12 Principles of Animation

By Jovana Petrushevska
 1. Squash and Stretch

Squash and Stretch is a technique used in animation to give a character more fluidity, expression,
life-like movement, or to simply exaggerate a scene.
This technique refers to the process where a character, starting from its static or neutral pose,
squashes down and stretches back up to emphasize an action or event. Sometimes, squash and stretch
is used while a character is speaking or performing an action,
giving us the impression that it is truly alive.
Ex. from Hercules Ex. from Teen Titans Go- Squash and Stretch Ex. from My Little Pony intro

In the three images above, the characters are shown in what i reffer to as their neutral pose, or more so right before
squashing.

Where as in these three images, they are shown squashed down.

In the end we see the characters stretched out, almost as a reaction from being squashed down. Similar to how a ball
jumps after hitting the ground.
 2. Anticipation

Anticipation is an animation technique used to convey actions clearly to the viewer. It provides
a preview of what is about to happen, setting up the main action. By highlighting a preliminary
movement, anticipation helps the audience understand the upcoming action.
For example, if a viewer sees a character holding a fork, they can anticipate that the next action
will likely involve food, such as the character eating.
Anticipation can be subtle or dramatic, but either way, it is impactful. It gives the viewer time
to process the action, allowing them to fully appreciate the main movement once it occurs.
Ex. from The Lion King

In the example above, we as the viewer can anticipate the coming action. As we see the lions foot rise in preperation, we
can anticipate that what comes next is a kick towards the hyena.
Ex. from Shadow of the Colossus

Whereas in this example due to the robot slowly preparing by backing up with it’s weapon, we can anticipate that a swing
from it’s side is coming.
Ex. from Rapunzel

In this example we can anticipate the horses kick by it lifting its hoof in the air, preparing to strike.
 3. Staging

In animation, Staging is the art of making scenes clear and easy to understand. It involves
positioning characters and objects in a way that directs the viewer’s attention to the main action.
Animators use clear silhouettes, strong poses, and careful framing to show what’s happening
without confusion. Staging also uses camera angles and pacing to match the mood of the scene.
Overall, staging helps tell the story in a way that is both engaging and easy to follow.
In the examples provided it is made clear where the creator wants us to look. With the use of lighting and positioning we
know which character is on stage.
Ex. My Little Pony Intro Ex. from Adventure Time- Card Wars Ex. from WALL-E

In the three photos above, the characters are placed in the center. Wheather it is a full body shot or a close up of the
characters, the creators made sure to stage them so the surroundings aren’t distracting to the viewer because what we are
asked to focus on is the character.
Ex. from Stuck in the Sound- “Lets go” Ex. from Wreck it Ralph 1 Ex. from The Sleeping Beauty

However, in the three examples above we have characters placed in interesting surroundings. In the example on the
furthest left we can tell that our focus is to be on the white car as it is singled out from its surroundings.
In the example in the middle we have a character properly lighted and facing us as opposed to the characters surrounding
it who are all turned towards him. This tells us who we should look at.
As well as the example on the furthest right where we have our two characters in the center performing an action while
their surroundings sit still, once again making our eyes shift focus towards them.
 4. Straight Ahead Action and Pose to Pose

In animation Straight Ahead Action reffers to the process of an animatior drawing a composition
frame by frame consequently. This tecnique is usually used when drawing something that we
want to flow more unpredictably like fire or water.
However, Pose to Pose is where one draws the key frames and fills in the frames inbetween. This
takes a more predictable course of work because we know where our animation is going.
Straight Ahead Action can lead to inconsistency and is best to avoid when drawing characters but
sometimes can be used in combination with pose to pose.
Ex. from Avatar: The Last Airbender

The example provided is taken from Avatar The Last Airbender. In this particular case the animators used Pose to Pose
animation to create the character animation and combined it with Straight Ahead Action animation for the elements, like
fire, water, air.

Ex. from Lilo and Stitch, the movie

We can se the same approach in this animation from Lilo and Stitch. The character is animated using the Pose to Pose
technique whereas, the object in the characters hands was animated with Straight Ahead Action.
 5. Follow Through and Overlapping Action

Follow-through and overlapping action are principles of animation that add realism by showing
that different parts of an object or character don’t stop moving at the same time.
Follow-through refers to the parts of a character or object that continue moving after the main
motion has stopped.
Overlapping action captures the idea that not all parts of an object or character start or stop
moving simultaneously.
The difference between the two is that Follow through happens once the main action stops
whereas, Overlapping has actions ongoing during the main action.
Ex. from The Emperors New Groove

The example above showcases Follow Through. We can see that once the character (main action) stops, some parts
connected, like the sack and hair, continue moving or follow through for a few frames

Ex. from The Little Mermaid

However, here above we can see a character moving while her hair drags behind her.The hair follows the main action which
is the character moving, causing both of them to overlap.
 6. Slow In and Slow Out

Slow In and Slow Out means that objects or characters start moving slowly, speed up in the
middle, and then slow down before stopping.
In animation, this makes movement look natural, as things rarely start or stop all at once in
real life.
To create this effect, animators add more frames at the beginning and end of a movement and
fewer frames in the middle. This creates a smoother, more lifelike action.
Ex. from The Lion King

Here we can see our character, the lion, slowly talking as he walks, quickly looking at the other character then continuing
to speak slowly. Easing in and out of the main action.

Ex. from Beauty and the Beast

Another example is how The Beast, who has just been hit by a snow ball, slowly accepts the action, quickly shakes off the
snow and slowly looks away. Again, slowing into and out of the main action,
 7. Arc’s

In animation, Arcs are all about making movements feel natural. When you wave your hand, throw
a ball, or even just walk, you don’t move in perfect straight lines. Your motions follow gentle curves
or swoops, which feel smoother and more lifelike.
Animators use arcs to bring this natural flow into animation. If a character’s hand moves in a
straight line, it can look robotic and stiff. But if the hand follows a gentle curve, or arc, it feels
more realistic and fluid, like how a real person would move. Using arcs makes the animation feel
warm and lifelike, rather than stiff and mechanical.
Ex. from Alladin

In the examples above and below, the red line demonstrates how this character moves in arc’s or loops, going around while
he performs an action.
 8. Secondary Action

Secondary actions are smaller, additional movements that support the main action, making it
feel fuller and more life-like.
They don’t steal attention from the primary movement but instead add detail to it.
Ex. from Pocahontas

In this case, the main action of both the examples above and below is the characters talking. But secondary actions like the
opening of a sparkling poncho and juggling have been added to lure in the audience.

Ex. from Beauty and the Beast

Ex. from The Little Mermaid

Meanwhile, in this example we can see our character in distress. The secondary action is the frantic touching of the hair
that puts emphasis on the characters state.
 9. Timing

Timing in animation refers to how long an action takes and the speed of movements, which
affects how the audience perceives weight, speed, and emotion.
Different objects have different weights, so a heavy object like a boulder moves more slowly,
while a light one, like a feather, moves quickly. By adjusting timing, animators can create this
sense of weight.Timing also influences the perception of speed: fast actions require fewer
frames for a quick effect, while slower movements use more frames to stretch out the action.
Additionally, timing can convey emotions—slow movements might suggest hesitation, while
quick movements can express excitement.
Ex. from Shadow of the Colossus

In this case, due to the timed slow movements of the giant robot we can imagine a certain weight to it.

Ex. from The Lion King

Contrastingly, here we have a scene where we cut back and fourth between characters at a fast pace, giving the audience a
sense of tension and build up.
 10. Exaggeration

Exaggeration in animation is a technique used to enhance actions, emotions, or features to

make them more impactful and entertaining.
It involves amplifying movements or expressions beyond what would be realistic to create a
stronger visual impression.
Ex. from The Lion King Ex. from Eutopia Ex. from Tom and Jerry

-Exaggeration in emotion. -Exaggeration in size to convey a sense -Exaggeration of character squashing

of authority. due to surprising action.
-Exaggeration in proportions. -Exaggerated character proportions.

Ex. from Lilo and Stitch, the movie Ex. from My Little Pony intro Ex. from Adventure Time- Card Wars

- Unrealistic face and body -Exaggerated eyes and ears. -Exaggerated emotion and lighting to
proportions. convey malicious intent.
 11. Solid Drawings

Solid drawing in animation means creating characters and objects that look three-
dimensional and believable. It focuses on understanding shapes, anatomy, and how light and
shadow work to give depth to the drawings.
This means that a drawing, even though 2D, can be percieved as a 3D form so the viewer can
understand its movements and structure.
Ex. from Beauty and the Beast Ex. from The Lion King

Ex. fromThe Little Mermaid Ex. from Alladin

The examples above are solid drawings. We can see consistency in anatomy and can imagine the characters from any angle,
giving us a sense that they exist in a space and are not just an outline.
 12. Appeal

Appeal in animation is what makes characters and designs interesting and engaging to the
audience. It’s about creating visuals that attract viewers and encourage them to connect with
the characters.
Characters with strong appeal often stand out because of their memorable looks, charming
traits, or interesting personalities Appeal isn’t just about being cute or attractive; it’s also
about making characters relatable.
Ex. from Howls Moving Castle Ex. from Princess Mononoke Ex. from My Neighbor Totoro

Ex. from Spirited Away Ex. from My Neighbor Totoro Ex. from Princess Mononoke

The captures above show undeniable appeal in design. From interesting characters like Totoro and Mononoke that capture
a viewers eye to generally appealing sceneries of nature. Although its diffecult to differentiate between personal taste and
appeal, i believe that a majority would agree that there is something appealing that lures you in in the examples provided.