1) Squash and Stretch:
This sequence of the film, i believe successfully shows the principle of 'Squash and Stretch'. The reason for this is due to the attention to the facial anatomy with both skeletal and muscular structure. In this image we can see that with this smiling expression, the muscles in the character's face contract and distort it's original shape. From this expression the cheekbones are risen and the mouth is broader, which emphasises the emotion. This is the reason that the face becomes squashed vertically and stretched horizontally.
2) Anticipation:
Within the film, I found multiple components in which resembled the anticipation of the action taking place in the story. In this image, the character needs to think strategically before he decides to move correctly. You can identify the decision making through the facial and bodily language. The character's hands are held back yet poised ready to make the move, whilst his eyes move around the board in which he would be calculating his next position. In this current stage the opposing side is more confident and has better chance of winning, and because of this the suspense for the other side to win is higher.
3) Staging:
As you begin watching this film, you have the basic idea that this character is going to play a game of Chess. However, it soon became evident from this shot what exactly was going on. You can see that in fact this character is going to play against himself. As with a vast amount of Pixar animations, humour is evident in ways that you probably wouldn't expect and this is a prime example within 'Geri's game'. From this one image I can determine what the rest of the story would entail.
4) Follow through and Overlapping action:
Although it's not really easy to see from these images, this principle is clearly represented within that scene of the film. In this certain sequence, the character's dramatic motions from when he falls off his chair are in four solid poses. In each pose he pulls, his glasses move in a delayed reaction from the force. In the first image the character rocks back, the force from the pose causes the glasses on his face to also rock back in a slightly delayed manor, a bit like a knock off effect. The same follows with the second image, when the figure projects himself forward in a quick fall, from this force that glasses then fall forward off his face. The glasses move within a rippled effect from the force, which gives the animation a more realistic. Paying attention to the weight structural elements gives an animation more realism and life, not everything is as solid as it seems. This sequence in 'Geri's Game' perfectly shows an example of how animators pay attention to the 12 principles.
5) Slow in and Slow out:
For animations to look realistic, they need to abide by the laws of physics. For example if i was to bounce a ball the rate in which it would bounce would go from fast to slow depending from the force of the throw and gravity. Although these images aren't clearly representing the physics, they do in another way add to the personality of the character and the rate in which the story progresses. The character comes across as quite a fragile old man, who takes time with his movements, this is shown within this principle of animation. He takes his time walking to and from the chairs around the table, in fact in these series of photos 4 of them showing that process. The two main images are where the character moves a chess piece on the board. The action was so fast that I could only capture two screen shots and one with which had a lot of motion blur. This shows the other side to the character's personality within the story, where one side is careful and slow, whereas the other is fast and confident. Using this principle within the animation makes the audience understand the personalities of the character and also how the story is progressing.
6) Arcs:
Within animation, no motion is stiff or solid. One way to portray fluidity is by using 'Arc's within the structure of making an animation. To demonstrate what I mean, I have taken a series of screens from a particular sequence within the film clip of 'Geri's Game'. Although it may not be entirely evident from these images, you can see two forms of arc movement. The first is with the motion of the arm putting on the glasses to the character's face. The arm swerves up from the chest of the character up to the face. The second motion which is clearer in these images, is the direction in which the actual glasses move to the face. It resembles the same movement as the arm, but is more arced because of the way glasses are put onto the face. For example the bent section of the glasses arms are made to wrap around behind the ear, so in order to put them on properly you have to turn the glasses around the face in order to fit them properly. This is an arc within the animation that shows realism and also that no function is ever stiff or rigid.
7) Secondary Action:
Secondary action is where little animated details are added to highlight the action taking place within the story. These can vary from facial expressions to bodily movements, for example a man could be running and then itch his head, or wipe sweat from his brow. These other factors in addition with the main action, enhance the emotion and atmosphere. Within the animation I have chosen, I chose a basic facial change in which added to the story progression. The character has successfully beaten his opponent in a game of chess and from the victory has won an award. He is sitting with his arms folded with a smiling expression, However he also adds a 'chomping' like action with his mouth, almost to insinuate what his award would entail. True enough, at the end of the animation he won himself some false teeth, so that is where that previous action relates to the final outcome. Details like that, give the situation a subtle yet more realistic feel with both the personality of the character and the plot progression.
8) Timing:
Timing is a very important principle within animation fundamentals. Every part of an animation needs timing and pace in which the story can progress and take form. With all the other principles included, timing is needed to keep the order of action and suspense etc. It is also used to emphasise the weight and volume of objects and the anatomy. For example, if I knocked over a glass of water, there is timing in which how the weight of the fluid in the glass would affect the speed in how fast the glass would fall. Taking into account those elements would result in a realistic motion, which is what should be aimed for. In these images from 'Geri's Game' the character knocks over a chess piece whilst he is playing. The animator here has cleverly taken into the account the elements of weight and force in which the object was pushed. Although it's not very clear in these images, the rate in which the piece functions and moves is very realistic and believable. It wobbles, rotates and moves in all different rates of speed based around the impact of the force. This is a prime example of how timing is effective to achieve a realistic look and also to show the understanding of how objects would react depending on there characteristics, such as weight, shape and structure.
9) Exaggeration:
Exaggeration is used a lot within animation to portray personalities and emotions more effectively. Without using these forms of drama, animations can become dull and a bit lifeless. Overdoing it, gives a really sense of what's going on and also adds to the mood of the story or theme etc. For example, facial expressions can be over exaggerated in order to fully express the concept within an animated story. In these images, you can see how the character is exaggerating a scene in order to portray what's going on within this certain part of the plot. The facial expressions are enhanced and strained in order to get across the feeling of distress on this particular sequence. The body is also reacting with the expression by clutching and flailing in the air. All these over exaggerated elements makes the viewer believe and understand what is going on with the plot and how the character is feeling. Without using this functions the scene would be boring and would not fully grasp the emotional attention of it's audience.
10) Solid Drawing:
Animators need to have a basic idea of the weight, volumes and structures of both objects and anatomies in order to make good animations. Solid drawings, is the understanding of shapes, how muscle and bone form together, how shadows and highlights are portrayed around objects etc. Here is a simple example demonstrating where the animator has grasped the concept of accurate drawing alongside grasping the idea of tonal depth and texture. You can see how the animator has understood the design of a chess piece by creating not only the wood like effect but the shapes and contours of the object. You can also see how the direction of the light affects the shadows around those contours to get that realistic lighting appeal.
11) Appeal:
When making an animation with characters, they need to have characteristics in which would appeal to the audience. Within doing something like this, the viewer can become more emotionally attached the that character whether positive or negative. This is an appeal in which the character has on it's audience. All sorts of characters have a variety of appeals such as villains within a story would have the appeal to be evil or non likable. This adds personality to the characters and makes them come to life within the animation and the other principles. Within these two images, I wanted to show two sides of the character's personality which would appeal to me on a personal basis. Within the film, Geri comes across as a fragile elderly man, who takes precautions whilst he moves around. You get the impression that he won't be a very excitable character judging by his reactions and time it takes for him to do much within the sequences.
However, as the story unfolds and you notice what's going on, you begin to feel humoured and attracted to the way the character reacts to certain situations. As he begins playing Chess with himself, there are two sides in which he plays that show completely different sides to the character's personality, both fearful and brave. In these two pictures you see one side of the character being fearful of the situation, his eyebrows are inverted and his head his low, which makes you feel sorry for him as you can relate to his reaction. However, later on as the story progresses you see him where he has won the game of Chess and is reacting with happiness and laughter. From this you feel humoured by the sudden change in emotion and how he is reacting less frail than before. All these characteristics and personalities send off different appeals in which us as the viewer may or may not relate to.
12.) Pose to Pose and Straight ahead action:
. Pose to Pose action is when an animator makes key frames of the beginning and end of a pose, usually the most dramatic. Once that is set, the animator then pads out the animation by entering in between motions that smoothen the movement and enhance the animation.
. Straight ahead action is when an animator makes key frames as they go along, without making setting dramatic poses at the beginning and end. They go straight through with the animation
Video Reference: http://www.youtube.com/watch?v=WSg-GWXBurQ
Bibliography:
. Youtubecom
. Google.com