2. Anticipation – 12 Principles of Animation

2. Anticipation – 12 Principles of Animation

This video is based on the Twelve
Principles of Animation, as described by Frank Thomas and Ollie Johnston Alright the 2nd principle of animation
is called Anticipation. This is when a character prepares for an
action to give the audience a clue as to what is happening next as well as to make the action appear
more realistic. One example is when a character is about
to jump. Before leaping into the air, he has to prepare for the action by crouching down to build energy. It’s like a spring that coils
up before releasing. Look at this character jumping without any
anticipation. It looks very unrealistic because the energy to jump comes out of nowhere. here’s another example: a punch. To add power to the punch, and communicate to the viewers that he
is about to punch, he reaches his arm back, and then punches. By contrast, having no anticipation results in a very weak punch. You’ll see this in a lot of cartoons. Before running, a character will wind up before taking off. In the previous video about squash and stretch, this face actually uses anticipation as
well. Instead of immediately stretching up the face squashes first to anticipate
the stretch and give it more power. Anticipation helps communicate actions
to the audience by preparing them for the next action This can happen in many ways If a character is about to take something out of their pocket they make their hand very visible, and up
in the air, before going into the pocket otherwise the audience might miss it and
wonder how they got that object in the first place The most important thing is that the
viewer notices the hand and the pocket so the character cannot be performing
any competing actions. Let’s say that something is about to happen on the right. A character may prepare for that action
by pointing their eyes and head to look in that direction, leading the viewers to also look there. It’s important to make it as easy as possible for the audience to understand what’s going on, without having to watch it twice. But this can also be used to trick the audience too if you lead their eyes in one direction
and then surprised them by having something happen on the other side of the screen Taking anticipation a step further you
can actually have multiple levels of anticipation. Let’s go back to our punch
animation where the character winds up before punching This animation has one level of
anticipation Now look at this one. the character is actually winding up for
his windup by going forward, then winding up, and then before punching, he throws his other arm back to further anticipate the punch this punch is very complex. It’s actually similar to what a baseball pitcher does when he’s getting ready to throw the ball alright that’s all I’ve
got for Anticipation The next principle is called Staging. So thanks for watching
and I’ll see you guys in the next video!

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100 Replies to “2. Anticipation – 12 Principles of Animation”

  1. This series of animation principles is awesome.  I am showing them to my class and you explain it much better than I.  Looking forward to the rest!

  2. So this was my error while making Sketch animations in my Notebook… I will aprcciate you for that 🙂 Thanks! 🙂 Man i wish i have Software animation to make one :/

  3. 1:01 i was tired in the morning so i read this: 


  4. Hey Alan. I really appreciate your work. I loved your animations since i was little. I hope you earn enough money to make even more animations 🙂

  5. I love how you always give also the "How to NOT" of the situation and because, it adds SO much to the learning process cause it warns you for the future to not screw up in your personal project. GENIUS!

  6. is it alright that i think the non-anticipation punch is funnier? (this does not mean better for every situation, but for some).
    i think the concept is that it is surprising, like when the hulk punches thor. no build up, then bam!
    for action as opposed to humor, i think conan (80s) building momentum before a lavish swing of his sword is good for anticipation, and i think anticipation works better for that kind of situation.
    a lack of anticipation i think would be better for things like ren and stimpy. there is a ton of anticipation throughout most of the scene, making it visually appealing and fluid, but every now and then there is a complete cut from stillness into confetti spreading madness, and i think this is funnier than the surrounding clips of anticipation, though i think the context of the anticipation helps support the non-anticipation surprise, similar to how negative space helps promote positive space in a drawing.
    is this novice naivety?

  7. Gosh! I just literally started playing with flash on my own and i came across you tutorials. I am so glad I did. they are really really good!

  8. the wind up punch concept makes sense it looks threatening and builds up 'ANTICIPATION'.. but is incorrect in a literal sense winding up is less realistic the opponent can also get a clue counter attack kick his a**.

  9. Please can you be more easy and tell difference between "Squash & Stretch" And "Anticipation". 
    I am not good in English so maybe i am not able to understanding few things in Video. 😛

  10. Thank you so much for these videos and you have no idea how it helped me to understand a complicated thing by a really easy way, and especially you write it on the screen!!!! xxx thanks so much to let me learnt such a important knowledge by my second language!!!

  11. nice video.

    I would say though, if you're going for a more realistic punch you shouldn't over-exaggerate the anticipation movement. It might make for a clear and more visually satisfying result, but that's the problem.

    A good punch isn't easy to see and anticipate. By winding up so much and throwing the arm back you're doing what's called "telegraphing" or "signalling" to the opponent what you're going to do.

    I'm not saying anticipation shouldn't be used at all, but just as less squash & stretch is required for a bowling ball hitting the ground, a good, realistic jab should contain very minimal anticipation. A hook or uppercut could use more anticipation than a jab.

  12. Hey Alan! I just wanted to say that this whole series is great! I'm using them with my middle school students (in Mozambique!), and it is really helping them produce more professional results with their work. Super clear and easy to understand. Many thanks!

  13. These are terrific! I watch these videos every time a new concept is introduced into my animation class, and this helps me make more sense of it. Thanks for making these videos!

  14. I believe the reason you need to crouch before being able to long jump in mario games is this principle , because if it just played the long jump animation before you crouching beforehand it would look weird

  15. In my fav film "A Liar's Autobiography" (made in over a dozen different animation styles), the "monkeys" segment has zero anticipation. The energy, indeed, comes outta nowhere. Annoying, cause the character design was really nice…
    On the other hand, the Soviet cartoon "The Treasure Island" takes this winding-up-for-running movement up to eleven, and it cracks me up 🙂

  16. Note that this video is based on a few older principles designed for old-age cartoons which have since been disproved expanded upon. A lot of times it's better to not include anticipation into the animation itself.
    For example: If a character has just told another a really bad pun, a punch to the face with no windup is far more effective than one with a large drawback. In such cases the narrative and situation creates the anticipation. Pun… 'beat skip' …. POW!
    Another occasion is where the action is supposed to be thought about afterwards rather than before. A punch with no windup AND no (immediately apparent) narrative reason can leave the audience wondering "Wow, what the hell? He just punched him!"
    And other than that the lack of windup when animating for a player controlled character in a video game is often times necessary. Having too much windup for (non-special) attacks makes the controls feel laggy and slow to use. (Super attacks often times do have a lot of windup, but the entire rest of the game pauses during the windup so they benefit from the best of both, the move itself is almost instant to hit the opponent, but it still has a windup to sell the power of the hit).
    In any case, this is definitely the rule which has the most flexibility and reasons for breaking it. Even to the point where you might need more reasons to justify using it than not to make it useful. It's still important to keep in mind at all times to know when it's good, but also when it'd be better left out.

  17. Anticipation is necessary, but ALL of worst CGI animation I've saw has annoying pre pre pre pre pre anticipation just for moving the hands and eyes…..

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