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Twelve basic principles of animation

The Twelve Basic Principles of Animation are a foundational set of guidelines for creating realistic, expressive, and engaging movements in animated characters and objects, emphasizing natural physics, emotional timing, and visual clarity to achieve the "illusion of life." Developed by Disney animators Ollie Johnston and Frank Thomas during their decades-long careers at the studio, these principles were first systematically outlined in their 1981 book The Illusion of Life: Disney Animation, drawing from techniques honed since the 1930s in classic Disney films.^[1]^[2] These principles address key aspects of animation production, from the physical dynamics of motion to the storytelling through character actions, and remain influential across traditional 2D hand-drawn animation, 3D computer-generated imagery, and even digital design fields like web and UI animation. They guide animators in simulating real-world behaviors—such as flexibility, momentum, and personality—while allowing for artistic exaggeration to heighten appeal and narrative impact. Originating in the collaborative environment of Walt Disney Studios, the principles reflect iterative refinements based on practical application in feature films like Snow White and the Seven Dwarfs (1937) and Pinocchio (1940).^[1]^[2] The principles are:

Squash and Stretch: Demonstrates flexibility and weight by deforming objects during movement, as seen in a bouncing ball or facial expressions.^[2]
Anticipation: Prepares the audience for an action through preparatory poses, like a wind-up before a jump.^[2]
Staging: Presents ideas clearly by focusing the viewer's attention on essential actions, moods, or story elements without distraction.^[2]
Straight-Ahead Action and Pose-to-Pose: Straight-ahead builds spontaneous, fluid sequences from initial drawings, while pose-to-pose plans key poses for controlled timing and acting.^[2]
Follow Through and Overlapping Action: Ensures parts of a character (e.g., hair, clothing) continue moving after the main body stops, maintaining flow and realism.^[2]
Slow In and Slow Out: Varies drawing spacing to accelerate and decelerate actions naturally, softening transitions for lifelike motion.^[2]
Arcs: Traces natural curved paths for movements like limb swings or head turns, avoiding stiff straight lines.^[2]
Secondary Action: Adds supporting details (e.g., a character's gesture) that enhance the primary action without overwhelming it.^[2]
Timing: Controls speed to convey weight, scale, emotion, and intent, with more frames for slower, smoother effects.^[2]
Exaggeration: Amplifies poses, expressions, and actions for clarity and appeal, balanced to avoid excess theatricality.^[2]
Solid Drawing: Applies three-dimensional form, volume, and weight to maintain believable anatomy and spatial awareness.^[2]
Appeal: Infuses characters with charisma through simple, readable designs and magnetic movements that engage audiences.^[2]

History and Development

Origins at Disney Studios

The twelve basic principles of animation emerged from experimental practices at Walt Disney Studios during the late 1920s and early 1930s, as animators sought to imbue cartoon characters with lifelike movement and personality amid the transition from silent films to sound-synchronized shorts.^[3] This period began notably with the release of Steamboat Willie in 1928, Mickey Mouse's debut, where early techniques for flexible, expressive motion were tested to convey rhythm and energy in a post-silent era context.^[3] Walt Disney drove this innovation by prioritizing realism and emotional depth in animation, insisting that characters must evoke genuine feelings through believable actions rather than mere mechanical drawings, a directive that shaped studio workflows as production scaled up for features like Snow White and the Seven Dwarfs (1937).^[4] Key animators played pivotal roles in refining these techniques through hands-on experimentation. Grim Natwick, who joined Disney in 1934 after pioneering fluid female character animation at Fleischer Studios on Betty Boop, applied his expertise to human-like figures in Disney's Silly Symphonies series and Snow White, enhancing emotional expressiveness in poses and gestures.^[5] Similarly, Ham Luske, hired in 1931 without formal art training but excelling in analytical breakdown of motion, led animation on Snow White and developed procedural methods for staging character interactions that emphasized personality and timing.^[6] These contributions built on collective trial-and-error, where animators dissected live-action references to adapt principles of weight, flexibility, and appeal to cartoon forms. To systematize these emerging ideas, Disney established internal training programs in the early 1930s, including art classes led by instructor Don Graham from the Chouinard Art Institute, beginning with sessions on November 15, 1932, at the Hyperion Studio for 25 artists focused on action analysis and quick sketching.^[7] These evolved into intensive five-night-weekly courses by the mid-1930s, costing the studio around $100,000 annually, and covered movement studies like handstands and animal gaits to instill observational skills for realistic animation.^[7] Complementing this, Walt Disney issued a detailed memo to Graham on December 23, 1935, advocating a structured curriculum for both novice and veteran animators to emphasize drawing from life, emotional acting, and avoiding stylized shortcuts in favor of nuanced character development.^[8] One early outcome was the principle of squash and stretch, evident in Mickey Mouse cartoons such as those from 1928–1934, where characters deformed flexibly to simulate weight and bounce, as seen in bouncing ball exercises that demonstrated elasticity without losing volume.^[3] These foundational efforts at Disney laid the groundwork for the principles' later formalization.

Codification in "The Illusion of Life"

Ollie Johnston and Frank Thomas, two prominent members of Disney's "Nine Old Men"—the core group of veteran animators who defined the studio's character animation style during its golden age—authored the book that formalized the twelve principles. Both joined the studio in the 1930s and contributed significantly to early feature films, including Pinocchio (1940), where Thomas animated key sequences such as the puppet's performance of "I've Got No Strings," and Bambi (1942), on which they handled major character animation to achieve fluid, lifelike movement.^[9]^[10] Their extensive careers, spanning over four decades, provided the firsthand expertise that informed the book's content.^[11] Published in 1981 by Abbeville Press (ISBN 0-89659-232-4) and later reissued by Disney Editions, The Illusion of Life: Disney Animation serves as a comprehensive guide to the art of character animation. The book's structure dedicates dedicated chapters to each of the twelve principles, using hundreds of illustrations, storyboards, and frame captures drawn directly from Disney's classic films to demonstrate their application in practice. These visual examples, ranging from early shorts to features like Snow White and the Seven Dwarfs (1937), highlight how the techniques evolved to create believable motion and emotion.^[12]^[13] The codification process involved distilling decades of accumulated knowledge from Disney's animation pipeline into these twelve distinct rules, refined through iterative experimentation starting in the 1930s. Thomas and Johnston, drawing on their experiences mentoring younger artists and observing Walt Disney's emphasis on realistic physics and personality, synthesized informal studio practices—such as timing tests and character studies—into a structured framework to guide future animators. This documentation captured the essence of traditional cel animation techniques before the industry's pivot away from hand-drawn methods.^[13]^[14] Upon release, the book received acclaim for safeguarding the specialized craft of Disney animation at a time when the studio increasingly prioritized live-action productions following Walt Disney's death in 1966, ensuring that the principles' foundational role in creating the "illusion of life" would endure. Critics and animators hailed it as an essential reference that bridged historical techniques with ongoing artistic development.^[15]^[16]

Core Concepts and Applications

Purpose of the Principles

The twelve principles of animation aim to simulate the laws of physics while conveying emotional depth, thereby creating movements that feel authentic and lifelike to viewers. This approach transforms static drawings into dynamic characters that evoke empathy and connection, fostering the "illusion of life" essential for engaging narratives. By grounding abstract visuals in realistic weight, timing, and expression, the principles bridge the divide between two-dimensional art and perceived three-dimensional existence, allowing audiences to relate to animated figures as if they were real beings.^[1]^[17] Developed during the 1930s at Disney Studios, these principles were codified to overcome the shortcomings of early animation, including the stiff, jerky motion prevalent in pre-1930s films that limited expressive potential. Animators sought to infuse fluidity and personality into sequences, elevating animation from mechanical repetition to a medium capable of subtle emotional nuance and physical believability. This historical intent, as detailed by Disney veterans Ollie Johnston and Frank Thomas, marked a pivotal advancement in the craft, enabling richer character development and audience immersion in stories.^[17]^[18] The principles operate in an interconnected manner, collectively countering rigid or unnatural motion to achieve cohesive, organic results that enhance overall animation quality. Their holistic integration ensures that individual elements like timing and appeal reinforce one another, avoiding isolated applications that could result in disjointed visuals. This enduring framework remains foundational to animation storytelling, promoting viewer engagement and emotional investment irrespective of production medium, from traditional cel to contemporary digital formats.^[1]^[18]

Evolution from Traditional to Digital Animation

The transition from traditional hand-drawn cel animation to digital computer-generated imagery (CGI) gained momentum in the 1990s as major studios adapted the twelve basic principles to emerging software workflows. Pixar Animation Studios pioneered this shift with Toy Story (1995), the first feature-length CGI film, where animators applied principles such as squash and stretch, anticipation, and follow through using keyframe techniques in tools like Alias PowerAnimator for modeling complex characters and Pixar's proprietary RenderMan for rendering. Similarly, DreamWorks Animation integrated these principles into its early CGI productions, such as Antz (1998), by combining traditional posing methods with 3D modeling software to maintain lifelike motion and appeal in digital environments. This era marked a deliberate effort to preserve the artistic intent of the principles while leveraging computational power to handle three-dimensional space, as articulated by Pixar director John Lasseter in his seminal work on applying traditional animation to CGI.^[19] Key adaptations in digital tools addressed the unique challenges of 3D animation, particularly in automating and refining principles like arcs, follow through, overlapping action, and squash and stretch. Software such as Autodesk Maya introduced rigging systems and physics-based simulations to generate natural arcs and overlapping motions, where secondary elements like hair or clothing continue moving after primary actions stop, reducing manual keyframing while adhering to the principles' emphasis on realism. Blender, an open-source alternative, employs armature rigging and constraint systems to simulate these effects, allowing animators to layer overlapping actions through bone hierarchies and drivers. However, squash and stretch in 3D posed significant challenges, as deforming models without preserving volume could result in unnatural distortions; solutions like Maya's nonlinear squash deformers and volume-preserving algorithms in research frameworks ensure mass conservation during compression and elongation, enabling cartoonish exaggeration without breaking the illusion of solidity.^[20]^[21] In contemporary applications, the principles have extended to interactive media like video games and virtual reality (VR), where real-time rendering demands efficient implementations. Unreal Engine's animation blueprints, visual scripting tools, facilitate the application of principles such as timing and secondary action by blending state machines with procedural animations, enabling responsive character behaviors in games like Fortnite. Post-2010 hybrid techniques have further evolved this landscape, combining motion capture data with hand-keyed adjustments to infuse principles like anticipation and arcs into performances; for instance, mocap blending in tools like Autodesk MotionBuilder allows animators to stylize captured human motion for non-realistic characters, enhancing expressiveness in films and games. Real-time rendering technologies, accelerated by GPU advancements, impact these principles by prioritizing low-latency computations for overlapping actions and timing, though they require optimized rigs to avoid visual artifacts in dynamic VR environments.^[22] Advancements in the 2020s have incorporated artificial intelligence (AI) and machine learning to assist with principle application, particularly timing and slow in/slow out. Machine learning models for motion interpolation automate easing curves, generating fluid transitions that mimic traditional inbetweening while adapting to complex 3D trajectories, as seen in generative AI pipelines for cel animation. These AI tools, often integrated into software like Adobe Animate or custom frameworks, reduce production time for timing adjustments by predicting optimal frame rates based on trained datasets of principle-compliant animations, though they still require artist oversight to maintain emotional appeal.

The Twelve Principles

Squash and Stretch

Squash and stretch is a foundational principle in animation that involves exaggerating the deformation of objects or characters by compressing (squashing) or elongating (stretching) their shapes to convey a sense of weight, flexibility, and elasticity during movement, while maintaining constant volume to preserve the illusion of mass.^[23] This technique, first systematically described by Disney animators Ollie Johnston and Frank Thomas, allows even rigid forms to appear lively and responsive to forces like gravity or impact, enhancing the realism and appeal of motion without violating physical principles.^[23] By selectively applying squash on contact or anticipation and stretch during acceleration or extension, animators impart personality and energy to inanimate objects or characters, making actions feel dynamic and believable.^[24] A classic demonstration of this principle appears in Disney's early training films through the bouncing ball sequence, where the ball flattens upon hitting the ground (squash) to show compression from the impact, then elongates upward (stretch) as it rebounds, illustrating acceleration and deceleration while keeping the ball's overall volume unchanged.^[24] This simple exercise highlights how squash and stretch simulates elasticity: the ball's vertical dimension decreases during squash, with horizontal expansion compensating to retain mass, and the reverse occurs in stretch for upward propulsion.^[25] In practice, techniques for implementing squash and stretch vary by medium. In 2D animation, artists manually draw frame-by-frame variations in shape, often tapering line thickness at the ends during stretches to emphasize elongation and using broader, rounded forms for squashes to suggest compression.^[26] In 3D animation, software tools like lattice deformers bend and scale mesh points around a control cage to distort models uniformly, ensuring volume preservation through automated calculations that adjust proportions in real-time.^[26] These methods allow animators to apply the principle efficiently to complex rigs. The principle breathes life into seemingly rigid elements, as seen in the 1942 Disney short How to Play Baseball, where Goofy's exaggerated falls feature pronounced squashing upon landing to convey comedic impact and weight, transforming stiff poses into fluid, elastic tumbles.^[27] This application not only amplifies physicality but also integrates briefly with follow-through for smoother transitions in ongoing motion.^[23]

Anticipation

Anticipation is one of the twelve basic principles of animation, defined as a preparatory action that signals an impending main movement to the audience, creating the impression that something significant is about to happen. According to Disney animators Ollie Johnston and Frank Thomas, this principle involves a small reverse motion—such as a character pulling back or winding up—before the primary action, ensuring the viewer is prepared rather than surprised by sudden changes.^[28] This technique originated from observations of natural motion at Disney Studios, where it was codified to make animated actions feel lifelike and intuitive.^[28] A classic example of anticipation appears in early Disney films, where characters prepare for actions like jumps or runs through subtle preparatory poses to build expectation and avoid abruptness. These instances demonstrate how anticipation prevents mechanical stiffness, allowing movements to appear organic and engaging. In practice, animators employ anticipation through layered poses within the pose-to-pose workflow, starting with key drawings that include the preparatory stance before transitioning to the main action.^[29] The duration of this phase is kept concise, typically lasting 1-2 frames less than the subsequent action to preserve momentum while providing just enough cue for comprehension.^[30] This brevity ensures the principle supports rather than overshadows the core motion. Psychologically, anticipation draws from real-life biomechanical cues, where humans and animals exhibit preparatory shifts—such as coiling muscles before leaping—to signal intent, thereby fostering a sense of natural progression in animation.^[31] By replicating these patterns, the technique enhances readability, allowing audiences to anticipate and emotionally connect with the character's actions more effectively.^[31] It briefly integrates with staging to ensure the preparatory pose remains focused and unobscured in the frame.^[18]

Staging

Staging refers to the presentation of any action or idea in animation so that it is entirely and unmistakably clear to the audience, directing their attention to the essential story elements without distraction. This principle, as outlined by Disney animators Ollie Johnston and Frank Thomas, ensures that a character's pose or action communicates their attitude, mood, reaction, or intention in relation to the narrative's continuity.^[2] By simplifying compositions, staging avoids visual clutter, such as overly detailed backgrounds that could obscure the main action, allowing the animation and environment to function as a unified pictorial element.^[32] Key techniques for staging include establishing a single focal point per frame and employing varied camera angles to emphasize important details. For example, close-up shots can highlight facial expressions during emotional or dialogue-heavy moments, making the character's feelings immediately apparent. Compositional tools like the rule of thirds further aid this by dividing the frame into a grid and positioning key subjects at intersection points, guiding the eye naturally toward the primary action while maintaining balance.^[33] Derived from theatrical and live-action filmmaking traditions, staging in animation borrows stage directing methods to maximize emotional impact and clarity, ensuring that every element serves the story's progression.^[34] In dialogue scenes, for instance, clear and exaggerated character expressions are staged to convey subtext and personality traits unambiguously, reinforcing the principle's role in effective storytelling.^[2]

Straight Ahead Action and Pose to Pose

Straight ahead action and pose to pose represent two contrasting approaches to creating animation sequences, each offering distinct advantages in workflow and outcome. Straight ahead action involves drawing or animating frames sequentially from the first to the last, fostering a sense of spontaneity and organic fluidity that is particularly effective for depicting unpredictable or chaotic elements, such as flickering flames, whipping hair, or explosive movements.^[35] This method, while energetic, can lead to inconsistencies in proportions or volume if not carefully managed, as the animator commits to each frame without revisiting earlier ones.^[1] In contrast, pose to pose begins with the creation of key poses at critical points in the action, followed by the addition of in-between frames to connect them, providing greater control over timing, composition, and overall structure—essential for narrative-driven scenes where character emotions or story beats must align precisely.^[35] This technique allows directors and lead animators to plan the broad strokes while assistants handle the detailed interpolation, enhancing efficiency in collaborative production.^[1] Historically, straight ahead action dominated early Disney shorts, exemplified by Ub Iwerks's animation of the titular character in Steamboat Willie (1928), where the sequential drawing process captured the lively, improvisational energy of Mickey Mouse's debut.^[36] As Disney Studios expanded in the 1930s, pose to pose became the standardized method for most productions, enabling consistent quality and precise timing adjustments across complex scenes in feature films like Snow White and the Seven Dwarfs (1937), while straight ahead was reserved for specific wild or secondary effects.^[1] These workflows, first systematically documented by Disney animators Ollie Johnston and Frank Thomas in their 1981 book The Illusion of Life: Disney Animation, evolved from the studio's practical needs during its Golden Age to balance creativity with production demands.^[35] In modern digital animation, software tools facilitate a hybrid approach that merges the strengths of both methods, such as starting with rough straight ahead sketches for initial fluidity before refining them into a pose to pose structure using keyframe interpolation in programs like Adobe Animate or Toon Boom Harmony.^[37] This integration mitigates the drawbacks of traditional hand-drawn techniques— like proportion errors in straight ahead—through automated in-betweening and non-destructive editing, allowing animators to iterate seamlessly on both spontaneous and planned elements in films and games.^[1]

Follow Through and Overlapping Action

Follow through and overlapping action refer to the animation techniques where different parts of a character or object move independently and at varying speeds, creating a sense of natural momentum and fluidity in motion. These principles ensure that not all elements halt simultaneously, mimicking real-world physics to avoid stiff, mechanical appearances in animated sequences. Developed by Disney animators in the mid-20th century, they were formalized as one of the twelve basic principles in the seminal work on the subject.^[38]^[1] Follow through specifically describes the continued motion of secondary elements after the primary action has ceased, allowing parts like limbs or appendages to settle gradually toward the body's center of mass. For instance, when a character stops running, their arms may continue swinging forward before pulling back, simulating the inertia that prevents abrupt halts in organic forms. This technique is essential for conveying weight and realism, as it reflects how momentum persists in physical objects until external forces like friction or gravity intervene.^[38]^[39] Overlapping action complements follow through by having different body parts initiate or terminate movements out of sync with the main mass, such as clothing or hair lagging behind the torso during a sudden turn. In early Disney cartoons, this is exemplified by Goofy's hat and ears flopping independently as he runs, with the head and appendages trailing the legs due to "drag," which adds layers of complexity to the motion. These independent timings prevent robotic stiffness, particularly in complex characters with multiple articulated elements like tails or flowing garments.^[38]^[1] At their core, both principles are grounded in simulating physical laws such as inertia and aerodynamic drag, where lighter or more flexible parts resist sudden changes in direction more than denser ones, fostering an organic feel essential for believable animation. By applying follow through and overlapping action, animators achieve lifelike settling after primary motions, as seen in Snow White's dress continuing to sway briefly after she begins dancing, enhancing the overall illusion of life without relying on secondary supportive details.^[38]^[39]

Slow In and Slow Out

Slow in and slow out, also referred to as ease in and ease out, is an essential animation principle that simulates the natural physics of motion by gradually accelerating from a standstill and decelerating toward a stop, avoiding abrupt starts and halts that appear mechanical. This technique enhances realism by distributing frames unevenly: fewer frames during the peak velocity in the middle of an action to convey speed, and more frames clustered at the extremes to depict sluggish beginnings and endings. Codified by Disney animators Ollie Johnston and Frank Thomas in their seminal 1981 book The Illusion of Life: Disney Animation, the principle draws from observations of real-world inertia, where objects influenced by forces like gravity or momentum do not move at constant speeds.^[38]^[1] In practice, animators apply ease in for a slow initiation—placing additional in-between frames near the starting pose to build momentum progressively—and ease out for a gradual slowdown, concentrating frames toward the final pose. This spacing adjustment accounts for an object's mass and the applied force, as heavier elements require more frames to reach velocity, reflecting basic physics where acceleration equals force divided by mass. For instance, in a classic bouncing ball exercise, the ball eases out slowly on the ascent against gravity, accelerates rapidly during the fall, and eases in sharply at the bottom contact to emphasize impact and rebound energy. In character animation, such as the walk cycles in Disney's Bambi (1942), the deer's legs exhibit slow ins at foot plant and slow outs during lift-off, creating fluid, lifelike strides that vary with terrain and emotion.^[40]^[18] Digital tools have streamlined these techniques through graph editors in software like Adobe After Effects, where animators manipulate bezier curves to define easing functions—such as quadratic or cubic interpolations—for precise velocity control over time. Keyframes are set at extremes, with curve handles adjusted to create S-shaped graphs representing acceleration followed by deceleration, allowing for variations like asymmetrical easing (e.g., quicker ease out for snappy actions). Typical human actions, like arm gestures or steps, span 12-24 frames at 24 frames per second to balance naturalism without sluggishness, though over-easing can be avoided by limiting in-betweens to 4-8 frames per transition for punchier effects in comedic sequences.^[41]^[42]

Arc

In animation, the arc principle posits that most natural movements follow curved paths rather than straight lines, mimicking the trajectories influenced by joint pivots, momentum, and gravity in real-world physics.^[2] This approach applies particularly to organic forms like human figures and animals, where actions such as arm swings or jumps trace elliptical or circular arcs to convey fluidity and realism.^[32] For instance, a jumping character under gravity follows a parabolic arc, ensuring the motion appears believable and dynamic rather than rigid.^[43] Animators plot these paths by incorporating cycloid curves for motions involving rotation and projection, such as the swing of a limb or the trajectory of a thrown object, which helps maintain consistent volume and natural acceleration along the curve.^[43] Straight lines are generally avoided except in depictions of mechanical or forceful actions, like a robot's linear extension or a boxer's punch, where the intent is to emphasize precision or impact over organic flow.^[2] Representative examples include the pendulum-like wag of a dog's tail, where the tip follows a repeating circular arc to suggest relaxed, inertia-driven oscillation, and the graceful head turns in Disney's Sleeping Beauty (1959), which employ subtle arcs to enhance the character's elegance and lifelike poise.^[32] These arcs integrate with easing techniques to refine the overall timing, creating seamless transitions in the animation sequence. Exceptions occur in stylized or abstract animation, where straight paths may be intentionally used for emphasis, such as in experimental shorts to convey abruptness or surrealism, diverging from naturalism to heighten artistic effect.^[2]

Secondary Action

Secondary action involves incorporating supporting movements that enhance the primary action in an animation, adding layers of realism and character depth without diverting attention from the main focus. As defined by Disney animators Frank Thomas and Ollie Johnston in their influential 1981 book The Illusion of Life: Disney Animation, a secondary action is an additional behavior that results directly from and supplements the primary one, enriching the scene and making characters more lifelike.^[2]^[32] These subtle elements, such as facial twitches or minor gestures, reinforce the character's personality and the overall mood of the sequence.^[44] Techniques for implementing secondary action emphasize subordination to the main pose, ensuring the supporting motions are timed precisely to complement rather than compete with the primary movement. For example, during a character's speech, subtle blinking or slight head nods can be added to convey natural rhythm and engagement, harmonizing with the dialogue delivery.^[1]^[44] Body language, such as arm adjustments or prop interactions, should be context-specific and purposeful, always serving to heighten interest while maintaining focus on the core action.^[32] In Disney's Bambi (1942), Thumper's playful hops are amplified by secondary actions like ear twitches and tail flicks, which add charm and vitality to his movements without overwhelming the primary motion.^[45] Similarly, an angry character striding forward might incorporate emphatic arm swings and head tilts as secondary actions, intensifying the emotional intent of the walk.^[32] These elements, when well-integrated, contribute to a more dynamic and believable portrayal. Achieving balance in secondary action is crucial; it must enrich the animation without introducing chaos through excessive details, which could distract or clutter the scene. Conversely, omitting secondary actions risks creating flat, unconvincing sequences that lack nuance and fail to fully realize the character's presence.^[44] Proper application ensures the primary action remains dominant while secondary elements provide essential support for visual storytelling.^[32]

Timing

Timing refers to the number of frames allocated to an action in animation, which controls the speed and duration of movement to convey essential qualities such as weight, mood, and personality.^[2] Fast timing suggests lightness, energy, or urgency, while slow timing implies heaviness, thoughtfulness, or drama.^[2] As outlined by Disney animators Frank Thomas and Ollie Johnston in their 1981 book The Illusion of Life: Disney Animation, timing provides meaning to movement by influencing how clearly an idea is communicated to the audience and forms the foundational basis for other animation principles.^[2] In practice, animators work within a standard frame rate of 24 frames per second (fps) for film, adjusting the number of drawings between key poses to achieve desired effects.^[45] More drawings between poses produce slower, smoother actions that emphasize gravity or contemplation, whereas fewer drawings yield faster, sharper movements that evoke excitement or nervousness.^[2] For instance, quick gestures, such as a character's sudden wave or flick, are often rendered in about 8 frames to appear snappy and lively without sacrificing readability.^[46] A balanced medium speed, around 12 fps (equivalent to animating "on twos" at 24 fps), suits routine actions like walking, providing a natural rhythm that avoids extremes.^[42] Varying these timings throughout a sequence adds texture, preventing monotony and enhancing emotional depth.^[2] Notable examples demonstrate timing's impact on storytelling and emotion. In Disney's Fantasia (1940), slow timing heightens dramatic reveals, such as the gradual emergence of magical elements in "The Sorcerer's Apprentice," building tension and wonder to align with the music's mood. This deliberate pacing influences viewer emotions, contrasting fear in ominous sequences with joy in triumphant ones, all through controlled frame counts.^[2] Timing also integrates briefly with easing for refined motion, where total duration complements internal speed variations to mimic real-world physics.^[42]

Exaggeration

Exaggeration in animation involves amplifying movements, expressions, poses, and attitudes beyond realistic proportions to emphasize key ideas and enhance emotional impact, while remaining grounded in observable truth to avoid mere distortion. As articulated by Disney animators Frank Thomas and Ollie Johnston, this principle functions as a caricature of reality, pushing actions further than they would occur in life to make them more readable and engaging on screen.^[47] It requires careful balance, applied with restraint to prevent overly theatrical or grotesque results that could undermine the character's believability.^[2] Animators achieve exaggeration through techniques such as broadening poses to heighten drama, intensifying facial expressions to convey heightened emotions, and extending gestures in action sequences for greater clarity and energy. For instance, in dynamic scenes, limbs or torsos may be stretched slightly beyond natural limits to accentuate force or surprise, while eye movements or head turns are amplified to draw viewer attention to intent.^[47] These methods build on deformation principles like squash and stretch but focus on selective enhancement rather than overall volume changes.^[2] Classic examples include Mickey Mouse's wildly extended reactions in the 1941 short The Pointer, where his surprise is magnified through oversized gestures and facial contortions to underscore the humor and tension.^[47] Similarly, Pluto's flypaper sequence in early Disney shorts demonstrates intensified struggles with exaggerated limb flailing and expressions of frustration, maintaining solid form amid the chaos.^[47] In non-Disney work influenced by these ideas, Bugs Bunny's elastic body stretches in Warner Bros. cartoons like Rabbit Fire (1951) exemplify the principle, using broad, rubbery extensions to amplify comedic evasion while preserving recognizable rabbit proportions. The primary purpose of exaggeration is to ensure ideas and emotions are immediately comprehensible on screen, transforming subtle real-world actions into vivid, compelling visuals that captivate audiences.^[2] It proves especially vital in stylized animation, where greater amplification fosters humor and personality, compared to realistic styles that employ subtler enhancements to mimic life without alienating viewers.^[47] By heightening appeal without sacrificing truth, this principle makes animations more dynamic and memorable, as Walt Disney emphasized in directing animators to "make him sadder" or "wilder" to capture emotional essence.^[47]

Solid Drawing

Solid drawing is a fundamental principle in animation that emphasizes treating characters and objects as three-dimensional forms with weight, volume, and depth, even when rendered in two-dimensional space. Originating from the work of Disney animators Frank Thomas and Ollie Johnston, this principle requires animators to apply the basics of academic drawing—such as form, solidity, and the illusion of three dimensions—to ensure that figures do not appear flat or lifeless. By considering gravity, balance, and anatomy, solid drawing creates believable poses that maintain consistent volume during movement, avoiding distortions that could undermine the character's realism.^[2] In practice, animators achieve solid drawing through techniques like planning poses from multiple angles to visualize rotation and depth, and employing foreshortening to compress forms realistically when viewed from extreme perspectives. Characters are conceptualized as basic solids—such as spheres for heads, cylinders for limbs, and boxes for torsos—to guide the construction of drawings that incorporate light and shadow for added dimensionality. This approach demands a strong foundation in draftsmanship, where every line contributes to the sense of weight and structure; for instance, avoiding symmetrical "twinning" on opposite sides of the body ensures dynamic, asymmetrical poses that enhance the illusion of three-dimensionality. Thumbnail sketches often precede full drawings to test balance and line of action, unifying the figure's energy while preventing flatness.^[48]^[1] A notable example appears in Disney's The Jungle Book (1967), where character turns, such as those of Baloo the bear animated by Frank Thomas, demonstrate consistent form maintenance through foreshortening and natural volume shifts, making the bear's rotations feel solidly grounded despite the 2D medium. In traditional animation, these techniques highlight the animator's skill in sustaining three-dimensional integrity across frames.^[49] In computer-generated imagery (CGI), solid drawing is inherently supported by 3D modeling processes, where digital meshes define volume and prevent the flattening common in 2D work; rigging systems further ensure that deformations preserve weight and structure during animation. This is evident in Walt Disney Animation Studios' Frozen (2013), where characters like Elsa maintain tangible depth through polygonal models and skeletal rigs, allowing complex poses to retain realistic solidity without manual redrawing for each viewpoint.^[50]

Appeal

Appeal in animation refers to the inherent charm and magnetism that makes characters engaging and enjoyable for audiences, regardless of whether they are heroes, villains, or inanimate objects. This principle emphasizes creating a visual and performative quality that draws viewers in, akin to an actor's charisma on stage or screen. As defined by Disney animators Frank Thomas and Ollie Johnston, appeal encompasses "a quality of charm, pleasing design, simplicity, communication, or magnetism," ensuring that characters avoid blandness or awkwardness to foster an emotional connection.^[2] Weak or overly complicated designs lack this appeal, while clumsy shapes and movements further diminish it, highlighting the need for clarity and expressiveness in every aspect of character portrayal.^[2] To achieve appeal, animators employ techniques focused on simple, readable shapes and features that convey personality effectively. Characters are designed with clean lines and proportions that allow for fluid, expressive movements, such as a sly glance or a playful tilt of the head, which infuse life and relatability. This extends beyond static appearance to dynamic animation styles, where poses and actions reveal inner traits, making even antagonistic figures captivating through their flaws or quirks. For instance, villains can possess magnetic appeal by exaggerating distinctive traits like theatrical gestures or cunning expressions, briefly tying into broader amplification methods while prioritizing innate charisma. The goal is to create an emotional resonance that keeps audiences invested, applying universally to ensure no element feels uninviting or forgettable.^[51] Classic examples illustrate appeal's power in practice. Mickey Mouse exemplifies approachable design through his rounded, simple silhouette and wide-eyed expressiveness, which make him instantly likable and versatile across stories, contributing to his status as an enduring icon.^[17] Similarly, villains like Ursula from The Little Mermaid demonstrate how flawed yet charismatic traits—such as her flamboyant demeanor and bold features—can mesmerize viewers, turning potential repulsion into fascination and enhancing narrative engagement. These cases underscore appeal's role in building audience affinity, where effective design and movement create lasting, empathetic bonds with animated figures.^[1]

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Disney prioritized character realism, ensuring characters accurately represented their human or animal forms. The introduction of synchronized sound in ' ...
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Exhibit: Grim Natwick- Golden Age Animator
May 17, 2024 · Grim's first animation for Disney was the female lead in "Cookie Carnival". He received great praise from Walt for his work, and was assigned the female lead ...
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Ham Luske - D23
A business major with no formal art education, Ham Luske was the first animator cast by Walt Disney on his daring new project Snow White and the Seven ...
[7]
The Birth of Animation Training
Sep 23, 2004 · 23, 1935, to Don Graham from Walt Disney, Walt outlined specifically the type of training that he felt was needed: Right after the holidays ...Missing: twelve | Show results with:twelve
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[PDF] Memo from Walt - Animation Meat
In attempting to recapture the quality attained in former years we need but to refer to the memo Walt wrote to Don Graham in 1935. It expresses the needs of ...
[9]
Chatting with Ollie Johnston and Frank Thomas | - Cartoon Research
May 30, 2016 · His credits include Snow White (the Dwarfs crying at her bier), Pinocchio (Pinocchio singing “I've Got No Strings”), Cinderella (the stepmother) ...
[10]
Walt's Nine Old Men - This Day in Disney History
"Milt Kahl, Frank Thomas, Ollie Johnston and myself did most of the animation on Bambi; a rather small group that helped, I think, to maintain its consistency.".
[11]
Disney's Nine Old Men: Legends in Animation
Apr 16, 2020 · Animator Frank Thomas instilled vivid personality into his characters. He drew some of Disney animation's most memorable, as well as touching, ...Missing: credits | Show results with:credits
[12]
The Illusion of Life: Disney Animation | Frank Thomas, Ollie Johnston
The Illusion of Life: Disney Animation. New York: Abbeville Press, 1981. 2nd Printing. Large Hardcover. Near Fine / Near Fine. Item #2348644. ISBN: 0896592324
[13]
The Illusion of Life Disney Animation by Frank Thomas, Ollie Johnston
7-day returnsThe Illusion of Life. Disney Animation. by: Frank Thomas, Ollie Johnston · The ... The book answers everybody's question about how the amazingly lifelike effects ...
[14]
Frank Thomas and Ollie Johnston - Arlington Museum of Art
The Twelve Principles of Animation originated in the pieces you see when you view Disney Art from Private Collections at the Arlington Museum of Art. These ...
[15]
The Illusion of Life: Disney Animation - Amazon.com
Johnston co-authored, with Frank Thomas, the reference book Disney Animation: The Illusion of Life, which contained the 12 basic principles of animation.Missing: twelve | Show results with:twelve
[16]
https://knowledge.uchicago.edu/record/575/files/Frank_uchicago_0330D_13410.pdf
[17]
History and Use: 12 Principles of Animation - LA Film School
Jun 19, 2020 · What are Disney's 12 Principles of Animation? · Squash and stretch · Anticipation · Staging · Straight ahead and pose to pose · Follow through and ...
[18]
Disney's 12 Principles Of Animation: Bringing Characters To Life
Apr 20, 2023 · The book “The Illusion of Life: Disney Animation” by Disney animators Frank Thomas and Ollie Johnston inspires every animator by outlining ...
[19]
Digital Library: Communications of the ACM
... 1995 Toy Story counterpart. ... Tom Porter (tom@pixar.com) was supervisor of shading and visual effects on the original Toy Story at Pixar Animation Studios in ...Missing: PowerAnimator | Show results with:PowerAnimator
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Squash deformer - Maya - Autodesk product documentation
Squash deformers let you squash and stretch any deformable object along an axis. They are useful both for character setup (classic squash and stretch effects) ...<|separator|>
[21]
The Squash-and-Stretch Stylization for Character Motions
The squash-and-stretch describes the rigidity of the character. This effect is the most important technique in traditional cartoon animation.
[22]
Animation Blueprints in Unreal Engine - Epic Games Developers
Animation Blueprints are visual scripts that are used for the creation and control of complex animation behaviors.Graphing in Animation... · Animation Blueprint Editor · State Machines
[23]
Squash and Stretch: The 12 Basic Principles of Animation
Jun 5, 2017 · Squash and Stretch (S&S for short) is the principle of applying a contrasting change of shape—from a squash pose to a stretch pose or vice versa ...
[24]
12 Principles of Animation - Squash and Stretch
Sep 27, 2021 · Squash and Stretch (S&S for short) is the animation principle of applying a contrasting change of shape to give a sense of flexibility and life in animation.
[25]
Animation Principles - Washington
In the bouncing ball example above, when the ball squashes it scales down in addition to expanding outwards, thus retaining the same volume. Similarly, it ...<|separator|>
[26]
Squash and Stretch: Bounce & Movement in 2025 - Animotions Studio
The squash and stretch in 2D and 3D animation differs in execution but not in principle. In 2D Animation: Artists draw exaggerated shapes frame-by-frame. Timing ...
[27]
Chicken Little: Inside the History of Disney's First CGI Movie - Collider
Nov 9, 2020 · ... squash-and-stretch animation of things like Disney's 1942 Goofy cartoon “How to Play Baseball,” which emphasized easily identifiable (and ...
[28]
https://books.google.com/books/about/The_Illusion_of_Life.html?id=2x0RAQAAMAAJ
[29]
Animation Principles - Washington
There are two different animation methods to consider: pose to pose and straight ahead. Pose to pose animation involves defining a set of "key" poses which ...Missing: technique | Show results with:technique<|separator|>
[30]
[PDF] ANTICIPATION - Animation Concepts
The ANTICIPATION IS ALWAYS IN The ... IT'S TOO FAST FOR The EYE TO SEE IT - IT'S JUST FOR. ONE OR TWO FRAMES - IT'S INVISIBLE TO The EYE BUT WE FEEL IT.
[31]
12 principles of animation: Anticipation
Sep 27, 2021 · Meanwhile, for Frank Thomas and Ollie Johnston, in "The Illusion of Life" (where the 12 principles were first summed up), anticipation was ...
[32]
Principles of Physical Animation - Frank & Ollie
Three dimensional is movement in space. The fourth dimension is movement in time. #12 APPEAL A live performer has charisma. An animated character has appeal.Missing: twelve | Show results with:twelve
[33]
Staging: The 12 Basic Principles of Animation
Jun 12, 2017 · If you divide a frame of the shot in half or thirds and place the character in those sections, you control the attention of the audience while ...
[34]
What are the 12 Principles of Animation — Ultimate Guide
Mar 5, 2025 · Staging refers to how you direct the audience's attention in a frame. As Johnston and Thomas describe it, it's essentially synonymous with mise- ...
[35]
Straight Ahead Action and Pose to Pose: The 12 Basic Principles of ...
Jun 14, 2017 · The fourth animation principle, Straight Ahead Action vs. Pose to Pose, is the only principle that hints at how to approach your animation.Missing: sources | Show results with:sources
[36]
Secrets of Steamboat Willie - Mouse Planet
Nov 14, 2012 · For the most part, Disney Legend Ub Iwerks animated the entire film himself in what was known as “straight ahead” animation, which meant he did ...
[37]
How to create and animate key poses. - Adobe
Like pose-to-pose, straight-ahead animation uses a key pose to dictate the starting point of a sequence. Unlike pose-to-pose, there's just the one starting key ...
[38]
Physical Animation - Frank & Ollie
These ideas show how timing, weight, and action can bring anything to life. THE 12 BASIC PRINCIPLES OF ANIMATION. Paraphrased from the "Illusion Of Life" by ...
[39]
Follow Through and Overlapping Action in Animation - GarageFarm
In animation, the illusion of life comes from the meticulous application of certain key principles. Among them, follow through and overlapping action stand ...
[40]
Slow In and Slow Out: The 12 Basic Principles of Animation
Jun 21, 2017 · Slow In and Slow Out describes the tendency of things to come to rest, or to start moving, in a progressive way.
[41]
Best Slow In and Slow Out Techniques in Animation | Pixel Studios Inc
Oct 30, 2024 · Key Techniques for Slow In and Slow Out · Easing Functions: Use easing functions in your animation software to control the speed of the animation ...
[42]
Timing: The 12 Basic Principles of Animation
Jul 3, 2017 · I'll then work on the breakdown images, with my general rule of thumb being a slow in or slow out will get a value of between 4 and 8 frames, ...Missing: typical human
[43]
[PDF] Physics of Paths of Action - Alejandro Garcia
The main principle discussed in this tutorial is the path of ac- tion, such as in tipping, falling, and bouncing. But we'll also talk about other elements, ...
[44]
Secondary Action: The 12 Basic Principles of Animation
Jun 28, 2017 · Frank Thomas and Ollie Johnston, in The Illusion of Life, put it simply: “When this extra business supports the main action, it is called a ...
[45]
Discover Disney's 12 principles of animation - Linearity
Mar 23, 2022 · "Squash and stretch ... In Fantasia (1940), the Walt Disney's animators put the focus on Mickey Mouse as he conducts an orchestra by literally ...Missing: origins | Show results with:origins
[46]
12 Principles of Animation - Clip Studio Paint
Timing refers to the number of frames allocated to a specific action. More frames create the effect of a slower motion, while fewer frames make character ...
[47]
Full text of "The Illusion Of Life Disney Animation"
Below is a merged summary of the "Exaggeration Principle" from "The Illusion of Life Disney Animation," consolidating all the information from the provided segments into a comprehensive response. To retain maximum detail and ensure clarity, I will use a table in CSV format to organize the key aspects (Definition, Techniques, Examples, Purpose, Direct Quotes, and URLs) across the various segments. Following the table, I’ll provide a narrative overview to tie everything together.
[48]
Solid Drawing: The 12 Basic Principles of Animation
Jul 12, 2017 · Solid drawing generally refers to the ability to render a three-dimensional character in two-dimensional space and give it weight, depth, and balance.
[49]
Splog » Frank Thomasâ€™ Jungle Book 3 - Michael Sporn Animation
Oct 19, 2009 · This is the last of three posts showcasing the drawings of Frank Thomas for one scene of Mowgli and Kaa in The Jungle Book.
[50]
[PDF] The Principles Of Animation - Computer Graphics
Robin Hood (1973) & Snow White (1937) Disney Animation. 15-362/662 | Computer ... • Anticipation waits for an action to occur. • Adds delays between ...
[51]
Appeal: The 12 Basic Principles of Animation
Jul 19, 2017 · We do it because it's appealing—seeing squash and stretch shows change, change from one state to another, change can be appealing if done right.