Non-Verbal Cues in Animation

A study conducted by Albert Mehrabian concluded that when communicating, the listener's interpretation of what is being conveyed can be divided as:
7% based on the actual meaning of the words used
38% based on how the words are said
55% based on attitude and expressions of the communicator.

This is where the popular saying "over 90% of communication is non-verbal" was derived from. It is used to illustrate that when sharing information, the actual words used, play a small part in the overall message that is taken away by the listener.

Animation is the dynamic movement of static figures to give the illusion of motion. While animating, the Principles of Animation are what animators use to communicate that 93 percent. As we grow up we learn how to make assessments of our surroundings with our eyes and ears. By the sway of trees we know if it is windy, based on how you're standing we can tell if you're cold, etc.

As Animators are trying to bring a world to life, we must also include these visual cues into our films. The audience's senses are naturally tuned to seek out these non verbals cues and as such we must provide them so to give a greater understanding of what the character is experiencing.

Using the Principles of Animation and real world examples, let us try to better understand how to use and implement them in our animations to share more of the story.

Principles of Animation

1. Squash and Stretch

The illusion of weight and volume of a character in motion.‌‌‌‌

If we are going to jump, the first thing we do is squat. In order to gather energy a body must first compress and as it releases that energy its elongated. For objects moving we gauge the expected movement based on how much its orginally compressed (squashed) or the expected reccoil based on how much it is elongated (stretched).

2. Anticipation

Movement that prepares the audience for major action the character is about to perform.

Think of the moments before actions and if we need to add or remove tension from them. For the most part movement doesn't begin without clues, it might be the tightening of the fist or closing of eyes but before something acts or reacts there are tells. Think of a cat with its eyes wide just staring at you, as you turn to move in its direction it runs away because there are micro gestures that gave you away.

3. Staging

The ‌‌communication of the character's mood through the actions or poses in relation to the scene or storyline.

Imagine it's a sunny day but characters are hunched over or if it's raining and they are walking confidently. Dependent on the preceding scene, the current background and how the character is shown in the space. This tells how they are feeling.‌‌‌‌

4. Straight ahead action

Straight ahead animation starts at the first drawing and works from drawing to drawing to the end of a scene.

Think of walking or a regular gait. The fact that this follows a set rhythm makes the motion predictable for the audience.

Pose to Pose

This is more planned out and charted with key drawings that are done at regular intervals throughout the scene.‌‌‌‌

Think of dancing or fighting where the movements may not follow a similar gait and instead it's from one "pose" to the next. A fighting stance or a drunk person trying to stay upright.

5. Follow through and overlapping action

‌When the main body of the character stops, all other parts continue to catch up to the main mass.‌‌‌‌

We are made up of a skeleton and surrounding flesh. The skeleton reflects rigid movements while the flesh allows for more movement. When the rigid skeleton stops the flesh is still in motion and as such it would take some time to settle. This is true for any solid object that is moving.

6. Slow in and slow out‌‌

As action starts you have more drawings near the starting pose, one or two in the middle and more drawings near the next pose.‌‌‌‌

When a body is about to move it has to overcome friction. This friction slows the process, and for there to be speed, the body has to gradually get past this resistance. When a body is slowing down friction is applied and this over time brings the body to rest.

So at the start it's slow and there are changes illustrated as the body is at rest and it's overcoming friction to get moving. While in motion the changes are less as it would achieve a steady rhythm or a constant state and at the end of the motion its body changes again to slow down as now friction is being applied to be able to come to a halt.

7. Arc‌‌

All actions, with few exceptions, follow an arc or slightly circular path.

‌‌‌‌Everything is made up of atoms and as such we operate at different frequencies. From that it says everything naturally has high points and low points. Now this can be both physical or emotional but we go through a sequence of starting at equilibrium, going high then low or vice versa and then it's back to equilibrium, Perpetually.

8. Secondary Action‌‌

This action adds to and enriches the main action and adds more dimension to the character animation supplementation and/or reinforcing the main action.‌‌‌‌

The main action could be two objects colliding and secondary action is them bouncing backwards. Based on impulse, object don't come to a halt immediately after an impact. The force acting on the bodies is done over time and can be shown through recoil after impact.  

9. Timing‌‌

The accuracy at which the changes in the rate of motion are visually conveyed

Expertise in timing comes best with experience and personal experimentation, using the "trial and error" refining technique. By having more drawings between poses, the actions become slow and smooth. If there are fewer drawings, the action will appear faster.

10. Exaggeration‌‌

The movements of a character must move more broadly to look natural or supernatural in order to give the film more appeal.

The widening of eyes beyond normal to show the character is shocked. Think of a baby or a dramatic person wanting to convey their feelings. What they do is play it up or be just a little bit extra. This is exaggeration, being a little bit extra to add depth to scenes.

11. Solid drawing‌‌

The basic principles of drawing - form weight, volume, solidity and illusion of three dimensions apply to animation as they do to an academic drawing.

This tells people what is to be real and what should be imagined. While the mind can grasp abstract and concepts not based on reality, there still needs to be a tethering and a separation. Through solid drawings, you can say for this space what is real and through the use of those lines you can illustrate motion, viscosity and other factors that govern matter. ‌‌‌‌

12. Appeal‌‌

The characters Swagger and demeanor.

Some people step into a room and it's as if the room is brighter, others step into a room and it's immediately darker. Appeal is the character's charisma or lack thereof. Each character has a personality and this is shown through the use of appeal. By looking at the character the viewer will draw conclusions on what they see. If they have a smooth gait they might consider them graceful or if they just hobble along, the assumption could be a deformity or a past injury. This is the principle that allows us to associate who the character is as a person; are they shy and awkward or are they bold and charismatic?

Show don't tell.

In your story, if you say your character is cold but there is no shivering or any other signs of being cold, it will lessen the impact of the story. This is the same if you are trying to convey a confident character but their body language and how they fill space is withdrawn. As we wish to create better animations and tell better stories let us strive to incorporate the 12 principles. Study the persons and environment around you. Listen to mother nature as she talks and use your findings to communicate those non-verbals cues.