The "moving hold" animates between two very similar positions; even characters sitting still, or hardly moving, can display some sort of movement, such as breathing, or very slightly changing position. This prevents the drawing from becoming "dead". [21] Slow in and slow out [ edit ] This is probably the most important book written in the subject of animation, even though familiarity with the subject has grown since its writing. As Charlie Chaplin said of his own beginnings in the movie business, mL little as I knew about movies, I knew that nothing t ascended personality.'"* In addition to gags and effects, there must be a point of entry through which audiences can identify with the story situation, and the best way is through a character who is like someone they have known. He can be more heroic, or bigger than life, or meaner than sin,”* but basically he has to be human enough for the audience to understand him and identify with the problems he faces in the story. ”

Lasseter, John (July 1987). "Principles of Traditional Animation applied to 3D Computer Animation". ACM Computer Graphics. 21 (4): 35–44. doi: 10.1145/37402.37407. Thomas, Frank; Ollie Johnston (1997) [1981]. The Illusion of Life: Disney Animation. Hyperion. pp.47–69. ISBN 978-0-7868-6070-8. In Once Upon a Studio, Olaf is shown sitting on a copy of the book to adjust his height for the desk he's drawing at. De Stefano, Ralph A. "Anticipation". Electronic Visualization Laboratory, University of Illinois at Chicago . Retrieved June 27, 2008. The most complete book on the subject ever written, this is the fascinating inside story by two long-term Disney animators of the gradual perfecting of a relatively young and particularly American art from, which no other move studio has ever been able to equal. The authors, Frank Thomas and Ollie Johnston, worked not only with the legendary Walt Disney himself but also with other leading figures in the half-century of Disney films. They personally animated leading characters in most of the famous films, and have decades of close association with the other men and women who helped perfect this extremely difficult and time-consuming art form (each feature requires some two and half million drawings!). Not to be mistaken for just a "how-to-do-it," this voluminously illustrated volume (like the classic Disney films themselves) is definitely intended for everyone to enjoy.The 12 principles of animation [ edit ] Squash and stretch [ edit ] The squash and stretch principle: There are quite a few parts that are probably too dry and technical for anyone but an animator, and if you aren't reading this for research purposes you can skip those parts in good conscience. But reading about the design and animation choices and character concepts was always very interesting. rigid, non-dynamic movement of a ball is compared to a "squash" at impact and a "stretch" during the fall and after the bounce. Also, the ball moves less in the beginning and end (the "slow in and slow out" principle). Like Balzac once said that he was not the creation of those figures, but he described those figures, by the nature of his pen flowing out, the tool this time, he has become an expression of it. De Stefano, Ralph A. "Straight Ahead Action and Pose-To-Pose Action". Electronic Visualization Laboratory, University of Illinois at Chicago . Retrieved June 28, 2008.

Source Disney Animation: The Illusion of Life, published in 1981, is an acclaimed book by two of Disney's Nine Old Men, Ollie Johnston and Frank Thomas. It is widely considered to be one of the best books ever published on the topic of character animation. It tops the list of "best animation books of all time" in a poll at AWN. These are two different approaches to the drawing process. Straight ahead action scenes are animated frame by frame from beginning to end, while " pose to pose" involves starting with drawing key frames, and then filling in the intervals later. [12] "Straight ahead action" creates a more fluid, dynamic illusion of movement, and is better for producing realistic action sequences. On the other hand, it is hard to maintain proportions and to create exact, convincing poses along the way. "Pose to pose" works better for dramatic or emotional scenes, where composition and relation to the surroundings are of greater importance. [16] A combination of the two techniques is often used. [17] In computer animation [ edit ] However, the creator must not be able to clearly know everything in the entire life of this character. This is probably like life, and God does not know every detail. I believe that things like destiny exist, but it is only a general direction. This direction is probably the mission and path given to everyone by the unknown will of the universe. But this does not mean that everything is destined. Every individual, like every character in an animated story, has room for development and change. The important thing is to make readers feel empathetic and have similar feelings to animated characters. This means that animated characters must have their own soul and the inner world just like a real character. Really appeal to the audience's, is the soul of the character, idea.

Most natural action tends to follow an arched trajectory, and animation should adhere to this principle by following implied "arcs" for greater realism. This technique can be applied to a moving limb by rotating a joint, or a thrown object moving along a parabolic trajectory. The exception is mechanical movement, which typically moves in straight lines. [23]