1) squash and stretch.

Squash and stretch is a classic technique. Its all about exaggerating motion

to make animations feel more dynamic and alive. An example of this is when

a bouncing ball squashes down when it hits the ground , then stretches as it

bounces back up. It gives the animation a sense of weight and flexibility but

also It can help convey what the material that something is made of. In the

bouncing ball case, very little squash and stretch will indicate a firmer material, like a ping-pong ball or a bowling ball. A rubber ball, would naturally have more squash and stretch. The application of squash and stretch can be quite detailed when done with nuance and not just applied with a thick brush. Squash and stretch gives the illusion of gravity, weight, mass, and flexibility but also is a great sauce for making animations look more realistic and gives more expression whether its just the character moving their head or giving it emotion. 

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2) Anticipation. 

Anticipation is the preparation for an action such as a jump or a punch. For example, a character will squat down before pushing his body and legs up into a jump. The stronger the anticipation motion, the more cartoony and fluid the animation will be. The smaller the anticipation and the more stiff the animation will be. Actions in animation happen very fast. For

example, throwing a ball can take only two or three drawings

to complete, which is not enough time for the audience to see

and grasp what is happening. However, if the character winds-

up and then pauses before the pitch, the events taking place

become a lot clearer to the viewers.

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3) Staging.

 Animation staging is one of the most important parts of the 12 principles of animation as it impacts how an audience observes a scene and comprehends the plot. Its all about ensuring that the important elements of the scene are given the spotlight and the less important

ones are toned down. its a principle that ensures the story is told in

the most effective and captivating way.

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4)Pose-to-pose animation.

Pose to pose is a term used in animation, for creating key poses for characters

and then inbetweening them in intermediate frames to make the character

appear to move from one pose to the next. Animators stretch out the key

poses first then fill in transitions as it gives them control over timing and

coordination, ensuring the scene flows just right. Its crucial for complex movements and dramatic scenes where precision is key.

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5)Straight-ahead Action.

Straight ahead is a term used in animation that refers to a method that uses only the first key pose of a character, and then continues drawing the character to create the desired motion. It contrasts with pose to pose animation except it does not use inbetweening. Straight ahead action is named that because the animator works straight ahead from the first drawing of the scene. You animate frame by frame from start to end, It's great for spontaneity and fluid, realistic movements. It's a good way of giving life to the characters you are animating, capturing the essence

of movement and change.

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6)Follow-through action.

Follow through in animation is about the details that follow the main action, like a characters hair bouncing when they stop running. It adds a touch of realism and fluidity to animations, making them more lifelike and engaging. It is critical to have  effective follow-

through action while producing any form of animation, whether

3D or 2D. If there is no follow-through motion, the animation will

look choppy and uncomfortable. To produce good follow-through

action, animators must consider physics principles such as inertia

and momentum.

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7)Overlapping action.

Overlapping action is the principle that different parts of a body move at

different rates, like a dog wagging its tail while running. It adds depth and

dynamism, making the animations more lively and engaging. It is

different parts of the character moving at different times. Another

example is how a dancers outfit would move to the way they do adding

complexity and a sense of realism. Similar to follow-through action, not

adding these can make your animation stiff, giving the animation no life and emotion. 

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8)Slow-in and slow-out.

‘Slow In’ and ‘Slow Out’ is a term commonly used in animation that refers to a critical principle: an item or figure in an animated film begins moving slowly, accelerates, and then decelerates. It is the movement of the object or character’s beginning and end are mellowed.

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9)Arcs.

Arc is the movement in circular paths. Human beings do not move in one straight

direction. They move in arcs. In the same way, the arc technique is to help animation

create that illusion of movement. They are curved lines that action follows adding

natural flow, making animations seem more realistic and energetic.

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10) Secondary action.

Secondary actions add another layer of realism and quality to an animation. The

secondary actions are the other limbs or objects moving along with the main action.

They are not the follow-through actions, which are inanimate objects reacting to the

main actions. They are the limbs that move, such as the character's arms swinging

rhythmically back and forth when walking. He could nod in time to music while taking

a stroll or blink or chew gum.

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11) Timingt 

Timing refers to the number of drawings or frames for a given action, which translates

to the speed of the action on film. On a purely physical level, correct timing makes

objects appear to obey the laws of physics. For instance, an object's weight determines

how it reacts to an impetus, like a push: a lightweight object will react faster than a heavy one. Timing is important for establishing a character's mood, emotion, and

reaction. It can also be a device to communicate aspects of a

character's personality.

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12) Exaggeration

Exaggeration is an effect especially useful for animation, as animated motions that strive for a perfect imitation of reality can look static and dull. The level of exaggeration depends on if someone seeks realism or a particular style, like a caricature or the style of a specific artist. Other forms of exaggeration can involve the supernatural or surreal, alterations in the physical features of a character; or elements in the storyline itself. It is important to employ a certain level of restraint when using exaggeration. If a scene contains several elements, there should be a balance in how

those elements are exaggerated in relation to each other, to avoid

confusing or overawing the viewer.

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