Principios De La Animación

Animation Principles
The following 12 animation principles are those distilled from the combined wisdom of animators over several decades. Animators developed their own techniques in animating characters, and when these techniques were recognised as being effective, they were passed on to other animators. The principles were defined in the book The Illusion of Life: Disney Animation (1981).Although the principles were developed for traditional hand-drawn animation, they remain true for computer based animation, be it two dimensional or three dimensional. Squash and stretch This principle is used to convey a sense that an animated object has weight and volume. Imagine a ball bouncing up and down. As the ball strikes the ground it squashes downwards and stretches outwards to the sides,forming an oval shape. This principle can be applied to all manner of objects, particularly when they are in motion and strike another object or come to a sudden halt.

A bouncing ball squashes on its vertical axis and stretches on the horizontal axis as it strikes the ground.

In the above example Mister Moonface is alarmed when opening a package. Squashing and stretching his face adds to theemotion in the scene. First his face

is squashed downwards, and then stretched upwards before returning to its normal shape. Anticipation Prior to performing a major action, a character will perform an action as s/he prepares to perform the major action. For example a jumping character may bend down prior to jumping in the air. Another example is when a golfer performs a backstroke, prior toperforming a forward stroke to strike the ball.

In the frame on the left, Mister Moonface’ car pulls back slightly, in anticipation of moving forward. Staging Staging is a technique in visual storytelling. It is important to ensure that the audience can clearly see what is happening in a story, so staging a scene helps to do that. Staging can involve using different camera shots such as close-up,medium or long shots and also using different camera angles. Using different viewpoints can help to create a mood or to show a character’s emotions. It is also important to ensure that a character’s pose can be clearly seen and that there is no distracting background that may prevent the audience from following the storyline.

In the medium shot on the left Mister Moonface looks sad, howeverthe long shot on the right places him in an isolated location, emphasising his loneliness and sadness. Straight Ahead Action and Pose to Pose Straight ahead action involves drawing a series of animation frames, in turn, from the beginning through to the end. In using this technique it can be easy to lose size and proportions of a character and to accurately gauge the timing of an action, and theeffect can look rushed. However, straight ahead action can be very effective, and can be used with great effect in chase or comic action scenes. Pose to pose animation is a planned method of animating. Typically the animator draws the first and last poses of an action then draws the in-between frames. This allows the animator to control the animation better than when using the straight aheadtechnique; allowing better control over size, proportion and timing. The main poses or frames of the animation are known as the key frames and the frames in between are known as the in-betweens or simply ‘tweens’. Follow Through and Overlapping Action This type of action can best be described with an example. A cat character begins to run, the body moves forward, but the trailing tail of the cat maylinger behind to catch up a few frames later. As the cat comes to an abrupt halt its tail continues to move forward, but again finally catches up with the cat a few frames later. This type of action occurs when parts of a character move at a slightly different rate than the main mass of the character. His type of action can be applied to clothes on a character, long hair or to other trailing items....