Tag: animation arcs

Blocking Plus Workflow: Arcs

Once an animation starts to feel right, it’s easy to move on. However, that’s actually the perfect time to dig in and refine. During blocking and splining, arcs might be roughed in or implied, but in the polish phase, they need to be made intentional. If something feels off in your shot—even if you can’t articulate why—chances are it has to do with a broken or inconsistent arc. In this clip from a live AnimSchool lecture, instructor Jean-Luc Delhougne demonstrates how to use arcs to take your blocking to the next level.

A good place to start is with the head and spine. These parts often reveal arc issues because they tend to move with subtle complexity. If the head suddenly changes direction over a few frames or shifts too quickly between poses, it can break the flow and feel visually jarring. The key is to step through the animation frame by frame and examine the head’s motion across time. Often, the fix involves selecting the head, neck, and spine controls together and nudging them to form a more continuous arc. You’re not adding frames—you’re adjusting spacing and orientation to reinforce the shape of the motion. The result is a smoother, more intentional line of action through the upper body. The head no longer pops or feels disconnected from the rest of the movement.

Add visual markers to help track the arc

Overlap also plays a role in arcs. If everything moves at once—especially in vertical actions—the motion can feel stiff. For example, if the head rises with the body too quickly during an upward movement, the arc may technically be there, but the lack of overlap makes it feel forced. Slowing the head’s rotation slightly or delaying its path just a bit can help reintroduce the feeling of follow-through and drag, which not only improves timing but also enhances the arc visually.

Sometimes an arc exists but lacks clarity due to poor spacing. One frame might be too far off the path, causing a visual pop. The solution isn’t always to add more keyframes but to redistribute what’s already there. This is where simple tools like moving controls by single pixels (using something like Alt + arrow keys) can be invaluable. These tiny shifts can help smooth out a curve without affecting the depth or creating messy curves in the graph editor. It’s a low-impact way to bring spacing and silhouette under control when things feel close but not quite there.

This is the essence of polishing animation arcs: noticing the small things that don’t quite sit right, identifying whether it’s a path, a spacing issue, or a lack of overlap, and making small, thoughtful adjustments. The arcs guide the eye, control rhythm, and anchor poses in space. During polish, refining arcs should be as important as refining timing or easing. Don’t wait until something looks broken to address them; the best results come from being proactive and observant. If something feels off, it’s often a broken arc waiting to be cleaned up.

Watch the full clip from an AnimSchool lecture here:

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Cartoony 3D Animation – Tips & Tricks

Animation is a unique medium; not only does it allow the artist to breathe life and feeling into a character, it also enables the artist to accomplish anything no matter how farfetched the idea. An animated character can break every bone in their body without issue, run across the map in two seconds flat, fly without wings, or even eat a sandwich the size of their body and immediately snap back into shape. Typically, this type of out-of-this-world animation is referred to as “cartoony” style animation, but how is it created? The hardest thing to tackle when it comes to creating something so wild is losing a realistic point of reference. Instead, new ideas are being introduced to the audience on the spot. The role of the animator lies in finding the balance between aiding the audience to follow the action while simultaneously creating an entertaining piece of storytelling. In this clip from an AnimSchool lecutre, instructor Justin Weg gives discusses some key tips to animate in a “cartoony” style.

When considering cartoony movements, two main techniques should be utilized: squash and stretch and multiples. These techniques enhance the animation’s dynamism, allowing characters to exhibit extreme emotions or actions, such as Scrat from Ice Age. His animation demonstrates how exaggerated stretching and quick movements can bring a character’s energy to the forefront. For instance, by tracking the eyes as a focal point, animators can help the viewer follow fast, chaotic movements without getting lost in the transition. The eyes serve as a reference for the viewer’s attention, anchoring the action as the character moves through space.

Another essential technique in cartoon animation is the use of multiples, especially when depicting fast motion. This method is designed to convey the speed of a character’s movement. When deciding to use multiples, treat them as if combining two or three frames into one. Typically, arcs are also utilized in the placement of the multiples, easing into the final position. Through this approach, animators can create fast, fluid actions that capture the viewer’s attention, like when a character’s limbs or eyes stretch out at high speed.

Moreover, squash and stretch is a technique that involves the physical distortion of characters, emphasizing their elasticity. This is evident when a character is compressed into a small form (squash) and then dramatically stretched (stretch) to indicate force or impact. This technique, along with well-timed follow-throughs and ease-ins/outs, makes the animation feel weighty and believable, even in the most exaggerated scenes.

By carefully combining these techniques, animators create a sense of exaggerated motion, while maintaining visual coherence. The focus on tracking key elements like the eyes ensures that viewers can follow the action, even in the midst of chaotic or comical movements. Ultimately, these principles help to keep animation lively, engaging, and full of character, providing the foundation for the expressive world of cartoon animation.

Watch the full clip from an AnimSchool lecture here: