12 PRINCIPLES OF ANIMATION

What Are the 12 Principles of Animation?

Disney's twelve principles of animation were introduced by animators Ollie
Johnston and Frank Thomas in their 1981 book The Illusion of Life: Disney
Animation. Based on Disney animators' work from the 1930s, these
principles aimed to create realistic animations that followed physical laws
while addressing emotional timing and character appeal.
Known as the "Bible of animation," the book was voted the "best
animation book of all time" in a 1999 Animation World Network poll. While
originally for hand-drawn animation, the principles remain essential for
modern computer animation. These foundational techniques are widely
used across 2D, hand-drawn, and 3D animation to achieve excellent
results.
These animation principles include squash and stretch, anticipation,
staging, straight ahead action and pose to pose, follow through and
overlapping action, slow in and slow out, arcs, secondary action, timing,
exaggeration, solid drawing, and appeal.
1. Squash and Stretch
Squash and stretch is a technique that alters the shape of an object or
character to convey weight and
flexibility. When a character moves,
its body stretches and compresses,
creating a sense of mass and
elasticity. For instance, a bouncing
ball flattens on impact and elongates
as it rebounds. Similarly, in
character animation, a running
figure compresses with each step
and elongates between strides. This
approach enhances the dynamics of
movement, giving characters a sense of volume and liveliness. Disney
animators often used this method, exaggerating the effect for humor, as
seen when characters jump or fall with noticeable distortions.
Example: When Sulley throws snowballs at Mike in Monsters Inc, their
bodies squash and stretch with the force. Also seen when Rapunzel’s hair
gets tangled.
Squash and Stretch Examples - Pay Attention to the Facial and Body
Changes
2. Anticipation
Anticipation is a technique used to prepare the audience for an upcoming
action by incorporating small, subtle movements that precede the main
event. For instance, a golfer may swing their club back and forth before
taking a shot, or a pitcher may wind up before throwing the ball. These
preparatory motions help the audience expect the main action, making it
feel more natural and grounded. Anticipation also adds weight and
physicality, preventing the action from feeling sudden. Disney animators
often used this technique before a character jumps or throws something,
making the movement seem smoother and more realistic.
Example: Mr. Incredible winding up for a big punch in The Incredibles.
Also Buzz Lightyear as he prepares to take flight.
There Are Only Three Things in Animation: Anticipation, Action, and
Reaction

3. Staging
Staging involves arranging the
scene’s composition and framing to
direct the audience’s attention to the
key aspects of the action. Animators
use camera angles, lighting, and
character placement to emphasize the
main ideas and important details. For
instance, during an argument between
two characters, the animator might
use close-up shots to highlight their facial expressions. Similarly, if a
character is sneaking around, dramatic lighting and shadows might be
used to enhance the atmosphere. Staging guides the viewer’s focus and
strengthens the storytelling by efficiently conveying essential information.
Example: The opening jungle scene in The Lion King staged from baby
Simba’s low perspective to emphasize size and scope.
4. Straight Ahead and Pose to Pose
Straight-ahead animation means drawing out
the frames one by one in order from start to finish.
Animators taking this approach don’t plan ahead
but rather figure out each subsequent frame as
they go. This creates a very organic, fluid feel and
allows for experimentation. However, it can also
result in inconsistent volumes and proportions.
Pose-to-pose animation involves planning
out specific keyframes and poses first, then
filling in the in-betweens afterward. This
allows for greater control in terms of volumes
and proportions. However, the motion can
feel more mechanical if the in-betweens
aren’t filled in carefully.
Most animators use a combination of both
approaches. Important emotional poses are
planned out first to ensure consistency. The in-betweens are then filled in
with a straight-ahead approach for fluidity. Different scenes may warrant
different approaches based on the action and mood.
Example: Pose-to-pose used in fight scenes like Elsa vs. the soldiers in
Frozen. More straight ahead in free-flowing hair or fluid runs.
5. Follow-Through and Overlapping Action
Follow-through and overlapping action make animation feel more realistic
and fluid. Follow-through refers to the continued movement of a
character's body parts after they stop exerting force. For example, when a
character swings their arm, the arm, hair, and clothing keep moving even
after the swing ends. Without follow-
through, the action would seem abrupt, as
real-life movements don’t stop instantly.
Overlapping action refers to the different
rates at which body parts move. For
instance, when a character starts to move,
their hair and clothing will react first,
followed by the torso and limbs, creating a
smoother, more natural transition between poses.
Example: In Frozen, when Elsa gestures with arm-sweeping movements
to use her magic, her long braid and dress flow with follow-through,
continuing to swing behind the motion of her arms. The overlapping action
creates a fluid transition between poses.
6. Slow In and Slow Out
The principle of slow in and out means animating with more drawings near
the start and end of an action. This exaggerates the extreme poses and
makes the movement feel smoother. For example, if a character is
jumping, more frames would be used at the highest and lowest parts of
the jump arc to accentuate those poses. Fewer frames would be used in
the middle.
Slow in and out adds life and character to
the movement. It focuses audience’s
attention on the most exaggerated and
impactful parts of the action by dwelling
longer on the anticipation and follow-through.
Whether it’s a ball bouncing or a bird taking
flight, those origin and ending poses are
extended to give more emphasis to the weight and stretch of the motion.
Example: Genie’s face stretches out as he exits the lamp in Aladdin. Slow
ins and outs accentuate his squash and stretch.
7. Arcs
Animators follow arched trajectories when animating actions like jumping
and throwing. Rather than moving in straight lines, characters swing arms
and bodies in expressive curve paths. Arms don’t just move up and down
—they follow sweeping arcs for greater
fluidity.
Arcs lend movements more grace. They
reflect the arcs we follow with our own
bodies, such as the arc formed when
throwing a ball. Curved trajectories feel
more natural than straight lines, which
would feel mechanical and stiff. The
emphasis on arcs in animation allows
characters to move with rhythm and fluidity.
Example: Arcs used when characters throw objects or swing
tools/weapons. Seen in fight scenes and with Mr. Incredible’s arm motions.
8. Secondary Action
Secondary actions are subtle movements that enhance or support the
main action. For example, a character might gesture with their arms while
telling an energetic story, or adjust their clothing after jumping off a
ledge. These motions add depth to the scene without overshadowing the
primary action.
Secondary actions bring life and complexity to
animation, adding vibrancy and visual appeal. They
also offer a chance to showcase a character’s
personality and thoughts through small, habitual
gestures. By including these supporting actions,
animators can create a richer, more complete story.
Example: Flora’s dress and apron fluttering as she
flies in Sleeping Beauty. Also, Dug’s ears flopping in
Up while he runs.
9. Timing
Timing refers to the number of frames assigned to each action, controlling
the pace and rhythm of the animation. It affects how movements are
perceived—more frames
result in slower, more
exaggerated actions, while
fewer frames make the
movement faster. For
example, a ball that falls
quickly uses fewer frames
than one that bounces slowly
to a stop.
Proper timing adds weight, speed, and personality to animation. Fast,
snappy timing suggests high energy, while slower timing creates broader,
more deliberate movements. Timing can also be adjusted for comedic
effect, such as when a character abruptly stops after running fast.
Example: The fast snappy timing of Sulley trying to put on socks in
Monsters Inc. Also, the rickety wagon in Frozen.
10. Exaggeration
Exaggeration in animation means
overstating movements and actions
beyond normal proportions. A fist
bump becomes a full-body motion.
Eyes pop out of an astonished
character’s head. Exaggerating the
squash and stretch is one form,
but exaggeration applies to all
aspects of movement, from arcs to
timing.
This principle infuses animation with life. Subtly exaggerating motions
makes characters feel more dynamic, interesting, and expressive.
Exaggeration brings emphasis and drama to the most important actions.
However, classical animators warn against taking exaggeration too far.
Actions should still feel possible within the limits of the character and
world.
Example: Characters often have exaggerated facial expressions, like
Genie’s wide eyes. Movements are also exaggerated, especially in
Tangled.
11. Solid Drawing
Solid drawing means creating figures and
objects with volume, weight, and convincing
form. Characters feel believable when drawn
with anatomically correct proportions and
dimensions—when they have substance and
mass. Solid drawing especially applies to key
poses where characters demonstrate their
shape based on the shape language technique.
Solid drawing prevents characters from looking too stiff, flat, or rubbery.
It involves applying the principles of squash and stretch and exaggeration
in ways that maintain a sense of volume and weight. This principle is
crucial for animating believable characters that audiences can connect
with. The most iconic Disney characters exhibit this sense of solidity and
dimension.
Example: Characters like Sulley, Mike, and Marlin have dimensions,
weight, and convincing form.
12. Appeal
Appeal in animation refers to creating characters and motions that are
compelling, entertaining, and aesthetically pleasing. Animators aim to
give characters charm and whimsy through their design
and movement. Disney stressed the principle of appeal
—animation should above all be charming and
captivating.
This means applying the other principles in ways that
bring joy and personality to a character. Appeal comes
from expressive poses, fluid movement, defined
silhouettes, and engaging character design. Unique
character appeal is also achieved through details like expressive facial
features, distinctive motions, and small quirks. Animators work to build
characters that viewers will connect with and find memorable.
Example: Wall-E’s cute binocular eyes and childlike
movements create endearing appeal. He expresses so
much through subtle gestures.