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Join the group by clicking
the 12
fundamental principles
of animation
Many who are passionate about 2D games do not know the
work that gives life to these characters who
which always appear in great adventures.
Frantic rides, impossible jumps, breathtaking effects,
all this would not be possible without ANIMATION.
But for those who want to learn ... what should they do?
The first step for those who want to start animating is
stick to the details.
Not only in composition (scenery, objects and characters),
but in the technical details at the time of making the magic happen.

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During the 1930s, Disney Studios were at the forefront of
of world animation cinema.
Its animators, including Frank Thomas
and Ollie Johnston, have set the direction of cartoons to this day.
All those who came after, including the innovative
Pixar (which is now Disney), have limited themselves to making
to evolve the foundations of what was developed there to new heights.

One of his contributions was 12 principles of animation,

a set of recommendations destined to give the illusion
of life to the personages of the Disney films,
whether they were people, animals or inanimate objects.

Let us then go to them, who are all described in the

book Disney Animation - The Illusion of Life.
I, of course, recommend to everyone that you want
begin to encourage a study in this book.

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Squash and Stretch 1

Undoubtedly, this is the most important concept.

Any living figure demonstrates considerable changes
in its shape when moving during an action.
The face of a character gains more life when the forms of the eyes,
cheeks and lips change shape, with the use of
"Squash & Stretch" (compresses and stretches).
When using "Squash & Stretch", it is important to always
maintain the volume of the shape.

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Anticipation 2

When people are watching a drawing,

they will not understand what is happening if there is no
a sequence of actions that clearly lead from one activity to another.
People should be prepared for the next move.
and wait for it before it occurs. An anticipation must occur.
As in real life, few movements occur without anticipation.
Without it, the movements would have no force.
Think of a tennis player, baseball player,
basketball or football, all anticipate the movement towards
before giving the shot, kick, etc.

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Staging 3

This principle is based on presenting an action of form

visually clear to the viewer.
An action has good "Staging" when the expression is well seen,
the movement is clear and visible.
When you are doing the "Staging" of an action you must be careful
not to use an angle that would disrupt what you want to show.

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 4
Straight Ahead Action and Pose to Pose

There are two methods to animate a scene,

straight ahead and pose to pose.
In the "direct" method the animator draws one movement after another
until the end of the scene. In this case, the animation comes out more
spontaneously and the scene seems less mechanical.
This way the animator does not plan exactly how it will be
the course of the scene and is inventing as it progresses.
This method is usually used in action scenes,
where rapid and unexpected movements often occur,
although care must be taken that the character is not
out of perspective or background check.
In the second method, "pose a pose", the animator plans the extremes
carefully, as well as the amount and intervals between the
to achieve the desired timing.
In this case, the intervals between the ends are passed to
an assistant (fill-in) that fills the missing drawings.
In the "pose a pose" method there is more control and clarity.
In the "direct" method there is more spontaneity.

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Overlapping Action and Follow Through

When a character came walking on the scene and suddenly

stopped altogether, the action seemed harsh and unconvincing.
5
It was then found a way in which, basically,
the parties did not stop moving at the same time.
It is the principle of "Follow Through".
If the character has elements like big ears,
tail or coat, these parts continue to move even
after the figure has stopped.
The movement of each element will have a different time according to
with its weight and characteristics.

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 Slow In and Slow Out 6
Once the animator carefully drew his ends,
thinking of the time arising from the action as a whole,
he needed to tell the interval how the intervals would be made.
He then used an "interval key."
By means of indications in the "key" the movement drew itself
throughout the animation.
Placing the intervals near the extremes
interesting result, with the character going quickly
from one pose to another.

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 Arcs 7
Most living beings perform movements with a
circular trajectory or "arc".
The action of a pointing finger follows the circular path.
The animator marks the positions of the extremes and the intervals
along the arc.
Intervals made outside the arc will break the movement radically.
This discovery caused a huge change in the movements
designed by the animators, ending the rigid actions
and harsh ones made before. Dolls walked with sudden movements to
up and down as mechanical parts, now with the use of arcs
the movement becomes softer.

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 Secondary Action 8
Generally, the idea presented in a scene can be strengthened
by secondary actions.
These secondary actions are always subordinated to the main action.
One way to achieve convincing secondary action
is to do an initial planning of what will be the scene,
and then animate by parts, first the main action and
then the secondary actions that may have different timing.

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 Timing 9
Timing or movement timing is essential.
so that we can achieve the desired effect in the animation.
Basically, the speed that the film passes through the projector
movie is 24 frames per second, so
a one-second movement requires the use of 12 drawings,
assuming that two frames are struck for each drawing.
As the characters developed,
their personalities were defined more by the movements
than by the appearance, and the variation of speed in the movements
determined whether the character was calm, nervous, excited etc ...
The interpretation and attitude of a character are hardly
demonstrated without great attention to timing.

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 Exaggeration
10
Exaggeration is essential if good communication is to be achieved.
Even in the less caricature characters the use of exaggeration in design,
in "Squash & Stretch", not "Follow" Through,
and secondary actions is key.
When talking about exaggeration in animation, we should think of a
caricature of the real, an exaggeration of reality in order to achieve a
better visual communication.

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 Solid Drawing
11
We must always ask ourselves: My drawing has weight,
depth and balance?
These are the basic principles of three-dimensional drawing
fundamental in animation.
Try to avoid twin parts in the character,
ie each eye, ear, hand, finger, collar,
must be identical to the corresponding shoe.

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 Appeal
12
An attractive design is always fundamental in any character.
It means a design that people like to see, with charm,
simplicity, communication and magnetism.
Any character should have an attractive design,
be the hero or villain. Otherwise, no one will want to watch
to what he is doing.

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Thanks from the author
Staff, thank you very much for reading this content,
I hope you enjoyed EBOOK,
and who has helped those who think about working in this area,
those who create by hobby or even those who already work.
Creating 2D games is something I think of artisanal talent. We put our
identity, our personality in every detail, from the conception
from the idea to the way of doing marketing.
So cheering deserves a chapter apart in this adventure.
This EBOOK will be just the first of many materials
of quality that are to come.

bibliography
GUIMARÃES NETO, Haroldo. Apostila do Curso de Animação 2D HGN.
São Paulo, 2005.
Youtube Channel: AlanBeckerTutorials
WILLIAMS, Richard. The Animator’s Survival Kit.
New York: Faber and Faber, 2001.