20 Common Animation Terms #1

First group of 20 COMMON ANIMATION TERMS! Another new series a quick introduction to the most used animation terms you’ll hear in production…so…if you’re new to this world… don’t get caught unprepared! 😛

#iWantToBeAnAnimator #Animation #Terms #Beginner


This is part of a long series! Is a quick overview of the main ANIMATION TERMS you’ll get used to hear in production and is important to know what we are talking about! Let’s start this first group of 20 COMMON ANIMATION TERMS!Schermata 2019-12-30 a 03.16.12

ACCENTS during an acting we have some accents on some moments that we have to emphasize with the expressions and body movements! This are the strongest part of the animation! Schermata 2019-12-30 a 03.16.15.png

MODEL SHEET Is a final collection of guidelines for a character design.
They show the structure, appearance, proportions, poses and attitude of the character and works as guide for all the artists!Schermata 2019-12-30 a 03.16.20Schermata 2019-12-30 a 03.16.21

INBETWEEN/TWEENING in 3D is the generation of the interpolation created by the software between two poses. The software creates this morphing between poses that the animator can modify adjust if needed!Schermata 2019-12-30 a 03.16.23.png

GHOSTING you can use some tools to create a visualization of your animation through the scene, showing all the poses frame by frameSchermata 2019-12-30 a 03.16.28.png

PLACEHOLDER In animation we use to add placeholders in the scene for the assets that are not finished or still need to be totally designed and they will be substitute in a second time!Schermata 2019-12-30 a 03.16.33.png

SETTLE Add a settle to avoid an abrupt stop! When you finish an action you can use the following frames to add a settle in order to smooth the transition to a resting pose!

Schermata 2019-12-30 a 03.16.36.png

OVERSHOOT A settle is usually anticipated by an overshoot, an animation that exceed the end value. In maya we can also achieve this effects with the spline tangent that automatically overshoots the neighboring keyframe value!Schermata 2019-12-30 a 03.16.39.png

ANIMATION LAYER You can create multiple layers for your animation:
the primary movement is in the base animation layer and you can create a new layers for secondary movements!Schermata 2019-12-30 a 03.16.45.png

STRAIGHT AHEAD One of the possible workflow when we approach animation, is when you create the key poses of your animation forward in the timeline, one after the other following the sequence order!Schermata 2019-12-30 a 03.16.47.png

BREAKING JOINTS break and bend joints to add flexibility, to make the movement more appealing and creates nice arcs… going out from the limits of the realism!Schermata 2019-12-30 a 03.16.52.png

CYCLE/LOOP An animation that repeats as an infinite loop, often used in walks and runs animations! To properly work the first and last key poses must be exactly the same!Schermata 2019-12-30 a 03.16.55.png

FISH EYES (in posing) when we position the eyes too far apart, creating this fish like look that it’s not really expressive, except if this is required for a specifyc character or situationSchermata 2019-12-30 a 03.16.59.pngSchermata 2019-12-30 a 03.17.01

SAFE ACTION/AREA Is a guideline you can turn on in your view settings to keep all the actions clearly visible within this area when they will be displayed on TV screenSchermata 2019-12-30 a 03.17.05.png

OVERLAPPING ACTION Some parts lead the movement and others follow the action, the leading part moves with a specific timing and other moves in a different one!Schermata 2019-12-30 a 03.17.08

MOTION BLUR Is the effect of blurring objects during a movement, more is the change between positions, more is the blurred effects! In Maya you can automatically add this effect and enable it from the Render Settings!Schermata 2019-12-30 a 03.17.11.png

SNAPPY ANIMATION is an animation style characterized by strong contrast between slow/fast movements, the character “snaps” from a very appealing pose to another in a fast transition!Schermata 2019-12-30 a 03.17.15.png

MOTION CAPTURE – MOCAP Is the registration of the movements created by a real actor and transferred to the digital character through markers placed on the actor’s suit!Schermata 2019-12-30 a 03.17.24.png

FK – IK (FORWARD AND INVERSE KINEMATICS) FK is a chain of joints where a parent moves the other ones following the hierarchy. With IK the child in the hierarchy is not influenced by the parents!Schermata 2019-12-30 a 03.17.26.png

FADE IN / FADE OUT A transition at the beginning of a scene from a black image that gradually brighten or gradually darkens at the endSchermata 2019-12-30 a 03.17.28.png

EXTREMES The more important keys/poses during an animation,
Examples: the starting and the ending keys/poses of a WALK, or the extreme positions of a movement!Schermata 2019-12-30 a 03.17.30.png

This is all for this first 20 Animation Terms and I invite you to write me in the comments if you have some Terms to suggest so that I can increase my list! Subscribe to the channel if you like and support my project of free Animation Lessons and Tutorials by leaving a LIKE and SHARE my videos! see you for the next one!Schermata 2019-12-30 a 03.17.37.png

🎙IWTBAA INTERVIEWS: Valentino Ballestri – 3D Animator

A NEW SERIES IN THE CHANNEL! I thought it would’ve been nice to pick some ANIMATORS (or any type of artists in the animation industry) around the world and…ask them some questions about their life, their work, some tips to share… a simple and quick interview/chat…just to create a connection between all of us, people that share the same passion and dreams, people that sometimes have to leave their country, people that…sometimes face obstacles, people that don’t give up, people that HAVE FUN, people that follow their dreams and want to share them with us! 😉 I will interview Artist of different levels of experience so that any of you can empathize and be inspired by them, an aspiring animator can establish a connection with a junior animator telling us his experience so far, and all of us will be motivated and could find great tips by an expert one!

So, enjoy the first Interview! Valentino is a friend of mine and…he’s really a nice and passionate young Animator! 😀

‼️📢If you want to be interviewed or you have some suggestions of Animator that would be happy to do one…just write it in the comments section or send me a private mess 😊

#BeAnAnimator #interview #chiaraporri #iwanttobeananimator #animation

BEGINNER Exercise – “Hand Poses”


Another POSES exercise, this time we’ll concentrate on just a part of the human body: the HANDS! 2D animators often say that hands are particularly hard to draw, but what I can say that even in 3D they could be hard to pose! So is important to practice a bit with this delicate part and I suggest to watch some reference from picutures or use a mirror to create the pose yourself!

BEGINNER Exercise – “Different Blinks”


This exercise is based on a scheduled Lesson tgat is not ready yet!

The goal of it is to learn how to animate the main used blinks : REGULAR – FAST- HALF – SLOW AND OFFSETTED!

Learn how to manage blink is fundamental ’cause is something you’ll have to do regularly, in any animation and …a wrong blink can compromise your work!

BEGINNER Exercise – “Expressions”


Now let’s focus on face and expressions! Learn how flexible a human face can be and most of all…learn how to EXPRESS feelings and moods using each part of the face…

Reference: Lesson #11 “Exaggeration” and any pictures of real actors that is particularly appealing, or watch yourself on a mirror….study your face!


BEGINNER Exercise – “Action Poses”


Just as the previous exercise, “Acting Poses”, this one is pretty much the same but with ACTION poses, this means that you will have to create dynamic, strong and readable poses getting inspiration from movies actors, sports or just your imagination!

Watch the Lesson #11 “Exaggeration” for learn how to push your poses!


BEGINNER Exercise – “Acting Poses”


Sometimes is important to “put aside” the motion and focus just on still poses! This exercise is focus on learning the art to create GOOD and APPEALING poses that is the base of any animation!

Connected to the Lesson #11 “Exaggeration” I suggest you to look for some image of real actors from movies, people around you or watch yourself to get inspiration!

BEGINNER Exercise – “Acting with a Ball”


Here another “famous” exercise : the ACTING with a BALL! It’s one of my favourite and I really believe it’s not just for beginners but is also something we should do, every now and then, even when we are experienced enough ’cause is always a good fresh up to our approach when we animate!

Connected to the Lesson #5 “Timing and Spacing” and my video TIPS #2 “Rhythm of your Shot”



Here you can find a list of exercises I thougth for practice and I split them in:


I RECOMMEND YOU TO DON’T SKIP THE FUNDAMENTAL STEPS AND DON’T RUSH…LEARNING ANIMATION REQUIRES TIME AND PATIENCE! If you started with something out of your actual knowledge you’ll don’t benefits from them but what you’ll have at the end….WILL BE A BIG CONFUSION! So please, go forward, step by step until you don’t handle the main Principles and YOU WILL SEE GREAT RESULTS! 🙂


“I Want To Be An Animator – Community”

Use the hashtag     #BeAnAnimatorExercises   to receive feedback!



  1. Bouncing Ball
  2. Acting with a Ball
  3. Character Turn
  4. Acting poses
  5. Action poses
  6. Expression
  7. Head Take
  8. Different Blinks
  9. Animate a Tail
  10. Hand Poses
  11. Changing weight (waiting)
  12. Idle
  13. Walk cycle
  14. Run cycle
  15. Jump in place
  16. Crossing arms
  17. “NO” head shake
  18. “YES” head nod
  19. Waving Hand
  20. Drinking
  21. Animate a Throw
  22. Smash a door
  23. Acting with a prop
  24. Excited reaction
  25. Pick something up
  26. Laugh
  27. Sit down and sit up



I want to be…an Animator ✏️Mention

When I started this channel….I just had in mind to create a couple of video tutorials, just for fun and test myself in something new..trying to explain my animation method to others through quick and simple videos demonstrations. I wasn’t sure to be able to do that and I was ready to “delate” the first video uploaded if I would have received a flood of insults 😅But…this didn’t happen and a lot of aspirants animators just founded my videos easy to understand and a font of inspiration, so ..I want to say thanks to all this people that supported this project and when I read my Blog listed in article like “10 Awesome Animation Blogs for your Inspiration”….I just feel happy😁Thanks Florian and Introbrand.com for the mention!!!😊

Tutorial 11 – Maya Constraint

– Maya Constraint –

Let’s see how to use the Maya Constraints analyzing different situations 😉

Schermata 2018-01-23 a 19.10.57.png


Tutorial 10 – Breakdown of a Dragon Animation

-Breakdown of a Dragon Animation-

Well…after a big break I finally uploaded a new tutorial (it has been a bit hard to finish it…I didn’t have a lot of time to spend on it) but I hope you enjoy it 😉

Schermata 2017-12-03 a 23.59.38.png

In this Tutorial I show the breakdown of a Dragon Animation, step by step I’ll show the process for the creation of the shot. I made this animation in 2 days and this tutorial is based on the principles explained in the Lesson 09 “FOLLOW-THOURGH AND OVERLAPPING” https://iwanttobeananimator.wordpress.com/2017/08/29/lesson-9-follow-through-and-overlapping/

Coming Soon

I really didn’t had enough time for this channel in the last days, I’m having big changes in my life so… sometimes it’s really hard to find a little “moment” just for my stuff 😛

BUT…. I’m working on a new video tutorial/breakdowns based on a shot connected to the last lesson “Follow-through and Overlap”!

Schermata 2017-10-04 a 13.42.32

This is just a little preview, a wip of the blocking, showing part of the shot! Just few poses… DragonBLK_Wip01.gif

I used two rigs for this shot: my Tail ball/head and Arc the Dragon by Josh Sobel!
Both the rigs have an element like tail and wings that show the principle of follow-through and overlap applied to an easy basic tail animation (for the ball) and a more complex animation of tail and wings for the Dragon! 😉

In the video I’ll show you how I concepted the shot from 2d sketches up to the refine version!

So…I hope to be able to continue to work on that and…post it as soon as possible! 🙂

In the meantime you can follow this blog (just clikc on the follow button on the right :P) so that you’ll receive an email when I will post something new, and….. like and follow my: Facebook PageTwitter and Youtube Channel! 😉

BEGINNER Exercise – “Animate a Tail”


In the Lesson 09 I explained the principles of Follow-Through and Overlapping Action and in the Tutorial 09 I showed you how to animate a ball with a tail! So now you should be able to do this simple and basic exercise to practice with this concepts! 😉

Tutorial #09 – How to Animate a Tail


How to Animate a Tail RECAP

If you watched my Lesson 9 you should be able to put in practice what Follow-Through and Overlap mean and how to use them

We will start from a very simple example:Follow_Through10

I will use this super simple rig of an head/ball with a fluffy tailTail01


To approach an animation like this, I usually start animating the body

In this case…the head/ball, ignoring the tail for the moment

So I hide the tail mesh and I animate the ball up to the refine and polishingTail01.gif

When my animation is finished, I go to animate the tail

At this point you should already know that I’m used to use different shaders to simplify my workflow so I create a sort of rainbow tail assigning different colors to each section of the tail connected to a jointTail04.png

So, I set the first pose for the tail…Tail06.png

…and then I go to animate the first section, the ones directly attached to the ball, that is the leading partTail05.png

that will drag the rest of the tailTail07.png

but in turn, the first section is dragged by the ball headTail08


So, following the main action of the ball, I go to animate just the first section that would react to the ball movementTail09

It’s important to determinate if the tail will be just dragged by the ball movement or if will also moves independentlyTail10.png

In my case, the tail is mainly dragged by the ball, but also has an independent movement when needed

For example: at the beginning I want to use the tail to have the “push” for the jump! So, even if the ball has a very small rotation and the squash to gain energy for the jump, I move the tail right and left to increase this push and have more power for the jumpTail11.png

During the jump, when the ball is stretched, the tail must point downward, ’cause it has a delay compared to the ballTail12.png

Also during the spinning in the hair, the tail overlap the main action, the ball rotation. As you can see, here I rotate the tail on the right, dragged by the rotation of the ballTail13.png

When the ball stops his rotation, the tail will stop with a delay of 3/4 or 5 framesTail14.png

For all the time that the ball stays in the air, the tail will continue to move upward, with a very slow spacingTail15.png

When the ball starts to fall, the tail is raised up Tail17.pngand just as before, after the ball landed on the ground, the tail will arrive with 3/4 frames of delayTail18.png

Don’t care about compenetration for the moment, cause we will go to adjust the position when we will animate the rest of the tail!

Then we have the following little bounces so, we go to animate the settle, moving the tail up and down for a couple of time, decreasing the movement up to the complete stopTail19.png

This is the animation of the first section of the tail:Tail02.gif

After that we go back to animate the rest of the tail, one section at the time, and following the order starting from the topTail20.png

Each section will have a delay of 2/3 frames compared to the previous sectionTail21

What you have to remember is that each part would first react to the movement of the part that drag it, moving in the opposite direction


Let’s see an example with less tail’s sections:

when this section moves forward…Tail23

…the following part is dragged but it turns in the opposite direction due to the delayTail24

and then it will follow the first section movementTail25

The last part would have the same reaction but it’s dragged by the second section, so at the beginning it would rotate on the right when the second one rotates on the leftTail26


Even during breakdowns and in-betweens you have to be extremely careful to create a nice and rounded shape

Avoid straight lines, except when its completely stretched like during the fall, in this cases a straight line is allowed!

Keep attention to the arcs that you will create with the tail action!Tail30

A nice tip is to use maya tools or script to create an onion skin that shows you the previous and following poses or to draw on maya…

…but I prefer the old school transparent/celluloid paper that I put on the screen (that is always attached to the back of my Mac and I easily turn it on when I need it) Tail31.png

Tail32I can quickly draw the arc I want for the tail movement and then, frame by frame I go to adjust the positions, following that path


With this simple rules and if you well understood this principles, your final result should be something like this:Follow_Through01So, this was a simple tutorial for a basic tail animation, with a straight ahead approach! 

I will do an other tutorial with a more complex rig but if you are just beginners…

I suggest you to start with a short and simple animation and became familiar with the concept of drag, follow-trough and overlap!

You can follow the Exercise 05 based on this tutorial! 😉

Lesson #9 Follow Through and Overlapping

I had quite busy days during the last month but I finally find the time to create a new lesson … ready to learn how to “section” your character? 🙂

Follow Through and Overlapping RECAP

The principles of follow-through and overlapping will help you a lot to refine your animation and make it more realistic and fluid


Behind this principle there’s a simple rule:follow_through01.png


Follow-through is the principle that a parts of the body follows the movement of an other part (the leading one), with a bit of delay

Example: when you have a stop a part stop first and an other one has a delay, so it will stop in a different timeFollow_Through02.gif

Overlapping action is the principle that some parts have different timing or speed compared to other parts, so they overlap the main actionFollow_Through03.gif


– We can use them to delay each parts of the body:

  • for human characters we can apply this principles on several parts: arms, neck and head, upper chest, legs, hair…


All this parts will move with a bit of delay compared to the main part of the body that leads the movement, they are offsetted and they OVERLAP the ACTION

  • for animals or anthropomorphic characters we can also have some different elements like long ears or tails to animate using this principles


Is quite simple, if you analyze for one second the movement… you should be able to recognize which part leads the action, here some examples:

When you know which part leads, you just have to delay the other parts

Don’t forget that… at the beginning of the action, this parts react to the movement of the leading one, by moving in the opposite direction!

In this example we have a simple arm movementFollow_Through05.gif

the shoulder and the upper part of the arm lead the movement, so when they start to move forward, the forearm reacts moving in the opposite direction, then we have the same reaction on the wrist and the fingers

When the leading part arrives to a stop, the forearm, the wrist and the fingers stop with a delay and different timing

So the arm and shoulder drag the lower part of the arm and during this movements you can also break some joints and use some deformers to emphasize the delay and the arcs

So… at first animate the upper part, the leading one, then the lower arm, then the wrist and last…add the fingers animation

You can also delay each finger from the others or even the single parts of the finger

To complete the movement you can add a…follow_through20.png

to avoid a sudden stop, keeping a slight bit of motion for all this parts for more frames


or add a…follow_through21.pngafter the stop all this parts go back and forth for few times, always decreasing the motion, keeping the delay between a part and an other. The leading part could have just a small and short settle, and the other parts a longer settle


or just the…


In this Lesson I explain more in detail Moving Hold and Settle

How to manage follow through, overlapping action, moving hold and settle depends on:

  • -the type and speed of the motion
  • -the length and weight of the parts that follow the movement


An other situation where you need to apply this principles is when your character has some cloths like: an hat, a scarf, a coat, a skirt, etc…

This elements will have the follow through and the overlap just like the body parts. The body movement drags this elements and they will react in different ways, depending on the type of cloths, the material’s weight and the speed of the movement

A good way to manage and animate parts with follow-through and overlap is to visualize the body as sections


In this way will be more easy and fast for you to manage all the delays 😉

Also a tail can be visually split in section:follow_through27follow_through28

the upper part would lead the movement, moving first, the second one would follow this movement, the third one would follow the second one and so on…Follow_Through08.gif

Compared to the main section, the second one has a delay of 1 frame, the third one a delay of 2 frames, the forth one of 3 frames and so on….

in this way your movement would result smooth and realistic! 😉Follow_Through09.gif

Do the same for objects or parts of the character and the practice will help you to naturally apply this principle in the right way!



Do you need feedback?

I know…sometimes animators are a bit shy and reluctant to show their animations but feedback are really important to improve your skill. A “fresh eye” can see what you don’t see, to have a more “general view” of the shot and can helps you to improve it where really necessary!

I really enjoy the “feedback” process! (♥)

Usually I have a quick view at the shot “Does it works?” “Did I understand what’s going on?”Could be better with just some little modifications?”

After that I got to check the Poses! I have a thing for poses 😀 I love to see the characters in natural and original posesit’s probably the step where I spent most of my time when I animate! Then I check the Timing/Spacing, the Arcs etc..

When I prepare the image reference for the feedback I always try to keep them as much clear and easy to follow as possible, I don’t want to confuse the animator….I should just help him, not make him frustrated 😛

So, have a look on the feedback I’ve created so far (based on you “colleagues” works) and if you have an animation test or a shot and you need feedback…just use the page “Your Animation”and add a link in the comments! I will provide you with a feedback in a couple of days (usually) 😉

Have FUN! 😛

#iWantToBeAnAnimator #beananimator #animation #learnanimation #animationforbeginners

BEGINNER Exercise – “Animate a Throw”


In the Lesson 08 I explained the Animation Principle “ANTICIPATION” so now, following the corresponding Tutorial 08 you could try to re-do this exercise of a character throwing an object! 😉

Tutorial #08 – How to Animate a Throw

-How to Animate a Throw-

How to Animate a Throw RECAP

In this quick tutorial I will show the main poses, the timing and the spacing to animate a character throwing an object. The tutorial is linked to the Lesson 08 “ANTICIPATION”

I’ll use Ink, the official rig of my channel! Ink has a very simple design to better focus on the poses and animation, and has this flat monochromatic texture with shoulders, chest and hip lines to helps you to create nice and appealing poses for him! 😉

Schermata 2017-08-02 a 11.26.56.png

Let’s create the object he will throw away, a simple ball. We go to create the control for the ball and we parent the mesh to itSchermata 2017-08-02 a 12.10.47.png

I set the camera, with the character on a side and I create a plane to check feet position and compenetration

Schermata 2017-08-02 a 11.27.26

We set the first pose, you can do the pose you want. In my pose he holds the ball with both the hands, he’s quite relaxed, the shoulders are rotated downward, the head is a bit rotated downward like he’s watching to the object and the feet are pretty spread, the weight of the character is more on the left foot

Let’s adjust the finger position, to avoid compenetrations and be sure that the hands are really holding the ball, so keep attention to pose each finger in good and natural pose

Now add a constraint for the ball! Select the right hand control, then the ball ctrl and create a translation and rotation constraint

Let’s create the anticipation main pose, around frame 28

The timing I’m using is just indicative, to give you an idea of the distance between a key pose and an other, but you can do it with your own timing

So, for the anticipation he will move backward with the entire body, stretching the chest, and he also moves back the right foot to balance the weight, raise the hell of the right foot (he’s really stretched in this pose, so he needs to stand on his toes)

Now just one hand holds the ball, the right one and I move it pretty backward, is not completed straight but a bit bended (try to simulate this movement yourself, you will see that the more natural pose is keeping the hand faced towards the area where you will throw it, and you will naturally move upward your shoulder)

The left hand started to move forward and it’s bended towards the body, it helps to maintain the balance and gain more energy

Now let’s move forward in the timeline for the extreme throw pose, around frame 42

The body moves and roates forward. The weight of the character is on the left foot, but the right foot in the air helps him to balance the weight and contrast the power of the throw that moved him forward. Create a nice and pretty relaxed pose for the right foot, with the toes pointing down.

The right hand is now straight and stretched in front of the character, the left arm moves backward, and it’s still bended at this point

The head is rotate upward, contrasting the rotation of the chest, he’s following the ball movement

Let’s add an other little anticipation, around frame 8 with the very small movement upward with the hip and the hands, just before the big backward movement (pose 28)

Practically, we go to create an anticipation of an other anticipation!

Now we add an important breakdown, around frame 15, when he starts to move backward, here we need to slow down the spacing between the pose at frame 8 and the pose at frame 28

The body starts to move down and backward, the left hand is not touching the ball anymore but it’s still pretty close to it, the chest is squashed and rotated forward, and the right foot started to slide backward, I keep it flat on the ground, I just overlap a bit the toes that moves offsetted by 1 frame

Let’s add an other important key to slow down before the pose at frame 28
(we need to keep this pose longer) so let’s add a in-between approximately 5/6 frames before the pose at frame 28

On this new in-between, frame 22, the body is already stretched and ready for the throw (with a pose really close to the pose at frame 28)

So the big movement and change in position is between frame 15 and frame 22

Now we slow down again just after the pose at 28

Add an in-between at frame 34 where he just starts to move a bit up and forward , very small change

On frame 39 he continues the movement up and forward BUT the chest is still rotated backward

Bend backward the right arm so that the hand with the ball don’t moves too much, maintain a position closed to the position of frame 28 (use deformers for the arms and create a very dynamic pose)

The right foot starts to move upward in the air and the hip in this transition moves a bit upward as well

Now we need to add two poses at the end for the SETTLE
On frame 46 the body continues to move and rotate forward, the right hand goes down, the left hand continues the movement upward, and the same for the right foot

On the last frame the body starts to go back, the right foot to go down and forward, and we have a follow trought of head, forearms and wrists

Now that we have all the poses we can switch the curves in stepped to see the result (the ball is still attached to the hand, but let’s ignore it for the moment, we will animate the ball in a second time) throw_BLK

We can now proceed with REFINE, we change again the curves in auto tangent and let’s polish the path of arms and the right foot

We start with the right arm: if you create a motion trail, you will see that the path of action of the arm movement is not so nice, we can do better then this so we go to add some poses for the arms in order to create a nicer path

Continue to polish your curves and when the body is done you can move to the ball

On the frame where you want to turn off the constraint on the ball (frame 41 for me) add a key on the ball control and it will create a blend parent attribute: set it to 0 and add a key

On the frame before (frame 40) add an other key on this attribute and set it at 1Schermata 2017-08-02 a 11.31.23.png

Now the constrain is active up to frame 40, after that you can animate the ball

On frame 41 we move the ball forward following a linear path, it must be already pretty distance from the hand, with a very fast spacingSchermata 2017-08-02 a 11.31.34.png

Add a stretch on it, then move forward in the timeline and place the ball so that it goes out of the screen in very few frames, 3 or 4 frames, keeping the stretch!Schermata 2017-08-02 a 11.31.48.png

That’s it, this is my final resul! 😉Throw_Refine.gifIf you want to re create this throw animation you can do the Exercise #4  following the steps of this tutorial and send me your animation (adding a link in the comments)  to receive a feedback !


A new Lesson available! This time talking about ANTICIPATION and the different types of animations that need it! 😉

In the Lesson I’m using my NEW “cute and super cool” (♥) personal and official channel’s rig INK!!! 😛

Anticipation RECAP

One of your first goal, when your are creating an animation, should always be to make something that is perfectly readable! You can create awesome poses and have a great concept, but…if you don’t make it clear and readable… would be impossible to catch the sense of what you are trying to communicate!Anticipation01.png


that’s why we use ANTICIPATION! That, as the word suggest, is nothing more than the “preparation to the action”!

We can haveAnticipation03.png

let’s see some example:Anticipation03b.pngwhen the movement of a body (or an object) prepares for an action

Example #1: if a character throws something far, he would prepares the action by moving back the arm with the object (preparing for the throw)

In this way he will have enough energy but this movement also prepares the users for what will happen. From this anticipation, you already can imagine that he will throw the object!

Example #2: a character running out of the screen, is made more readable thanks to an anticipation of the character moving in the opposite direction and raising one leg!

This helps the user to read a very fast action. Without this anticipation…. the user could have some problems to read the scene!

Example #3: or you can use it for a very cartoon effects…. or for something more realistic, with a much more soft anticipation!


Another way to use an Anticipation is to create a funny effects!
Example: if you see the same run anticipation of the run we’ve seen before, you imagine that he will run away super fast…but…adding a pretty slow run just after this big anticipation…you will create an unexpected result!Run_Fun.gif

Anticipation10Or… you can use it to direct the attention to something that is going to happen or leading the eye in the right screen area.

Example #1: if your character is standing in the middle of the screen and something is going to enter from the right, if you don’t add an anticipation, the users would probably miss the first part (when the second element is entering in the screen) ’cause you are looking at the character in the center.

But…if you add an anticipation of the character looking on the right your attention would be re-directed in the right area, just in time to better follow the action!

Example #2: in case the character is going to take something, a fast look at this object prepares the users to what he’s going to do

Or you can use the anticipation with the hand, holding it in the air for few frames, this is an other way to communicate to the user that he’s going to take the glass!


Example: thanks to the anticipation you can better feel the weight of the character in two different jumps.

In the one on the left he makes a soften anticipation cause he’s pretty light.

In the one on the right he’s bringing an heavy backpack so he needs more energy for the jump, he needs a stronger anticipation, bending and keeping this pose a bit more


depends on the action!

Usually with fast action or big change in position we need more anticipation!

Like for the fast run or the cartoon one, both this examples has big anticipation, and a very fast action just after them!
Or, an angry reaction like, a character smashing a door, would require a big anticipation to enphasize the action and after, the door is closed in very few frames

Anticipation20.pngSome Anticipation must be really subtle!

Example #1: an hand that is going to grab a light object would have an almost imperceptible anticipation! The hand just goes upwards for few frames before going down to grab the apple

Example #2: in a simple take we have a little anticipation, a very small movement with the character moving upwards before the take, few frames of anticipation, is there but it’s not so visible


Example: the door settle doing little movements back and forward in few framesAnticipation25


You absolutely don’t need an anticipation for every single movements of your character…with practice and experience you will get used to it and you will naturally know when an action need it, as I said, usually we use it before big and or fast action, but also to make the movements more fluid and readable! 😉

Now that you know how to use ANTICIPATION you can follow the Tutorial #08 “How to Animate a Throw” and try to do de Exercise #4 following the steps of the tutorial! 😉