Lets Do Blogging

• Timing, or the speed of an action, is an important principle because it gives meaning to movement- the speed of an action defines how well the idea behind the action will read to an audience. It reflects the weight and size of an object, and can even carry emotional meaning.
  
• Proper timing is critical to making ideas readable. It is important to spend enough time (but no more) preparing the audience for: the anticipation of an action; the action itself; and the reaction to the action. If too much time is spent on any of these, the audience's attention will wander. If too Little time is spent. the movement may be finished before the audience notices it, thus wasting the idea.
  
• The faster the movement, the more important it is to make sure the audience can follow what is happening. The action must not be so fast that the audience cannot read it and understand the meaning of it.
  
• More than any other principle, timing defines the weight of an object. Two objects, identical in size and shape, can appear to be two vastly different weights by manipulating timing alone. The heavier an object is, the greater its mass, and the more force is required to change its motion. A heavy body is slower to accelerate and decelerate than a light one. It takes a large force to get a cannonball moving, but once moving, it tends to keep moving a the same speed and requires some force to stop it. When dealing with heavy objects, one must allow plenty of time and force to start, stop or change their movements, in order to make their weight look convincing.
  
• Light objects have much less resistance to change of movement and so need much less time to start moving. The flick of a finger is enough to make a balloon accelerate quickly away. When moving, it has little momentum and even the friction of the air quickly slows it up.
  
• Timing can also contribute greatly to the feeling of size or scale of m object or character. A giant has much more weight, more mass, more inertia than a normal man; therefore he moves more slowly. Like the cannonball, he takes more time to get started and, once moving, takes more time to stop. Any changes of movement take place more slowly. Conversely, a tiny character has less inertia than normal, so his movements tend to be quicker.
  
• The way an object behaves on the screen, the effect of weight that it gives, depend entirely on the spacing of the poses and not on the poses themselves. No matter how well rendered a cannonball may be, it does not look like a cannonball if it does not behave like one when animated. The same applies to any object or character.
  
• The emotional state of a character can also be defined more by its movement than by its appearance, and the varying speed of those movements indicates whether the character is lethargic, excited, nervous or relaxed.
  
• Thomas and Johnston describe how changing the timing of an action gives it new meaning: Just two drawings of a head, the first showing it leaning toward the right shoulder and the second with it over on the left and its chin slightly raised, can be made to communicate a multitude of ideas, depending entirely on the timing used.
  
• Each in-between drawing added between these two extremes gives a new meaning to the action.
  
  NO inbetweens
  The Character has been hit by a tremendous force. His head is nearly snapped off.
  
  ONE inbetween
  The Character has been hit by a brick, rolling pin, frying pan.
  
  TWO inbetweens
  The Character has a nervous tic, a muscle spasm, an uncontrollable switch
  
  THREE inbetweens
  The Character is dodging a brick, rolling pin, frying pan
  
  FOUR inbetweens
  The Character is giving a crisp order, "Get going!" "Move it!"
  
  FIVE inbetweens
  The Character is more friendly, "Over here." "Come on-hurry!"
  
  SIX inbetweens
  The Character sees a good looking girl, or the sports car he has always wanted
  
  SEVEN inbetweens
  The Character tries to get a better look at something
  
  EIGHT inbetweens
  The Character searches for the peanut butter on the kitchen shelf
  
  NINE inbetweens
  The Character appraises, considering thoughtfully
  
  TEN inbetweens
  The Character stretches a sore muscle
  

Sources : Internet