9. TIMING
Interim actions to define the weight and size of the objects and characters personality. The timing will be best expertise and personal experience of experiments using the trial and error method of processing technique. The basics are: more drawings between cause a slow and smooth operation. Fewer drawings make operations faster and sharper. A variety of slow and fast timing within a scene adds texture and interest to the movement. Most of the animation will be two by two (one drawing photographed two images of the film) or the (one drawing photographed each frame of the movie). Twos are used most of the time, and they are used during camera moves such as trucks, pans and occasionally for subtle and quick dialogue animation. In addition, the timing of the works and character to create a mood, emotion, and reaction to another character or situation. Studying movement of actors and performers on stage and in films is useful for animating human or animal characters. This frame by frame examination of visual material to help you understand the timing of the animation. This is a great way to learn from each other.
10. EXAGGERATION
By emphasizing the core of the idea through the design and operation. Hyperbole is not extreme distortion of a drawing or extremely broad, violent action all the time. It ¹ s like a caricature of facial features, expressions, poses, attitudes and actions. Work to trace live action film can be accurate, but stiff and mechanical. In feature animation, character must move more broadly to look natural. The same is true of facial expressions, but the action should not be as wide as a short cartoon style. Exaggeration to walk or eye movement or even a head turn, give the film more appeal. Use good taste and common sense to keep from becoming too theatrical and excessively animated
11. SOLID DRAWING
Basic Principles of drawing form, weight, volume solidity and the illusion of three-dimensional animation applied to it shall conduct academic drawing. How do you draw cartoons, draw in the traditional sense, pencil sketches and drawings for reproduction of life. You need to convert these color and movement of the characters giving the illusion of three-and four-dimensional life. Is a three-dimensional movement in space. The fourth dimension is movement in time.
12. APPEAL
Creating a design or function to which the audience enjoys watching. Live performer has charisma. Animated character has appeal. Appealing animation does not mean just being cute and cuddly. All characters must be to complain if they are heroic, villainous, comic or cute. The complaint, as you use it, is easy-to-read design, clear drawing, and personality development, which stores and get the audience ¹ s interest. Early cartoons were basically a series of gags strung together with the main theme. Over the years, artists have learned that to produce feature was the need for the continuity of the story, character development and a higher quality of art production. Like all forms of story telling, this feature will appeal to the mind as well as the eye.