Animation Finals (SAWAKAS) Flashcards

1
Q

the most fundamental method of animation, where each
frame is drawn individually to create movement. This
technique is used in traditional hand-drawn animation,
stop-motion animation, and even digital animation
software.

A

Frame-by-frame animation

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2
Q

Animation works because of a phenomenon called _____

A

persistence of vision

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3
Q

the most important frames in an animation sequence. They define the
starting, ending, and major transitional poses of a motion.

A

Keyframes

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4
Q

help animators establish the core movements before refining
the animation with more detail.

A

Keyframes

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5
Q

Think of
them as the “landmarks” of movement

A

Keyframes

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6
Q

It fills in the gaps between them. This makes the
motion appear smooth and natural.

A

In-Between(Tweening)

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7
Q

_______would be drawn between these keyframes to make
the jump feel natural, showing acceleration as the character lifts
off and slowing down at the peak before falling.

A

In-Between

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8
Q

A TECHNIQUE USED IN ANIMATION SOFTWARE THAT
ALLOWS ANIMATORS TO SEE MULTIPLE FRAMES AT ONCE. THIS HELPS THEM
CREATE SMOOTHE R TRANSITIONS AND MAINTAIN CONSISTE NCY BETWEEN
FRAMES

A

Onion Skinning

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9
Q

a feature in animation programs
that overlays ghost images of previous and/or next
frames onto the current frame. These ghost images
are usually semi-transparent, allowing animators to
see how objects move across frames.

A

Onion Skinning

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10
Q

helps animators check how
far an object moves between frames, ensuring a natural and
consistent motion.

A

Spacing and Motion

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11
Q

Ensures that the character or object does not
drastically change in size or shape between frames.

A

Shape and Form

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12
Q

By seeing multiple frames at once, animators
can adjust the speed and smoothness of movement.

A

Timing adjustments

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13
Q

TWO FUNDAMENTAL PRINCIPLES OF ANIMATION
THAT HELP CREATE THE ILLUSION OF REALISTIC MOTION. UNDERSTANDING HOW
TO CONTROL THESE ASPECTS CAN SIGNIFIC ANTLY ENHANCE AN ANIMATION’ S
SENSE OF WEIGHT, IMPACT, AND BELIEVABILITY.

A

Timing and Spacing

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14
Q

a visual guide used by animators to plan how frames are
spaced out over time. It helps determine the number of in-between
frames needed for smooth motion.

A

Timing Chart

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15
Q

refers to how long an action takes—more frames make it slower,
fewer frames make it faster.

A

Timing

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16
Q

refers to how frames are distributed—equal spacing creates even
motion, while varied spacing creates acceleration or deceleration.

17
Q

How Spacing Affects Motion Speed

Consistent speed (e.g., a conveyor belt moving at a
steady pace).

A

Even Spacing

18
Q

How Spacing Affects Motion Speed

Acceleration
(e.g., a ball falling due to gravity).

A

Close Spacing at the Start, Wide Spacing Later

19
Q

How Spacing Affects Motion Speed

Deceleration
(e.g., a car slowing to a stop).

A

Wide Spacing at the Start, Close Spacing Later

20
Q

Faster motion with fewer frames since there’s little
resistance.

Even spacing between frames to show effortless
movement.

The character’s body posture remains upright,
showing no strain.

A

Light object

21
Q

More frames and slow movement to emphasize effort.

Slow start with close spacing (struggling to lift), then
faster motion once momentum builds.

Character’s body bends and shows strain (legs and arms
tense, shaking slightly).

A

Heavy object

22
Q

Heavier objects move slower and require more effort, which is
shown through increased spacing variation.

23
Q

The spacing before and after a collision affects how an object
interacts with surfaces (e.g., a bouncing ball will have more spacing
changes if it’s rubbery vs. a heavy rock).

24
Q

A character’s motion conveys their strength,
fatigue, or emotional state, making timing and spacing key for
storytelling.

A

Character Performance

25
Q

TWO PRIMARY METHODS USED TO CREATE
MOVEMENT

A

POSE-TO-POSE ANIMATION AND STRAIGH T AHEAD ANIMATION

26
Q

the animator first creates the
most important poses (keyframes) that define the action.
After establishing these key poses, they go back and add the
in-between frames (or “tweening”) to create smooth
motion.

A

POSE-TO-POSE ANIMATION

27
Q

How does pose-to-pose animation works?

A

Block out key poses

Add breakdown poses

Fill in in

28
Q

means drawing each frame in
order from start to finish without setting up key poses first.
This approach is more spontaneous and fluid.

A

Straight Ahead Animation

29
Q

How does straight ahead animation works?

A

Start with the first frame.

Draw the next frame based on the last one, progressing
through the motion sequentially.

Continue until the sequence is complete.