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Squash and stretch

Squash and stretch is a foundational principle of animation that deforms the shape of characters or objects to simulate the illusion of weight, volume, and elasticity during movement.^[1] Developed at Walt Disney Studios since the 1930s and formally outlined as the first of the twelve basic principles of animation, it involves compressing an object (squash) upon impact or deceleration and elongating it (stretch) during acceleration or propulsion, all while maintaining constant volume to preserve realism.^[2] This technique, which gives life to both organic forms like characters and inanimate objects such as bouncing balls, enhances the perception of physical forces and makes animations feel dynamic and believable.^[3] Introduced by legendary Disney animators Ollie Johnston and Frank Thomas in their seminal 1981 book The Illusion of Life: Disney Animation, squash and stretch draws from observations of real-world physics but often exaggerates deformations for stylistic effect, as seen in early Disney shorts like those featuring Mickey Mouse.^[1] The principle applies broadly: in character actions, such as a figure stretching forward when throwing a ball before squashing on follow-through; in facial expressions, where cheeks squash during smiles or brows stretch in surprise; and even in rigid objects to suggest subtle flexibility.^[3] Its importance lies in distinguishing between rigid and pliable materials—furniture might show minimal deformation, while a running character's limbs exhibit pronounced squash and stretch to convey body weight and momentum.^[4] Beyond traditional hand-drawn animation, squash and stretch remains essential in modern computer-generated imagery (CGI), video games, and motion graphics, influencing tools in software like Adobe Animate to automate realistic deformations.^[1] By varying the intensity—broader in comedic shorts for exaggeration and subtler in feature films for naturalism—it adapts to narrative needs, ensuring movements avoid stiffness and instead pulse with vitality.^[2] This enduring technique underscores animation's core goal: to create the illusion of life through controlled exaggeration of natural laws.^[4]

Origins

Historical Context

The phenomenon of squash and stretch, referring to the elastic deformation of objects under force, was observed in physical materials long before its application in animation. In 1805, British scientist John Gough conducted early experiments on rubber, noting that a stretched rubber band under constant load would contract upon heating, illustrating the material's ability to squash and stretch while maintaining volume.^[5] These observations extended to everyday objects like rubber balls, where compression during impact and extension upon rebound naturally demonstrated flexibility, weight, and energy transfer in motion.^[6] Such physical behaviors provided an intuitive understanding of deformation as a core aspect of dynamic movement. In the late 19th century, vaudeville performances popularized physical comedy that exaggerated these natural elastic movements for humorous effect, with performers mimicking bouncy, contorted actions to simulate impacts and rebounds.^[7] Early film experiments, such as Thomas Edison's kinetoscope demonstrations in the 1890s, began recording such dynamic physical interactions, including simple motions that captured the essence of bouncy and exaggerated gestures in short peephole viewers.^[8] These vaudeville-influenced slapstick elements in nascent cinema highlighted deformation as a tool for visual comedy, setting precedents for later stylized representations. During the 1910s and 1920s, live-action comedy films amplified this approach through the works of producer Mack Sennett at Keystone Studios, where frenetic chases and collisions featured actors performing swift, exaggerated physical gags that distorted bodies in stretching and squashing manners to emphasize comedic timing and impact.^[9] Sennett's films, often improvised with chaotic energy, relied on these deformations to convey absurdity and vitality without dialogue.^[10] Parallel traditions in early 20th-century mime and 19th-century puppetry further exemplified intuitive use of deformation, with performers manipulating bodies or figures to squash and stretch forms in order to express weight, momentum, and emotional energy during live spectacles. These practices, rooted in European theatrical forms, prefigured animated exaggeration by emphasizing flexible motion over rigid realism. Observations from these diverse sources laid the groundwork for squash and stretch's formalization in animation during the 1930s.

Development in Disney Animation

The squash and stretch principle emerged as a key technique in Disney animation during the early 1930s, pioneered by animators such as Norm Ferguson amid the studio's experimentation with expressive movement in the Silly Symphonies series. Ferguson, known for his innovative approach to character dynamics, applied early forms of squash to non-character elements, notably in the 1932 short "Flowers and Trees," where petal deformations during wind-swept scenes demonstrated flexible volume changes to convey natural elasticity.^[11] This foundational work was refined through the integration of advanced technical tools like the multiplane camera, introduced in the late 1930s, which allowed animators to exaggerate deformations across layered depths while preserving consistent volume in objects and characters. By the 1940s, these techniques enabled more sophisticated elasticity in movements, blending two-dimensional drawing with simulated three-dimensional space to enhance the illusion of life without distorting core forms.^[11] Key milestones in its evolution include its prominent use in Disney's first feature-length film, "Snow White and the Seven Dwarfs" (1937), where animators employed squash during character falls—such as the dwarfs' tumbles—to impart weight and impact, marking a shift toward more realistic yet stylized physics in narrative animation. The principle further advanced in "Fantasia" (1940), particularly in the "Pastoral Symphony" segment, where mythical creatures like centaurs and pegasi exhibited elastic stretches during flights and interactions, showcasing heightened expressiveness in ensemble scenes.^[11] These developments were systematically documented in Disney's internal training materials and animation classes starting in the 1940s, where principles like squash and stretch were taught to standardize techniques across the studio long before their broader dissemination.^[11]

Core Principles

Definition and Mechanics

Squash and stretch is a core animation principle that deforms objects through compression (squash) and elongation (stretch) to simulate inertia, mass, and flexibility, distinguishing it from rigid body motion by infusing elasticity akin to rubber or soft materials into both living characters and inanimate items. This technique animates the illusion of weight and volume without altering the object's overall size, preventing distortions that would appear unnatural or weightless. One of the twelve basic principles of animation, developed by Disney animators during the 1930s and formally outlined in the 1981 book The Illusion of Life: Disney Animation by Ollie Johnston and Frank Thomas,^[12] it enhances the lifelike quality of movements by exaggerating deformations in response to forces like impacts or accelerations.^[13]^[14]^[15] The mechanics unfold in three interconnected phases: anticipation, action, and follow-through, each leveraging deformation to build and release energy dynamically. In the anticipation phase, a pre-stretch or mild squash readies the object for motion, creating preparatory tension that heightens viewer engagement. The action phase delivers the peak effect, with squash emphasizing forceful contact—such as a ball flattening on impact—and stretch underscoring velocity during propulsion. Follow-through then facilitates recovery, where the object gradually rebounds to its neutral form, incorporating overlapping motions for fluid settling.^[14] Volume conservation underpins these deformations, ensuring the object's mass remains perceptually constant; for example, a vertically compressed form expands laterally, and in 2D approximations, reducing height by a factor k prompts widening by k to sustain area equivalence. Timing charts dictate keyframe placement to orchestrate these shifts, employing tighter spacing for deliberate phases like recovery to convey heaviness and looser intervals for rapid stretches to imply lightness and speed.^[15]^[16]

Relation to Physics and Realism

Squash and stretch in animation is grounded in Newtonian physics, particularly through its representation of momentum and elasticity, which help simulate realistic motion while allowing for stylized exaggeration. The principle draws conceptually from Hooke's law, which describes the restorative force in elastic materials as F = -kx, where k is the stiffness constant and x is the displacement from equilibrium; in animation, this translates to deformations that mimic spring-like behavior during impacts or accelerations, ensuring objects appear flexible without losing volume.^[17]^[18] For instance, stretching elongates forms to convey forward momentum, as seen when a character or object accelerates, aligning with Newton's second law (F = ma) by visually emphasizing velocity changes.^[19] This principle further simulates mass and gravity by varying deformation based on an object's perceived weight and environmental forces. Under gravity, falling objects gain momentum proportional to their mass, leading to greater squash upon impact to exaggerate the force of collision; lighter, more elastic objects like rubber balls deform more dramatically than heavier, rigid ones like metal spheres, preserving the illusion of conserved volume and weight.^[19]^[13] Stretch during upward motion, such as in jumps, counters gravitational pull by extending forms to suggest acceleration and reduced effective weight, enhancing the sense of dynamic equilibrium.^[20] While rooted in realism, squash and stretch often employs hyper-elasticity for cartoonish appeal, balancing physical plausibility with exaggeration—much like the flex of a real bouncing ball or the cartilage in human joints, which deform elastically but return to shape without permanent distortion.^[19] However, to maintain credibility, animators impose limits to avoid violations of physical laws, such as perpetual motion; deformations are integrated with timing and energy dissipation principles, ensuring bounces diminish over time rather than continuing indefinitely, as observed in real elastic collisions where kinetic energy converts to heat.^[18]^[13]

Implementation Techniques

In 2D Traditional Animation

In traditional 2D animation, the application of squash and stretch follows a structured workflow centered on manual drawing techniques to impart elasticity and weight to forms while preserving overall volume. Animators begin by sketching extreme poses on paper using graphite pencils, capturing the squash deformation at moments of impact—such as a character landing—to emphasize compression and the stretch at peaks of action, like mid-jump, to convey extension and momentum. This initial rough sketching phase allows for exploratory deformations that align with the core principle of volume preservation, ensuring the apparent mass remains consistent across poses.^[3]^[21] Following the extremes, inbetweening proceeds on a light table, where onion skinning—achieved by layering translucent animation paper over previous drawings illuminated from below—enables smooth transitions by revealing faint overlays of adjacent frames for precise interpolation of shapes. Rotoscopes provide essential reference, projecting filmed live-action footage onto the drawing surface to guide natural-looking deformations, helping animators adapt real-world motion to stylized squash and stretch without rigid adherence. For added depth in stretch effects, multiplane cameras layer separate cels at varying distances from the lens, creating parallax that enhances the illusion of elongation in three-dimensional space during camera moves.^[22]^[23] A frequent challenge in this process is over-squashing, which can result in unintended volume loss and distort the form's readability, particularly in more realistic styles; to counter this, animators employ guidelines for proportional adjustments to maintain believability and consistency. These adjustments are refined iteratively to avoid excessive exaggeration that undermines the animation's clarity.^[20] The workflow integrates squash and stretch through pencil tests, where rough sketches are bound into flipbooks or viewed sequentially on a light table to evaluate timing and flow before committing to final inking on cels, allowing revisions to ensure deformations enhance rather than hinder the motion's rhythm. This hands-on iteration bridges rough concepts to polished output in cel-based production.^[24]

In 3D Digital Animation

In 3D digital animation, squash and stretch effects are achieved through deformers that enable non-uniform scaling of geometry along skeletal bone hierarchies, allowing animators to exaggerate motion while maintaining artistic control. In Autodesk Maya, the squash deformer applies axial compression and extension to deformable objects, such as characters or props, by scaling along a specified direction while optionally preserving volume through compensatory adjustments in perpendicular axes.^[25] Lattice deformers further facilitate this by enclosing portions of a model in a control lattice, where manipulating the lattice points creates smooth, localized squash and stretch deformations that propagate through the hierarchy. Similarly, cluster deformers group sets of vertices or control points with weighted influences, enabling targeted non-uniform scaling for effects like limb compression during impacts.^[26] These tools integrate with bone rigs, where scaling transforms are applied hierarchically to simulate elastic responses without disrupting overall pose integrity. Procedural animation enhances squash and stretch by using expressions or scripts to drive dynamic deformations based on object velocity, automating adjustments for realism in fast-paced sequences. In Maya, expressions written in MEL or Python can link deformer parameters to velocity vectors derived from keyframe motion, scaling intensity proportional to speed—for instance, increasing stretch along the direction of travel as velocity rises. This approach, as explored in procedural systems like the Stretch-Engine, adjusts exaggeration in bipedal characters by factoring velocity into squash factors, ensuring deformations align with momentum without manual keyframing for every frame.^[27] Simulation techniques incorporate physics engines to generate squash and stretch in rigid body or cloth interactions, enforcing volume preservation through constraints that model incompressible materials. In Houdini, the Bullet physics engine integrates with the squash and stretch shelf tool, which scales geometry along a primary axis while inversely adjusting secondary axes to retain overall volume during collisions or falls.^[28]^[29] For more advanced preservation, Jacobian matrices approximate local deformation gradients, ensuring that scaling transformations maintain determinant values near 1 for near-incompressible behavior in soft-body simulations.^[30]^[31] This conceptual use of Jacobians in animation pipelines prevents unnatural bulging or collapsing, as seen in tetrahedral mesh simulations where volume constraints are solved iteratively.^[31] Animators balance manual keyframing for stylized squash and stretch with procedural methods via inverse kinematics (IK) and forward kinematics (FK) solvers that propagate deformations through rigs. Keyframing allows precise control over deformation curves, where artists set explicit scales at keyframes to emphasize emotional beats, such as a character's exaggerated recoil.^[32] In contrast, IK solvers automatically extend or compress bone chains to reach targets, propagating stretch along the hierarchy by adjusting joint lengths proportionally to the distance from the IK goal.^[33] FK setups, meanwhile, enable direct rotation-based control with overlaid deformers for manual squash, blending seamlessly with IK for hybrid rigs that support both precise posing and automated propagation.^[32] To manage computational demands, optimizations like baking deformations convert dynamic simulations into static keyframe data, reducing real-time processing during playback or export. In Maya, the Bake Deformer tool approximates complex nonlinear deformations into linear skinning or blend shapes, allowing rigs to be simplified for rendering without recalculating each frame.^[34] Low-resolution proxies further aid previews by substituting high-poly meshes with simplified versions during animation blocking, enabling faster viewport feedback while full-resolution assets are used only for final renders.^[35] This workflow ensures efficient iteration, particularly in production pipelines where squash and stretch effects must balance visual fidelity with performance constraints.^[35]

Applications

In Character Design and Movement

In character animation, squash and stretch is applied to locomotion such as walks and runs to emphasize weight and energy, with squashing occurring on heel strike to convey impact and stretching in limb extension to depict stride propulsion.^[13] This technique adjusts based on character archetypes, employing more extreme deformations for bouncy or playful personalities to heighten dynamism while subtler applications suit grounded or realistic figures.^[20] For instance, during a run, the torso and limbs compress upon ground contact to simulate force absorption, then elongate forward to propel motion, ensuring the overall volume remains consistent to preserve the character's form.^[36] Facial and body expressions leverage squash and stretch for emotional storytelling, using subtle squashing in cheeks during smiles to add warmth or stretching in necks for surprise to amplify reactions.^[3] These deformations tie directly to narrative intent, as compressing facial features during intense emotions like laughter enhances expressiveness, while elongating body parts in gestures such as reaching conveys tension or eagerness.^[20] In anthropomorphic designs, this principle extends to tails or ears, where a quick stretch might signal alertness, fostering a deeper connection between visual cues and character intent.^[13] Customization by perceived mass further refines squash and stretch, with lighter characters like fairies exhibiting quicker, more elastic stretches to suggest agility, whereas heavier ones such as elephants display deeper squashes to underscore solidity.^[20] This variation maintains the illusion of physics by scaling deformation intensity to body density, ensuring lighter forms recover rapidly from stretches while heavier ones linger in compressed states for weight emphasis.^[37] Integration with personality amplifies traits through targeted deformations, such as an elongated tail stretch in a sly fox to evoke cunning or a pronounced squash in a timid figure to highlight hesitation.^[36] By aligning squash and stretch with behavioral motifs, animators embed character essence into motion, making abstract qualities like mischief or timidity visually tangible and enhancing audience empathy.^[38] This approach ensures deformations serve the story, with exaggeration levels calibrated to reinforce individuality without distorting core design.^[13]

In Object and Environmental Effects

In the animation of props and inanimate objects, squash and stretch serves to define rigidity, mass, and elasticity by distorting shape in response to forces, while preserving overall volume to maintain believability. A seminal example is the bouncing ball, where the object flattens upon ground contact to represent compression from impact and elongates during ascent to illustrate acceleration and momentum.^[39]^[17] This technique extends to vehicles and tools, where rigid structures exhibit minimal deformation—such as subtle tire compression on landing to convey weight transfer—contrasting with more flexible items that allow greater distortion for dynamic emphasis. John Lasseter, in applying traditional principles to 3D animation, emphasized squash and stretch for such non-character objects to simulate physical properties without rigid modeling constraints. Environmental interactions leverage squash and stretch to deform surfaces and elements, fostering immersion by visually propagating forces through the scene. For instance, ground or terrain may subtly squash under heavy impacts, like footsteps in soft material, mirroring the compression seen in object bounces to indicate load and rebound.^[17] Water surfaces can incorporate stretch in ripple patterns to depict wave propagation from disturbances, adding fluidity and response to environmental dynamics. These deformations parallel those in character movement but focus on passive elements, enhancing spatial coherence without drawing primary attention. Scale of application varies by context, with micro-deformations providing subtle realism for everyday props—such as minor flattening in a thrown baseball to smooth fast motion—versus macro exaggerations in fantastical settings, like elongating vines under tension for heightened drama.^[39]^[17] In compositing, deformed prop and environmental layers are integrated with static backgrounds to simulate broader effects, such as impact waves or elastic rebounds, ensuring seamless force visualization across the frame. This layered approach, rooted in traditional principles, amplifies scene vitality while adhering to volume conservation for credible results.^[39]

Extensions to Video Games and VFX

In video games, squash and stretch principles are adapted for real-time deformation to enhance character responsiveness and visual appeal, often implemented through procedural techniques in engines like Unity and Unreal Engine. For instance, flexible bone rigs or spring-based skinning allow characters to squash upon landing from jumps or stretch during ascents, adding elasticity without relying on pre-baked animations. This is achieved via decomposed spring bones that convert primary skeletal motion into secondary deformations, preserving performance while exaggerating expressiveness in cartoony styles. However, such deformations incur performance trade-offs, as bone scaling increases memory overhead by requiring additional position, rotation, and scale data per joint, which can hinder achieving consistent 60 frames per second (fps) on lower-end hardware; developers often mitigate this by limiting scaling to non-deformable rigs or short bursts, such as procedural mesh adjustments for UI elements like health pickups that squash and stretch on interaction.^[40]^[41] In visual effects (VFX) for film, squash and stretch extend to non-character elements like particle systems, where they simulate realistic impacts in explosions or fluid dynamics. Debris particles in destruction sequences may squash on collision to convey force absorption, while stretching effects in CGI water or smoke add fluidity and momentum, often using deformers in tools like Houdini or Maya to maintain volume preservation during simulation. These applications prioritize conceptual elasticity over rigid motion, enhancing the perceived weight and energy transfer in high-impact events. Hybrid applications combine squash and stretch with motion capture (mocap) for more lifelike simulations, particularly in athlete training or VR environments. This integration heightens sensory congruence, making simulated athletics or interactions feel more intuitive. Emerging trends leverage AI for automated squash and stretch deformations, enabling real-time applications in live media. Adobe Character Animator's Auto-swap feature uses machine learning-driven puppet tracking to dynamically switch artwork layers, facilitating pose-specific squash and stretch—such as compressing a character's torso during a jump—while preserving volume through behaviors like Dangle, which simulates physics with adjustable squashiness for elastic motion. This supports live broadcasts, where AI puppeteering from webcam input generates fluid deformations on the fly, reducing manual keyframing and allowing broadcasters to create engaging, responsive avatars with minimal latency.^[42]^[43]

Notable Examples

Classic Disney Productions

The pioneering use of squash and stretch appeared in Disney's 1929 short The Skeleton Dance, the inaugural Silly Symphony, where skeletal figures bounce rhythmically to musical cues, compressing and elongating their forms to convey weight and energy while establishing foundational timing principles for animated movement.^[44] This early application, animated primarily by Ub Iwerks, demonstrated how deformation could enhance the illusion of life in non-organic subjects, syncing visual elasticity with sound for immersive effect. In the 1940 feature Pinocchio, squash and stretch reached a magical peak with the elongation of Pinocchio's nose during moments of deception, illustrating fantastical growth while the puppet's joints employed subtle compression to emphasize wooden stiffness and contrast organic-like flexibility.^[45] Animator Ward Kimball highlighted this sequence as a benchmark for exaggeration, where stretch amplified narrative tension without sacrificing character believability, blending whimsy with structural integrity.^[46] Bambi (1942) refined these techniques for naturalistic subtlety, particularly in the fawn's initial unsteady steps, where leg deformations incorporated gentle squash to mimic the tentative compression of young limbs against forest undergrowth, fostering wildlife realism over cartoonish excess.^[47] Animators prioritized weighted poise, using minimal stretch in extensions to evoke vulnerability and growth, setting a standard for empathetic, grounded motion in animal characters. Disney's technical evolution of squash and stretch transitioned from exaggerated gags in 1920s-1930s shorts, like the boisterous deformations in Silly Symphonies, to integrated nuance in features by the early 1940s, as animators such as Fred Moore formalized volume-preserving elasticity to support complex storytelling and emotional depth, ultimately shaping studio-wide standards.^[48] This shift, detailed by Thomas and Johnston, reflected growing emphasis on realism amid longer narratives, influencing subsequent productions through disciplined application rather than isolated comedy.

Contemporary Media Instances

In contemporary media, the principle of squash and stretch remains essential for conveying motion, weight, and exaggeration in digital animations, video games, and visual effects, adapting traditional techniques to modern tools like CGI and real-time rendering. This evolution demonstrates its enduring relevance beyond early 20th-century works, influencing hybrid styles that blend realism with stylized flair. Pixar's Toy Story series, starting with the 1995 film and continuing through subsequent installments, exemplifies the integration of squash and stretch in early computer-generated imagery to mimic 2D animation dynamics. Animators applied these effects to character falls, such as Buzz Lightyear's impacts where his arms and body elongate upon landing, enhancing the sense of velocity and mass while maintaining volume consistency in 3D models. This approach bridged classical principles with emerging technology, allowing rigid toys to exhibit flexible, lifelike behavior during action sequences.^[49]^[50] The 2018 animated film Spider-Man: Into the Spider-Verse pushes squash and stretch into bold, comic-inspired territory, particularly in Miles Morales' web-slinging actions. His limbs and torso stretch fluidly during swings to emphasize momentum and superhero agility, while squash effects appear in collision moments, amplified by onomatopoeic panels and smear frames for heightened visual impact. These techniques, combined with variable frame rates, create a distinctive hybrid animation style that exaggerates motion without sacrificing narrative clarity.^[51]^[52] In interactive media, Nintendo's Super Mario Odyssey (2017) employs real-time squash and stretch for responsive gameplay feedback, notably in jumps and captures, where Mario's body exhibits compressive squash on landing and elongating stretch mid-leap, making platforming feel bouncy and intuitive while adhering to the game's whimsical aesthetic. This application highlights the principle's utility in performance-driven environments, where subtle deformations enhance player immersion.^[53] Visual effects in Disney's Frozen II (2019) extend squash and stretch to non-character elements, such as Elsa's conjured ice formations during enchanted sequences. These structures dynamically stretch and compress to mimic organic fluidity, as seen in the Dark Sea climax where massive ice barriers elongate against waves before fracturing, adding tension and magical realism to the simulation. Houdini software facilitated these deformations, ensuring the ice responded believably to environmental forces.^[54] More recent examples include Spider-Man: Across the Spider-Verse (2023), which builds on the original with even more exaggerated squash and stretch in multiverse traversal scenes to heighten the chaotic energy of interdimensional swings and impacts. Similarly, in Pixar's Inside Out 2 (2024), the principle animates the emotions' exaggerated movements, such as Anxiety's frantic stretches during stress sequences, to convey psychological weight and dynamism.^[55]

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To facilitate VR accessi- bility for blind users, in this paper, we investigate the effectiveness of two types of haptic cues—vibrotactile and skin-stretch cues ...Missing: squash | Show results with:squash
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Switch artwork with Auto-swap - Adobe Help Center
May 24, 2023 · This feature allows some previously difficult-to-achieve features, such as foreshortening, pose-specific deformations, and squash-and-stretch, ...What Is Auto-Swap? · Foreshortening And... · How To Use Auto-Swap?Missing: driven | Show results with:driven
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Behaviors: Physical simulations - Adobe Help Center
Jul 10, 2024 · The Dangle behavior supports squash and stretch deformation, which preserves the overall volume (surface area) of a puppet as it deforms. For ...Particles: Control Objects... · Physics: Simulate Object... · Make A Puppet's Identified...
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5 Reasons Why Mickey Mouse Co-Creator Ub Iwerks Was Awesome
May 2, 2013 · What Iwerks designed and animated in shorts like Steamboat Willie and Skeleton Dance contained the principles (squash and stretch, appeal, ...
[49]
[PDF] Texture Mapping for Cel Animation - Princeton University
In these frames the ball exhibits “squash and stretch”, a fundamental principle of traditional cel animation [27]. The 3-D model for this case is a simple ...<|control11|><|separator|>
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[PDF] Development of Animation in Disney's Short Films and How it ... - NSK
squash and stretch principle instead (ibid. 63). Geppetto was originally ... The Illusion of Life: Disney Animation. New. York, Hyperion, 1995. 11 ...
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[PDF] Disney Animation - zoomextents.com
and by working back and forth tween the squash position and the stretch we fou we could make each position stronger in both act and drawing. 48. Page 4. In this ...
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[PDF] 3. The Principles of Animation
ANIMATOR: Norm Ferguson. -Mickey's Elephant. Principles of squash and stretch when applied to. Pluto's head give strength to the action and a feeling.
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4. Fred Moore | 50mostinfluentialdisneyanimators - WordPress.com
Nov 12, 2011 · He squashed and stretched him more and was right at the time but Fred was a high school trained artist and he more or less emerged drawing that ...
[54]
Development of Animation in Disney's Short Films and How it ...
The multiplane camera was used in numerous Disney shorts and feature-length films. It is considered one of the most important technical innovations in animation ...<|control11|><|separator|>
[55]
Pixar's Technological Evolution From 'Toy Story' To 'Toy Story 4'
May 1, 2019 · Toy Story would use many of the same basic animation principles that Disney had been using like “squash and stretch ... Examples of ...
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12 principle of animation in Toy story - The Dave uni Blog
Jan 8, 2011 · The ball has to squash from absorb the weight of Buzz but also has to stretch back to its former shape caused by the compressed air inside, the ...
[57]
Why The Animation In 'Spider-Man: Into The Spider-Verse' Looks So ...
Sep 3, 2018 · The use of squash and stretch also blends into another principle of animation, exaggeration. Once again, exaggeration is tougher in 3D than ...
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Discover Disney's 12 principles of animation - Linearity
Mar 23, 2022 · In the case of early Walt Disney movies such as Snow White (1937) ... "Squash and stretch" is an essential basic principle of animation.
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Tanookris's review of Super Mario Odyssey - Backloggd
Dec 24, 2024 · Mario is also the most animated here, with plenty of squash-and-stretch animations, and even his nose has some jiggle physics. So have fun ...
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Creating Mario Style 3D Models: A Complete Guide - Coohom
Sep 8, 2025 · Mario's jump, run, and power-up animations rely on flexible skeletons with exaggerated squash-and-stretch. Study gameplay videos to ...
[61]
Frozen 2 | Disney - SideFX
Aug 11, 2020 · Near the climax of the sequence, Elsa creates a giant ice structure in an attempt to cross over a 25 foot breaking wave. “This structure,” ...