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Anticipation is one of the fundamental 12 basic principles of animation, as set out by Frank Thomas and Ollie Johnston in their authoritative 1981 book on the Disney Studio titled The Illusion of Life. An anticipation pose or drawing is a preparation for the main action of an animated scene, as distinct from the action and the reaction.
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. [a] [ 1 ] The principles are based on the work of Disney animators from the 1930s onwards , in their quest to produce more realistic animation.
Follow through and overlapping action is a general heading for two closely related animation techniques which form part of the 12 basic principles of animation identified by Disney animators Frank Thomas and Ollie Johnston in their authoritative 1981 book on Disney animation, The Illusion of Life.
This book gives a history of Disney animation, explaining the processes involved in clear, non-technical terms. The philosophy is expressed in the so-called 12 basic principles of animation. It contains 489 plates in full color, as well as thousands of black-and-white illustrations, ranging from storyboard sketches to entire animation sequences ...
Straight ahead is a term used in animation that refers to a method that uses only the first key pose of a character, and then continues drawing the character to create the desired motion. It was first referred to in the 1981 book by Ollie Johnson and Frank Thomas The Illusion of Life , and is a part of the 12 Basic Principles of Animation .
Squash and stretch is the phrase used to describe "by far the most important" [1]: 47 of the 12 basic principles of animation, described in the book The Illusion of Life by Frank Thomas and Ollie Johnston.
There is a delay for the software to render the animation before it can be viewed. Talking avatar: The user provides or selects a picture of a character and provides a recording of a voice. The software animates lip movements, facial expressions, and small hand and body motions in the character that remains upright and stationary.
Sometimes, visual effects animators will use the same principles of character animation; an early example is the pseudopod in The Abyss. [3] On-going computer science research on character animation deals with the question of generating multi-layer level of detail at run-time to allow large crowd rendering in real-time applications. [4]