Animation Blog #3 Consists of 12 Principles of Animation, Fred's 14 Points of Animation, 12 Additional Points. 9 Economical Ways That Animation Can Build Emotion In The Imagination of The Audience and 5 Points To Remember When Animating Emotion.

Ch 3, 6 Appendix Principles

Blog 3 (Remembering & Understanding) PRINCIPLES 1 What are the 12 principles of animation? Define each in one or two sentences. Include an example (you can link to work published online if you wish). Think of this blog as something you can go back to when working on a project that includes animation

The 12 Principles of Animation were created for all animators to use, and were discovered as new drawing techniques, over the years the techniques developed and are now used to this day. 

The first principle of animation is squash and stretch, the main goal of this technique is to have a fixed shape move about on the paper from one drawing to the next. In simple terms, it is a shape with a mass being transformed  or "squashed" and then it stretches back to its original form or mass, animators learned that elongating drawings made it easier to follow and give more snap to the action as well. One example (see picture below)  is a ball being thrown , as the ball is thrown and it hits the ground it transforms from a "regular ball", to a squashed shape and then returns to its regular form. 

The second principle of animation is anticipation, this is achieved by preceding each major action 

with a specific move that anticipates for the audience what is about to happen. When using this 

principle always anticipate in the opposite direction of the action, movements used could include 

running, jumping or change of expression. One example (see picture below) would be the rabbit 

preparing to hit the bulldog, in the picture you see the different ways that he is moving through to 

get ready for his action which is to hit the bulldog.

The third principle of animation is staging, the goal for this principle is for the audience to be 

directed to the story being told and of what is important to the story such as the main focus. An 

example ( see picture below) would be Remy from the Pixar film Ratatouille, he is the main focus of 

the shot because in this scene he is looking for a certain spice, but he is also discussing with his 

brother Emilie why he likes to cook.

With the cookbook sitting in front of him it demonstrates that the cookbook is important, but not 

important enough to be the main focus, take note that Remys brother is out of focus even though 

Remy is talking to him, showing that Emilie is not the focal point or figure of this shot. 

The fourth principle of animation is straight ahead action and pose to pose, there are two different 

approaches to this drawing process. The first is the straight ahead action where the animator draws 

out the scene from beginning to end. The straight ahead action is more fluid than the pose to pose as 

well. The pose to pose a sequence of key frames that are drawn and then filled in. 

This is demonstrated in the (picture below) this is the straight ahead action where the animator drew 

the actions as they came to him showing that the model never stopped walking. Whereas, the other 

picture shows gaps and numbers, the numbers are the key frames and mark where the animator also 

filled in the animations. 

The fifth principle is follow through and overlapping action, the principle of follow through is when 

the character stops, but everything else does not , basically the body parts continue to move where 

the character. The principle of overlapping is when the body parts move at different rates, meaning 

the torso will move but the head may not.  Eventually the head will move with the torso. 



The first picture, is of the follow through animation where the javelin thrower follows through, with the action. 

The second picture, is of Cinderella twirling, even though her torso is turned her head has not turned to the same direction yet.

 Eventually her head will turn with her torso. 

The sixth principle is slow in and slow out, the main goal for animation is to make it look realistic, 

with this in mind the animator's put more sketches  at the beginning of the animation than at the end 

which gives the appearance that the animation is slower in the beginning and then speeds up in the 

end. This principle is mainly used when the animation is transferring to a different action. One 

example of this is (see picture below), notice how the ball transitions from a crowded area where it 

looks like the ball is going slow and then speeds up as the the circles are more spaced out.

The seventh principle is arcs,  all actions follow an arc or pathway. Examples of this include head, 

arm and leg movements. Arcs also give a more natural flow than other animation techniques. 


An example of an arc, is an arm swinging back and forth. 

The eight principle is secondary action, this is used to bring life to the character.  Examples could 

include a person aggressively walking towards, another demonstrating that they are mad or someone 

chopping up onions, very quickly showing that they are annoyed.


An example of  secondary action, is a woman walking with her hips swaying and  standing tall 

and arms poised, shows that she is confident with her body language, her outfit also demonstrates 

that she confident as well. 

The ninth principle is timing, the goal for timing is the number of drawing used in any move 

determines the amount of time the action will take on the screen.  This will translate to the speed of 

action on film. Timing is also critical because, it establishes a character's mood, emotion and reaction. 




In this example, the gap demonstrates how much time is inbetween the spacing of the ball and how it 

will be animated as well. 

The tenth principle is exaggeration is used to push movements further to add more appeal to an 

action. This principle could be used to make animations look extremely cartoony, with certain 

movements.  An example of this is the dog with his eyes bulging out,(see picture below) this clearly 

demonstrates exaggeration with it being focused on the eyes, normal human like animations would 

not demonstrate certain movements, such as this. The picture is also very cartoony with the 

movements as well demonstrating exaggeration. 

The eleventh principle is solid drawing, the key to this principle is to make sure that the animation 

has weight, depth and balance, those are the three basics of solid three-dimensional drawing. When 

using this principle take into account volume and weight, that is what makes it a three-dimensoinal 

and solid drawing as well. As the example shows (see picture below) this a clear representation of a 

solid drawing, Bugs Bunny is illustrated with the balance of color and the smoothness of the lines as 

as the animation has volume and weight, as well as depth. 

The twelfth principle is appeal, the goal for this principle is for the animation to catch the eye of the 

audience as well as interest them. For example (see the picture below) the large bird from a   

short film, has the immediate attention drawn to it because of the large size and the bright colors used,

which contrast from the background. Even though, there are a multitude of small gray birds the 

viewers eye does not see them first because the small birds, are of course smaller and the dullness of 

the small bird, has the viewers eye not notice them 

Ch. 6b. What are Fred’s 14 points of animation? Define each (in one sentence) and use your selection to make an example.

1. Appeal in drawing

To make sure that the viewer is interested make sure that the animation has a certain appeal to it, whether a kind face drawn with round eyes to express caring or many sharp edges representing evil, your animations should always catch the viewers interest. 

This is most like the 12th principle 

2. Staging

The goal for this principle is for the audience to be directed to the story being told and of what is important to the story such as the main focus

Most like the 4th principle 

3. Most interesting way? 

Can you make the character entertaining? 

4. Is it the most entertaining way?

Could you make the character more interesting?

5. Are you in character?

Is your exaggerated? Does your character express their thoughts through their body and emotions. 

These are things to take into consideration when asking if you are in character. 

6. Are you advancing the character?

Is the character developing throughout the animation? 

 7. Is this the simplest statement of the main idea of the scene?

Is this the main thought of the character, if so can it help the main idea of the scene? 

8. Is the story point clear

Does the story make sense? If not, when can you do to change it. 

9. Are the secondary actions working with the main action?

Are there other things or ways that the character can be portrayed when doing the main action? 

10. Is the presentation best for the medium?

Can this be done in a different way other than animation? Or is this the right medium, and if so what can you do to make it better.

11. Does it have 2 dimensional clarity?

Does your animation demonstrate, clarity if not then make sure it does. 

 12. Does it have 3 dimensional solidity?

Does your animation have depth? 

13. Does it have 4 dimensional drawing? [drag and follow through]

Is your animation a full figured animation with depth and clarity? 

14. Are you trying to do something that shouldn’t be attempted?

Keep in mind, what will look good with your animation, as well as follow the story line. 

What are the additional 12 points ?

 This list of components in good animation is quite an imposing group to combine in any scene; any one element on the list is challenge to the best of animators:

Inner feelings and emotion

Acting with clear and definite action

Character and personality

Thought process through expression changes

Ability to analyze

Clear staging

Good composition

Timing

Solidity in drawing

Power in drawing

Strength in movement

Imagination

Ch. 17. What are the nine economical ways that animation can build emotions in the imagination of the audience? Describe each (briefly): How are these aspects of design used or not used in your selection? Finally, you are left with five points to remember when animating emotions. Again, what are these and how do they (or not) appear in the

animated clip you’ve chosen to study

Do the same. It’s OK if material from the first 12, Fred’s 14 and the second 12 points are redundant; just make sure you communicate your understanding by use of example. Can you make a chart, mind map, table or some creative way of expressing the full set ideas in the chapters and the appendices.

The first economical way that emotion can build emotion in imagination is rear view, with this 

principle the audience is to resist the temptation to make everything bigger, when you can 

communicate through the character what they are feeling when in a certain location or event. 

In the picture below, Anna is discovering Elsa's ice palace for the first time, as well as the audience. 

They are both taking in this wonderland together as one and are embraced in the magnificence of the 

palace. 

The second economical way that emotion can build emotion in imagination is shadows, with this 

principle shadows are usually associated with suspense and drama. They can also add interest and 

variety to a continuity. 

In the picture below Pinocchio is startled when his friend suddenly turns into a donkey, the shadows 

make the scene more intense by illustrating how the boy turns into the donkey and Pinocchio's 

terrified face, revealing that he knows what his fate will be. 

The third economical way is shadows over the characters, with this principle shadows are usually 

associated with suspense and drama, not only can this occur with scenery but it can also occur with 

characters as well, shadows also can mean excitement or uncertainty pertaining to character's as well. 

This is demonstrated, (picture below) the lamp provides shadows on Kristoph's and face while 

they are in the woods at night, giving the eerie appearance surrounding. In this shot they are listening 

because Kristoph heard something. This also foreshadows the wolf scene which occurs after this  

shot.  

The fourth economical way is overlays,overlays are used to demonstrate the urgency and agony in the 

character rather than in the scene. 

In this example, Kuzco is sad and depressed, while being surrounded with blue and drab 

surroundings, emphasizing his depressed state. 

The fifth economical way is dramatic layout, which  is used when there are certain elements such as 

overpowering shapes and a path of action, this principle also used to layout scenes to come. 

For example (see picture below),  the vines and panthers surrounding Kuzco shows that he is in 

danger. The colors are also dark giving an ominous look to the scene, as well as showing that is eerie 

as well as showing that he is surrounded and there is no way out. 

The sixth economical way is the pictorial shot, this is illustrated when it is a basic shot of a piece of 

scenery in this case it is the palace. The pictorial shot can also evoke emotion. 

The pictorial shot demonstrated below, is of Aladdin gazing at the palace longing for a home. Where 

as, Jasmine cannot stand to go back which is represented with her back turned towards the palace. 

The seventh economical way is effects animation, this principle is used in forms of nature and can 

establish a mood either by symbolism or showing what the character sees. 

Usage of falling rain, a storm, a snow storm, approaching fire will quickly create strong feelings.

This is demonstrated (picture below), in this clip the snow is swirling around Anna showing that 

Elsa's anger and frustration is becoming worse. As the snow moves faster, her anger is growing. 

The harshness of the snow illustrates Elsa's internal battle while Anna is trying to push through the 

storm and help her sister. 

The eighth economical way is held drawing with camera moves, this principle occurs, when some 

expressions canot be strengthened by movement. Instead of moving the character, a simulated feeling 

of activity was achieved by slow moving the camera-in this case, tracking into the fairies eyes.

One example of this is, the eyes being tracked on in this picture. 

The ninth economical way is offstage sounds, this principle is to show that no animation is needed on 

a comprehensive shot of the locale if appropriate sounds ca build images in the imagination.

This is demonstrated (picture below), in this clip where Elsa has just had a fight with Anna, the ice 

palace clearly represents her emotion with red for anger, while the outside of the shot remains blue 

showing that she is sad as well. The palace not only contains Elsa but also her emotions which are 

controlling her more than she thinks. 

Points to Remember When Animating Emotions

1. Make sure the emotional state of the character is clearly defined

Demonstrate the emotions efficiently and effectively. 

A perfect example of the emotional state of the character being clearly defined is (picutred below)

, when Simba is trying to wake his father up, you can see the sadness and desperation in his eyes as 

he figures that his father has died and that it is his fault. 

2. The thought process reveals the feeling. Sometimes it can be shown with a single, held drawing or 

a simple move, other times there should be gestures, body moves, or full action. Determine which is 

best in each case.

In this example, the thought process for Apu is to grab the red ruby that is glittering. Apu is a thief 

and he likes things that are valuable as well. 

3. Be alert to use of cutting and camera in helping to accentuate the emotion

4. Ask yourself constantly:

 What am I trying to say here?

  What do I really want to show?

 How do I want the audience to react?

  5. Use the element of time wisely:

§  To establish the emotion of the character,

§  To convey it to the viewers,

§  To let them savor the situation

§  Don’t be ponderous, but don’t take it away from them just as they start to enjoy it