The ability to utilize Squash and Stretch while animating is crucial to building a keen understanding
of applying physics and motion to your works.
Squash and stretch are the key principles in which when expressing emotion or movement,
objects appear to, for lack of better terminology, squash and stretch. There are many factors going into maintaining harmony with the rest of the work while utilizing SnS, and one of those is keeping the same volume throughout. Without this, things seem unnatural and you lose the
illusion of movement and fluidity.
All the technicalities provided, this is one of the easiest things to slip up on, and we won’t blame you for it. Applying these techniques without accidentally overdoing / underdoing it or sliding in
some volume change is nothing you’ll take to quite fast. Practice makes perfect, after all.
As our local clown friend Annabelle stated in her blog on this topic; “There's nothing to think about,
only consume. These are the principles of animation, as written, and will remain as such.” These
statements hold true for likely all the principles of animation, due to how rigid the analyzation is.
You’re given a topic to analyze, yet there’s no room to explore because the content that’s in place
cannot be changed, influenced or molded by your hands.
One statement I will make, however, is that in order to become a skilled artist, you need to realistically
study the rules in order to break them strategically.
Here's a video on line weight and how to use it to your best ability.
-Ari J✯
of applying physics and motion to your works.
Squash and stretch are the key principles in which when expressing emotion or movement,
objects appear to, for lack of better terminology, squash and stretch. There are many factors going into maintaining harmony with the rest of the work while utilizing SnS, and one of those is keeping the same volume throughout. Without this, things seem unnatural and you lose the
illusion of movement and fluidity.
All the technicalities provided, this is one of the easiest things to slip up on, and we won’t blame you for it. Applying these techniques without accidentally overdoing / underdoing it or sliding in
some volume change is nothing you’ll take to quite fast. Practice makes perfect, after all.
As our local clown friend Annabelle stated in her blog on this topic; “There's nothing to think about,
only consume. These are the principles of animation, as written, and will remain as such.” These
statements hold true for likely all the principles of animation, due to how rigid the analyzation is.
You’re given a topic to analyze, yet there’s no room to explore because the content that’s in place
cannot be changed, influenced or molded by your hands.
One statement I will make, however, is that in order to become a skilled artist, you need to realistically
study the rules in order to break them strategically.
Here's a video on line weight and how to use it to your best ability.
-Ari J✯
No particular idea why, but my formatting is in shambles. That thing happened again where it glitched off the page, almost leaking into the side, although against my many attempts to assure that didn't occur. Oh well, I guess? spamming "enter" works instead.
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