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- 1. Multiple Choice
I am the first and most important principle.
Secondary Action
Follow Through and Overlapping Action
Arc
Squash and stretch
- 2. Multiple Choice
I make characters seem realistic and interesting. The viewer doesn't have to like them, but he/she does have to connect with them.
Exaggeration
Appeal
Slow In and Slow Out
Timing
- 3. Multiple Choice
I give a sense of weight and flexibility to drawn objects. My most important point is to keep the volume of the object consistent, no matter how it moves.
Anticipation
Squash and stretch
Staging
Solid Drawing
- 4. Multiple Choice
I give volume and weight to 2-dimensional art, imagining it in a 3-dimensional space.
Solid Drawing
Exaggeration
Straight Ahead and Pose to Pose
Staging
- 5. Multiple Choice
I prepare the audience for an action, and make that action look more realistic.
Arc
Anticipation
Slow In and Slow Out
Exaggeration
- 6. Multiple Choice
I tell the audience where to look. I have also been defined as "the presentation of any idea so that it is completely and unmistakably clear", whether that idea is an action, a personality, an expression, or a mood.
Staging
Arc
Exaggeration
Follow Through and Overlapping Action
- 7. Multiple Choice
I am an action scene that is animated frame by frame, from beginning to end.
Straight Ahead Action
Pose to Pose
Solid Drawing
Overlapping Action
- 8. Multiple Choice
I am an action scene that is animated by drawing a few key frames, and filling in the spaces later.
Straight Ahead Action
Pose to Pose
Solid Drawing
Overlapping Action
- 9. Multiple Choice
I make sure that when a character is in motion, and stops, that all parts of the character do not stop at the same time.
Exaggeration
Overlapping Action
Squash and Stretch
Follow Through
- 10. Multiple Choice
I make sure that when a character is in motion, different parts of the character move at different rates of speed.
Exaggeration
Overlapping Action
Squash and Stretch
Follow Through
- 11. Multiple Choice
More frames of animation exist at the start and end of an action, with fewer frames of animation in the middle of that action. This makes the movement more realistic.
Slow-In and Slow-Out
Squash and Stretch
Timing
Solid Drawings
- 12. Multiple Choice
Almost all actions have a little bit of curve to them. Almost no action is a straight line.
Staging
Arc
Anticipation
Squash and Stretch
- 13. Multiple Choice
I create the illusion that the animated action is following the laws of physics.
Straight Ahead Action
Timing
Pose to Pose
Overlapping Action
- 14. Multiple Choice
I create the illusion that the animated action is following the laws of physics.
Straight Ahead Action
Timing
Pose to Pose
Overlapping Action
- 15. Multiple Choice
Animators use me to remain true to reality, but present it in a wilder, more extreme form.
Follow Through
Exaggeration
Anticipation
Staging
- 16. Multiple ChoiceThe most used principle.Squash and StretchExaggerationAnticipationStaging
- 17. Multiple ChoiceIts purpose is to direct the audience's attention, and make it clear what is of greatest importance in a scene. This can be done by the placement of a character in the frame, the use of light and shadow, or the angle and position of the cameraStagingSquash and StretchExaggerationAnticipation
- 18. Multiple ChoiceGives the illusion of weight and volume to a character as it moves. It is used in all forms of character animation from a bouncing ball to the body weight of a person walking.Squash and StretchStraight Ahead Versus Pose to PoseExaggerationSlow In and Slow Out
- 19. Multiple ChoicePrinciple with more drawings near the beginning and end of an action, emphasizing the extreme poses, and fewer in the middle. Most objects need time to accelerate and slow down, this principle softens the action, making it more life-likeSlow In and Slow OutFollow Through and OverlapExaggerationAppeal
- 20. Multiple ChoiceMost actions follow a slightly circular path. This is especially true of the human figure and the action of animals. Give animation a more natural action and better flow. Examples are a pendulum swinging, arm movement, head turns and even eye movements.ArcsAnticipationAppealSecondary Actions
- 21. Multiple Choice
In a cartoon character corresponds to what would be called charisma in an actor.
Appeal
Solid drawing
Exaggeration
Timing
- 22. Multiple Choice
Is an effect especially useful for animation, as animated motions that strive for a perfect imitation of reality can look static and dull
Exaggeration
Solid drawing
Appeal
Arc
- 23. Multiple Choice
How many principles of animation are there
11
12
13
14
- 24. Multiple Choice
Pose to pose corresponds to
Key drawings
In betweens
Separations
Time Frames
- 25. Multiple Choice
Straight ahead actions are animated by FRAME BY FRAME
True
False
- 26. Multiple Choice
Who is the father of animation American animation?
Walt Disney
J. Stuart Blackton
William Horner
J.A. Ferdinand Plateau
- 27. Multiple Choice
Solid animation includes
2 Dimensional Space
3 Dimensional Space
- 28. Multiple Choice
What is meant by Silhouette?
Faded portion
Bright image
Dark or shadow
- 29. Multiple Choice
Appeal relates to exaggeration animation technique
True
False
- 30. Multiple Choice
Which shape should we use for the principle of APPEAL?
Multiple shapes
No shapes
Single Shape
None of the above
- 31. Multiple Choice
A laying in of the action, form, and pose of a model/figure.
Stippling
Static drawing
Pointillism
Gesture drawing
- 32. Multiple Choice
Stationary or fixed drawing
Static
Dynamic
- 33. Multiple Choice
Energetic, capable of action and/or change, or forceful
Static
Dynamic
- 34. Multiple Choice
A drawing of the human form in any of its various shapes and postures using any of the drawing media.
Figure drawing
Landscape drawing
Still life drawing
Seascape drawing
- 35. Multiple Choice
A Portrait is
A picture of a person
A picture of an object
A picture of a landscape
A picture of the sea
- 36. Multiple Choice
Its purpose is to capture the pose of the model in the quickest, most economical manner
Contour Drawing
Gesture Drawing
Volume Drawing
- 37. Multiple Choice
Its purpose is to become more aware of the outer edges of forms or figures
Contour Drawing
Gesture Drawing
Volume Drawing
- 38. Multiple Choice
Its purpose is to study the forms of the human figure
Contour Drawing
Gesture Drawing
Volume Drawing
- 39. Multiple Choice
Versions of the "rough" animation drawings are produced
Storyboard
Layout Drawing
Model sheet
Clean up drawing
- 40. Multiple Choice
It pertains to the body attitude of the key drawings in an animated scene regardless of the facial expressions.
Dynamic Animation Pose
Gesture Drawing
Volume Drawing
Balance and Weight in Drawing
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