| A | B |
|---|
| Straight Ahead | s drawing the frames in sequence |
| Pose to Pose | requires the animator to create strong poses (keyframes) first and then add the in-between frames; used most often |
| Arcs | The natural motion of a movement |
| Timing | amount of frames used as an object moves across the screen. |
| Slow In & Slow Out | Also known as ease in and ease out; Most motion starts slowly, accelerates, and then slows again before stopping |
| Squash & Stretch | Living flesh distorts during motion. Exaggerated deformations will emphasize motion and impact. |
| Anticipation | can occur before an action. Before you jump, you bend your knees. The formula for most animations is Anticipation, Action, Reaction |
| Follow Through | the action that follows the main action. It is the opposite of anticipation. |
| Overlap | g actions means that all elements do not stop at the same time; Example - an animal's tail |
| Secondary Actions | s caused by the impact of another object;minor actions that occur due to a major action |
| Staging | clear presentation of an idea;The animator can use the camera viewpoint, the framing of the shot, and the position of the characters to create a feeling or strengthen understanding. |
| Exaggeration | is used to increase the readability of emotions and actions; used to increase understanding of feeling |
| Solid Drawing | animated characters must be drawn or modeled precisely. Proper drawing and modeling can reveal a characters weight, character, and emotion |
| Appeal | need to have a unique personality and have a wide range of emotions; character flaws, ethical delimas, and complex personalities make connections with audiences |
| The Illusion of Life | Authored by Disney animators - Ollie Johnston & Frank Thomas, |
