Technical

Vocational 12
Livelihood
QUARTER 1

Animation
Module
12

Animation – Grade 12
Quarter 1 – Module 12: Principles of Animation
First Edition, 2020

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Published by the Department of Education - Schools Division of Pasig City

Development Team of the Self-Learning Module

Writer: Janeth M. Pineda
Editor: Melannie B. Nanteza
Reviewers: Aiza T. Tuplano (Content)
Illustrator:
Layout Artist: Isidro D. Pineda
Management Team: Ma. Evalou Concepcion A. Agustin
OIC-Schools Division Superintendent
Aurelio G. Alfonso EdD
OIC-Assistant Schools Division Superintendent
Victor M. Javeña EdD
Chief, School Governance and Operations Division and
OIC-Chief, Curriculum Implementation Division

Education Program Supervisors

Librada L. Agon EdD (EPP/TLE/TVL/TVE)

Liza A. Alvarez (Science/STEM/SSP)
Bernard R. Balitao (AP/HUMSS)
Joselito E. Calios (English/SPFL/GAS)
Norlyn D. Conde EdD (MAPEH/SPA/SPS/HOPE/A&D/Sports)
Wilma Q. Del Rosario (LRMS/ADM)
Ma. Teresita E. Herrera EdD (Filipino/GAS/Piling Larang)
Perlita M. Ignacio PhD (EsP)
Dulce O. Santos PhD (Kindergarten/MTB-MLE)
Teresita P. Tagulao EdD (Mathematics/ABM)

Printed in the Philippines by Department of Education – Schools Division of

Pasig City
 Animation 12
n
QUARTER 1

Module
12 Principles of Animation
Introductory Message

For the Facilitator:

Welcome to the Animation 12 Self-Learning Module on Principles of Animation!

This Self-Learning Module was collaboratively designed, developed and
reviewed by educators from the Schools Division Office of Pasig City headed by its
Officer-in-Charge Schools Division Superintendent, Ma. Evalou Concepcion A.
Agustin, in partnership with the City Government of Pasig through its mayor,
Honorable Victor Ma. Regis N. Sotto. The writers utilized the standards set by the K
to 12 Curriculum using the Most Essential Learning Competencies (MELC) in
developing this instructional resource.

This learning material hopes to engage the learners in guided and independent
learning activities at their own pace and time. Further, this also aims to help learners
acquire the needed 21st century skills especially the 5 Cs, namely: Communication,
Collaboration, Creativity, Critical Thinking, and Character while taking into
consideration their needs and circumstances.

In addition to the material in the main text, you will also see this box in the
body of the module:

Notes to the Teacher

This contains helpful tips or strategies that
will help you in guiding the learners.

As a facilitator you are expected to orient the learners on how to use this
module. You also need to keep track of the learners' progress while allowing them to
manage their own learning. Moreover, you are expected to encourage and assist the
learners as they do the tasks included in the module.
 For the Learner:

Welcome to the Animation Self-Learning Module on Principles of Animation!

This module was designed to provide you with fun and meaningful
opportunities for guided and independent learning at your own pace and time. You
will be enabled to process the contents of the learning material while being an active
learner.

This module has the following parts and corresponding icons:

Expectations - This points to the set of knowledge and skills that

you will learn after completing the module.

Pretest - This measures your prior knowledge about the lesson

at hand.

Recap - This part of the module provides a review of concepts

and skills that you already know about a previous lesson.

Lesson - This section discusses the topic in the module.

Activities - This is a set of activities that you need to perform.

Wrap-Up - This section summarizes the concepts and

application of the lesson.

Valuing - This part integrates a desirable moral value in the

lesson.

Posttest - This measures how much you have learned from the
entire module.
 EXPECTATIONS
At the end of the lesson, the students should be able to:
A. Recognize and differentiate the Principles of Animation through graphic
organizer;
B. Realize how the principles can help us become better citizen by applying
the basic value behind each one;
C. Show simple animation by choosing a principle and creating hand-
drawn images to make a simple action.

PRETEST
MULTIPLE CHOICE. Read the following items carefully and select the best
answer. Write your answer on the space provided.
___ 1. What principle of animation has a rule that a pose or action should
clearly communicate to the audience the attitude, mood, reaction or idea
of the character as it relates to the story and continuity of the story line?
A. Squash and Stretch C. Final Shoot
B. Staging D. Rushes
___ 2. What principle of animation has a rule that when the main body of
the character stops all other parts continue to catch up to the main
mass of the character, such as arms, long hair, clothing, coat tails or a
dress, floppy ears or a long tail (these follow the path of action)?
A. Anticipation C. Staging
B. Squash and Stretch D. Follow through and overlapping action
___ 3. What principle of animation has a rule that there is a movement which
tells the audience that character has a major action about to perform,
such as, starting to run, jump or change expression?
A. Squash and Stretch C. Anticipation
B Secondary Action D. Timing
___ 4. What principle of animation has a rule that an expertise on this comes
best with experience and personal experimentation, using the trial and
error method in refining technique. The basics are: more drawings
between poses slow and smooth the action.
A. Staging C. Anticipation
B. Timing D. Secondary Action
___ 5. What principle of animation has a rule where the action gives the
illusion of weight and volume to a character as it moves? This is useful
in animating dialogue and doing facial expressions.
A. Anticipation C. Staging
B. Timing D. Squash and Stretch
 RECAP
TRUE OR FALSE: Write T if the statement is True, and F if false. Write your
answer on the space provided.
_________ 1. 1930-1950s is the Golden Age of American Animation.
_________ 2. Disney released Big Hero.
_________ 3. Felix the Cat is considered as the first cartoon to feature an
appealing character.
_________ 4. Using hand-drawn animation to create action marks the start of
an animated film.
_________ 5. Theatrical showings of cartoons started in the early 20th century.

LESSON
How do animators put life on a blank canvas? Why do they make us
laugh at Pascal, sympathize with Carl and hear Ariel's desire to become part
of your world? Why do they make us believe the things that they have created
are really alive?
One must first understand the 12 principles of animation to answer any
of these questions. The twelve animation concepts should be fundamental
knowledge for everyone. These were released in a book The Illusion of Life:
Disney Animation published in 1981, by the Disney animators Ollie Johnston
and Frank Thomas. These ideas are the result of the work of Disney animators
starting in the 1930s. In animations, they were not only designed to help
represent real life and the basic laws of physics, but also to solve theoretical
issues such as character appeal. The 12 animation concepts are suitable both
for frame-by - frame animation and for motion design.

12 Principles of Animation
1. Squash and Stretch
The squash and
stretch rule is about
giving the objects that are
drawn a sense of weight
and flexibility. This works
on basic objects,
including a bouncing ball,
and complex human-body compositions. The most critical facet of this theory
is the volume of an object. When squashed or stretched it should not change.
The best advice from Disney animation writers is to think of the scene as a
semi-filled bag of flour. If it's dropped on the floor, it will curl out to the fullest
shape, and stretch out to the longest shape when the corners pick it up. Yet,
its volume never will change.

2. Anticipation
Those watching animation need
to be prepared for and predict the
next step before it actually happens.
Otherwise, the scene 's effect would
be less impressive, or worse, one Source: Ollie Johnston and Frank Thomas - The
joke may be skipped. Disney Illusion of Life: Disney Animation

animators developed the Principle of

Anticipation to avoid this problem.
Anticipation is used to plan an action for the viewer and to make the
action more realistic. It's about displaying a tiny opposite motion, contrasting,
before the actual move.

3. Staging
Animation staging is close to theatre-film staging. The aim is to guide
the attention of the viewer and to make clear what is of the greatest
significance in a scene. It can be achieved in many ways, such as using light
and shadow, or the character's angle and location, or weight and colours. The
purpose of this rule is to stay focused on what is most important in
determining a scene / character 's mood. It's about cameras too-you can zoom
in on a person, or zoom out to stage the scene.

4. Straight Ahead Action and Pose to Pose

Source: Ollie Johnston and Frank Thomas - The Illusion of Life: Disney Animation

The drawing method comes with two separate ways. The First One,
Straight Ahead Action is about frame-by - frame animation, from start to
finish. The second, Pose to Pose, begins with a schedule of the most important
poses. The animator starts by drawing a few main frames, and then fills in
later intervals.
 Straight Ahead Action creates a more dynamic illusion of movement and
is better for creating realistic movements, but it makes it harder to maintain
proportions and to create exact, precise poses along the way. Pose to Pose
works better for dramatic, emotional, or even exaggerated scenes, where
composition and relation to the surroundings are more important. These
techniques can be mixed in one animation.
For various movements both approaches give some advantages. During the
past, animators would use Pose to Pose to achieve faster results, but now,
with the creation of stronger poses, knowing pacing, using a secondary
action and other rules, it is a clever way to design textured animations, full
of accents and surprises.

5. Follow Through and Overlapping Action

When a character reaches the spot for the next move, this does not stop
entirely. It will appear strange and rigid. To avoid this effect, Disney animators
invented the idea of Follow Through and Overlap Action. This helps make more
believable movements and gives the illusion that characters and objects are
following the physics rules.

• Follow Through means that loosely connected parts of a body will

continue to move after the character (skeleton) has ceased to move.
These pieces will also continue to travel past the stage where the
character stopped only to be "dragged out" afterwards.
• Overlapping Motion is the law for animating the different body pieces.
They will move on at different levels. The arm can pass on a different
timing to the head in character animation.

6. Slow In and Slow Out (Ease In, Ease Out)

In the physical world the movement
of objects requires time to accelerate
and slow down. Further pictures
can then be drawn at the beginning
and end of an action, producing a
slow in and slow out effect. This helps bring in more realistic movements.
That definition emphasizes the extreme poses of the object. Inversely, less
pictures are drawn in the middle of the animation in order to display quick
action. The idea refers to characters or objects, such as sitting down and
standing up, or a bouncing ball, switching between two extreme poses. Use of
this definition helps avoid mechanical motion, and it’s a basic principle for
staging and timing.
7. Arcs
Most natural action tends to
follow an arc, and for greater realism,
the animation should represent that
rule. This may have something in
common with the weight of objects, but
whatever the cause, the majority of
living creatures moving must follow some sort of arc. Animations based on
sketches of straight in-betweens will completely destroy the nature of the
movement.
8. Secondary Action
Adding secondary actions to the main move brings more life to a scene
and makes it look normal. The crucial thing about secondary actions is that
the primary action should be emphasized. They should be carefully designed
because the entire animation will suffer when they clash with or become more
compelling or dominant than the main action. Secondary Action will work for
the characteristics of characters or objects, so the expression is clearly
emphasized and the scene appears spectacular. The best approach is to start
by animating the main action and then add other moves and secondary
actions gradually. Used correctly, Secondary Action should add scene depth,
movement naturalness and assist staging.

9. Timing
The number of frames used in each motion
defines the amount of time it will take to act.
The pace of an action is timing. Right timing,
on a physical level, makes things appear like
they obey physics rules. Timing is crucial to
deciding mood, emotion, reaction, and
staging of a character. It's also a perfect way
of conveying the personality of a character. In
order to show that the character is relaxed,
excited, nervous or lethargic, timing would be of great help.

10. Exaggeration
This idea is an particularly useful
influence if you want to make your
animation look more like a realistic
caricature. The intensity level depends
on what result the animator wants to
achieve. Disney's classical concept of
exaggeration was to stay true to reality,
and to portray it in a wilder, more Illustration by Aga Koniuszek
extreme form. If a scene includes multiple elements, the manner in which
those elements are emphasized in comparison to one another should be
balanced. If a character is sad, he should be sadder, if he is bright - make
him brighter.
11. Solid Drawing
The principle of solid drawing is about drawing
single scenes in three-dimensional space and
giving them volume and weight. The animator
needs to be a skilled artist and has to understand
how shapes, anatomy, weight, balance, light and
shadow work.
Illustration by Katarzyna Dziaduś

12. Appeal
Appeal is a very necessary aspect of a
character. This helps describe a person's mood
and appearance, charm consistency, good
design, style, body language, and magnetism.
An appealing character is not necessarily
sympathetic; villains or monsters may be
appealing, too. It's about the impression a
character is real and interesting. There are
Illustration by Iryna Korshak
many ways to make a character more desirable
and they are different for likable characters (symmetrical face, round shapes)
and villains (sharp forms, deep, purple colours).
Disney animation 's 12 principles changed the way in which animators build
their stories. Because of them animations have magic and beauty. Definitely
using these concepts would help you make stunning and eye-catching
animations.
 ACTIVITIES
WHAT IS YOUR PRINCIPLE? : Choose any 2 principles of animation. Draw
an action applying that specific principle. Use the drawing stage below. Do
not forget to write the chosen principle on the title.
 WRAP-UP
Let us summarize what we have discussed today. Complete the graphic
organizer by enumerating the 12 Principles of Animation on the 1st column,
and explaining how it works on the 2nd column.

1995
TOY STORY
 VALUING

Suppose you are the artwork, and the principles of animation are our guide
to become good citizen. Upon learning the Principles of Animation, what
principle/s do you think we can use to make us better people? Defend your
answer by filling out the space below.
________________________________________________________________
________________________________________________________________
________________________________________________________________
________________________________________________________________
________________________________________________________________
________________________________________________________________
________________________________________________________________
________________________________________________________________
________________________________________________________________
________________________________________________________________
 POSTTEST
IDENTIFICATION: Identify what principle of animation is being shown in each
picture. Write your answer on the space provided.
 KEY TO CORRECTION

12. Appeal
11. Solid Drawing
Overlapping Action 10. Secondary Action
5. Follow Through & 9. Exaggeration T 5. 5. D
4. Staging 8. Arcs F 4. 4. B
3. Anticipation 7. Slow in and Slow-out F 3. 3. C
2. Timing Pose-to-Pose T 2. 2. D
1. Squash & Stretch 6. Straight Ahead & T 1. 1. B
POSTTEST RECAP PRETEST

References
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https://www.deped.gov.ph/wp-content/uploads/2019/01/Animation-
NC-II-CG.pdf
www.tesda.gov.ph.”TR Animation NC II.” Accessed May 24, 2020 .
https://tesda.gov.ph/Downloadables/TR%20-
20Animation%20NC%20II.pdf

creately.com.” types-of-graphic-organizers.” Accessed July 26, 2020 .

https://creately.com/blog/diagrams/types-of-graphic-organizers/
wiki.freecadweb.org.” Drawing Templates.” Accessed July 27, 2020 .
https://wiki.freecadweb.org/Drawing_templates
www.netguru.com.” Illustrators eye 12 Principles of Animation.” Accessed July
28, 2020 . https://www.netguru.com/blog/illustrators-eye-12-principles-of-
animation
ohmy.disney.com.” Disney 12 Principles of Animation.” Accessed July 28,
2020 . https://ohmy.disney.com/movies/2016/07/20/twelve-principles-
animation-disney/

michaellilleyart.wordpress.com.” Life Drawing and Design 12 Principles of

Animation.” Accessed July 28,
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character-design-the-12-principles-of-animation/