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 Principles of tradition a1 ammation:
.

1. Timing and Spacing· r .

the ill usmn
· of moving within th and Spacm~
· ll111Ilg · m · ammation
· is what gives objects and characters
e 1aws of physics.
Timing
. refers to the number 0 f fr ames betwee n t wo poses, or the speed of action
Spacmg . d. ·ct
refers to how those m
. would - ·
spacmg be how the b iv1. ual frames
.. are place d· For mstance,
. in the same example the
11 is positioned in the 0 th 23 fr
together, the ball moves slowera lfth . . er '
ames. If the spacing is close
· e spacmg is further apart, the ball moves faster.

2. understand
to Squash andhow
Stretch· • Squ
squash a das ht andhstretch. is what gives
· fl exi·b·ihty
• to obJects.
. The easiest way
n s retc work 1s to 100 k t b · I I
and picks up speed the ball . . a a ouncmg ball. As the ball starts to fall
'
squashes before stretching wi.11 stretch
. out Just b ti ·
e ore impact. As the ball impacts
. the ground, it
agam as.1t takes off.

3. Anticipation:
about to happen, Anticipation
d. . is used m. ammallon
. . to set the audience up for an action that is I I I
befi b b ,;"'Its requrred to sell believable movements. An easy way to think about this is I

okwre ad ase P ayer pitches the ball, they first need to move their entire body and arm
ow t he ba11 forward. So, if an animated person needs to
bac ar to gam enough energy to thr
move forward, they first must mo ve bac k . or, 1·f a character 1s
· reaching for a glass on a table
the~ must firs! ~ove their hand back. ·This not only gets up their momentum. but it lets th;
audience know this person is about to move.
4. Ease In and Ease Out: As any object moves or comes to a stop, there needs to be a time for
acceleration and deceleration. Without ease in and ease out (or slow in and slow out),
movements become very unnatural and robotic. As a car moves away from a stop, it doesn't just
reach full speed in an instant. It must first gain speed. As it comes to a stop, it doesn't go from
sixty to zero in the blink of an eye. Instead, it slows down until it reaches a complete stop.

5. Follow Through and Overlapping Action: Follow through is the idea that separate parts of
• the body will continue moving after the character has come to a stop. N, a character comes to a
stop from a walk, the arms may continue forward before settling in a down position. This could
also be the case with articles of clothing. Overlapping action (also called "drag" or "lead and
follow") is very similar in that it means different parts of the body will move at different times.
An example of overlapping action is when a character raises their arm up to wave: The shoulder
will move first, then the arm, and then the elbow, before the hand lags behind a few frames.

6. Arcs: Everything in real life typically moves in some type of arcing motion. Since it's
unnatural for people to move in straight lines, you should adhere to this principle of animation to
ensure you get smooth, realistic movements. The quicker something moves, the flatter the arc
and the broader the tum. The only time something would move in a perfectly straight line is a

robot.
 7. Exaggeration: Exaggeration is used to push movements further adding mo
' re appeal tO
action, and should always be implemented to some degree. Exaggeration can be used an
extremely cartoony movements including physical alterations or supernatural elem to create
. can be mcorporate
exaggeration . d wit. h a 1·1ttIe more restramt
· 1or
.c.
more realistic actio ns. ents · Or,

Animation Techniques

Animators have invented and used a variety of different animation techniques. Basicall
. teehn'1ques wh'1ch we wou Id d'1scuss one by one m
. arumation
are SIX . · this
· section. y there

Traditional Animation frame by frame

Traditionally most of the animation was done by hand. All the frames in an animation had to be
drawn by hand. Since each second of animation requires 24 frames film, the amount of efforts
required to create even the shortest of mpvies can be tremendous.

Key framing

In this technique, a storyboard is laid out and then the artists draw the major frames of the
animation. Major frames are the ones in which prominent changes take place. They are the key
points of animation. Key framing requires that the animator specifies critical or key positions for
the objects. The computer then automatically fills in the missing frames by smoothly
interpolating between those positions.

Procedural

In a procedural animation, the objects are animated by a procedure - a set of rules - not by key
framing. The animator specifies rules and initial conditions and runs simulation. Rules are often
based on physical rules of the real world expressed by mathematical equations.

Behavioral

In behavioral animation, an autonomous character determines its own actions, at least to a certain
extent. This gives the character some ability to improvise, and frees the animator from the need
to specify each detail of every character's motion.

Performance Based Motion Capture

.
Anot her teehn1que . M otion
1s . . wh"1ch magnetic
Capture, m . or v1s10n-
. . based sensors record the
t0
th
actions of a human or animal object in three dimensions. A computer then uses ese data
animate the object.
. for characters in
This technology has enabled a number of famous athletes to supply the actions ome of
. . . h . t mainly because s
sports video games. Motion capture 1s pretty popular with t e aroma ors th e can be
. •h 1 · However, er
the commonplace human actions can be captured wit re at1ve ease.
 serious discrepancies between the shapes or dimensions of the subject and the graphical
character and this may lead to problems of exact execution.
Physically Based Dynamics

Unlike key framing and motion picture, simulation uses the laws of physics to generate motion
of pictures and other objects. Simulations can be easily used to produce slightly different
sequences while maintaining physical realism. Secondly, real-time simulations allow a higher
degree of interactivity where the real person can maneuver the actions of the simulated character.

In contrast the applications based on key-framing and motion select and modify motions form a
pre-computed library of motions. One drawback that simulation suffers from is the expertise and
time required to handcraft the appropriate controls systems.
Key Framing

A keyframe is a frame where we define changes in animation. Every frame is a keyframe when
we create frame by frame animation. When someone creates a 3D animation on a computer, they
usually don't specify the exact position of any given object on every single frame. They create
keyframes.

Keyframes are important frames during which an object changes its size, direction, shape or
other properties. The computer then figures out all the in-between frames and saves an extreme
amount of time for the animator. The following illustrations depict the frames drawn by user and
the frames generated by computer.

2 3 s 7

l j

.·; - .
4
!-
s 6
Morphing

The transformation of object shapes from one fonn to another form is called morphing. It is "
0
of the most complicated transformations.

A morph looks as if two images melt into each other with a very fluid motion. In technical terms,
two images are distorted and a fade occurs between them.