LP-12 Principles of Animation

RIZAL TECHNOLOGICAL UNIVERSITY
SCHOOL DEPARTMENT
Boni Avenue, Mandaluyong City
LESSON PLAN
Date/Time: August 08, 2022
Duration
1. OBJECTIVES
At end of the session, the students are expected to:
1.1. Identify the difference of the 12 principles of animation.
1.2. Analyze the purpose and the functions of each Principle.
1.3. Participate actively in class discussion.
2. CONTENT
2.1. Topic The twelve principles of animation
2.2. Materials Power Point
2.3. https://www.creativebloq.com/advice/understand-the-12-
Reference/s principles-of-animation
3. PROCEDURES
3.1. Preparatory Activity
3.1. Daily Routine
3.1.1. Classroom Management 3 min.
3.1.2. Prayer/Greetings 3 mins.
3.1.3. Checking of attendance, ID’s & Uniform 3 min.
3.1.4. Review:
Recap about the topic yesterday which is the physical parts of the
computer (Internal and external).
3.2. Developmental Activity

3.2.1. Motivation
Title Whats what? 5 mins
Mechanics Teacher will show pictures of different animation and let the
students identify the motion of the picture wants to show
50mins.
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SCHOOL DEPARTMENT
3.2.2. Lesson Proper

Teacher’s Activity Student’s Activity
Ok let’s discuss, about the 12
principles of animation does anyone
from the class have an idea about the
12 principles of animation?
Sir, the 12 principles of animation this

is the important elements of animation
to make them looks realistic when they
move
Yes, that’s correct. The 12 principles

of animation have a vital role to the
anime or cartoons we’ve watch; the
main purpose of these principles was
to produce an illusion that cartoon
characters adhered to the basic laws
of physics every stage of this
principles it demonstrates the
different motion ng purposes but
over all we can apply it in one object
Now let's talk about the first principle

of animation and that is the Squash
and stretch. But first do any have Sir, jumping motion because when the
idea what is squash and stretch can person going to jump, he needs to
you give some examples? squash their legs or body to and stretch
their legs to create a force or
momentum to lift themselves.
Yes, that’s correct so the Squash and

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SCHOOL DEPARTMENT
stretch This principle acknowledges

that objects have an implied weight
and flexibility, and recognizes that
when an object moves, its weight
shifts through the flexing of its form.
The bouncing ball is often used to
illustrate the principle, where the
form at its lowest point (impact) is
illustrated as a squashed ball,
while its
accelerated rise to its highest point is

illustrated as a stretched ball, it is
debatably the most fundamental
principle. Look at what happens
when a ball hits the ground. The
force of the motion squashes the ball
flat, but because an object needs to
maintain its volume, it also widens on
impact. This what’s called squash and
stretch.
Anticipation. In reality, any

movement is prefigured by the
desire, intention, or need to move,
and the body prepares itself for the
predicted action. In animation,
creating the illusion that the body is
mindful of this anticipation gives life
and credibility to the object. An
example might be a baseball pitcher
drawing back his arm before
throwing the ball to the striker.
Sir, we swing our foot back to wind up
and steady our self with our arms.
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SCHOOL DEPARTMENT
Imagine you’re about to kick a soccer

ball. What’s the first thing you do?
That’s anticipation. Anticipation is

the preparation for the main action.
The player striking the soccer ball
would be the main action, and the
follow-through of the leg is well… the
follow through.
Sir, they stand in front of the camera to

highlight themselves
Staging. When filming a scene, where

do you put the camera? Where do
the actors go? What do you have
them do?
The combination of all these choices

is what we call staging. Staging is one
of the most overlooked principles. It
directs the audience’s attention
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SCHOOL DEPARTMENT
toward the
most important elements in a scene

in a way that effectively advances the
story. This involves composing
elements of the frame to control the
viewers’ experience. So, placing
characters in particular positions,
lighting them in certain ways, and
positioning the camera to record
these deliberate intentions all
accentuate the appearance of the
subject in its surrounding
environment, contributing to the
audience’s understanding and
enjoyment of the piece.
Straight Ahead Action and Pose-to-

Pose. These are two ways of drawing
animation. Straight ahead action is
where you draw each frame of an
action one after another as you go
along. Straight-ahead action concerns
the movements of individual figures
in staged scenes, and is best
demonstrated by first imaging a
simple action and then drawing each
frame of that action from the start to
the finishing point.
This creates
movements that are highly detailed

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SCHOOL DEPARTMENT
and fluent and are described as “full

animation.” With pose-to-pose, you
draw the extremes – that is, the
beginning and end drawings of action
– then you go on to the middle
frame, and start to fill in the frames
in-between. Pose-to-pose drawing is
a more economical approach, using
fewer frames and resulting in a more
dramatic and immediate effect.
Animators often use both straight-
ahead action and pose-to-pose
drawing, mixing the two subtly to
reflect the focus, pace, and
concentration of the story being
animated.
Follow-Through and Overlapping

Action. When a moving object such
as a person comes to a stop, parts
might continue to move in the same
direction because of the force of
forward momentum. These parts
might be hair, clothing, jowls, or
jiggling flesh of an overweight
person.
This is where you can see follow-

through and overlapping action. The
secondary elements (hair, clothing,
fat) are following-through on the
primary element, and overlapping its
action. The laws of physics dictate
that after a body (human or object)
has stopped moving, the momentum
created by its movement is
continued, or “followed through,”
before coming to rest within the
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SCHOOL DEPARTMENT
body. Acknowledging this principle

and building it into the depiction of
the figure or object results in a more
believable movement. Similarly,
observation of a body acknowledges
that elements of the human form
move at different speeds from each
other and create “overlapping
actions.”
Ease In, Ease Out. Not all actions

happen at a uniform speed, but there
are instead periods of acceleration
and deceleration that appear to
reflect the subject’s natural reactions
to a movement.
To
achieve this, a greater number of

frames is created at the beginning
and the end of a moving sequence,
resulting in more naturalized and
believable movement. When you
start your car, you don’t get up to 60
mph right away. It takes a little while
to accelerate and reach a steady
speed. In animation speak, we would
call this an Ease Out. Likewise, if you
brake, you’re not going to come to a
full stop right away. (Unless you crash
into a tree or something.) You step
on the pedal and decelerate over a
few seconds until you are at a stand-
still. Animators call this an Ease In.
Carefully controlling the changing
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SCHOOL DEPARTMENT
speeds of objects creates an

animation that has a superior
believability.
Arcs. Life doesn’t move in straight

lines, and neither should animation.
Most living beings – including
humans
– move in circular paths called arcs.

Arcs operate along a curved
trajectory that adds the illusion of life
to an animated object in action.
Without arcs, your animation would
be stiff and mechanical. Animators
use implied arcs to emulate natural
movements to aid believability.
Reflecting the speed of an action,
arcs emulating faster movements are
stretched over longer distances with
low peaks, while in slower
movements the arc is shorter with a
higher peak to reflect a shorter
distance. For example, a baseball
pitcher throwing a fast ball will be
illustrated by the ball following an
invisible stretched arc.
Secondary actions are gestures that

support the main action to add more
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SCHOOL DEPARTMENT
dimension to character animation.

They can give more personality and
insight to what the character is doing
or thinking.
This
principle recognizes that movements

seldom happen in isolation. The
simple act of walking (primary action)
might be complemented by the
ability of the figure to chew gum, talk
to his girlfriend, and wave his hand.
Timing is about where on a timeline

you put each frame of action. In
practice, the success of your
animation is going to depend on your
sense of timing.
Train yourself to listen to the rhythms

and timings of your animation. You
will see instances where a gag might
be twice as funny if you just delay it
by three frames more. It often helps
to add sound early – whether it is
music, voice, sound effects, or all of
the above – because the ear is better
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SCHOOL DEPARTMENT
attuned to subtleties of timing than
the eye is. The importance of timing

is translated through the number of
frames designated for an action to
occur, controlling not only the speed
of the action but crucially also
introducing, establishing, and
reaffirming wider conditions, such as
the characters’ emotional state and
their connection to the plot or other
characters.
Exaggeration. Sometimes more is

more. Exaggeration presents a
character’s features and actions in an
extreme form for comedic or
dramatic effect. This can include
distortions in facial features, body
types, and expressions, but also the
character’s movement.
Exagge
ration is a great way for an animator

to increase the appeal of a character,
and enhance the storytelling. The
principle of exaggeration, whether
applied to the physical design and
actions of characters, or to the wider
narrative function of the animation
itself, presents opportunities to
stretch and distort reality, achieving
seemingly impossible feats by
amplifying conditions and breaking
rules and conventions.
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SCHOOL DEPARTMENT
Solid drawing is all about making

sure that animated forms feel like
they’re in three-dimensional space. It
is by defining the volume of the
character, described in the
character/model sheet.
This involves the confident handling

of drawing as a three-dimensional
discipline articulated through
understanding anatomy and form.
Solid drawing helps to maintain
believability.
Appeal. People remember real,

interesting, and engaging characters.
Animated characters should be
pleasing to look at and have a
charismatic aspect to them; this even
applies to the antagonists of the
story. Appeal can be hard to quantify
because everyone has a different
standard.
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SCHOOL DEPARTMENT
That said, you can give your character

a better chance of being appealing by
making them attractive to look at.
Play around with different shapes
and proportions of characters to keep
things fresh. Enlarging the most
defining feature of a character can go
a long way to giving the character
personality. Strive for a good balance
between detail and simplicity.
Understanding the intricacies of
drawing gives “appeal” to characters
and makes them interesting focal
points for the audience to make
necessary plot, design, or associated
connections with. In this sense,
appeal is not necessarily “attractive,”
but rather an embodiment of
character traits that touches an
emotional inner core in the audience
3.2.3. Application 5mins

Draw at least 2 principles of the 12 principles of animation. (5 points each)
3.2.4. Generalization 5mins

1. What is the importance of 12 principles of animation?
3.2.5. Valuing/Reflection 5mins

Why do we need to know about these principles?
3.2.6. Evaluation 10mins

Direction: Guess and Find the Proper name of the principles and choose the
Correct answer(2points each).
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SCHOOL DEPARTMENT
https://wordwall.net/resource/35156291
4. ASSIGNMENT 5mins
4.1. Read and Study:
Read and study about the topic:
Character Designing.
Prepared by: Checked by:
Mr. Ian Kenneth C. Baradi Prof. Maria Cecilia M. Lojo

Student Professor
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RIZAL TECHNOLOGICAL UNIVERSITY

3.2. Developmental Activity

3.2.2. Lesson Proper

Sir, the 12 principles of animation this

Yes, that’s correct. The 12 principles

Now let's talk about the first principle

Yes, that’s correct so the Squash and

stretch This principle acknowledges

accelerated rise to its highest point is

Anticipation. In reality, any

Imagine you’re about to kick a soccer

That’s anticipation. Anticipation is

Sir, they stand in front of the camera to

Staging. When filming a scene, where

The combination of all these choices

most important elements in a scene

Straight Ahead Action and Pose-to-

movements that are highly detailed

and fluent and are described as “full

Follow-Through and Overlapping

This is where you can see follow-

body. Acknowledging this principle

Ease In, Ease Out. Not all actions

achieve this, a greater number of

speeds of objects creates an

Arcs. Life doesn’t move in straight

– move in circular paths called arcs.

Secondary actions are gestures that

dimension to character animation.

principle recognizes that movements

Timing is about where on a timeline

Train yourself to listen to the rhythms

attuned to subtleties of timing than

the eye is. The importance of timing

Exaggeration. Sometimes more is

ration is a great way for an animator

Solid drawing is all about making

This involves the confident handling

Appeal. People remember real,

That said, you can give your character

3.2.3. Application 5mins

3.2.4. Generalization 5mins

3.2.5. Valuing/Reflection 5mins

3.2.6. Evaluation 10mins

Prepared by: Checked by:

Mr. Ian Kenneth C. Baradi Prof. Maria Cecilia M. Lojo

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