Lesson Plan. Performance Objective: Upon completion of this assignment, the student will be able to identify the Twelve Principles of Animation.

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1 Lesson Plan Course Title: Animation Session Title: The Twelve Principles of Animation Lesson Duration: Approximately two 90-minute class periods Day One View and discuss The Twelve Principles of Animation slide presentation. Watch one or more animated movies and look for instances where these principles are used. Day Two Finish watching movies and discussing the principles. Take the quiz. [Lesson length is subjective and will vary from instructor to instructor] Performance Objective: Upon completion of this assignment, the student will be able to identify the Twelve Principles of Animation. Specific Objectives: 1. Explain the history of the principles of animation. 2. Define the twelve principles of animation. 3. Identify the principles in a commercial film. Preparation TEKS Correlations: (C) (1) The student applies academic knowledge and skills in animation projects. The student is expected to: (A) apply English language arts knowledge and skills by demonstrating use of content, technical concepts, and vocabulary; using correct grammar, punctuation, and terminology to write and edit documents; and composing and editing copy for a variety of written documents. (7) The student applies ethical decision making and understands and complies with laws regarding use of technology in animation. The student is expected to: (B) discuss and apply copyright laws; (C) model respect of intellectual property; and (D) demonstrate proper etiquette and knowledge of acceptable use policies. (10)The student develops an understanding of animation. The student is expected to: (J) research the history and evolution of animation by: (i) explaining the history of animation; Instructor/Trainer References: 1. Johnston, O. & Thomas, F. (1981). The illusion of life: Disney animation. New York, NY: Walt Disney Productions. 2. Williams, R. (2001). The animator s survival guide. New York, NY: Faber & Faber, Inc. 3. Do an online search for: principles of animation, illusion of life, and Chouinard Art Institute. 1

2 Instructional Aids: 1. The Twelve Principles of Animation slide presentation 2. The Twelve Principles of Animation Student Worksheet 3. The Twelve Principles of Animation Rubric 4. The Twelve Principles of Animation Quiz 5. The Twelve Principles of Animation Quiz Key Materials Needed: Optional: DVD of an animated film. Make sure you have permission to use the DVD; check with your school librarian. Equipment Needed: 1. Projection system to display slide presentation and to watch DVD. Learner None. Introduction Introduction (LSI Quadrant I): ASK: Can anyone explain what squash and stretch means to an animator? [Allow time for students to respond.] ASK: Can you name some other techniques used in traditional animation? [Allow time for students to respond.] SAY: In 1981, animators Ollie Johnston and Frank Thomas wrote a book entitled The Illusion of Life: Disney Animation. The book has become generally accepted and referred to as the Bible of animation. Let s take a peek! Outline Outline (LSI Quadrant II): Instructor Notes: I. Explain the history of the twelve principles of Animation. In their book, The Illusion of Life, Ollie Johnston and Frank Thomas present the twelve principles of animation used in animated films produced for Walt Disney. Most of these concepts were developed when Disney sent his animators for drawing classes at the Chouinard Art Institute in Los Angeles. These principles have become the industry standards and are still used to this day. II. Define the twelve principles of animation. A. Straight Ahead versus Pose to Pose Straight Ahead animation means drawing the frames in sequence. This leads to spontaneous Use the slide presentation to discuss the history of the principles. Use the slide presentation to go over each of the principles of animation. 2

3 motion. It works well with abstract animation and fluids. Pose To Pose is the more often used animation technique. It requires the animator to create strong poses (keyframes) first and then add the in-between frames. B. Arcs Almost all natural motion is in some form of an arc. If a ball is thrown, it usually follows an arched path. Pivot points often define the arc. The pivot point for the thigh is the hip and the pivot point for the calf is the knee. Most human motion follows an arc. If a boxer throws a punch, the motion of his glove follows an arc. C. Timing Timing is the amount of frames used as an object moves across the screen. Timing can imply weight. Light objects have less resistance and move much quicker than heavy objects. Actors work with their timing to get the maximum impact from their lines. Speed can imply emotion. A fast walk may mean happiness and a slow walk may mean depression. An animator must determine how many frames are needed for a given movement. A stopwatch or video reference can be helpful. D. Slow In and Slow Out Also known as ease in and ease out. Most motion starts slowly, accelerates, and then slows again before stopping. Imagine a car that went 40 mph immediately when stepping on the accelerator and went to 0 mph when hitting the brake. Gravity has an effect on slow in / slow out. When a ball bounces, it increases in speed as it gets closer to the ground. It decreases in speed at the top of the arch. E. Squash and Stretch Living flesh distorts during motion. Exaggerated deformations will emphasize motion and impact. Although objects deform like rubber, they must maintain volume while being squashed and 3

4 stretched. A bouncing ball will squash or elongate on impact and stretch vertically as it leaves the point of impact. This is the most well known and often used principle. F. Anticipation Animation can occur before an action. Before you jump, you bend your knees. By exaggerating this action, the animator can guide the viewer s eyes. The formula for most animations is anticipation, action, and reaction. G. Follow Through and Overlap Follow through is the action that follows the main action. It is the opposite of anticipation. When a baseball bat hits the baseball, it does not stop abruptly. A boxer does not freeze at the moment a punch lands. Overlapping actions means that all elements do not stop at the same time. A good example of overlapping action is the movement of an animal s tail. H. Secondary Actions Secondary actions are actions caused by the impact of another object. They movement of a ball that has been kicked is a secondary action. Secondary actions are also minor actions that occur due to a major action. Most people blink their eyes when they turn their head. Facial expressions are secondary actions. I. Staging Staging is the clear presentation of an idea. The animator can use the camera viewpoint, the framing of the shot, and the position of the characters to create a feeling or strengthen understanding. J. Exaggeration Exaggeration is used to increase the readability of emotions and actions. Animation is not a subtle medium. Individual exaggerated poses may look silly as stills but add dramatic impact when viewed for a split second. Animators should use exaggeration to increase understanding of feeling, but be careful to not over-exaggerate everything. 4

5 K. Solid Drawing To get maximum feeling from the audience, animated characters must be drawn or modeled precisely. Proper drawing and modeling can reveal a characters weight, character, and emotion. Proper drawing and modeling are needed to give the character proper depth and balance. When creating animated characters, it is a good idea to not add too much detail. L. Appeal Animated characters need to have a unique personality and have a wide range of emotions (happy, excited, fearful, embarrassed, angry, scared, etc.). Character flaws are actually a good thing. Audiences can be sympathetic to characters that have a flaw or two. Complex personalities and moral ethical dilemmas add to character appeal. III. Identify the principles in a commercial film. A. Straight Ahead versus Pose to Pose B. Arcs C. Timing D. Slow In and Slow Out E. Squash and Stretch F. Anticipation G. Follow Through and Overlap H. Secondary Actions I. Staging J. Exaggeration K. Solid Drawing L. Appeal The teacher should demonstrate the identification of principles by stopping the DVD of the animated film as examples occur and facilitating a discussion about the principle being applied. Application Guided Practice (LSI Quadrant III): The teacher will present and discuss the slide presentation with the class. Samples of a well-known animated production may be shown if permission is granted by school librarian or administrators. The teacher should demonstrate the identification of principles by stopping the video as examples occur and facilitating a discussion about the principle being applied. 5

6 Independent Practice (LSI Quadrant III): Students will work in groups or individually to identify additional examples of applied principles in the animated film. Summary Review (LSI Quadrants I and IV): Discuss what the students recorded on The Twelve Principles of Animation Student Worksheet as a class, stressing the application of each principle in the animated film. Evaluation Informal Assessment (LSI Quadrant III): Teacher monitors individual/group progress as students watch the film and identify examples. Teacher provides individual help/redirection as needed. If necessary, the teacher may choose to stop the film to discuss a key scene or redirect the entire class. Formal Assessment (LSI Quadrant III, IV): Students will take The Twelve Principles of Animation Quiz. Extension Extension/Enrichment (LSI Quadrant IV): As students work throughout the year, they will use these principles in their projects. As they complete projects throughout the year, students should save examples of the principles (four to five seconds per example) to assemble into a principles reel for a portfolio. Students can research the Twelve Principles and their application in all forms of animation. Students can find a classic animation and attempt to copy the motion with their own characters. 6

7 The Twelve Principles of Animation Student Worksheet Student Name: Date: DIRECTIONS: While watching the animated film, use this form to record examples which illustrate the principles of animation. Principle 1 Straight Ahead Versus Pose to Pose Principle 2 Arcs Principle 3 Timing Principle 4 Slow In and Slow Out Principle 5 Squash and Stretch Principle 6 Anticipation Principle 7 Follow Through and Overlap Principle 8 Secondary Actions Principle 9 Staging Principle 10 Exaggeration Principle 11 Solid Drawing Principle 12 Appeal 7

8 The Twelve Principles of Animation Quiz Student Name: Date: PART 1: Matching DIRECTIONS: Match each principle listed in column A with the appropriate definition or description from column B. Record your answers in the spaces provided. Column A 1. Anticipation 2. Appeal 3. Arcs 4. Exaggeration 5. Follow Through and Overlap 6. Secondary Actions 7. Slow In and Slow Out 8. Solid Drawing 9. Squash and Stretch 10. Staging 11. Straight Ahead versus Pose to Pose 12. Timing Column B A. Also known as ease in and ease out. B. Amount of frames between poses. C. Animated characters need to have a unique personality and have a wide range of emotions. D. Animation can occur before an action. E. Drawing the frames in sequence versus creating strong posed (keyframes) first and adding the in-between frames later. F. Living flesh distorts during motion. Exaggerated deformations will emphasize motion and impact. G. Minor actions that occur due to a major action. H. The action that follows the main action; actions do not stop at the same time. I. The basis for almost all natural motion; created using a spline curve. J. The clear presentation of an idea. K. To get maximum feeling from the audience, animated characters must be drawn or modeled precisely. L. Used to increase the readability of emotions and actions. 8

9 PART 2: Short Answer DIRECTIONS: Identify the animation principle that is best illustrated by each description provided below. Record your answers in the spaces provided. 13. Before a character throws a punch, he pulls his fist back. 14. A roller coaster comes to a stop at the end of the ride. 15. A girl s pony tail moves up and down as she jumps rope. 16. As a ball hits the ground, it changes shape but maintains volume. 17. The main character is positioned using the rule of thirds. 18. As a character turns his head from left to right, he dips his chin. 19. An animator decides to animate a water splash in a frame-by-frame manner. 20. An animator decides how many frames it should take for an apple to drop to the ground. 9

10 The Twelve Principles of Animation Quiz Key Student Name: Date: DIRECTIONS: Match each principle listed in column A with the appropriate definition or description from column B. Record your answers in the spaces provided. D C I L H G A K F J E B Column A 1. Anticipation 2. Appeal 3. Arcs 4. Exaggeration 5. Follow Through and Overlap 6. Secondary Actions 7. Slow In and Slow Out 8. Solid Drawing 9. Squash and Stretch 10. Staging 11. Straight Ahead versus Pose to Pose 12. Timing Column B A. Also known as ease in and ease out. B. Amount of frames between poses. C. Animated characters need to have a unique personality and have a wide range of emotions. D. Animation can occur before an action. E. Drawing the frames in sequence versus creating strong posed (keyframes) first and adding the inbetween frames later. F. Living flesh distorts during motion. Exaggerated deformations will emphasize motion and impact. G. Minor actions that occur due to a major action. H. The action that follows the main action; actions do not stop at the same time. I. The basis for almost all natural motion; created using a spline curve. J. The clear presentation of an idea. K. To get maximum feeling from the audience, animated characters must be drawn or modeled precisely. L. Used to increase the readability of emotions and actions. 10

11 PART 2: Short Answer DIRECTIONS: Identify the animation principle that is best illustrated by each description provided below. Record your answers in the spaces provided. anticipation slow in and slow out follow through and overlap squash and stretch staging arcs straight ahead versus pose to pose timing 13. Before a character throws a punch, he pulls his fist back. 14. A roller coaster comes to a stop at the end of the ride. 15. A girl s pony tail moves up and down as she jumps rope. 16. As a ball hits the ground, it changes shape but maintains volume. 17. The main character is positioned using the rule of thirds. 18. As a character turns his head from left to right, he dips his chin. 19. An animator decides to animate a water splash in a frame-by-frame manner. 20. An animator decides how many frames it should take for an apple to drop to the ground. 11