Lesson Plan
Course Title:
Animation
Session Title: The Twelve Principles of Animation
Lesson Duration: Approximately two 90-minute class periods
Day One – View and discuss “The Twelve Principles of Animation” slide presentation. Watch
one or more animated movies and look for instances where these principles are used.
Day Two – Finish watching movies and discussing the principles. Take the quiz.
[Lesson length is subjective and will vary from instructor to instructor]
Performance Objective:
Upon completion of this assignment, the student will be able to identify the “Twelve Principles of
Animation”.
Specific Objectives:
1. Explain the history of the principles of animation.
2. Define the twelve principles of animation.
3. Identify the principles in a commercial film.
Preparation
TEKS Correlations:
130.83(C)
(1) The student applies academic knowledge and skills in animation projects. The student is
expected to:
(A) apply English language arts knowledge and skills by demonstrating use of content,
technical concepts, and vocabulary; using correct grammar, punctuation, and
terminology to write and edit documents; and composing and editing copy for a variety of
written documents.
(7) The student applies ethical decision making and understands and complies with laws
regarding use of technology in animation. The student is expected to:
(B) discuss and apply copyright laws;
(C) model respect of intellectual property; and
(D) demonstrate proper etiquette and knowledge of acceptable use policies.
(10)The student develops an understanding of animation. The student is expected to:
(J) research the history and evolution of animation by:
(i) explaining the history of animation;
Instructor/Trainer
References:
1. Johnston, O. & Thomas, F. (1981). The illusion of life: Disney animation. New York, NY:
Walt Disney Productions.
2. Williams, R. (2001). The animator’s survival guide. New York, NY: Faber & Faber, Inc.
3. Do an online search for: principles of animation, illusion of life, and Chouinard Art Institute.
AAVTC: Animation: The Twelve Principles of Animation
Copyright © Texas Education Agency, 2012. All rights reserved.
1
Instructional Aids:
1. The Twelve Principles of Animation slide presentation
2. The Twelve Principles of Animation Student Worksheet
3. The Twelve Principles of Animation Rubric
4. The Twelve Principles of Animation Quiz
5. The Twelve Principles of Animation Quiz Key
Materials Needed:
Optional: DVD of an animated film. Make sure you have permission to use the DVD; check with
your school librarian.
Equipment Needed:
1. Projection system to display slide presentation and to watch DVD.
Learner
None.
Introduction
MI
Introduction (LSI Quadrant I):
ASK: Can anyone explain what squash and stretch means to an animator?
[Allow time for students to respond.]
ASK: Can you name some other techniques used in traditional animation?
[Allow time for students to respond.]
SAY: In 1981, animators Ollie Johnston and Frank Thomas wrote a book entitled
The Illusion of Life: Disney Animation. The book has become generally
accepted and referred to as the “Bible” of animation. Let’s take a peek!
Outline
MI
Outline (LSI Quadrant II):
Instructor Notes:
I. Explain the history of the twelve principles of
Use the slide
presentation to discuss
the history of the
principles.
Animation.
 In their book, The Illusion of Life, Ollie Johnston
and Frank Thomas present the twelve principles of
animation used in animated films produced for Walt
Disney.
 Most of these concepts were developed when
Disney sent his animators for drawing classes at
the Chouinard Art Institute in Los Angeles.
 These principles have become the industry
standards and are still used to this day.
II. Define the twelve principles of animation.
A. Straight Ahead versus Pose to Pose
 Straight Ahead animation means drawing the
frames in sequence. This leads to spontaneous
AAVTC: Animation: The Twelve Principles of Animation
Copyright © Texas Education Agency, 2012. All rights reserved.
2
Use the slide
presentation to go over
each of the principles
of animation.
B.
C.
D.
E.
motion. It works well with abstract animation
and fluids.
 Pose To Pose is the more often used animation
technique. It requires the animator to create
strong poses (keyframes) first and then add the
in-between frames.
Arcs
 Almost all natural motion is in some form of an
arc.
 If a ball is thrown, it usually follows an arched
path.
 Pivot points often define the arc. The pivot point
for the thigh is the hip and the pivot point for the
calf is the knee.
 Most human motion follows an arc. If a boxer
throws a punch, the motion of his glove follows
an arc.
Timing
 Timing is the amount of frames used as an
object moves across the screen.
 Timing can imply weight. Light objects have
less resistance and move much quicker than
heavy objects.
 Actors work with their timing to get the
maximum impact from their lines.
 Speed can imply emotion. A fast walk may
mean happiness and a slow walk may mean
depression.
 An animator must determine how many frames
are needed for a given movement. A stopwatch
or video reference can be helpful.
Slow In and Slow Out
 Also known as ease in and ease out.
 Most motion starts slowly, accelerates, and
then slows again before stopping. Imagine a
car that went 40 mph immediately when
stepping on the accelerator and went to 0 mph
when hitting the brake.
 Gravity has an effect on slow in / slow out.
When a ball bounces, it increases in speed as it
gets closer to the ground. It decreases in speed
at the top of the arch.
Squash and Stretch
 Living flesh distorts during motion.
 Exaggerated deformations will emphasize
motion and impact.
 Although objects deform like rubber, they must
maintain volume while being squashed and
AAVTC: Animation: The Twelve Principles of Animation
Copyright © Texas Education Agency, 2012. All rights reserved.
3


stretched.
A bouncing ball will squash or elongate on
impact and stretch vertically as it leaves the
point of impact.
This is the most well known and often used
principle.

F. Anticipation
 Animation can occur before an action. Before
you jump, you bend your knees.
By exaggerating this action, the animator can
guide the viewer’s eyes.
 The formula for most animations is anticipation,
action, and reaction.
Follow Through and Overlap
 Follow through is the action that follows the
main action. It is the opposite of anticipation.
 When a baseball bat hits the baseball, it does
not stop abruptly. A boxer does not freeze at
the moment a punch lands.
 Overlapping actions means that all elements do
not stop at the same time.
 A good example of overlapping action is the
movement of an animal’s tail.
Secondary Actions
 Secondary actions are actions caused by the
impact of another object. They movement of a
ball that has been kicked is a secondary action.
 Secondary actions are also minor actions that
occur due to a major action. Most people blink
their eyes when they turn their head. Facial
expressions are secondary actions.
Staging
 Staging is the clear presentation of an idea.
 The animator can use the camera viewpoint,
the framing of the shot, and the position of the
characters to create a feeling or strengthen
understanding.
Exaggeration
 Exaggeration is used to increase the readability
of emotions and actions.
 Animation is not a subtle medium.
 Individual exaggerated poses may look silly as
stills but add dramatic impact when viewed for
a split second.
 Animators should use exaggeration to increase
understanding of feeling, but be careful to not
over-exaggerate everything.

G.
H.
I.
J.
AAVTC: Animation: The Twelve Principles of Animation
Copyright © Texas Education Agency, 2012. All rights reserved.
4
K. Solid Drawing
 To get maximum feeling from the audience,
animated characters must be drawn or modeled
precisely.
 Proper drawing and modeling can reveal a
characters weight, character, and emotion.
 Proper drawing and modeling are needed to
give the character proper depth and balance.
 When creating animated characters, it is a good
idea to not add too much detail.
L. Appeal
 Animated characters need to have a unique
personality and have a wide range of emotions
(happy, excited, fearful, embarrassed, angry,
scared, etc.).
 Character flaws are actually a good thing.
Audiences can be sympathetic to characters
that have a flaw or two.
 Complex personalities and moral ethical
dilemmas add to character appeal.
III. Identify the principles in a commercial film.
A. Straight Ahead versus Pose to Pose
B. Arcs
C. Timing
D. Slow In and Slow Out
E. Squash and Stretch
F. Anticipation
G. Follow Through and Overlap
H. Secondary Actions
I. Staging
J. Exaggeration
K. Solid Drawing
L. Appeal
The teacher should
demonstrate the
identification of
principles by stopping
the DVD of the
animated film as
examples occur and
facilitating a discussion
about the principle
being applied.
Application
MI
Guided Practice (LSI Quadrant III):
The teacher will present and discuss the slide presentation with the class. Samples
of a well-known animated production may be shown if permission is granted by
school librarian or administrators.
The teacher should demonstrate the identification of principles by stopping the video
as examples occur and facilitating a discussion about the principle being applied.
AAVTC: Animation: The Twelve Principles of Animation
Copyright © Texas Education Agency, 2012. All rights reserved.
5
MI
Independent Practice (LSI Quadrant III):
Students will work in groups or individually to identify additional examples of applied
principles in the animated film.
Summary
MI
Review (LSI Quadrants I and IV):
Discuss what the students recorded on The Twelve Principles of Animation Student
Worksheet as a class, stressing the application of each principle in the animated
film.
Evaluation
MI
Informal Assessment (LSI Quadrant III):
Teacher monitors individual/group progress as students watch the film and identify
examples. Teacher provides individual help/redirection as needed. If necessary, the
teacher may choose to stop the film to discuss a key scene or redirect the entire
class.
MI
Formal Assessment (LSI Quadrant III, IV):
Students will take “The Twelve Principles of Animation Quiz.”
Extension
MI
Extension/Enrichment (LSI Quadrant IV):




As students work throughout the year, they will use these principles in their
projects.
As they complete projects throughout the year, students should save
examples of the principles (four to five seconds per example) to assemble
into a “principles” reel for a portfolio.
Students can research the Twelve Principles and their application in all forms
of animation.
Students can find a classic animation and attempt to copy the motion with
their own characters.
AAVTC: Animation: The Twelve Principles of Animation
Copyright © Texas Education Agency, 2012. All rights reserved.
6
The Twelve Principles of Animation Student Worksheet
Student Name: ________________________________________
Date:
DIRECTIONS: While watching the animated film, use this form to record examples which
illustrate the principles of animation.
Principle 1 – Straight Ahead Versus Pose to Pose
_________________________________________________________________________________________
_________________________________________________________________________________________
Principle 2 – Arcs
_________________________________________________________________________________________
_________________________________________________________________________________________
Principle 3 – Timing
_________________________________________________________________________________________
_________________________________________________________________________________________
Principle 4 – Slow In and Slow Out
_________________________________________________________________________________________
_________________________________________________________________________________________
Principle 5 – Squash and Stretch
_________________________________________________________________________________________
_________________________________________________________________________________________
Principle 6 – Anticipation
_________________________________________________________________________________________
_________________________________________________________________________________________
Principle 7 – Follow Through and Overlap
_________________________________________________________________________________________
_________________________________________________________________________________________
Principle 8 – Secondary Actions
_________________________________________________________________________________________
_________________________________________________________________________________________
Principle 9 – Staging
_________________________________________________________________________________________
_________________________________________________________________________________________
Principle 10 – Exaggeration
_________________________________________________________________________________________
_________________________________________________________________________________________
Principle 11 – Solid Drawing
_________________________________________________________________________________________
_________________________________________________________________________________________
Principle 12 – Appeal
_________________________________________________________________________________________
_________________________________________________________________________________________
AAVTC: Animation: The Twelve Principles of Animation
Copyright © Texas Education Agency, 2012. All rights reserved.
7
The Twelve Principles of Animation Quiz
Student Name: ________________________________________
Date:
PART 1: Matching
DIRECTIONS: Match each principle listed in column A with the appropriate definition or
description from column B. Record your answers in the spaces provided.
Column A
1. Anticipation
2. Appeal
3. Arcs
4. Exaggeration
5. Follow Through and Overlap
6. Secondary Actions
7. Slow In and Slow Out
8. Solid Drawing
9. Squash and Stretch
10. Staging
11. Straight Ahead versus Pose to Pose
12. Timing
Column B
A. Also known as ease in and ease
out.
B. Amount of frames between
poses.
C. Animated characters need to
have a unique personality and
have a wide range of emotions.
D. Animation can occur before an
action.
E. Drawing the frames in sequence
versus creating strong posed
(keyframes) first and adding the
in-between frames later.
F. Living flesh distorts during
motion. Exaggerated
deformations will emphasize
motion and impact.
G. Minor actions that occur due to a
major action.
H. The action that follows the main
action; actions do not stop at the
same time.
I. The basis for almost all natural
motion; created using a spline
curve.
J. The clear presentation of an
idea.
K. To get maximum feeling from the
audience, animated characters
must be drawn or modeled
precisely.
L. Used to increase the readability
of emotions and actions.
AAVTC: Animation: The Twelve Principles of Animation
Copyright © Texas Education Agency, 2012. All rights reserved.
8
PART 2: Short Answer
DIRECTIONS: Identify the animation principle that is best illustrated by each description
provided below. Record your answers in the spaces provided.
13. Before a character throws a punch, he pulls
his fist back.
14. A roller coaster comes to a stop at the end
of the ride.
15. A girl’s pony tail moves up and down as she
jumps rope.
16. As a ball hits the ground, it changes shape
but maintains volume.
17. The main character is positioned using the
rule of thirds.
18. As a character turns his head from left to
right, he dips his chin.
19. An animator decides to animate a water
splash in a frame-by-frame manner.
20. An animator decides how many frames it
should take for an apple to drop to the
ground.
AAVTC: Animation: The Twelve Principles of Animation
Copyright © Texas Education Agency, 2012. All rights reserved.
9
The Twelve Principles of Animation Quiz Key
Student Name: ________________________________________
Date:
DIRECTIONS: Match each principle listed in column A with the appropriate definition or
description from column B. Record your answers in the spaces provided.
Column A
D
1. Anticipation
C
2. Appeal
I
3. Arcs
L
4. Exaggeration
H
5. Follow Through and Overlap
G
6. Secondary Actions
A
7. Slow In and Slow Out
K
8. Solid Drawing
F
9. Squash and Stretch
J
10. Staging
E
11. Straight Ahead versus Pose to Pose
B
12. Timing
Column B
A. Also known as ease in and ease
out.
B. Amount of frames between poses.
C. Animated characters need to have
a unique personality and have a
wide range of emotions.
D. Animation can occur before an
action.
E. Drawing the frames in sequence
versus creating strong posed
(keyframes) first and adding the inbetween frames later.
F. Living flesh distorts during motion.
Exaggerated deformations will
emphasize motion and impact.
G. Minor actions that occur due to a
major action.
H. The action that follows the main
action; actions do not stop at the
same time.
I. The basis for almost all natural
motion; created using a spline
curve.
J. The clear presentation of an idea.
K. To get maximum feeling from the
audience, animated characters
must be drawn or modeled
precisely.
L. Used to increase the readability of
emotions and actions.
AAVTC: Animation: The Twelve Principles of Animation
Copyright © Texas Education Agency, 2012. All rights reserved.
10
PART 2: Short Answer
DIRECTIONS: Identify the animation principle that is best illustrated by each description
provided below. Record your answers in the spaces provided.
anticipation
13. Before a character throws a punch, he pulls
his fist back.
slow in and slow out
14. A roller coaster comes to a stop at the end
of the ride.
follow through and overlap
15. A girl’s pony tail moves up and down as she
jumps rope.
squash and stretch
16. As a ball hits the ground, it changes shape
but maintains volume.
staging
17. The main character is positioned using the
rule of thirds.
arcs
18. As a character turns his head from left to
right, he dips his chin.
straight ahead versus pose to pose
19. An animator decides to animate a water
splash in a frame-by-frame manner.
timing
20. An animator decides how many frames it
should take for an apple to drop to the
ground.
AAVTC: Animation: The Twelve Principles of Animation
Copyright © Texas Education Agency, 2012. All rights reserved.
11