21 Foundations of Animation
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- เผยแพร่เมื่อ 9 มิ.ย. 2024
- / animatewithdermot
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Great news! This video has been expanded into a 2-hour long course on Linkedin-Learning / Lynda (if you have a sub to either, the course is the same on both). Follow the links above to watch the whole course. The linkedin link allows you a 30 day trial.
00. Start - 00:00
01. Appeal - 1:08
02. Strong Design - 1:25
03. Staging - 1:41
04. Acting & Pantomime - 2:11
05. Keys & Breakdowns - 2:32
06. Straight Ahead & Pose to Pose - 2:47
07. Thumbnails - 3:26
08. Timing, Spacing & Easing - 3:40
09. Squash & Stretch - 4:11
10. Arcs - 4:36
11. Primary & Secondary Action - 4:47
12. Silhouette - 5:11
13. Line of Action & Reversals - 5:24
14. Anticipation, Overshoot & Settle - 5:54
15. Opposing Action - 6:21
16. Counterpose - 6:32
17. Leading Action - 6:56
18. Breaking Joints - 7:18
19. Overlap & Follow Through - 7:34
20. Accents - 8:00
21. Exaggeration - 8:24
Outro & Links - 9:16
I've made this movie because I need something a little more exhaustive than the Disney '12 Principles'. As my library of animation tutorials has expanded it's been necessary to re-structure and expand the principles into my own list of 21 'Foundations'. Keep using the 12 if it suits you, but as a teaching device I find the 21 to be far more comprehensive.
Read the full essay (link above) for more detail. I'm also going to create individual movies covering each of the 21 foundations, with links to my Lynda/Linkedin-Learning courses, so that a student can focus on each foundation more efficiently.
Follow this link for a free 30 day trial of linkedin-learning:
linkedin-learning.pxf.io/c/18...
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I strongly disagree with 11. Secondary action.
What you have described sounds like overlapping action, while in my understanding secondary action means gestures, which further clarify the animation's tone.
Incorrect. Overlapping action refers to the principle of different materials having different properties and moving at different speeds (and thereby starting motion and ending motion on different frames). Overlap can also be the result of the primary action (the character) consciously or unconsciously moving different body parts at different times. It is probably (in drawn animation at least) the single most difficult and time consuming of all the foundations. Definitely easier in puppet / rigs, but still no party.
Body parts (primaries) can also overlap without secondary / drag, so a left arm can come to a stop, then the head, then the right arm. Secondary action can overlap (often does) but so can primary action (character body parts). Some parts of the body (cheek jowls and bellies for example) can drag/secondary act, and also overlap - because body fat has different material properties than bone and muscle. You could drag that stuff with overlap (ending motion on different frames) or without (bringing all to a gather on the same frame).
I've worked in animation from 1988 (Bluth) worked with ex-Disney and ex-Bluth people, and I ran this 21 past several colleagues with similar Disney/Bluth backgrounds, one of whom was an animation director on the Disney 'Hercules'. Not one of them had a problem with my usage.
I'm really puzzled as to some of the pushback I've had on this idea of secondary action (usually from students and not pros). If secondary action meant gestures as you say, then why not call it gestures?
I recall a video of Richard Williams on UK TV in the 1980s (wish I could find it) talking about the primary, secondary and tertiary action on his zigzag card scene in 'Cobbler'. It is best thought of as a mechanical principle, and not, frankly, surrendering the term to the vague performance / acting use I've seen some people make of it (in previous comments on this thread).
If we need to describe something that's performance related / gestures then "main action' and 'supporting action' rather than primary and secondary action are perfectly usable, leaving primary and secondary free to do real work, that is, letting the director give the animator concrete feedback with concrete words to describe concrete changes. I've only ever heard primary and secondary used in this way.
"Your secondary action is stiff" = "the hair and clothing need to be loosened".
I've *never* heard "The secondary action is too limited" to mean "the characters in the background don't move enough." A director will say *"THE CHARACTERS IN THE BACKGROUND AREN'T MOVING ENOUGH". The alt.meaning some commenters are offering in comments is functionally useless in an actual animation production process.
A general note about my 21 foundations vs. the Disney 12 principles written by Frank & Ollie: the entire reason for my 21 was to get away from the inadequate 12 principles. I did this because the 12 are *not* comprehensive, are not logically ordered, and in the case of secondary action being used to describe performance rather than (or as well as) physics, they merely cause confusion.
No disrespect to Frank and Ollie, but the 12 principles need to be shelved. It was a first draft, and needed *serious* editing. It has taken me YEARS to escape that particular sand-trap, and to work up the courage to create my 21 foundations course. It came after 5 years of struggling to fit my courses into the 12 principles architecture, only finally to realise that it was impossible. To have 9 major techniques not covered by the 'universal' list is not a minor flaw.
(Actually, I almost missed 'Accents', yeesh, that would have been a real embarrassment). Seriously, how could they not include accenting dialog?
I'm well aware than I'm never going to see my list supplant the so-called twelve principles - they've got a 40 year head start and the imprimatur of the Old Men, that's fine. *BUT* - students who don't want to repeat my experience of patching the actual list of foundations together over 15 to 20 years and would rather do so in 2 hours through my course, well the choice is theirs.
Hope that's clear. Sorry if I sound tetchy, just trying to clarify (and yeah, I am annoyed by the wasted years, not just mine). I've pinned your comment so that anyone else who has the same issue can see the question / answer, without this getting lost in the feed.
@@animatewithdermot 100% Right
Kinda got owned. BLNT. ❤️
@Minecraft player Waffles Actually yes - I do. And I do not "THINK I AM RIGHT", I AM right. I haven't gone to all this trouble to allow complete misunderstandings of fundamental animation principles to stand. Purpose of this channel is serious: it's to educate students and to save them time.
@@animatewithdermot For me (I'm an animation teacher, since you seem to only listen to "pros") and most of my colleagues, primary action is the action that tells the story, the main action, and secondary action are those gestures or other simultaneous actions that aren't extrictly necessary to communicate the main idea of the scene but add more subtle information about the character, the mood, etc.
"...and as the bad bosses say, 'try to have fun with it.'" I laughed. Thank you for this helpful video!
Glad it helped! "Have fun with it", god almighty. Some of the horror stories, one boss only knew the phrases "Give ti more tonality"; "Give it a moving hold" and "make it more Disneyesque". He 'directed' an entire production using only those three sentences. Ended badly!
I've been intending on doing a video for 'bad bosses', or "how not to sound like one". (It would show how to avoid buzzwords like 'make it pop', aimed at producers with little or no artistic experience).
It sounds like the nicest (and best) boss to me
this is absolutely fantastic! I've been having a really hard time with animation because there are so many principals to juggle, but this was so clear and thoughtful! I love that there's examples for everything! Thank you!
Thank you Avalon! I really struggled with this one, because of fear of stepping on the Disney gods, Frank & Ollie, who were great (animators, and people). But I do think they left out a lot with their 12 - I remember when I worked for Don Bluth's studio in the late 80s / early 90s I'd hear people talking about things like opposing action or accents or whatever and wonder where they fit in the 12 schema. Of course, they didn't! Yet they were just as important as those 12 were. Eric Goldberg's notes (which I was given via photocopies of photocopies) introduced to me around 1990 or so, written for his own employees in London at that time, introduced me to the systematic breaking of joints, another 'aha!' moment! I'd love to see animation teachers quietly step back from the 12, or make it 12 (+9) and teach to that. It would save students a LOT of time.
I'm currently working on a course that will expand on the 21 with practical examples. It'll be posted to my Lynda/Linkedin-Learning courses, hopefully not too far out.
Bro I'm just getting into animation and this scares me. Wish me luck.
My husband works alongside me while I mainly do illustration and storyboarding, while his background is primarily in live theater and video production. A lot of these principles work really well for live action situations too!
Definitely! I remember Gary Goldman telling me (at Bluth in the early 90s) that it was great working with dancers on the live action ref. because you could speak a very similar language: silhouette, counterpose, line of action, etc.
Thanks for the video. Anyway I'm school in animation school and my test tomorrow is about 21 principles animation. THIS IS GREAT AND WORTH IT 👌
Gotta love how brief and helpful it is!
Thank you so much!!
You're the BEST, Dermot! Bravo! Thank you for all you do for so many.
I really loved your examples! It really helps to see different principles applied to different characters and settings :-D.
I just completed this course: you are an Amazing teacher, Sir! Thank you!
Watched this because for a school assignment to create our own animation, and now I am unironically interested.
I like to draw, and the concept of bring my own custom characters to life? Sign me in!
I have been viewing your videos on lynda/LIL for a few years, and I'm really happy to have found your TH-cam channel.
Thanks Patrick! Hopefully time permitting I can add some stuff here. Busy on more Lynda/Linkedin stuff at the moment, a really good course just wrapped, will be up soon. (I'll post a short trailer for it here).
Gorgeous presentation!
This is amazing, you`re great at explaining good animation style
Thanks Dermot for all your hard work sharing your knowledge on animation and drawing! I have learned so much from you and am so excited to be able to draw in motion. Following your process gives me professional results and takes all the intimidation out of a project. I will keep watching your course's and practising, cheers!
Glad the courses have been useful!
Unbelievably good video and explanation on animation essentials. Eyes opened, and mind blown!
Wonderful video. Thank you for sharing your knowledge.
Wow! Increíble, gracias por esto, me has ayudado mucho.
This video is simply moreish! We want more! Very well explained and straight to the point. Makes you want to grab a pen and draw and draw and make them come to life! Ever heard of the 11second club, by the way?
This is amazing! That what I need to learn if I want to become a animator so I can do traditional animation on both paper and tablet. Thank you!
this is quality loaded content thank you ❤
thank you alot angryanimator.
thanks to you i master the 3d animation and work more confidently.congratulation oconnor
Short, but extremely informative. I love it!!!
Thanks! First version was 14 mins, I tried very hard to get it under 10 minutes.
Very interesting video. Thank you so much for sharing content with such high quality! :)
This is a gem 💎
Excelent information 👏🏼👏🏼👏🏼👏🏼👏🏼👏🏼👏🏼👏🏼👏🏼👏🏼
I've learned a lot with just this vidéo ! Thank you !
Thank you! Really helpful
oh my God! thank you so much for this ! so helpful :D
Please elaborate all principles individually..your video is understandable ..I love it
Glad you like it. Full 2 hour course is here:
linkedin-learning.pxf.io/n63Bo
Great. Thanks a lot!!!
Bought the poster that goes with this video from your website. Such a great reference of the fundamentals while working on projects
Just saw the sale - thanks so much!
Thanks, very useful ☺️
Fantastic video, production e animation examples!!!!!
Many thanks Daniel!
Thanks so much 🙏
Big BIG thanks
I took your class, thanks it's amazing!
Thanks Will, hope to add more to it soon.
Brother how i will learn
THIS IS GOLD
wow,,thnx for sharing!!
Very interesting . Thanks ....:)
Thank you sir
Great overview. Makes me want to be an animator now! (If I could only draw).
Better late then never
Fantastic
thanks
Great!
Awesome!
Amazing
yt recommends your video in my yt home page , i clicked it and i was very happy to see this course and i was dreaming "finally i got the 2d animation course" .
when i see the course was paid , i was very very sad to see it and leaves back the site.
hope you will feel my feelings " suddenly extreme happiness and joy and after few minutes my heart was fills with sadness.
Sorry to hear that, but there will be a lot of free / public stuff on the channel as time goes on.
I’ve tried to animate only with Lego minifigures so far but one day I’ll get out of my comfort zone and try hand drawn animation or even computer animated
Reminds me of Dermot O’Connor’s animation. Hope you’ve met him.
Neil! How goes it?
By the way, great video
thanks very much for the awesome videos. Any course to be master from zero?
Gold
I would love to have the 21 foundations as a poster in my office. I thought of printing the jpg from your website but the resolution is a bit low :/
Poster link is up! For sale on Redbubble in 3 sizes. Big size is HUUUUGE, probably a bit too big, but the two smaller should be ideal.
www.angryanimator.com/word/2021/10/30/21-foundations-poster/
Noted
Amazing tutorial!! I create animation and art tutorial
videos on my channel as well and I know how much time goes into them, keep it up
I love this video, but when will you be expanding of the 21 foundations? No rush, but I would love to see those. =3
If you follow the links above to my courses on Linkedin Learning there's a (now complete) series called 'TIPS & TRICKS'. Over the course of 3 years or so I covered all the 21 foundations. I've been meaning to create a master - list of movies sorted by topic, which I will get around to - but right now I'm in the middle of moving from the US back to Ireland, so hopefully when I have time between all the moving chores.
@@animatewithdermot Awesome! I apologize that I didn't notice the links. I will check them out. Thank you so much and have a happy move. :)
Put 00:00 in discription, as start, to have an "breaking" timeline in youtube.
Done - thanks! Can't believe I missed that!
Wooooow
5:22
I would buy the poster of the 21 foundations if you're selling!!!
It's available at last!
www.angryanimator.com/word/2021/10/30/21-foundations-poster/
Hi man, at the end of the video you said you have a course on " how to draw cartoons " and i've been on and off of your website for at least 1h now and i couldn't found it, maybe it is because of my country ? Could you give me the link of that course i'm really interested by it ... Thank you
No problem! Let me know if this link works:
www.linkedin.com/learning/animation-foundations-drawing-cartoon-characters/silhouette-and-negative-space?u=2125562
@@animatewithdermot Yes it worked, thank you ^^. Is this only a course on « animating » cartoon or you also learn fundamental/basic stuff about cartoon designing ?
@@shadethedon8351 Sorry for delay - yt is awful about letting me know about replies. It's about drawing / cartoon design, but you can then apply those drawing skills more easily when you animated.
I am not an animator, but maybe this can help on my art skills. Especially the counterpose 😅
100% it can. You'll see many of these principles in static art, also in comics.
@animatewithdermot
Thanks for the info yo 👍
Thats not secondary action, Even some people call it that way.
Secundary action it's part of the acting... Not mechanics. It's a complementary action which make acting more organic
Not sure where you got this idea from, but it's incorrect. I've worked in animation for 31 years; run this video past several colleagues (including Nancy Beiman, a former Disney director and animation teacher at Sheridan). Nobody made a comment on this line. This isn't to say that clothing can't 'act' in the sense that you can make clothing or hair droopy - to reflect attitude, because you can - but it doesn't have independent motion, it's not alive. Clothing / hair is secondary most times to the physical mass of character. Majority of clothing / hair IS mechanics, and animation can look very wonky if it's not treated as such.
@@animatewithdermot well, I got it from many sources, some of them working at Sony Animation, other from books as illusion of life
but heres a more reliable source than my own words
www.google.com/amp/s/blog.animationmentor.com/secondary-action-the-12-basic-principles-of-animation/amp/
@@animatewithdermot there are sure quite a confusion on the term actually. I mean, all principles can be related to each other. You can't create the antic without either squashing or stretching the pose. For me, I use secondary 'action' for actual-intended-supporting action, and secondary 'motion' for mechanics movement (the follow through and overlap included).
@@veddopanji2582 But you *can* have antic without squashing. Look at the wizard animation above: he has squash on his antic (meaning the distortion of his belly and fleshy mass), but I could have animated that antic without the squash. It would have been a weaker antic, but an antic nonetheless. I could have left out the antic and kept the squash on the downpart of his turn, so again, the two things are discrete.
@@cuitlahuacsantoyoalbo9215 Thanks for the link - it clarifies where some of the posts saying 'secondary action is acting' are coming from! Let's clarify that confusion.
www.angryanimator.com/word/2018/04/23/21-foundations-of-animation/
Important to say upfront (as I have on my blog post about this) that my 21 Foundations a deliberate and necessary attempt to get away from the format of the 12 Principles. Not that the 12 isn't useful, but it's not logically structured and it leaves out a lot. If I thought otherwise, I wouldn't have gone to all this trouble!!! I've worked for Don Bluth and other studios run by ex Bluth and ex Disney people; I've only ever heard primary / secondary used as a mechanical term (when a lead or a director says "your secondary action needs a lot of work" you know exactly what they mean - hair & clothing). 99% or more of the time when you'll hear people in production talking about pri/sec, it's mechanical. That's our bread and butter. Are there others who use it in the looser, staging sense? Maybe, but I've not met them or worked for them. Will there be times where that stagier usage of the term might be useful? Well, maybe, but again, I speak from 31 years in the industry, and I'm scratching my head trying to remember a time when I or any of the people I worked with used it like that.
See the inherent confusion already? Is secondary mechanics or acting/staging? For me and my 21foundations, non-mechanical business is best thought of as *acting or staging.* I'd happily teach Frank & Ollie's concept of pri/sec listed above, but I would teach it in the 3rd Foundation, *staging* (acting) - and I'd use different terms to avoid semantic noise, say 'main action' and 'supporting action' instead of primary and secondary, to avoid confusing it with mechanical secondary action.
I was forced into ( *VERY* reluctantly) abandoning the 12 after my 2 to 3 years of weekly animation courses on Lynda/Linkedin-Learning. I found that half of them fell outside the list of 12. I tried so hard to save it. Couldn't. Impossible when 40 to 50% of your classes do not fit into the classic 12!
Dilemma: restructure the 12 without causing too much confusion (which is why I named it the 21 foundations. This is NOT the Disney 12, it is my interpretation / structure which I use to teach my courses). Using my 21, I can navigate you through all of my courses, so that nothing is left out. (e.g., ACCENTS!!!) I hate to think of students who watch these YT vids on the 12 principles, and who think they've learned all there is. Not even close.
If you find Frank & Ollie's looser definition of secondary to be useful, use it. I don't, however! The Eric Goldberg and Richard Williams books are better for basing approaches to animation. I have my issues with those too (EG's complete disregard for thumbnails created a space for me to fill!!!) for example. Also, I dislike animating on ones (contra Williams). I agree with Frank & Ollie and the old Disney guys that animating on twos is better (I think it forces a discipline on animators, and gives a student a much stronger sense of the weight of a frame). Feels snappier somehow, even when you put it 'on ones'. Not to mention it saves a ton of time.
BTW, when I worked for Bluth in Dublin, one of the animators had gotten a copy of Eric Goldberg's animation handout (a series of xeroxed notes hand written; I refound them a few months ago, coffee stains and all, and they're still great). Many years later EG re-wrote those notes for his animation guidebook. I learned more from EG's hand written notes than I did from 'Illusion of Life' and my years at Bluth combined. Don't lean too heavily on 'Illusion' - (it really wasn't written to be an animation textbook). Hell, don't lean too heavily on any one source for that matter, myself included. Read all of the stuff you can, and find what works best for your workflow.
My 2 hour expansion of this 9min movie: linkedin-learning.pxf.io/n63Bo
Hi , I canot open your courses ((( "The link you clicked on is malformed. Contact the editor of the originating page." I dont know what to do :___(
Does this work?
www.linkedin.com/learning/instructors/dermot-o-connor?u=2125562
WAIT ITS A SACK OF FLOWER I THOUGHT IT WAS A PILLOW!!
Thanks! You've just given me an idea for a future exercise/test: animate a scene with the sack, but one is pillow, the other is flour. How to convey the different material properties via squash/stretch and timing & spacing.
i dont move my arms while i'm walking... i know, i'm an exception, but now i know why people do that... there might be something wrong with me...
Its Giving Richard Williams Animator survival kit…….
Nice though❤
There's a bit more to my courses than that to be fair!
RW was a big influence on me of course, but so was Eric Goldberg - and also, ehhh, the five years I spent working for Don Bluth and the following five years working for two veterans who had worked for Disney and Bluth (on Secret of NIMH). I've been in the industry since 1988, so I didn't just crack open the RW book and copy it!!!! That said, how much easier life would have been for all of us in the industry had Richard's book been available in the 80s, it was slim pickings back then. A much bigger influence on me was Eric's hand written xerox notes (which I was handed to by someone who had copied them when they worked in his London studio). They later became the basis for his book, but in my opinion they're better than his book, even with their hand written quickness! That's where I saw his overlapping breaking of joints - first time I encountered that was via him. IIRC he worked for RW, but sin sceal eile. RW for that matter, brain-mined the Disney guys (Milt, etc) for all they knew)!
In every course I've done I've recommended both of their works, but TBH, they also have gaps. Eric doesn't thumbnail, and more than one person has told me that that's a real issue with his book. I make up for that and then some. Doing complex animation without thumbs is possible of course, but I would NOT recommend it.
RW focuses FAR too much on walks. It was, frankly a wee bit of a fixation with him! NOT saying they're not important, but 80 to 90% of the Survival kit is walks and runs, and again, very little focus on thumbnailing. IIRC he doesn't deal with accents much either, which is strange.
Another big influence on my (from the psychological POV) was Shamus Culhane (Animation from Script to Screen).
My major diff with RW though is the ones / twos. I would BEG students - esp. those in hand drawing - to NOT animate on ones unless they need to. I think it generates a mushiness if you lean into it too much. It also doubles your drawing counts. Should only be done if you need it (staggers, pans, etc). I'll side with the Disney guys over RW on this one, twos are usually nicer looking. There's a 'snap' to twos that you often lose on ones. And also, when thumbing, or even laying on keys in a digital timeline, try doing them on odd #, see if it helps focus your mind on timing (I think it disciplines me when I do it, makes me think a bit more).
Suffice to say, nobody 'owns' this stuff. And also, more importantly - let's move away from the
'12 principles' fossil!
I should turn this comment into a short movie / blog post - thanks for the inspiration!
Yeah! ;)
Hello Wer can I take Ur classes?
You can find them on either linkedin learning or lynda. com:
LYNDA COURSES: www.lynda.com/Dermot-O-Connor/822102-1.html
LINKEDIN COURSES: linkedin-learning.pxf.io/n63Bo
I think there are only 11 fundamentals of animation here. Counter pose is an opposing action. Appeal, design, staging, acting, silhouette, and exaggeration are fundamentals of cartoon drawing. Thumbnails and straight ahead / pose to pose are fundamentals of studio production. And accents is a minor detail, not a broad principle, probably related to acting. Am I wrong
Yes, you are wrong. I've given this list a great deal of thought, and run it by other veterans (including Nancy Beiman a former Disney director who worked on 'Hercules'). Nancy has her own list which is closer to 25.
Accents is 100% crucial to animating a scene. I recall one scene I did on 'Pebble and the Penguin'. I could not get it to work. Took my pencil test to Don Bluth, he took ONE look at it and said "You read the accent on one word the wrong way". DOH! I went downstairs, re-did the animation, and all the problems disappeared. 100% essential.
I recall reading an old doc written by some of the Disney vets on planning a scene (thumbnailing); they put the process at 90% planning, 10% execution. Wish to god I'd saved that doc, it was in the mid 90s, long time ago. But def. shows their thinking process. Doing complex scenes without thumbs = very bad idea. I would put that 90/10 as aspirational though.
Also, fundamentals of 'cartoon drawing' does not negate anything as also being funds of animation. I recall another time when Gary Goldman said that working with dancers on the live action ref on 'Thumbelina' was so easy, as they spoke such a similar language (Silhouette, line of action, torque, etc). Many funds will be cross - disciplinary.
I did consider combining counter pose with opposing action, but think about it: a scissors has opposing action, but NO counterpose! many examples like this exist of opposing actions which have zero counterpose. It's a bad idea to munge two different fundamentals into one. Now that said, they do often travel together, but don't confuse them.
@@animatewithdermot ok thanks. For me its easier to make the distinction between principles that just as easily apply to static images vs those that deal expressly with motion since I have a very solid grasp of cartoon drawing already. I would say fundamental for animation rather than of animation. Although I think a great cartoonist can get almost all the foundations into his work - such as Uderzo, Gottfredson or Barks. Anyway great class
Glad it helps. I really tried to hammer my 10+ years of courses into the classic '12 priniples of animation format' from Disney, but it can't be done. There'd always be 50% of my movies left on the table! Controversial take, but I wish to god that 12 thing had never been written.
Hi could you put all your classes up for free on TH-cam. What have you got to lose.
Edit - never mind, my library has them all for free. Perhaps you should mention that
What do I have to lose? My income! I suffer from a serious medical condition: if I don't eat food, I starve and die.
Transition, point of view?
Someone make this a song
what next?
Silhouette is more a fundamental of cartooning than animation
It's fundamental to both, not an either/or. We were always taught about the importance of it. In the classical period, some even went so far as to trace the silhouettes of their animation keys to be sure they read.
If your keys have lousy silhouettes, the inbetweens will be even lousier, and you'll end up with poses that don't 'read'.
@@animatewithdermot Great point!
good soup
Gg
why are you angry?
I'm not at all - just liked the alliteration!
Audio is incredibly low volume
very usefull!excellent!!