ANIMATION NCII – Animation 12b

Governor Pack Road, Baguio City, Philippines 2600

Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 7 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

Acting and performance in animation

Objectives: At the end of this lesson, students shall be able to:

1) Understand the importance of acting and performance in creating an animation;
2) Enumerate the ways on how acting and performance can be changed using acting and
composition;
3) Explain the different effects of flexibility, stagger timing, anticipation in improving an
animation, and;
4) Properly ascertain the techniques to be used in acting and performance of a given action.

Acting and Performance

 Similar to a live-action movie or show, animation has a level of acting and performance element
o The main goal of motion picture – regardless if live action or animation – is to immerse the
audience and believe the series of events happening in front of them
o Animation, however, has a criteria where the entirety of it can be created from scratch
 Live action, even if everything is created, can only act within the limitations of physics
- Gravity does not allow for much aerial combat, and is limited to mostly wire work
- Humans can only distort their faces to a certain limit
- Animals does not and cannot express the same emotions as a human would
- It only allows for certain plot ideas; anything that is ‘too whimsical’ may not be possible
in live action
 Animation, however, is able to defy all laws of physics yet still create a believable scenario
- Squashing and stretching (if the volume is retained)
- Stagger timings / changes in timing
- Unique character designs
 It is also important to note that there are some things that live-action motion pictures are
able to do that is not possible in animation
- Usage of subtle facial expressions and movements
- Creating anatomically-accurate characters is much more difficult to animate
- There is still the necessity of some real-world reference
o As such, animation has the ability to suspend disbelief regardless of what is happening on the
screen
 Animals are able to talk and act like human beings (Anthromorphism)
 Musicals are much easier to get away with in animation compared to live action
 Creation of action sequences may be easier and safer in animation
 Creation of out-of-this world scenarios and world-building is safer in animation
 Acting and performance can be changed based on:
o Character design o Timing
o Keyframes and breakdowns o Construction of the take
 The changes in how the acting and performance is tackled by the animator is very important into
realizing the intended spirit of the action, yet also showcases the individuality and artistry of the
animator
o Two senior animators may interpret a scene from the storyboard differently
o Two in-betweeners may have the same keyframes and time charts, but have different outputs
based on their emphasis on certain body parts
o Animators may have different focus on aspects of a single character’s personality or attitude
o The style of animating between two animators is seen when viewing the final output
o One animator may add more follow-through and overlapping actions than the others
o One animator may manipulate the timing, while the other sticks with the time chart intended

Page 1 of 24
 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 7 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

Acting
 Introduction
o Refers to how a character appears and acts on the screen
o Focuses more on the character rather than the animation
o The character’s acting may showcase:
 Overall personality  Goals and motivations
 Attitude or reaction over a situation  Beliefs and morals
 Actions over a certain situation
o Guidelines:
 Understanding the character  Contrast
 Body language  Twinning
 Change of expression  Use of reference
 Use of eyes
 Understanding the Character
o Know how to draw the physical design of the character
 Use the provided model sheets as a guide
 Do modeling (as a class or individually) to ensure consistency before animating
 Break down the character into its most basic proportions and shapes
 Understand how the character moves and changes expressions
o Look into the psyche of the character
 As animators, there is no need to have a very in-depth understanding of the psyche before
going in on the action
 There is only a need to get the general idea of:
- Personality and attitude
- Goals and motivations
- Moral alignment
o Focus on the how the attitude is physically shown
 Personality focuses on the general qualities and traits of the character
 Attitude focuses on how a character behaves during a situation
o Utilize emotion as a foundational aspect to showcase attitude
 Emotions must be experienced by the audience and the result must be magnified
 Start off with a basic emotion, and then look into the intensity and complexity
- For reference, utilize the emotion wheel by Robert Plutchik

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 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 7 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

 Body Language
o “Body language is the root and fortunately it is universal”. (Ken Anderson)
o Make the story as clear as possible through pantomime
 Pantomime – emphasized acting through the sole usage of gestures
 Focuses on very extravagant and exaggerated mime
 Prevent using subtle movements, as those will not register properly on the screen
 Keep words and dialogue to a bare minimum
o Isolate the gesture from the spoken word if possible (aka acting point)
 Example: Instead of pointing and speaking at the same time, the character can point first
and then speak, or vice versa

 Change of Expression
o The expressions throughout the entire sequence must be as unmistakably clear as possible to
properly communicate the emotion of the character
o The change from one facial expression to another is better expressed if there is a separate
movement for each facial element necessary
 Prevent utilizing a gradual change where all the facial elements are moving
o This is dependent on the number of in-between frames
 If there are more in-between frames, there is more time to have individual changes to
facial elements
 If there are lesser in-between frames, then a few elements may be changed in one frame,
but not all at the same time
o Example:
 The expression is from a neutral face to an intrigued look
 There are three movements necessary: furrowed left eyebrow, raised right eyebrow, and
side glance
 First in-between: furrows both eyebrows
 Second in-between: lifts one eyebrow
 Third in-between: glancing to one side

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 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 7 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

 Use of Eyes
o There is a lot of focus on emotion towards the eyes
 Eyes are what the audience watch, regardless if its live-action or animation
 Most of the emotion comes from the eyes
 Eyes are supremely expressive and one can communicate with eyes alone
o Use the eyes to communicate the true emotion of the character
 Example: The eyes on the left are more squinted, showing a genuine smile; the right one
showcases a fake smile

o Eyes can also be used as a secondary action

 Example: If a person is speaking through the phone, their eyes wander according to the
conversation, and is never still

o Have proper distinctions between the drawings of the eyes and the emotions that they create

 Contrast
o Refers to the difference between the two keyframes in terms of silhouette
o Make the keyframes very obvious so that the change of movement is also seen

Page 4 of 24
 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 7 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

 Twinning / Symmetry / Mirroring

o Having both parts of the body makes it easier to understand the body language
 This is something that is used when the expressions needs to be broader and more obvious
 Do not use too much as it can lead to bad animation acting

 To subvert the twinning, it is possible to do the following:

o Delayed movements (using overlap frames) for certain body parts
o Tilting body parts
o Changing the perspective

 Use Reference
o Gets a more accurate representation of the emotion and attitude that the animator wants to
impose
 Reference focuses on using the material as inspiration and modifying it to make it unique to
the character’s performance
 Do not copy – utilizing it shot-for-shot without modifying or understanding how it coincides
with the entire psyche of the character
o Ways on getting reference:
 Actual acting from the animator with a mirror
 Actual acting from the animator with a camera (rotoscoping)
 Utilizing videos from movies / shows / games to see how an actual person acts
- Note: Technically, a performance is part of Intellectual Property, and therefore there is
a need to understand the laws that may surround it
o How to modify the reference:
 Fit it to the personality / attitude of the character
 Exaggerate the frames (either keyframes or breakdown frame)
 Exaggerate the counteraction

Composition
 Introduction
o Focuses on how to construct the acting that is necessary for the character
 Overall structure done in storyboarding and layouting
 Makes sure that the frames showcase a very clear and simple action
o Function is to countercheck the acting that has been done by the character
o More technical than acting; more abstract than flexibility, anticipation, takes and accents,
and stagger timings
o Guidelines:
 Staging
 Exaggeration
 Keep things simple and strong

Page 5 of 24
 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 7 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

 Staging
o Principle of animation where the action is unmistakably clear to the audience
o Actions must also be done / focused on one at a time
o Ideas for proper staging:
 Silhouette
 Prevent tangents
o Silhouette
 Pose that only showcases the outline / blacked out version
 In a silhouette, the audience must still be able to understand what action is being done
 Ways on creating a good silhouette:
- Use profiles / side views is necessary
- Make sure that the limbs are farther away from the body

o Prevent tangents
 Tangent – one point where two lines meet cleanly
 Makes the animation flat and confusing
 Adhere to the rules of the staging first before removing the tangents

 Exaggeration
o Principle of animation that allows a caricature of the pose or action of the character
o Actions are made to be slightly more dramatic than normal
o Allows for a clearer illustration of the action to the audience
o Can deviate from the laws of physics a bit, but not too much
o Prevent too much distortion, especially in the keyframes
o Use line of action
 Imaginary line extending through the main action
 It should be a strong curve to create a more dramatic action

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 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 7 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

 Keep Things Simple and Strong

o Every pose that is created should be made strong and simple
o Keep a pose strong
 Mostly done by utilizing proper staging and exaggeration
o Keep a pose simple
 The pose should not be too complicated
- The pose should evoke one action, or emotion
- Having too many elements in the action makes it “corny” and less powerful
 Isolate multiple actions by placing them on different in-between frames
 Prevent utilizing multiple applications of flexibility
 Know how to edit actions
- It is okay to experiment by adding different actions to make it look more interesting
- But it is also important to remove as much as possible while still maintaining the
intended feeling
- There is such a thing as overanimating

Flexibility
 Introduction
o Refers to the ways on how to modify and personalize an animation through the
reinterpretation of the frames
o Main way on how an animator showcases their creativity, artistry, and personal touch to an
animation
o Can be done in:
 Keyframes – limited to senior / keyframe animators
 Breakdown frames – main way on how to attain flexibility; done by both keyframe
animators and in-betweeners
 In-between frames – tends to have more limited options, but is still possible
o There are two main animation flaws (Richard Williams):
 Even spacing (aka King Kong effect)
 Frames do not have enough exposure time
o Advantages of flexibility:
 Creates a more stable image
 Creates a more fluid motion
 Makes the action more visually interesting
 The effect is not necessarily seen, but felt
 Intensifies the emotion that is felt / shown by the character
 Possibility of being able to use multiple techniques at once
o Therefore there is a need to have a stable image with flexibility
o Ways on how to attain flexibility:
 Breakdown frame  Breaking of joints
 Overlap frame  Flexibility in the face
 Overlapping action  Overlapping action – faces
 Counteraction

Important: When choosing the ways on how to attain flexibility in an animation, it is important to
only pick and choose based on the situation (action and emotion) that is placed in the
keyframes and the character. This is to prevent cluttering of the applications, and some
applications tend to conflict each other.

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 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 7 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

 Breakdown Frame
o Also known as breakdown drawing, passing position, middle position, or intermediate position
o Usually placed at the very middle of two keyframes / extremes
o Properly indicating the breakdown frame is crucial as this is the main reason why a character
moves
o Can be integrated with other ways on creating flexibility
o Example:
 This is an example of a change of expression
 Based on the keyframes (happy then sad), the expected breakdown frame would be a
pokerface
 This is technically correct, but is makes the animation predictable and quite dull

 Changing just the breakdown frame can already spell a different story / scenario
- Surprised: the character was expecting to hear good news, and was surprised that said
news was the one delivered
- Smile: abrupt change in facial expression; can also be used where a character creates
a façade, but changes expression once turned around

Many more examples in Richard Williams’ “Animator’s Survival Kit”

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 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 7 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

 Overlap Frame
o Pertains to a frame that moves slightly differently compared to normal rules of in-betweening
 Too fast / slow timing
 Position slightly off (but still in the path of action)
 More squash and stretch
o Used to:
 Help create an action within an action
 Help create a subtle yet more interesting attack on how to animate a frame
o Usually done for a breakdown frame
o Example:
 This is an example of a head moving along a path of action
 From the first keyframe (A), the head moves forwards (B)
 Normally, based on the path of action, it would be placed at the very middle, with the
angle based on the position of the two keyframes
- It is technically correct, but is not visually interesting
 Tilting it slightly without changing the position can showcase different scenarios:
- Tilting it backwards can incur that the character would stretch the spine first before
moving
- Tilting it forwards can give the idea of doubt or second thought from the character in
question

 Overlapping Action
o Pertains that one action is moving in different parts
 Timing
 Direction
o Usually done to big actions or anything that involves moving the entire body
o Must follow the direction of the main action
 Have the same path of action
 Have an opposite path of action
o There is a need to undergo:
 Separating the moving and the non-moving objects
 Determining the main action and the secondary action(s)
 Ascertaining the actual movement of the secondary action(s)
o Used to:
 Further enhances the quality of the main action by adding secondary actions
 Give individual weights to secondary actions
 Makes the character look more life-like

Page 9 of 24
 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 7 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

o Example 1:
 This example focuses on a concept of drag and follow through
 The main action is the head turn, and the secondary actions are the movements of the
jowls and ears
 The jowls have a delayed timing, but still going in the same direction (drag)
 The ears follow the idea of follow through – where the ears are still moving towards the
path of action even if the main action has stopped

o Example 2:
 This focuses on the idea of separation and how it can be used for a body turn
 It is divided into the head, torso, legs, and feet
 The first to move is the feet, then torso (which slightly moves the legs as well), and then the
head
 The exposure time of each instance can be modified according to the preference of the
animator

 This example can be utilized when doing specific movements:

- Dancers tend to start their movement from the hips
- A pirouette (ballerina whirl) is done by using the leg to create torque
- Men tend to walk with their shoulders at the forefront; women tend to walk with a lot of
focus on the hips
 Counteraction
o Pertains an opposite movement of a secondary action while a primary action is moving
 As one part goes forwards, another goes backwards
 As one part goes upwards, another goes downwards
o Unlike overlapping action and frame, counteraction is specifically done with the primary and
secondary action at the same speed at the same time
Page 10 of 24
 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 7 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

o Usually done to loose and light body parts / elements:

 Hair
 Loose clothing
 Strings
 Body fat (stomach, breasts, buttocks, etc.)
o Used to:
 Act as a counterweight from the force of the primary action
 Complements the primary action
 Makes the overall action more visually interesting
o Example:
 The character moves forwards by leaning in using the upper body
 Keyframe A showcases the body in a neutral position; keyframe B shows the body leaning
forwards
 When looking at the right arm, it is slightly stretched forwards in keyframe A while it retracts
for keyframe B

 Breaking of Joints
o Continuous / successive bending of the joints
 Nothing else but joints are being bent
 Usually seen in the arms and legs only, but can also be done with the entire body
 The bending starts off with one joint and then presses on with more joints being bent
 Should be able to still maintain a curved path of action
o Enables the idea of the effect of curved animation by using straight lines
 Seen in ragdoll physics or cartoons that have noodle-like limbs
 Makes the action look very fluid and curved even when the joints are made out of straight
lines
o Used to:
 Make the motion more limber
 Make the motion more fluid
 Make the motion more curved
o Tips to remember:
 Determine what is the action that starts first
 Determine where the motion comes from
- For a lot of motion, it starts at the hips
- Can also be at the base of the joint (i.e. shoulders, hips)
 Focus on only one joint first, then gradually add more
 Take note of inverse kinematics
- How a body part should move based on its connected parts
- Example: how would an elbow move based on the positions and movements of the
shoulders and wrists

Page 11 of 24
 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 7 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

o Example:
 The example used is a character raising the entirety of the arm
 It is possible to make it so that the arm does not move any join, but still have it be placed
up
 No breaking of joints makes the action much less fluid

 Application of breaking joints:

- Start off with bending the elbow and some of the wrist in the middlemost frame
- The frame after the first keyframe would only have the elbow bend
- The elbow and wrists would bend more and more with more in-betweens
- The fingers would also start to move at the second half of the animation
- It is possible to have some delay by curling the fingers and having them unravel when
the entire arm is up

 Flexibility in the Face

o The face is able to do a lot of contortions and distortions even with muscles and bones
o The skull remains the same, but there is a lot of motion below the cheekbones
 Upper teeth don’t change position as it is locked unto the skull
 Hinged lower jaw action is primarily up and down with some lateral action
 Cheekbones and facial muscles are able to squash and stretch to create the necessary
contortions

Page 12 of 24
 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 7 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

o As such, the lower jaw can be contorted and distorted through:

 Squash – usually the entire face; seen with the mouth
 Stretch – can be done with the entire face or parts (cheeks)
 Note: When distorting, it is very important to maintain the volume of the face

 Overlapping Action – Faces

o When changing expressions for the faces, there should be an idea of overlapping action
 Different parts of the face have different rates of timing
o Used to:
 Have a more dramatic change between facial expressions
o Two ways for overlapping action in the face:
 Sections
- Different parts of the face would change every single frame
- Intensity is already determined with the frame to which is assigned
- In the example, the change of facial expression is from a neutral to a horrified one
- In this scenario, the order of change are as follows: eye, nose, mouth, and then hair
- Once the change in the facial element has been done, the intensity somewhat stays
the same (i.e. the eyes don’t get too wide after it has widened during the first in-
between frame)

 Gradual change
- Parts of the face would still change one at a time
- The intensity of the expression becomes more and more as the frames pass by, even if
other facial elements are still changing
- In the same example, the order of changing the facial elements is still there, but they still
keep getting bigger as the sequence progresses

Page 13 of 24
 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 7 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

Anticipation
 Introduction
o “There are only three things in animation: anticipation, action, and reaction.” (Bill Tytla)
o Refers to the preparation for the main action
 Whenever there is an action, there is an anticipation (think of what to do first, then do)
 Anticipation can be at least, one of the following:
- Action
- Facial expression
- Staging cue
- Musical cue
o Use to:
 Communicate what is going to happen
 Create a more impactful result of the action
o Must be from the opposite direction to where the action is going to be
 In this example of using a sling, the string is drawn towards the left, which is the anticipation
 When the action is done, the ball goes towards the right, which is the main action

o Types of anticipation:
 Simple anticipation
 Surprise anticipation
 Invisible anticipation
o Tips in formulating anticipations:
 Find the anticipation before the action
 Make sure that the anticipations are simple, direct, and clear
 Anticipations must usually be big and grand
 Simple Anticipation
o Anticipation that prepares the action
o Characteristics:
 Aids the action as expected
 Exaggerated action, enough to suspend time for the main action
 Tends to have a significant hold time / the audience is able to see it
 Gets the job done, but tends to be dull
o Example:
 In this sequence of a character chopping wood, the anticipation is when the character
raises the axe, lifts it higher (to get momentum), and then swings it to the tree
 There are no extra movements included that would showcase other aspects of the action
(i.e. shaking of hips, spitting on the hands before holding the axe, etc.)

Page 14 of 24
 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 7 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

 Surprise Anticipation
o Anticipation gives the audience a certain expectation, but that expectation does not happen
o Anticipation tends to have a more exaggerated action than expected
o Used to:
 Subvert expectations for the anticipation
 Get a bigger reaction from the audience
 Mostly for comedic purposes
o Tips for using a surprise anticipation:
 Make the action more exaggerated and distorted than is expected
 Better to use straight ahead animation to get a more unexpected result
 Understand how the surprise anticipation is used normally to understand how to subvert it
 Use it multiple times in a sequence
- There should be smaller sequences with smaller actions and reactions
- Can help lengthen the reaction coming from the audience
- Creates more impact if it is longer
o Example:
 The sequence is a character blowing a balloon
 The anticipation of inhaling too much:
- Results to an action where the balloon is blown more than it can handle
- Expected result would be that the balloon popping on the character’s face

 Having that same anticipation of inhaling the balloon, but changing the results can give a
much more impactful action and a bigger reaction from the audience

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 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 7 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

 Invisible Anticipation
o Fast type of anticipation
 Utilizes one or two drawings only
o Characteristics:
 Usually very subtle
 Very fast action so it is invisible to the eye – but is very much felt by the audience
o Used to:
 Give that “snapping effect”
 Animations with shorter times
 Subtler actions (actions that use only portions of the body
 Create an invisible impact to the action
 Be an anticipation for an anticipation
o Example:
 The example is of a character stopping a ball using a circular foot flourish
 The foot flourish is considered as an anticipation of an anticipation – similar to preparing
oneself to get into position

Takes and Accents

 Take
o Also known as sequence or action
o Anticipation of an accent which then settles
o A sequence of:
 Starting position / neutral position  Overshoot
 Anticipation  Settle
 Accent
o Characteristics:
 Tends to be an extreme reaction
 Can also be more subtle sometimes
 Usually an emotional reaction
 Usually takes up between two or more keyframes
o Tips in doing takes:
 Distorted frames are not to be worried about
- Especially for the in-between frames
- This is, in fact, encouraged
- Distortion can come by adding animation smears and blurs
 Add squash and stretch as much as possible
- It is very important however to retain the volume of the shape
- Use the model sheets as a guide
 The take can be made better with more detail in the anticipation
- Use surprise animation to get a better reaction
Page 16 of 24
 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 7 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

o Example 1:
 This is a series of time charts for a jumping sequence
 All of the time charts make up the entire take
 Each of the following time charts showcases parts of the action:
- First (A1 – A3): anticipation
- Second (A3 – A8): jumping up / accent
- Third (A8 – A13): jumping down / accent
- Fourth (A13 – A15): settle

o Example 2:
 This is a sequence of a character getting surprised
 This showcases parts of the take:
- Neutral position: character sees something
- Anticipation: character scrunches down to prepare for the accent
- Accent: character is surprised; stretches upwards to accentuate the action
- Settle: goes back to the neutral position

 Accent
o Moment of punctuation in an animation
o Also known as the main action
o Part of the take / sequence
o Characteristics:
 Tends to be the main action from the entire sequence
 Strictly placed as a few frames or no more than a sequence between two keyframes
 Sometimes invisible to the naked eye, but is something that the audience feels
 Usually very fast, giving it that snapping effect
o Tips to creating an accent frame:
 Add another breakdown frame within the accent to allow for more vitality
 Add an anticipation to make the accent more impactful
- Decide on what type of anticipation to use to best assist with the accent
 Plan the poses first before animating
- Having too crazy of a take can be unnecessary and results to overanimating

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 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 7 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

o Example:
 This is an sequence of a character being surprised and then angry
 There are four basic poses in this take:
- Neutral: character looks at something
- Anticipation: character squashes down to prepare for the stretched accent
- Accent: character is angry, shouting, and creating an outburst; the jaw is very much
stretched to exemplify the emotion
- Settle: character is still angry but somewhat goes back to the neutral position
 Another accent (in red) has been added between the original accent and settle:
- This is an accent where the character stretches even more
- Showcases an end to the outburst but is still angry
- Adds extra vitality to the sequence
- Done using a stretch to exemplify the emotion
- Can be considered as an overshoot

o Types of Accents:
 Hard Accent
- Accent that focuses on recoil
- Tends to have a lot of force within a short amount of time
- Tends to end as abruptly as possible
- Example: a hammer hitting the surface would tend to have only one drawing that
comes into contact with the ground before it immediately bounces back

 Soft Accent
- Accent that tends to keep on going
- Usually a slow action that is done over a long period of time
- There is usually speed within the accent but the movement continues
- Example: conducting to a waltz tempo goes over even if the accent is already finished

Page 18 of 24
 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 7 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

Stagger Timings
 Introduction
o Refers to any type of timing that is done that is not the normal pacing
o Turns a series of drawings of normal action and interleave them back and forth in different
ways
o Done by changing the time charts
 Slow-timed actions are drawn a bit faster
 Fast-timed actions are drawn a bit slower
 Normal-paced actions tend to have a change of slow and fast at the same sequence
o Used to:
 Cause motions to shake or vibrate
 Create more visually interesting sequences
o Some applications:
 Slow timing of a typically fast motion
- Lighting a matchstick
- Running elephants
- Hitting a baseball bat
 Fast timing of a typically slow motion
- Running mice
- Falling leaves
- Carrying a heavy object
o Types of stagger timing:
 Side-to-side vibration
 Wave and whip principle
o Example:
 This is an explanation of how the fluttering of a leaf on the wind gives an example for
stagger timing

Page 19 of 24
 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 7 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

 Side-by-Side Vibration
o Movement goes to a zigzag motion, giving it the idea that the object in question is vibrating
o Done by interleaving two series of drawings
 Animating the entire sequence first
 Copying all of the frames in the sequences and placing them a few millimeters off the
original placement
 Placing them in between the original frames
o Some applications:
 Strumming guitar or other string instrument
 Vibrating diving board
 Fur vibrating when a character is scared
 Shivering from the cold
o Example:
 This is a sequence where a character’s head wobbles from side-to-side
 It would be better off to start drawing the first half of the wobbling, creating a C-shape; this
is then labeled with a number only (1-33)
 The interleaving process takes the entire sequence (frames 1-33) and then placing them
slightly off the original placement (in red) and is then labeled 1A – 33A
 The interleaved frames are then inserted in between the actual frames (i.e. 1, 1A, 2, 2A,…
33, 33A)

 Whip Principle
o Line movement where the motion is very slow at the beginning, then ends at a very fast pace
 Slow movement is usually the anticipation
 Fast movement is usually the accent
 The action ends with a snap
o Mainly used for objects that can be applied with follow through or drag
o Some applications:
 Ponytail hair on a very sharp turn
 Horse tail (whipping)
 Batting eyelashes

Page 20 of 24
 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 7 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

o Example:
 This is a sequence of how the whip action is done using a whip
 The action starts very slow, with the hand moving the whip back as a form of anticipation
(frames A and B)
 The accent then turns very fast
- Frame C is still the anticipation, which prepares the whip
- Frame D is the start of the accent; with the idea of drag present, it is seen that the
actual whip is dragging behind
- Frame E brings the whip faster forward, and the whip gains more speed, but it is still
lagging behind the stick to where the whip is attached
- Frame F has the stick and hand stopping, and this is the actual accent with contact at
the end of the whip; it is also seen that the end of the whip has caught up with the stick
since it still has momentum while the stick and hand already stopped moving
- Frame G has the hand and stick moving downwards as a settle motion; while the whip
somewhat relaxes

 Wave Principle
o Also known as the beauty curve
o Derived from the whip principle, but without the snap
o Essentially is considered as a series of arcs
 Helps create a more fluid motion of an object
o Creates a wave
 Happens when the arc moves through the objects
 There is still a separate path of action
 The wave tends to be consistent in terms of movement
 Utilizes thirds timing in the time chart
o The sequence of a typical wave looks like:

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 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 7 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

o Tends to have two parts:

 Leading point (blue)
- Where the action tends to originate
- Can be moving or non-moving aside from the arc movement
 Following point (red)
- Where the action goes to from the leading point
- Movement mostly depends whether or not the leading point moves or not

Image reference: https://miro.medium.com/max/700/1*MxeiUPe8hKq5b2t-wYKX0w.gif

o The wave starts at the leading point and then carried through until the following point
o Follows principles:
 Drag
- Following point is trailing behind the leading point
 Overlap
- Object’s momentum propels the following point past the leading point

Image reference: https://miro.medium.com/max/700/1*NUpFEjx5Bneg3MgayBJLbw.gif

o When the shape overlaps, an S or Z curve is created (depending on the motion)
o Some applications:
 Animal tail
 Candle smoke
 Balloon string
 Waves in water

References:
 Blair, P. (1994). Animation. Walter Foster Publishing: California.
 Carey, A. (2019). The Wave Principle: In Theory & Practice, Alex Carey. Retrieved from
https://medium.com/@alexcarey_s/the-wave-principle-in-theory-practice-1763ad5975ec
 Technical Education and Skills Development Authority (2018 February 27). Training Regulations
for Animation NCII – Version 02. Quezon City
 Williams, R. (2001). Animator’s Survival Kit. Faber and Faber: United States.

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 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 7 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

ACTIVITY 7: Self-check 4
Instructions: Read, understand, and analyze the questions. Choose the letter of the BEST answer to
the question. (15 items, 15 pts.)
1. Which of the following guidelines for acting tends to be the most overused?
A. Body language C. Contrast
B. Change of expression D. Twinning
2. Which of the following guidelines for acting looks into the silhouette of the character?
A. Body language C. Contrast
B. Change of expression D. Twinning
3. Which of the following guidelines for acting focuses on maximizing the use of pantomime?
A. Body language C. Contrast
B. Change of expression D. Twinning
4. Which of the following guidelines for composition emphasizes editing out some actions?
A. Exaggeration C. Keep things strong
B. Keep things simple D. Staging
5. Which of the following guidelines for composition utilizes a line of action?
A. Exaggeration C. Keep things strong
B. Keep things simple D. Staging
6. Which of the following guidelines for flexibility emphasizes on the use of squash and stretch?
A. Breaking of joints C. Flexibility in the face
B. Counteraction D. Overlapping action
7. Which of the following guidelines for flexibility have main and secondary actions happen at the
same time?
A. Breaking of joints C. Flexibility in the face
B. Counteraction D. Overlapping action
8. Which of the following guidelines for flexibility makes limbs seem like it doesn't have joints?
A. Breaking of joints C. Flexibility in the face
B. Counteraction D. Overlapping action
9. Which of the following guidelines for flexibility changing the timing of some elements?
A. Breaking of joints C. Flexibility in the face
B. Counteraction D. Overlapping action
10. Which of the following guidelines is considered as an extreme reaction?
A. Accent C. Surprise anticipation
B. Invisible anticipation D. Take
11. Which of the following guidelines is the most subtle?
A. Accent C. Surprise anticipation
B. Invisible anticipation D. Take
12. Which of the following guidelines tend to be the main action?
A. Accent C. Surprise anticipation
B. Invisible anticipation D. Take
13. Which of the following guidelines tends to subvert expectations of the audience?
A. Accent C. Surprise anticipation
B. Invisible anticipation D. Take
14. Which of the following guidelines for stagger timing utilizes interleaving drawings?
A. Side-by-side vibration C. Wave principle
B. Stagger timing D. Whip action
15. Which of the following guidelines for stagger timing utilizes thirds timing?
A. Side-by-side vibration C. Wave principle
B. Stagger timing D. Whip action

Page 23 of 24
 ANIMATION NCII – Animation 12b
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: [email protected]; Website: www.uc-bcf.edu.ph

MODULE 7 – Ani12b Subject Teacher: Lovely Jenn A. Reformado

How to Submit:
 Answer “7: Self-Check 4” under “Module 7 – Acting and Performance in Animation”.
Submission Channels:
 Canvas K-12 LMS (Quizzes)

OVERVIEW: Final Project

Premise:
 Create an animation of your own original character saying their core belief
 The original character design, audio recording, and animation shall all be created by the
student
Related Activities:
Module Total
Number Title of Activity General Description Number
and Title of Points
Formulate a one-sentence motto of your character,
8 – Exposure
Exposure Sheet which can be said for at least three seconds. Create 30
Sheet
the exposure sheet detailing the timing.
Produce an audio recording of your character
9 – Mouth saying their one-sentence motto. Based on the
Mouth Codes 50
Codes exposure sheet, create all of the mouth codes
needed for the motto.
Creation an animation of your character saying their
10 – Lip Character core belief. Base it off the recording created, the
50
Sync Monologue exposure sheet, and mouth codes. Character must
be up until bust level in the field guide.
Note: Details of the activities may be subject to change.

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