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# '''Appeal'''[[note]]12[[/note]]: 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 itself, although there are certainly far more ways to find appeal that that. It can range from being merely pretty or cute to being [[UglyCute sardonic]] or even [[NightmareFetishist eerie in its charisma.]] Animation artists with notably dynamic appeal included Fred Moore and Mary Blair for the cuter side, and WardKimball, TimBurton, JohnKricfalusi and Creator/RalphBakshi for the more sardonic side of the scale.
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# '''Appeal'''[[note]]12[[/note]]: 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 itself, although there are certainly far more ways to find appeal that that. It can range from being merely pretty or cute to being [[UglyCute sardonic]] or even [[NightmareFetishist eerie in its charisma.]] Animation artists with notably dynamic appeal included Fred Moore and Mary Blair for the cuter side, and WardKimball, TimBurton, Creator/TimBurton, JohnKricfalusi and Creator/RalphBakshi for the more sardonic side of the scale.
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# '''Staging'''[[note]]3[[/note]]: 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--TexAvery 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.
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# '''Staging'''[[note]]3[[/note]]: 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--TexAvery staging--Creator/TexAvery 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.
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The principles in question are: [[note]]The order listed here was suggested by Creator/JohnKricfalusi according to what he considered important, using [[http://johnkstuff.blogspot.com/2009/03/essential-principals-vs-extras-will.html this post]]. The original order is hottipped below[[/note]]
# '''Solid Drawing'''[[hottip:*:11]]: Not "Solid" as in "Solid like granite", 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 ''Disney/SnowWhite'', or just about any animation done by DisneysNineOldMen.
# '''Appeal'''[[hottip:*:12]]: 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 itself, although there are certainly far more ways to find appeal that that. It can range from being merely pretty or cute to being [[UglyCute sardonic]] or even [[NightmareFetishist eerie in its charisma.]] Animation artists with notably dynamic appeal included Fred Moore and Mary Blair for the cuter side, and WardKimball, TimBurton, JohnKricfalusi and Creator/RalphBakshi for the more sardonic side of the scale.
# '''Exaggeration'''[[hottip:*:10]]: Distortion of the drawings from their real life counterparts, often for comedic effect. Classic cartoon tropes such as SuperSpeed, the WildTake and the [[MotionBlur 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 to ones drawings, bringing a rich subtlety to animation that allows it to hold its own against live action--the animation of Bill Tytla, BobClampett, [[TerryToons Jim Tyer]] and Creator/DonBluth for instance demonstrates this clearly.
# '''Staging'''[[hottip:*:3]]: 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--TexAvery 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.
# '''Timing'''[[hottip:*:9]]: 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). [[HannaBarbera Bill Hanna]] used this technique constantly on the ''WesternAnimation/TomAndJerry'' cartoons, which was part of what gave the shorts their break-neck, but crisp timing.
# '''Solid Drawing'''[[hottip:*:11]]: Not "Solid" as in "Solid like granite", 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 ''Disney/SnowWhite'', or just about any animation done by DisneysNineOldMen.
# '''Appeal'''[[hottip:*:12]]: 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 itself, although there are certainly far more ways to find appeal that that. It can range from being merely pretty or cute to being [[UglyCute sardonic]] or even [[NightmareFetishist eerie in its charisma.]] Animation artists with notably dynamic appeal included Fred Moore and Mary Blair for the cuter side, and WardKimball, TimBurton, JohnKricfalusi and Creator/RalphBakshi for the more sardonic side of the scale.
# '''Exaggeration'''[[hottip:*:10]]: Distortion of the drawings from their real life counterparts, often for comedic effect. Classic cartoon tropes such as SuperSpeed, the WildTake and the [[MotionBlur 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 to ones drawings, bringing a rich subtlety to animation that allows it to hold its own against live action--the animation of Bill Tytla, BobClampett, [[TerryToons Jim Tyer]] and Creator/DonBluth for instance demonstrates this clearly.
# '''Staging'''[[hottip:*:3]]: 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--TexAvery 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.
# '''Timing'''[[hottip:*:9]]: 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). [[HannaBarbera Bill Hanna]] used this technique constantly on the ''WesternAnimation/TomAndJerry'' cartoons, which was part of what gave the shorts their break-neck, but crisp timing.
to:
The principles in question are: [[note]]The order listed here was suggested by Creator/JohnKricfalusi according to what he considered important, using [[http://johnkstuff.blogspot.com/2009/03/essential-principals-vs-extras-will.html this post]]. The original order is hottipped noted below[[/note]]
# '''SolidDrawing'''[[hottip:*:11]]: Drawing'''[[note]]11[[/note]]: Not "Solid" as in "Solid like granite", 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 ''Disney/SnowWhite'', or just about any animation done by DisneysNineOldMen.
#'''Appeal'''[[hottip:*:12]]: '''Appeal'''[[note]]12[[/note]]: 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 itself, although there are certainly far more ways to find appeal that that. It can range from being merely pretty or cute to being [[UglyCute sardonic]] or even [[NightmareFetishist eerie in its charisma.]] Animation artists with notably dynamic appeal included Fred Moore and Mary Blair for the cuter side, and WardKimball, TimBurton, JohnKricfalusi and Creator/RalphBakshi for the more sardonic side of the scale.
#'''Exaggeration'''[[hottip:*:10]]: '''Exaggeration'''[[note]]10[[/note]]: Distortion of the drawings from their real life counterparts, often for comedic effect. Classic cartoon tropes such as SuperSpeed, the WildTake and the [[MotionBlur 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 to ones drawings, bringing a rich subtlety to animation that allows it to hold its own against live action--the animation of Bill Tytla, BobClampett, [[TerryToons Creator/BobClampett, [[Creator/{{Terrytoons}} Jim Tyer]] and Creator/DonBluth for instance demonstrates this clearly.
#'''Staging'''[[hottip:*:3]]: '''Staging'''[[note]]3[[/note]]: 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--TexAvery 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.
#'''Timing'''[[hottip:*:9]]: '''Timing'''[[note]]9[[/note]]: 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).[[HannaBarbera [[Creator/HannaBarbera Bill Hanna]] used this technique constantly on the ''WesternAnimation/TomAndJerry'' cartoons, which was part of what gave the shorts their break-neck, but crisp timing.
# '''Solid
#
#
#
#
** 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).
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** The third is [[MickeyMousing Musical Timing.]] Not unlike the metronome technique, this can help an animator to not only plan out their animation, 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, [[WesternAnimation/EdEddNEddy Danny Antonucci]] and JohnKricfalusi still use this principle to this day in any context they wish.
# '''Straight Ahead Action and Pose to Pose'''[[hottip:*:4]]: 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 '''Antic'''[[hottip:*:2]]: The preparation of what action is going to happen next. For example, a baseball player readies his bat before he swings, or DonaldDuck prepares to launch himself into a run. A classic example of an antic is demonstrated [[http://3.bp.blogspot.com/_mJ4lc_Q9Q6k/SY8o_o8PdoI/AAAAAAAAbZo/Ufk9OYSFXxE/s1600-h/DonaldAnti.jpg 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 WildTake, 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 BugsBunny 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.
# '''Squash and Stretch'''[[hottip:*:1]]: 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 ''WesternAnimation/EdEddNEddy'', being percieved as "Too expensive", or, misguidingly, as "Too cartoony".
# '''Arcs'''[[hottip:*:7]]: 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 Action'''[[hottip:*:8]]: 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 Out'''[[hottip:*:6]]: 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 Action'''[[hottip:*:5]]: 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 ''Disney/SnowWhite''. For another example, when a character swings from a rope, the legs drag behind the body. Clothing also drags with movement.
# '''Straight Ahead Action and Pose to Pose'''[[hottip:*:4]]: 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 '''Antic'''[[hottip:*:2]]: The preparation of what action is going to happen next. For example, a baseball player readies his bat before he swings, or DonaldDuck prepares to launch himself into a run. A classic example of an antic is demonstrated [[http://3.bp.blogspot.com/_mJ4lc_Q9Q6k/SY8o_o8PdoI/AAAAAAAAbZo/Ufk9OYSFXxE/s1600-h/DonaldAnti.jpg 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 WildTake, 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 BugsBunny 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.
# '''Squash and Stretch'''[[hottip:*:1]]: 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 ''WesternAnimation/EdEddNEddy'', being percieved as "Too expensive", or, misguidingly, as "Too cartoony".
# '''Arcs'''[[hottip:*:7]]: 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 Action'''[[hottip:*:8]]: 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 Out'''[[hottip:*:6]]: 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 Action'''[[hottip:*:5]]: 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 ''Disney/SnowWhite''. For another example, when a character swings from a rope, the legs drag behind the body. Clothing also drags with movement.
to:
** The third is [[MickeyMousing Musical Timing.]] Not unlike the metronome technique, this can help an animator to not only plan out their animation, 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, Creator/GenndyTartakovsky, [[WesternAnimation/EdEddNEddy Danny Antonucci]] and JohnKricfalusi Creator/JohnKricfalusi still use this principle to this day in any context they wish.
# '''Straight Ahead Action and Pose toPose'''[[hottip:*:4]]: Pose'''[[note]]4[[/note]]: 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'''Antic'''[[hottip:*:2]]: '''Antic'''[[note]]2[[/note]]: The preparation of what action is going to happen next. For example, a baseball player readies his bat before he swings, or DonaldDuck prepares to launch himself into a run. A classic example of an antic is demonstrated [[http://3.bp.blogspot.com/_mJ4lc_Q9Q6k/SY8o_o8PdoI/AAAAAAAAbZo/Ufk9OYSFXxE/s1600-h/DonaldAnti.jpg 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 WildTake, or as broad as a "Shrink Take" pioneered by TerryToons Creator/{{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 BugsBunny WesternAnimation/BugsBunny 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.
# '''Squash andStretch'''[[hottip:*:1]]: Stretch'''[[note]]1[[/note]]: 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 ''WesternAnimation/EdEddNEddy'', being percieved as "Too expensive", or, misguidingly, as "Too cartoony".
#'''Arcs'''[[hottip:*:7]]: '''Arcs'''[[note]]7[[/note]]: 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.
# '''SecondaryAction'''[[hottip:*:8]]: Action'''[[note]]8[[/note]]: 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 SlowOut'''[[hottip:*:6]]: Out'''[[note]]6[[/note]]: 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 OverlappingAction'''[[hottip:*:5]]: Action'''[[note]]5[[/note]]: 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 ''Disney/SnowWhite''. For another example, when a character swings from a rope, the legs drag behind the body. Clothing also drags with movement.
# '''Straight Ahead Action and Pose to
# '''Anticipation''', '''Action''' and '''Reaction''', AKA
# '''Squash and
#
# '''Secondary
# '''Slow In and Slow
# '''Follow Through and Overlapping
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Changed line(s) 14 (click to see context) from:
# '''Squash and Stretch'''[[hottip:*:1]]: 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, but it can, and is often, exaggerated for comic effect. This principle is usually avoided or downplayed in TV cartoons, save exceptions like ''WesternAnimation/EdEddNEddy'', being percieved as "Too expensive", or, misguidingly, as "Too cartoony".
to:
# '''Squash and Stretch'''[[hottip:*:1]]: 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, 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 ''WesternAnimation/EdEddNEddy'', being percieved as "Too expensive", or, misguidingly, as "Too cartoony".
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Changed line(s) 14 (click to see context) from:
# '''Squash and Stretch'''[[hottip:*:1]]: 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, but it can, and is often, exaggerated for comic effect. This principle is usually avoided in TV cartoons, save exceptions like ''WesternAnimation/EdEddNEddy'', being percieved as "Too expensive", or, misguidingly, as "Too cartoony".
to:
# '''Squash and Stretch'''[[hottip:*:1]]: 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, but it can, and is often, exaggerated for comic effect. This principle is usually avoided or downplayed in TV cartoons, save exceptions like ''WesternAnimation/EdEddNEddy'', being percieved as "Too expensive", or, misguidingly, as "Too cartoony".
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# '''Appeal'''[[hottip:*:12]]: 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 itself, although there are certainly far more ways to find appeal that that. It can range from being merely pretty or cute to being [[UglyCute sardonic]] or even [[NightmareFetishist eerie in its charisma.]] Animation artists with notably dynamic appeal included Fred Moore and Mary Blair for the cuter side, and WardKimball, TimBurton, JohnKricfalusi and RalphBakshi for the more sardonic side of the scale.
to:
# '''Appeal'''[[hottip:*:12]]: 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 itself, although there are certainly far more ways to find appeal that that. It can range from being merely pretty or cute to being [[UglyCute sardonic]] or even [[NightmareFetishist eerie in its charisma.]] Animation artists with notably dynamic appeal included Fred Moore and Mary Blair for the cuter side, and WardKimball, TimBurton, JohnKricfalusi and RalphBakshi Creator/RalphBakshi for the more sardonic side of the scale.
Is there an issue? Send a MessageReason:
None
Changed line(s) 14 (click to see context) from:
# '''Squash and Stretch'''[[hottip:*:1]]: 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, but it can, and is often, exaggerated for comic effect. This principle is usually avoided in TV cartoons, save exceptions like ''EdEddNEddy'', being percieved as "Too expensive", or, misguidingly, as "Too cartoony".
to:
# '''Squash and Stretch'''[[hottip:*:1]]: 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, but it can, and is often, exaggerated for comic effect. This principle is usually avoided in TV cartoons, save exceptions like ''EdEddNEddy'', ''WesternAnimation/EdEddNEddy'', being percieved as "Too expensive", or, misguidingly, as "Too cartoony".
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** The third is [[MickeyMousing Musical Timing.]] Not unlike the metronome technique, this can help an animator to not only plan out their animation, 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, [[EdEddNEddy Danny Antonucci]] and JohnKricfalusi still use this principle to this day in any context they wish.
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** The third is [[MickeyMousing Musical Timing.]] Not unlike the metronome technique, this can help an animator to not only plan out their animation, 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, [[EdEddNEddy [[WesternAnimation/EdEddNEddy Danny Antonucci]] and JohnKricfalusi still use this principle to this day in any context they wish.
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i dont think animators particularly stick to one or the other, so i\'m removing this for now
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# '''Straight Ahead Action and Pose to Pose'''[[hottip:*:4]]: 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. BillNolan, Jim Tyer and Norm Ferguson were notable straight ahead animators, known for their roughly drawn but vitality rich animation, while on the other spectrum, greats like Milt Kahl and ChuckJones worked out their animation pose to pose, giving their works a rich, solid look to their drawings and motion.
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# '''Straight Ahead Action and Pose to Pose'''[[hottip:*:4]]: 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. BillNolan, Jim Tyer and Norm Ferguson were notable straight ahead animators, known for their roughly drawn but vitality rich animation, while on the other spectrum, greats like Milt Kahl and ChuckJones worked out their animation pose to pose, giving their works a rich, solid look to their drawings and motion.
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'''''The Twelve Principles Of Animation''''' is a list of animation principles that came about during TheGoldenAgeOfAnimation, being discovered and refined by the many studios of the time. WaltDisney, WesternAnimation/LooneyTunes, {{MGM}} and FleischerStudios make the most notable usage of these principles.
The principles in question are: [[note]]The order listed here was suggested by JohnKricfalusi according to what he considered important, using [[http://johnkstuff.blogspot.com/2009/03/essential-principals-vs-extras-will.html this post]]. The original order is hottipped below[[/note]]
The principles in question are: [[note]]The order listed here was suggested by JohnKricfalusi according to what he considered important, using [[http://johnkstuff.blogspot.com/2009/03/essential-principals-vs-extras-will.html this post]]. The original order is hottipped below[[/note]]
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'''''The Twelve Principles Of Animation''''' is a list of animation principles that came about during TheGoldenAgeOfAnimation, being discovered and refined by the many studios of the time. WaltDisney, WesternAnimation/LooneyTunes, {{MGM}} Creator/{{MGM}} and FleischerStudios make the most notable usage of these principles.
The principles in question are: [[note]]The order listed here was suggested byJohnKricfalusi Creator/JohnKricfalusi according to what he considered important, using [[http://johnkstuff.blogspot.com/2009/03/essential-principals-vs-extras-will.html this post]]. The original order is hottipped below[[/note]]
The principles in question are: [[note]]The order listed here was suggested by
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TropeNamer is the Frank Thomas and Ollie Johnston book ''TheIllusionOfLife: Disney Animation''.
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TropeNamer is the [[DisneysNineOldMen Frank Thomas and Ollie Johnston Johnston]] book ''TheIllusionOfLife: ''Literature/TheIllusionOfLife: Disney Animation''.
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None
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# '''Exaggeration'''[[hottip:*:10]]: Distortion of the drawings from their real life counterparts, often for comedic effect. Classic cartoon tropes such as SuperSpeed, the WildTake and the [[MotionBlur 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 to ones drawings, bringing a rich subtlety to animation that allows it to hold its own against live action--the animation of Bill Tytla, BobClampett, [[TerryToons Jim Tyer]] and DonBluth for instance demonstrates this clearly.
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# '''Exaggeration'''[[hottip:*:10]]: Distortion of the drawings from their real life counterparts, often for comedic effect. Classic cartoon tropes such as SuperSpeed, the WildTake and the [[MotionBlur 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 to ones drawings, bringing a rich subtlety to animation that allows it to hold its own against live action--the animation of Bill Tytla, BobClampett, [[TerryToons Jim Tyer]] and DonBluth Creator/DonBluth for instance demonstrates this clearly.
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The principles in question are[[hottip:*:The order listed here was suggested by JohnKricfalusi according to what he considered important, using [[http://johnkstuff.blogspot.com/2009/03/essential-principals-vs-extras-will.html this post ]]. The original order is hottipped below:
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The principles in question are[[hottip:*:The are: [[note]]The order listed here was suggested by JohnKricfalusi according to what he considered important, using [[http://johnkstuff.blogspot.com/2009/03/essential-principals-vs-extras-will.html this post ]]. post]]. The original order is hottipped below:below[[/note]]
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None
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# '''Solid Drawing'''[[hottip:*:11]]: Not "Solid" as in "Solid like granite", 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 ''Disney/SnowWhite'', or any bit of animation done by [[DisneysNineOldMen Milt Kahl]].
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# '''Solid Drawing'''[[hottip:*:11]]: Not "Solid" as in "Solid like granite", 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 ''Disney/SnowWhite'', or just about any bit of animation done by [[DisneysNineOldMen Milt Kahl]].DisneysNineOldMen.
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None
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# '''Solid Drawing'''[[hottip:*:11]]: Not "Solid" as in "Solid like granite", 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. A shorthand example of solid drawing would be Bill Tytla's animation of Grumpy in ''Disney/SnowWhite'', or any bit of animation done by [[DisneysNineOldMen Milt Kahl]].
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# '''Solid Drawing'''[[hottip:*:11]]: Not "Solid" as in "Solid like granite", 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. A Disney films are commonly used as shorthand example examples of solid drawing would be drawing, such as Bill Tytla's animation of Grumpy dwarfs in ''Disney/SnowWhite'', or any bit of animation done by [[DisneysNineOldMen Milt Kahl]].
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Twinning is not related to solid drawing. Rubber hose style animation does not have rigid geometric shapes.
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# '''Solid Drawing'''[[hottip:*:11]]: Not "Solid" as in "Solid like granite", 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. A shorthand example of solid drawing would be Bill Tytla's animation of Grumpy in ''Disney/SnowWhite'', or any bit of animation done by [[DisneysNineOldMen Milt Kahl]]. Solid Drawing also means avoiding of symmetry in poses and design (although they made an exception for Mickey's design) as well as avoiding the rigid, geometric, inorganic shapes in drawings that were common in old rubberhose cartoons in favor of more organic, pliable forms, via the usage of intertwining S Curves and convex curves, as well as using the line of action for poses.
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# '''Solid Drawing'''[[hottip:*:11]]: Not "Solid" as in "Solid like granite", 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. A shorthand example of solid drawing would be Bill Tytla's animation of Grumpy in ''Disney/SnowWhite'', or any bit of animation done by [[DisneysNineOldMen Milt Kahl]]. Solid Drawing also means avoiding of symmetry in poses and design (although they made an exception for Mickey's design) as well as avoiding the rigid, geometric, inorganic shapes in drawings that were common in old rubberhose cartoons in favor of more organic, pliable forms, via the usage of intertwining S Curves and convex curves, as well as using the line of action for poses.
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platonic solids
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# '''Solid Drawing'''[[hottip:*:11]]: Not "Solid" as in "Solid like granite", but rather a drawing with a controlled form and an animatable, 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. A shorthand example of solid drawing would be Bill Tytla's animation of Grumpy in ''Disney/SnowWhite'', or any bit of animation done by [[DisneysNineOldMen Milt Kahl]]. Solid Drawing also means avoiding of symmetry in poses and design (although they made an exception for Mickey's design) as well as avoiding the rigid, geometric, inorganic shapes in drawings that were common in old rubberhose cartoons in favor of more organic, pliable forms, via the usage of intertwining S Curves and convex curves, as well as using the line of action for poses.
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# '''Solid Drawing'''[[hottip:*:11]]: Not "Solid" as in "Solid like granite", but rather a drawing as in "solid geometry": space-occupying shapes with a controlled defined form and an animatable, 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. A shorthand example of solid drawing would be Bill Tytla's animation of Grumpy in ''Disney/SnowWhite'', or any bit of animation done by [[DisneysNineOldMen Milt Kahl]]. Solid Drawing also means avoiding of symmetry in poses and design (although they made an exception for Mickey's design) as well as avoiding the rigid, geometric, inorganic shapes in drawings that were common in old rubberhose cartoons in favor of more organic, pliable forms, via the usage of intertwining S Curves and convex curves, as well as using the line of action for poses.
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The principles in question are[[hottip:*:The order listed here was suggested by JohnKricfalusi according to what he considered important, using [[http://johnkstuff.blogspot.com/2009/03/essential-principals-vs-extras-will.html this post]] ]]. The original order is hottipped below:
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The principles in question are[[hottip:*:The order listed here was suggested by JohnKricfalusi according to what he considered important, using [[http://johnkstuff.blogspot.com/2009/03/essential-principals-vs-extras-will.html this post]] post ]]. The original order is hottipped below:
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None
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The principles in question are[[hottip:*:The order listed here was suggested by JohnKricfalusi according to what he considered important, using [[http://johnkstuff.blogspot.com/2009/03/essential-principals-vs-extras-will.html this post]]]]. The original order is hottipped below:
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The principles in question are[[hottip:*:The order listed here was suggested by JohnKricfalusi according to what he considered important, using [[http://johnkstuff.blogspot.com/2009/03/essential-principals-vs-extras-will.html this post]]]].post]] ]]. The original order is hottipped below:
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The principles in question are[[hottip:*:The order listed here was suggested by JohnKricfalusi according to what he considered important, using [[http://johnkstuff.blogspot.com/2009/03/essential-principals-vs-extras-will.html this post]] for reference]]. The original order is hottipped below:
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The principles in question are[[hottip:*:The order listed here was suggested by JohnKricfalusi according to what he considered important, using [[http://johnkstuff.blogspot.com/2009/03/essential-principals-vs-extras-will.html this post]] for reference]].post]]]]. The original order is hottipped below:
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The principles in question are[[hottip:*:The order listed here was suggested by JohnKricfalusi according to what he considered important]]. The original order is hottipped below:
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The principles in question are[[hottip:*:The order listed here was suggested by JohnKricfalusi according to what he considered important]].important, using [[http://johnkstuff.blogspot.com/2009/03/essential-principals-vs-extras-will.html this post]] for reference]]. The original order is hottipped below:
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dead link
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The principles in question are[[hottip:*:The order listed here was suggested by JohnKricfalusi according to what he considered important, starting with [[http://johnkstuff.blogspot.com/2008/11/disneys-principles-of-animation.html: this blog entry]]. The original order is hottipped below:
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The principles in question are[[hottip:*:The order listed here was suggested by JohnKricfalusi according to what he considered important, starting with [[http://johnkstuff.blogspot.com/2008/11/disneys-principles-of-animation.html: this blog entry]].important]]. The original order is hottipped below:
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# '''Appeal'''[[hottip:*:12]]: Easily the most subjective principle, this essentially means giving the characters, good or bad, some charismatic aspect to like about them. Solid Drawing can be appealing in and of itself, although there are certainly far more ways to find appeal that that. It can range from being merely pretty or cute to being [[UglyCute sardonic]] or even [[NightmareFetishist eerie in its charisma.]] Animation artists with notably dynamic appeal included Fred Moore and Mary Blair for the cuter side, and WardKimball, TimBurton, JohnKricfalusi and RalphBakshi for the more sardonic side of the scale.
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# '''Appeal'''[[hottip:*:12]]: 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 itself, although there are certainly far more ways to find appeal that that. It can range from being merely pretty or cute to being [[UglyCute sardonic]] or even [[NightmareFetishist eerie in its charisma.]] Animation artists with notably dynamic appeal included Fred Moore and Mary Blair for the cuter side, and WardKimball, TimBurton, JohnKricfalusi and RalphBakshi for the more sardonic side of the scale.
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# '''Appeal'''[[hottip:*:12]]: Easily the most subjective principle, this essentially means giving the characters, good or bad, some charismatic aspect to like about them. Solid Drawing can be appealing in and of itself, although there are certainly far more ways to find appeal that that. It can range from being merely pretty or cute to being [[UglyCute sardonic]] or even [[NightmareFetishist eerie in its charisma.]] Animation artists with notably dynamic appeal included Fred Moore and Mary Blair for the cuter side, and WardKimball and TimBurton for the more sardonic side of the scale.
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# '''Appeal'''[[hottip:*:12]]: Easily the most subjective principle, this essentially means giving the characters, good or bad, some charismatic aspect to like about them. Solid Drawing can be appealing in and of itself, although there are certainly far more ways to find appeal that that. It can range from being merely pretty or cute to being [[UglyCute sardonic]] or even [[NightmareFetishist eerie in its charisma.]] Animation artists with notably dynamic appeal included Fred Moore and Mary Blair for the cuter side, and WardKimball WardKimball, TimBurton, JohnKricfalusi and TimBurton RalphBakshi for the more sardonic side of the scale.
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# '''Straight Ahead Action and Pose to Pose'''[[hottip:*:4]]: 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. BillNolan, Jim Tyer and Norm Ferguson were notable straight ahead animators, known for their roughly drawn but vitality rich animation, while on the other spectrum, greats like Milt Kahl worked out his animation pose to pose, giving it a rich, solid look to his drawings and motion.
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# '''Straight Ahead Action and Pose to Pose'''[[hottip:*:4]]: 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. BillNolan, Jim Tyer and Norm Ferguson were notable straight ahead animators, known for their roughly drawn but vitality rich animation, while on the other spectrum, greats like Milt Kahl and ChuckJones worked out his their animation pose to pose, giving it their works a rich, solid look to his their drawings and motion.
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None
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# '''Straight Ahead Action and Pose to Pose'''[[hottip:*:4]]: 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. Jim Tyer and Norm Ferguson were notable straight ahead animators, known for their roughly drawn but vitality rich animation, while on the other spectrum, greats like Milt Kahl worked out his animation pose to pose, giving it a rich, solid look to his drawings and motion.
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# '''Straight Ahead Action and Pose to Pose'''[[hottip:*:4]]: 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. BillNolan, Jim Tyer and Norm Ferguson were notable straight ahead animators, known for their roughly drawn but vitality rich animation, while on the other spectrum, greats like Milt Kahl worked out his animation pose to pose, giving it a rich, solid look to his drawings and motion.
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namespace
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'''''The Twelve Principles Of Animation''''' is a list of animation principles that came about during TheGoldenAgeOfAnimation, being discovered and refined by the many studios of the time. WaltDisney, LooneyTunes, {{MGM}} and FleischerStudios make the most notable usage of these principles.
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'''''The Twelve Principles Of Animation''''' is a list of animation principles that came about during TheGoldenAgeOfAnimation, being discovered and refined by the many studios of the time. WaltDisney, LooneyTunes, WesternAnimation/LooneyTunes, {{MGM}} and FleischerStudios make the most notable usage of these principles.
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** 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). [[HannaBarbera Bill Hanna]] used this technique constantly on the ''TomAndJerry'' cartoons, which was part of what gave the shorts their break-neck, but crisp timing.
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** 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). [[HannaBarbera Bill Hanna]] used this technique constantly on the ''TomAndJerry'' ''WesternAnimation/TomAndJerry'' cartoons, which was part of what gave the shorts their break-neck, but crisp timing.
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'''''The Twelve Principles Of Animation''''' is a list of animation principles that came about during TheGoldenAgeOfAnimation, being discovered and refined by the many studios of the time. The WaltDisney, LooneyTunes and {{MGM}} cartoon studio make the most notable usage of these principles.
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'''''The Twelve Principles Of Animation''''' is a list of animation principles that came about during TheGoldenAgeOfAnimation, being discovered and refined by the many studios of the time. The WaltDisney, LooneyTunes and LooneyTunes, {{MGM}} cartoon studio and FleischerStudios make the most notable usage of these principles.
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None
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'''''The Twelve Principles Of Animation''''' is a list of animation principles that came about during TheGoldenAgeOfAnimation, being discovered and refined by the many studios of the time. The WaltDisney and LooneyTunes studio make the most notable usage of these principles.
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'''''The Twelve Principles Of Animation''''' is a list of animation principles that came about during TheGoldenAgeOfAnimation, being discovered and refined by the many studios of the time. The WaltDisney and WaltDisney, LooneyTunes and {{MGM}} cartoon studio make the most notable usage of these principles.
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# '''Straight Ahead Action and Pose to Pose'''[[hottip:*:4]]: 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 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. Jim Tyer and Norm Ferguson were notable straight ahead animators, known for their roughly drawn but vitality rich animation, while on the other spectrum, greats like Milt Kahl worked out his animation pose to pose, giving it a rich, solid look to his drawings and motion.
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# '''Straight Ahead Action and Pose to Pose'''[[hottip:*:4]]: 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. Jim Tyer and Norm Ferguson were notable straight ahead animators, known for their roughly drawn but vitality rich animation, while on the other spectrum, greats like Milt Kahl worked out his animation pose to pose, giving it a rich, solid look to his drawings and motion.
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# '''Straight Ahead Action and Pose to Pose'''[[hottip:*:4]]: 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.
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# '''Straight Ahead Action and Pose to Pose'''[[hottip:*:4]]: 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 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. Jim Tyer and Norm Ferguson were notable straight ahead animators, known for their roughly drawn but vitality rich animation, while on the other spectrum, greats like Milt Kahl worked out his animation pose to pose, giving it a rich, solid look to his drawings and motion.
