From the course: 2D Animation: Tips and Tricks

Anticipate and overshoot the head

From the course: 2D Animation: Tips and Tricks

Start my 1-month free trial

Anticipate and overshoot the head

“

- [Instructor] In this movie I'll apply the principles of anticipation, overshoot, settle; primary and secondary action; and bit of drag to show you how we can create a nice soft sensation to an otherwise very stiff looking design. So it's an extremely basic action and again with a very basic design from number one, anticipate on number seven, overshoot on 11, settle on number 19 and my frame rate for this is 24 frames per second. So if you're trying to do this on 30, just go from number one to number eight or nine and 11 would be 13, and so on. So as you can see on number seven, the anticipation, I've colored it in green so you can see for clarity. The hair begins to drag and it's a fairly stiff kind of short hair so it retains its shape very quickly. It recovers very quickly on number 11. So let's have a look at the frames. And again, these are traditional timing charts. So hopefully these will be reasonably sensible to everybody, but this is our first key. We're moving into number seven and we're easing into it very slightly. So there'll be two inbetweens going into this down position. The hair will be dragging on those and then we'll snap into from number seven on twos, so it's seven, nine, 11. So I'm drawing these by hand so we can put, if it's on ones you can draw number eight here or number 10 there and so on. Anyway, we go into the high point here and then we settle. So, there's the two keys for the high point and the settle drawing, and there's the drag. So we go from the high point, the overshoot, the drag into the settle. So that's one of the things that gives a little bit of flexibility to the hair and the other one of course is in red here on number nine. And that's where we slam the hair into the head, you know we're really pushing the design here and squishing it in pretty hard and that looks like an ugly drawing when seen by itself, but when we overlay them and again you can see how the point here is going here, in and then snapping back into here. Let's take a look again at the animation and you'll see that now in motion. And there it is. That breaks us out of that hard triangular form. It's a reversal. So when we go from frame by frame. Okay, so here, we're now reversing into this, and then we snap back into that. So there's a nice reversal from one to the other from that S curve here into the reverse of that, a C curve there. So it's that reversal also that creates this nice flexible sensation that we're not just dealing with like a stiff triangular wedge and we know oh this is a looser thing than the skull, the nose, and the rest of the face. So again, anticipate the action, overshoot, settle will naturally create these kinds of animations. So it's something to try to add when you're creating something soft like clothing or hair, anything that's going to a looser characteristic than a hard body part or, you know, metal, or a belt, or something like that.

Contents