Cartoon style:
Non-drawn animation is usually referred to by its production method (puppet, 3DCG), and is said to have “cartoony” movement, but not referred to as a “cartoon” per se. Where they employ Principles of Animation (12 steps, below), it is generally considered that they are emulating the “cartooniness” of hand-drawn animation.
Non-drawn animation is usually referred to by its production method (puppet, 3DCG), and is said to have “cartoony” movement, but not referred to as a “cartoon” per se. Where they employ Principles of Animation (12 steps, below), it is generally considered that they are emulating the “cartooniness” of hand-drawn animation.
Disney's 12 principles of animation:
- Squash and Stretch
- Anticipation
- Staging
- Straight Ahead Action and Pose to Pose
- Follow Through and Overlapping Action
- Slow In and Slow Out
- Arcs
- Secondary Action
- Timing
- Exaggeration
- Solid Drawing
- Appeal
Laban Movement Analysis is essentially to observe movement, describe it in terms of parameters and make meaning from these observations. LMA is a language that applies to all living beings, which certainly includes animated characters. LMA provides a conceptual framework through which we can observe, describe and interpret the intentionality of movement.
We can use the language of Phrasing to describe a typical cartoon movement: the “take,” (which is a moment of extreme surprise.) The character, having seen and taken in the thing that causes surprise, Prepares by slightly rising up before Squashing down and Stretching upwards into an extreme pose. This extreme pose constitutes the main action of the phrase, showing his reaction to the stimulus. As the pose is held, Secondary Action of hair or clothing may continue to move along the upward trajectory with (Follow Through and Overlapping action). The character then releases the pose, sinking into a Recuperative moment of Squash before returning to neutral and preparing for the next decision to act.
The Body category describes structural aspects of the body in motion: which parts are moving or held, how movement flows from one part to the next (Follow Through and Overlapping), and postural habits from which gestural expression emerges.
The Effort category delineates qualities of movement as ongoing fluctuations between Light and Strong Weight, Indirect or Direct Space, Sustained or Sudden Time, and Free or Bound Flow. A mover’s Flow of Weight in Space and Time communicates information about physical sensations and the agency to mobilize one’s weight with delicacy/force, the broadness/focus of thought, the intuitive leisureliness/urgency of decisions, and the release/control of feelings.
Shape describes the process of shape change over time. Shape reveals how one’s inner attitude and relationship with the external environment molds the changing plastic form of the body. The eight Shape qualities of Rising, Sinking, Spreading, Enclosing, Advancing, Retreating, Scattering and Gathering are frequently clustered with corresponding Efforts, such as rising with Light Weight, or sinking with Strong Weight. These Effort/Shape “affinities” represent natural or accessible clustering of Effort and Shape, yet counter-affinities (such as forcefully punching a fist upwards, or delicately lowering a kitten to the ground) bring texture and richness to the expressive range of movement choices.
Abuse of cartoon style
Occurs when Animation Principles are used as a matter of course, without specifically crafting the movement to develop unique characterization and style. If not integrated with Expression, the Principles risk being treated as a formula that only offers a quick path to creating Functional movement. At the early stages of learning to animate, if you get Function wrong, Expression won’t happen. However, if Expression is clearly defined before starting to animate, the Function will often take care of itself. This is where animators can turn to the craft of acting for tools that will clarify intent, before getting lost in the frame-by-frame process.
Clarity of Expression remains critical for experienced animators and directors when the movement characterization somehow doesn’t match the voice performance or dramatic context, as with the earlier example of Ratchet. We see this occurring in recent computer animated character performances such as Alex in Madagascar (2005).Here, the Animation Principles feel applied for the sake of creating a “cartoony look,” but seem way over the top in terms of what the characters are expressing. As a result, the action feels hyperactive and predictable, and the characters shallow.
