PRINCIPLES OF ANIMATION
principle of animation is one of the most integral part of designe as an animator which must be masterd to achieve greatness. These principles of design are basically the guide to every desiners desired outcome a part which cannot be left out in any scenerio of design be it animation or whatsoever it is. To mention but a few which i am going to critically explain. but before i go further i would like us to bear in my mind that we have at least 12 (twelve) principles of design, as i said earlier i would critically explain a few which will be very useful although all of which are very important as such cannot be left away in most cases;
- Squash and strectch
- Straight ahead and pose to pose animation
- Follow through and overlapping action
- Slow out and slow in
- Secondary action
- Solid drawing
SQUASH AND STRETCH:
This activity gives the visualization of weight and volume to a character as it moves. Likewise squash and stretch is helpful in vitalizing dialog and doing outward appearances. How compelling the utilization of squash and stretch is, relies on upon what is needed in invigorating the scene. Normally its more extensive in a short style of picture and subtler in a gimmick. It is utilized as a part of all manifestations of character activity from a skipping ball to the body weight of a man strolling. This is the most vital component you will be obliged to ace and will be utilized regularly.
This development readies the crowd for a noteworthy activity the character is going to perform, for example, beginning to run, bounce or change articulation. A dance specialist does not simply jump off the floor. A regressively movement happens before the forward activity is executed. The regressive movement is the foresight. A comic impact could be possible by not utilizing expectation after a progression of muffles that utilized foresight. Pretty much all genuine activity has major or minor suspicion, for example, a pitcher’s wind-up or a golfers’ back swing. Characteristic activity is frequently less wide than short liveliness unless a scene obliges it to build up a characters identity.
A stance or activity ought to plainly convey to the crowd the demeanor, state of mind, response or thought of the character as it identifies with the story and progression of the story line. The compelling utilization of long, medium, or close up shots, and additionally cam edges likewise helps in telling the story. There is a restricted measure of time in a film, so every arrangement, scene and casing of film must identify with the general story. Don’t mistake the gathering of people for an excess of activities immediately. Utilize one activity obviously expressed to get the thought over, unless you are invigorating a scene that is to delineate jumble and disarray. Arranging coordinates the group of onlookers’ consideration regarding the story or thought being told. Care must be taken in foundation outline so it isn’t darkening the movement or contending with it because of overabundance detail behind the activity. Foundation and movement ought to cooperate as a pictorial unit in a scene