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12 principles of animation secondary action

The 12 Principles Of Animation: Secondary Action. It is a behavior that enlivens the scene, adds nuance and authenticity.

This is where most of the confusion comes from, since these terms are so similar. A lot of secondary motion is in the realm of effects animation. If you have the urge to do film animation, you, First, what it’s not.

It’s not a separate dish or an additional course in a meal, but it’s subtly and inextricably baked into the scene itself. When you’re working with hand drawn animation, there are two different methods of approaching it. Your animation has to look good.

If you strip out the secondary action of a shot, the primary action should still be clear.

The important thing about secondary actions is that they emphasise, rather than take attention away from the main action. On top of that, the image needs to look believable. The thing you do before you do something. One thing animation can do that some other media can’t is to exaggerate things.

These 12 things are details that animators have to take into consideration with every piece they create, and cover a range of ideas, from details that exist in real life to exaggerated ideas that allow animators to push the media to work in the most effective and appealing way possible.

, put it simply: “When this extra business supports the main action, it is called a Secondary Action and is always kept subordinate to the primary action.”. In these cases, you need to pay attention to the long-term character arc, the current context of the shot, and what kind of little quirks and habits this character might manifest. The main action in this scene is Bolt’s mouth and the carrot, but the animators also threw in some adorable secondary leg action to reinforce the cuteness of the scene. Give your character glasses or a hat, put a pen or a pipe in their hands, give them a role like chef or mechanic that makes it natural for them to mess with tools and things.

An easy shortcut to unleashing secondary action in your scenes is simply providing a prop for your character to handle.

Secondary Action. Without that, we’d be looking at a couple of talking heads.

Straight ahead vs. Pose to pose. Mobile. This is where most of the confusion comes from, since these terms are so similar.

Staging is how you set up the scene.

Walt Disney’s legendary Frank Thomas and Ollie Johnston made this principle.

When you see this action happening, you’re anticipating the next.

*Do not let secondary actions dominate the screen.

Suite 500. Updated June 1, 2020. This is the principle that eases the edges of animations.

Their eyes can pop out of their head when they see something that they love. The most iconic animated characters have the most well defined silhouettes (you would know the shape of Bugs Bunny or Spongebob Squarepants even if the shape was all you saw). On the other hand, sometimes you’ll be the one coming up with secondary action behaviors that helps define the character. It is something that is layered into the scene, without adding additional time or story beats. Appeal.

Note: Only a member of this blog may post a comment. In realistic animation, however, the most important aspect of this principle is that an object's volume does not change when squashed or stretched. This tutorial explains next 4 principles of 12 principles of animation by Ollie Johnston and Frank Thomas. 5.

Now by adding secondary action like him holding a phone and bobbing his head adds more interest to this plain simple walk. It follows the main subject. Usually, straight ahead produces a looser animation, while pose to pose winds up smoother.

If I had to pick one principle of animation for you to focus on to make your demo reel stand out, this is the one. A cooking analogy might be that secondary action is the addition of spices to the main ingredients.

Supercharge your personal work by always giving your character a prop, a bit of set dressing, a specific personality, some costuming, and a clear context. ( Log Out /  Disney's twelve basic principles of animation were introduced by the Disney animators Ollie Johnston and Frank Thomas in their 1981 book The Illusion of Life: Disney Animation. If you’re going to animate someone lifting their foot, for example, key poses would be the person with their foot on the ground, and then the person with their foot lifted. The first method is straight ahead animation, where you start on frame one, and then draw frame two, then frame three, etc. When you see this action happening, you’re anticipating the next.

This usually equates to more frames, or more drawings, together at the beginning and the end of a movement. Specifically, in terms of animation, it’s knowing how to create this timing. Even if the action is a bit of a cliche, but your spin on the cliche. Fill in your details below or click an icon to log in: You are commenting using your account.


Secondary Action. secondary action.

You crouch down before you jump up. Secondary Action – A secondary action is an additional action that reinforces and adds more dimension to the main action. ( Log Out /  What seems to confuse people about secondary action is the word “action”.

When working with hand drawn animation, timing is determined by the difference in frames. Characters’ jaws can literally drop to the floor when they’re surprised. What seems to confuse people about secondary action is the word “action”.

( Log Out /  If it isn’t appealing in one way or another, why would anyone watch? Instead, it’s in the realm of another principle: Follow-Through and Overlapping Action, and more generally in the realm of physics—Newton’s Laws, elasticity, etc. The latter two terms are synonyms and have no connection to secondary action.


From there, you go in and animate the frames in between (which, by the way, are very conveniently called “inbetweens”).

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