Basics
Inbetweens
An inbetween drawing is usually between two extremes or key drawings. These
can be positioned directly inbetween two keys or to the left or right of the
center depending upon the motion desired.
Slowing in and slowing outs
Two create a movement that slows down or speeds up requires a different position
for the inbetweens. More drawings equals slower movement, less drawings equals
faster.
Arcs
Natural movement is based on arcs. Everything that moves in life uses arcs.
When trying to determine how things should move, it is often helpful to draw
guiding arcs, which can later be erased. Head turns, for example, have a slight
dip and never have a strictly balanced inbetween.
Eyes
Eye movements should also be based on arcs. Sometimes it is more convincing
if the eyeball actually stretches where the pupil touches it. Yes should also
LEAD the head. Small pupils make a weak character whereas large suggest receptivity.
Curved lines
Arms, legs, head- natural objects require curved lines. When blinking, for example,
curve the eyelid lines. Additional subtleties could be hips swaying, a bobbing
head, floppy arms. View people on the street. Mimic them, see the subtle differences
in how they move. When animating a character, try to feel your character.
Anatomy
Anatomy cannot change- legs cannot shrink or stretch (although you can use the
tools of squash and stretch within reason). It depends on the personality of
your character.
Tracebacks
Not everything is moving all the time but in animation it often looks more “alive”
when you trace objects that are not moving so there is still something happening.
Although this should be subtle, it makes static objects still feel part of the
moving animation. They should be as precise as possible.
Timing
The power of a fast motion or a gentle swoosh is what makes animation come alive.
Planning out your movements and carefully determining your keys and inbetweens
are crucial to achieve this.
Anticipation
Newton's law of motion- “for every action there is an equal and opposite
reaction.” You must anticipate the action before you initiate it. Think
of this:
1. Static Pose
2. Wind up anticipation
3. Action
Follows the law of nature but also helps animation gain more believability and
helps your audience understand the action.
Realistic Touches
Weight in Movement
Remember objects have weight. You must portray this. Heavy objects require heavy,
slower animation. Also when characters carry weight, there is counterbalance-
it affects their posture
Flexibility of the joints is essential to good animation
Successive breaking of the joints meaning not all the parts of the action happen
at the same time, instead, a succession of movements takes place in any action.
What body part is leading, what parts follow and in what order?
Overlapping Action
Overlapping Action is the result of a main movement on parts that are secondary
to the main movement. Things like fabric, hair and be used to great effect.
A character stops moving, but the fabric of their coat has a delay.
Exaggerated Action
Take and Double-takes
The Take is one of the most powerful ways to register surprise in a character.
It is an exaggerated reaction to an event. It is an overreaction and should
be over the top. There should be anticipation in all movements. If the head
stretches forward, it must first squash back. Also think of drag, distortion,
and overlapping action. Remember the Road Runner's head still in the frame long
after his body has left.
External Influences
Weather
Along with weight, the environment in which you place your animated objects
effects how they behave. Wind, rain, cold all have an effect on how live objects.
You are stiffer in cold weather, slower and more relaxed in the heat.
Shadows
Consider the strength of the shadow, based on the time of day. Even a soft shadow
under the bottom of the character can create a subtle depth or weight. For a
realist touch don't forget the positioning of the shadow and that this must
remain consistent on all objects.