12 PRINCIPLES OF ANIMATION

The 12 Principles of Animation is a group of techniques developed by

the experience and knowledge of two Disney animators in the 1930s; they
have become the foundation of character animation. Though initially
created for 2D, hand-drawn animation, the 12 principles still provide
valuable guidance when working with today’s digital, 3D animation tools.

What Are the 12 Principles of Animation?

There are 12 principles for artists, animators, and animation companies to
learn and follow for excellent animation. The 12 principles of animation
are foundational techniques used in all types of animation, from 2D and
hand-drawn to 3D animation.
These animation principles include 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, and appeal.
1. Squash and Stretch
Squash and stretch refers to distorting or deforming an object or character
to give the illusion of weight and flexibility. As a character moves, its body
stretches and squashes to create the impression of mass and elasticity.
For example, when a ball bounces, it squashes on impact and then
stretches back into shape. The same tips apply to character animation. As
a character runs, its body squashes down with footsteps and stretches
back up between steps.
Stretching and squashing parts of a character makes the movement
feel more extreme and animated. It
gives the impression that characters
have volume, elasticity, and weight.
Disney animators used squash and
stretch frequently—watch when
characters jump or fall down, and
their bodies distort with force. The
stretching and squashing are often
exaggerated for comic effect as well.
Example: When Sulley throws
snowballs at Mike in Monsters Inc,
their bodies squash and stretch with the force. Also seen when Rapunzel’s
hair gets tangled.
Squash and Stretch Examples - Pay Attention to the Facial and Body
Changes
2. Anticipation
Anticipation prepares the audience for an upcoming movement or action.
It builds anticipation through subtle movements that lead to the main
action. For example, a golfer might waggle their club back and forth
before swinging, or a pitcher might wind up their throw by bringing the
ball backward first.
These preparatory motions get viewers ready for the main action while
also making the movement feel more realistic. The anticipation helps
convey weight and physicality so that the action doesn’t feel too abrupt.
Disney animators commonly used anticipation frames leading up to a
character jumping or throwing an object. The backward motion before the
jump makes the movement feel more natural and weightier.
Example: Mr. Incredible winding up for a big punch in The Incredibles.
Also Buzz Lightyear as he prepares to take flight.
There Are Only Three Things in Animation: Anticipation, Action, and
Reaction

3. Staging
Staging refers to the composition and framing of a scene to focus the
audience’s attention on the most important parts of the action. Animators
stage scenes with appropriate camera angles, lighting, and character
placement to highlight the main ideas
and points of interest.
For example, if two characters are
having an argument, the animator
might stage the scene with an
exchange of close-ups to emphasize
the emotions on their faces. Or if a
character is sneaking around, the
scene could be staged with dramatic
lighting and shadows to create a sense of atmosphere.
Staging helps steer viewers to the focal points while enhancing the
storytelling.
“Staging directs the audience’s attention to the most important parts of a
scene. Good staging can communicate a lot of information very quickly to
the audience.”
Example: The opening jungle scene in The Lion King staged from baby
Simba’s low perspective to emphasize size and scope.
4. Straight Ahead and Pose to Pose
There are two main approaches in 2D and 3D
character animation services: straight-ahead and
pose-to-pose animation.
Straight-ahead animation means drawing out
the frames one by one in order from start to finish.
Animators taking this approach don’t plan ahead
but rather figure out each subsequent frame as
they go. This creates a very organic, fluid feel
and allows for experimentation. However, it
can also result in inconsistent volumes and
proportions.
Pose-to-pose animation involves planning
out specific keyframes and poses first, then
filling in the in-betweens afterward. This
allows for greater control in terms of volumes
and proportions. However, the motion can feel
more mechanical if the in-betweens aren’t filled in carefully.
Most animators use a combination of both approaches. Important
emotional poses are planned out first to ensure consistency. The in-
betweens are then filled in with a straight-ahead approach for fluidity.
Different scenes may warrant different approaches based on the action
and mood.
Example: Pose-to-pose used in fight scenes like Elsa vs. the soldiers in
Frozen. More straight ahead in free-flowing hair or fluid runs.
5. Follow-Through and Overlapping
Action
Using follow-through and overlapping action
makes animation more natural and
lifelike. Follow-through refers to the
continuation of motion after the character
has stopped applying force. For example,
when a character swings their arm, the arm,
hair, clothing, etc., will continue to move after the character stops actively
swinging. Without follow-through, the motion would look unnatural since
things don’t just stop instantly in real life.
Overlapping action is the idea that various parts of a character will
move at different rates. When a character starts to move, their
extremities, like hair and clothing, will move first, then the torso and limbs
will follow. This creates a smooth transition from one pose to another
rather than having all body parts move at the same time and speed.
Example: In Frozen, when Elsa gestures with arm-sweeping movements
to use her magic, her long braid and dress flow with follow-through,
continuing to swing behind the motion of her arms. The overlapping action
creates a fluid transition between poses.

6. Slow In and Slow Out

The principle of slow in and out means animating with more drawings near
the start and end of an action. This exaggerates the extreme poses and
makes the movement feel smoother. For example, if a character is
jumping, more frames would be used at the highest and lowest parts of
the jump arc to accentuate those poses. Fewer frames would be used in
the middle.
Slow in and out adds life and character to the movement. It focuses
audience’s attention on the most exaggerated and impactful parts of the
action by dwelling longer on the anticipation and follow-through. Whether
it’s a ball bouncing or a bird taking flight, those origin and ending poses
are extended to give more emphasis to the weight and stretch of the
motion.
Example: Genie’s face stretches out as he exits the lamp in Aladdin. Slow
ins and outs accentuate his squash and stretch.

7. Arcs
Animators follow arched trajectories when animating actions like jumping
and throwing. Rather than moving in straight lines, characters swing arms
and bodies in expressive curve paths. Arms don’t just move up and down
—they follow sweeping arcs for greater fluidity.
Arcs lend movements more grace. They reflect the arcs we follow with our
own bodies, such as the arc formed when throwing a ball. Curved
trajectories feel more natural than straight lines, which would feel
mechanical and stiff. The emphasis on arcs in animation allows
characters to move with rhythm and fluidity.
Example: Arcs used when characters throw objects or swing
tools/weapons. Seen in fight scenes and with Mr. Incredible’s arm motions.

8. Secondary Action
Secondary actions are subtle motions that complement or support the
main action. For example, a character telling an energetic story may
swing their arms around as they talk. Or if a character jumps down from a
ledge, they may readjust their clothing when landing. These secondary
motions reinforce what’s happening in the scene without distracting from
the core action.
Secondary actions bring extra dimension and nuance to animation.
Layering in these supporting motions adds vibrancy and visual interest. It
also provides opportunities to reveal a character’s personality and thought
process through their small habitual gestures and motions. Animators can
tell a more complete story by incorporating complementary movements.
Example: Flora’s dress and apron fluttering as she flies in Sleeping
Beauty. Also Dug’s ears flopping in Up while he runs.

9. Timing
Timing refers to the number of frames allotted to each action. It
determines the pace and rhythm of the animation. Timing impacts how
movements feel—the more frames, the slower and more exaggerated the
action becomes. For example, a ball that drops quickly has fewer frames
than one that bounces slowly to a stop.
Getting the timing right gives animation weight, speed, and personality.
Quick, snappy timing can convey high energy. Long, sustained timing
creates broad, slow movements. Timing can also be varied for comic
effect, like when a character screeches to a sudden halt after running at
high speed. Adjusting the frames emphasizes different parts of the action
to achieve the desired mood and style.
Example: The fast snappy timing of Sulley trying to put on socks in
Monsters Inc. Also the rickety wagon in Frozen.

10. Exaggeration
Exaggeration in animation means overstating movements and actions
beyond normal proportions. A fist bump becomes a full-body motion. Eyes
pop out of an astonished character’s head. Exaggerating the squash and
stretch is one form, but exaggeration applies to all aspects of
movement, from arcs to timing.
This principle infuses animation with life. Subtly exaggerating motions
makes characters feel more dynamic, interesting, and expressive.
Exaggeration brings emphasis and drama to the most important actions.
However, classical animators warn against taking exaggeration too far.
Actions should still feel possible within the limits of the character and
world.
Example: Characters often have exaggerated facial expressions, like
Genie’s wide eyes. Movements are also exaggerated, especially in
Tangled.

11. Solid Drawing

Solid drawing means creating figures and objects with volume, weight,
and convincing form. Characters feel believable when drawn with
anatomically correct proportions and dimensions—when they have
substance and mass. Solid drawing especially applies to key poses where
characters demonstrate their shape based on the shape language
technique.
Solid drawing prevents characters from looking too stiff, flat, or rubbery.
It involves applying the principles of squash and stretch and exaggeration
in ways that maintain a sense of volume and weight. This principle is
crucial for animating believable characters that audiences can connect
with. The most iconic Disney characters exhibit this sense of solidity and
dimension.
Example: Characters like Sulley, Mike, and Marlin have dimensions,
weight, and convincing form.

12. Appeal
Appeal in animation refers to creating characters and motions that are
compelling, entertaining, and aesthetically pleasing. Animators aim to
give characters charm and whimsy through their design and movement.
Disney stressed the principle of appeal—animation should above all be
charming and captivating.
This means applying the other principles in ways that
bring joy and personality to a character. Appeal comes
from expressive poses, fluid movement, defined
silhouettes, and engaging character design. Unique
character appeal is also achieved through details like
expressive facial features, distinctive motions, and
small quirks. Animators work to build characters that
viewers will connect with and find memorable.
Example: Wall-E’s cute binocular eyes and childlike movements create
endearing appeal. He expresses so much through subtle gestures.