A sales rep who confidently steps into the role of a producer without having the knowledge, skills, or authority to back it up.Often found giving creative feedback, making unrealistic promises, or trying to manage production timelines without fully understanding the process. While well-intentioned, a fauxducer can inadvertently cause confusion, delays, or extra work for the actual production team. Example usage: "The fauxducer promised the client a 3D animation overnight... again."
A story that shows how a project solved a problem and made a difference. It explains what the challenge was, how the project was done, and what results it achieved.It’s like saying, “Here’s what we did, how we did it, and why it worked,” to help future clients see what you can do. Case studies are also helpful for studios and producers to understand your skillset and how you can be most effective for them by setting clear expectations about your process and capabilities.
A short video compilation showcasing an artist's best work, skills, and style, typically used to attract clients, employers, or collaborators in motion design, animation, and video production.A demo reel usually includes highlights from past projects, focusing on quality over quantity, and is tailored to the type of work or audience being targeted. It’s like a visual résumé that communicates what you’re capable of in under 2 minutes.
Track Matte: A technique in After Effects and motion design used to control the visibility of a layer based on the transparency or shape of another layer.A track matte works by pairing two layers:The matte layer (used to define the visible areas).The content layer (the layer being affected).Common track matte types include:Alpha Matte: Uses the transparency of the matte layer to reveal or hide the content layer.Luma Matte: Uses the brightness (light and dark areas) of the matte layer to control the visibility of the content layer.For example, you can use a track matte to make text appear inside a moving shape or reveal an image through an animated mask.
The process of rendering specific parts of a project, like a pre-comp or complex effect, into a video file to reduce the workload during playback or the final render.For example, a heavy particle system can be pre-rendered as a video and then imported back into the composition. This approach saves processing power and speeds up workflows, but you lose the ability to make changes to the pre-rendered element unless you go back to the original composition.
The careful process of “locking” elements in a project to prevent clients from accidentally breaking, misaligning, or deleting them. This can include grouping layers, pre-composing animations, baking, or shying layers from visibility in the timeline.Clientproofing ensures the design stays intact while still allowing clients to make safe adjustments, saving everyone from unnecessary headaches later.
A tongue-in-cheek game where creatives spot classic, vague client comments during a project review. Examples include gems like:“Make it pop!”“Can we add some wow factor?”“I’ll know it when I see it.”“Can you make the logo bigger?”“It’s almost there, but something’s missing.”Winning Feedback Bingo doesn’t come with a prize—just the bittersweet validation that this project will someday, hopefully, if you're lucky, end.
The dreaded experience of endlessly rotoscoping footage, frame by painstaking frame, to isolate a subject from its background.In motion design, roto hell happens when automated tools fail, leaving you to manually adjust masks and edges for hours—or even days. It’s a rite of passage for VFX artists and editors, often accompanied by caffeine and existential dread.
A short sound, melody, or audio cue used to represent a brand and make it instantly recognizable. It’s like the audio version of a logo. In motion design and advertising, mnemonics are often paired with a logo animation or end card to reinforce the brand's identity.
When a project slowly grows beyond its original goals, adding extra tasks, features, or revisions without adjusting the timeline or budget.In motion design, scope creep might look like a client asking for “just a few tweaks” that turn into an entirely new animation or extra deliverables. It’s the sneaky way a simple project can balloon into an overwhelming workload if boundaries aren’t clearly set.
A type of advertisement where the beginning and end sections (the "pre" and "end cards") are identical, while the middle section changes. This format is commonly used in ongoing campaigns to quickly and affordably raise brand awareness while updating the message or featured content regularly.For example, a donut ad might always start and end with the same logo and tagline but swap out the middle to showcase different products, promotions, or calls to action.
A temporary audio recording used as a placeholder in a project, often for dialogue, narration, or sound effects. In motion design and video production, a scratch track helps guide the timing and pacing of the visuals before the final audio is recorded or added.Scratch tracks are typically recorded quickly and don’t need to be perfect—they’re there to keep the project moving forward until polished audio is ready. For example, a director might record their own voice as a placeholder for a voice actor’s final performance.
Frames Per Second - The number of individual frames displayed per second in a video or animation. Higher FPS results in smoother motion, while lower FPS can create a choppier, more stylized look.For example:23.976 FPS (often called 24 FPS in NTSC): The standard for movies, creating a cinematic and immersive feel.29.97 FPS (often called 30 FPS in NTSC): Popular for TV broadcasts and online videos, providing smoother and more natural motion.59.94+ (often called 60 FPS in NTSC) FPS: Used for ultra-smooth motion in gaming, sports broadcasting, or creating detailed slow-motion shots.In classic animation, lower frame rates often used a technique called "animating on 2s," where a single drawing is held for two frames instead of one. This effectively reduces the animation's frame rate to 12 FPS while maintaining a smooth, hand-drawn aesthetic, saving time and effort in production.
The final arrangement of a logo and any supporting elements—like a tagline, website, legal, or social handles—displayed at the end of a video or ad.This lockup ensures the brand’s message is clear, visually balanced, and consistent across different spots. For example, the logo might appear centered on the end card with the website and tagline stacked neatly below it.
A set price agreed upon for a project, regardless of how much time is spent completing it. This rate can be based on the estimated time required or the value delivered.With a flat rate, the amount charged doesn’t change if the project takes more or less time than expected, providing predictability for both the client and the creator.
(VO) A recording of someone talking that’s added over a video or animation. It’s used to explain things, tell a story, or give extra information.You don’t see the person talking, but their voice helps guide the viewer or add personality to the project.
(Automated Clearing House) A system used for transferring money electronically between banks in the United States. It’s commonly used for direct deposits, bill payments, and business transactions.
A type of video recording format that captures a flat, low-contrast image with minimal color saturation. This format is used to preserve as much detail as possible in highlights and shadows, giving editors maximum flexibility for color grading during post-production.Log footage might look dull and gray out of the camera, but it’s designed to be enhanced later with tools like LUTs, which bring the colors and contrast back to life. It’s particularly useful in professional workflows where achieving a specific look or mood is important.
An alarming situation or activity that requires a solution or monitoring to prevent a future catastrophe.Producer, Account Manager, Project Manager, and other internal roles would flag this for a client based on activities.Example One:"The client is rushing our production but has missed payments and is hard to get in touch with. This client is a red flag."Example Two:"The client is scoped for one-off giveaway collateral for a sports car, but we've discovered the client doesn't have the sports car yet and doesn't intend to acquire one. This client is a red flag."
A video standard used in the United States, Canada, Japan, and parts of South America. It runs at 29.97 FPS, which is slightly slower than 30 FPS. NTSC is the foundation for other frame rates like 23.976 FPS (used for movies) and 59.94 FPS (used for smoother HD video). It’s different from systems like PAL, which is used in Europe and has a different frame rate.
A video standard used in most of Europe, Australia, parts of Asia, and Africa. PAL runs at 25 FPS and typically has a resolution of 625 scan lines, giving it slightly better image quality than NTSC.The frame rate of PAL matches the power frequency in many regions (50 Hz), making it a better fit for electrical systems outside North America. While PAL provides smooth motion and vibrant colors, it’s not directly compatible with NTSC systems, requiring conversion for playback in regions using different standards.
Preset file used to apply specific color grading or adjustments to footage or images. In motion design, LUTs help achieve consistent color tones and styles quickly, saving time during color correction and grading.LUTs are especially handy when working with cameras that record in a log format, which captures a flat, low-contrast image to preserve detail. Applying a LUT transforms the flat footage into a more vibrant and balanced look, making it easier to preview and finalize the desired style.
The organized way files and folders are arranged within a project. In motion design, a good file structure keeps everything tidy and easy to find, reducing confusion and saving time during edits or handoffs to teammates.A typical file structure might include folders for assets (images, audio, footage), project files, renders, and exports. Clear naming conventions and logical organization are key to ensuring your workflow stays efficient and your project stays stress-free.
A standardized way of naming files and folders to keep a project organized and easy to navigate. In motion design, using clear and consistent naming conventions helps prevent confusion, speeds up workflows, and makes it easier to collaborate with others.For example, naming a file "Logo_Animation_v01.aep" instead of "Final_Final2.aep" ensures everyone knows what the file is and its version. A good naming convention often includes details like the project name, content type, and version number.
The uniform adjustment of spacing across a range of characters or an entire word. In motion design and typography, tracking helps control the overall density and readability of text by spreading or tightening the characters evenly.
A visual effect that makes moving objects look slightly blurry, just like they do in real life when they move fast. In motion design, motion blur makes animations look smoother and more natural, instead of sharp and stiff.It’s commonly used to show speed and movement, helping your designs feel more lifelike and less robotic.
A visual way to see the highs and lows of a sound track, making it easier to spot specific parts of the audio. This helps artists edit, time movements, sync with visuals, or add effects right where they’re needed.
The difference between elements in a design or composition that makes them stand out from each other. In motion design, contrast can apply to various aspects like color (light vs. dark), size (large vs. small), movement (fast vs. slow), or texture (smooth vs. rough). Contrast is king when it comes to guiding the viewer's eye, creating focus, and adding visual interest to a scene.
The vertical spacing between lines of text, measured from baseline to baseline. In motion design and typography, leading affects the readability and overall appearance of multi-line text.
Short for "pre-composition," a pre-comp is a group of layers bundled together into a single composition within After Effects. This grouped composition can then be treated as a single layer in the main project, making it easier to organize, apply effects, or animate multiple elements at once. Pre-comps are a powerful tool for streamlining complex projects.
A gradual transition between two or more colors or shades. Gradients are commonly used in design to create depth, dimension, or a smooth blend of colors. They can transition linearly (in a straight line), radially (spreading outward from a central point), or in other custom patterns to achieve various visual effects.
A situation or activity that is worth monitoring, but doesn't require emergency solutions.The Producer, Project Manager, Account Manager, and other team members would flag a client based on activities.Example One:"The client pays and works with our team on deadlines, but we have a hard time getting them to show up to necessary check-ins. It slows down our production sometimes but doesn't prevent us from hitting deadlines. However, we still need to monitor this and eventually course-correct the client."Example Two:"We have found out our client is expecting to gain 100,000 followers on Instagram over the next month without any initial following. This expectation is set by one of their team members who recently took an online marketing class. The client understands this follower amount may not be accurate and relies on us as experts. We will have to simmer their expectations based on budget and scope, so we'll mark them as a yellow flag since we're resetting their goals."
Dolly Move (Push-In/Out): A camera movement where the entire camera physically moves closer to or farther from the subject, creating a smooth "push-in" or "pull-out" effect. Unlike a zoom, where the lens adjusts to magnify or reduce the subject, a dolly move adds a sense of depth and realism by shifting the camera's position in space.
Shy (After Effects): A feature in After Effects that allows you to hide selected layers within a project file. By marking layers as "shy" and enabling the Shy switch, those layers are hidden from view in the timeline, keeping your workspace clean and organized. This is especially useful when creating templates, as it ensures only the customizable layers are visible, streamlining the editing process for others.
Also known as “the revision bait.” The designer would intentionally leave an obvious mistake for the client to pick on so they would leave the rest of the design alone. This came from an old story in graphic design where a designer left his hair arm in the photostat and presented to his boss.
Jib: A camera movement where the camera moves vertically in digital space, mimicking the motion of a real-world "jib crane." Often paired with a "tilt" to maintain focus on the subject, this technique creates smooth, dynamic vertical movment, adding perspective and depth to a shot.
The “CC” in certain After Effects effects stands for Cycore, which is the name of the company that originally developed these effects. Adobe licensed Cycore FX plugins and included them in After Effects as part of the standard effects package. These effects, like CC Ball Action, CC Particle World, and CC Lens, are used for visual effects and animations within After Effects.
Payoff key art is the final key art to represent the movie or show. It is considered the most critical asset in the marketing toolkit. The payoff key art becomes the movie poster, the header image for the movie or show on the streaming platform, OOH, and many other collaterals.
This differs from the Payoff Key Art because it comes out earlier to "tease" the upcoming movie or show. Teaser Key Art focuses on building interest and intrigue rather than presenting the final concept. In a marketing campaign, the teaser key art sits at the top of the funnel to generate awareness.
Lead Animators are team members that oversee the animation team on projects. They guide the overall style and quality, check the work of the animation team, and work closely with directors and other team members to ensure everything stays on schedule. Lead Animators bring the vision of the project to life and assist with technical and creative issues that other animators might face. They are both leaders and mentors, ensuring all animation meets the goals of each project. In long-form animation and movies, the term Lead Animator is commonly used. However, in the motion design and commercial animation industries, an equivalent title is often Animation Director. This distinction exists due to Director’s Guild Association (DGA) guidelines, which restrict the use of the title “Director” to DGA members in long-form animation.
A standard within contracts that requires clients and freelancers to provide a notice of relinquishing services and ceasing partnerships after 30 days."We had to give them our 30-day notice today. We'll stop providing services for them after 30 days."
When someone or a group ceases communication and activity without warning."They accepted our pitch, but will not return emails or calls. Looks like they ghosted us."
A person or group that is recommended from another person or group as a potential partner or hire.
A person or group who will exchange monetary or trade goods for services provided by the other party.
Outputs from artificial intelligence and language learning models designed to produce visual elements from sample bases composed of existing visual elements.Also known as Generative AI.
Projecting a 2D image texture onto a 3D model’s surface.The layout of the UVs define how the texture “wraps” around the object.
A technique used typically in rigging where vertices of a mesh are assigned weights typically applied with a brush tool - hence the term painting.The weight of the vertices determine how much influence different bones or deformers have on the mesh of your model.For example, it’s used to control how a character’s skin moves with its skeleton for more realistic deformation.
A rendering technique used typically for optimization that removes objects and or polygons that aren’t visible in camera. For example, backface culling removes polygons facing away from the camera.Culling reduces the computational load and improves performance.
Patterns of light created when light rays are focused through a refractive or reflective surface, like the light patterns seen on the bottom of a pool or through glass.
Refers to the arrangement of vertices, edges, and faces in a 3D model, which affects how well the model deforms during animation or how efficiently it renders.
The base color, or diffuse color of a material without any lighting or shading information. Used in physically based rendering to represent the true color of a surface under neutral lighting.
A shading phenomenon where the amount of reflectivity on a surface changes based on the angle of view.In 3D rendering and shading, the Fresnel Effect is used to simulate this phenomenon, particularly for materials like glass, water, metals, and other reflective surfaces. By adjusting the reflectivity based on the angle of incidence (the angle between the viewer and the surface), the Fresnel Effect helps create more realistic and dynamic surfaces.
A type of shading used for surfaces with directional reflection patterns. It simulates how light reflects differently based on the surface’s microscopic grooves or fibers.A concrete example of anisotropy is brushed metal, such as the surface of a stainless steel kitchen appliance or a metal watch face. When light hits brushed metal, it doesn’t reflect uniformly like it would on a smooth mirror. Instead, the reflection appears stretched or directional, following the fine grooves created by the brushing process.In 3D rendering, to achieve this effect, an anisotropic shader is used. It mimics how light behaves differently depending on the orientation of these grooves. For instance, if you look at the surface from different angles, the highlights shift and stretch along the direction of the brushing, creating that characteristic “combed” or elongated shine. This anisotropic reflection is essential for accurately rendering materials like brushed metal, hair, fabrics like satin, or even the grooves on a vinyl record.
A texture technique that alters the actual geometry of a surface by using height data, creating detailed surface variations like bumps or cracks that physically change the mesh.
Ambient Occlusion (AO) is a shading technique used in 3D rendering to simulate how light is blocked or absorbed in tight spaces, crevices, or where objects are close to each other. It adds realistic shadowing in these areas, enhancing depth and realism in the final image.
Cryptomatte is a tool used in compositing to create automatic ID mattes from 3D scenes. It generates precise masks for different objects, materials, or layers, making it easier to isolate and manipulate specific elements in post-production without the need for manual masking.
A specifically designed workflow is needed to control the different versions of assets as they get updated. This is typically employed in a 3D pipeline (C4D, Maya, Unreal Engine)
Digital-out-of-home (DOOH) refers to digital billboards that you see in Times Square, airports, along the freeway, or even at bus stops. Traditional OOH is a printed waterproof canvas. DOOH is typically LED screens that can display static and video content.
Tunein or Tune-in is the call-out text that indicates when a TV show will air. This call-out text usually consists of a short 3to 4-word show message, a date, and the network logo.
In broadcast design, especially in a broadcast design toolkit or package, a scrim refers to a corner graphic, typically a semi-opaque gradient, to make the logo bug or corner graphic stand out better against the video background.
also clay rendering or claymation rendering. It's a 3D rendering technique rooted in the traditional art of sculpting. This is a part of the early stages of a project where 3D artists use it to study the layout, camera angles, and overall composition before committing to the more time-intensive render with colors, lights, and textures.
It's a term used by streamers like Netflix, Disney+, etc... to describe a specific audience behavior - turn their service on/off depending on what content the audience is interested in watching. Streamers employ several strategies to avoid churning. One of which is by bundling many services together.
Morphing in animation is a technique where one shape transforms into another. This is achieved by creating a sequence of intermediate frames that smoothly transition between the initial and final shapes, giving the illusion of fluid transformation or by copying the paths of one shape to the other. This should not be confused with tweening, which is to create intermediate images to create the illusion of movement.
(aka Billing block) is the name of the cluster of credits found at the bottom of the movie poster. It typically uses a super condensed font to fit a lot of type in. There are rules set by the Writers Guild (WGA) and Directors Guild (DGA) for the billing block to be at least 15% the size of the movie title.
A graphical interface method of adding effects and adjustments to visual components based on linking compatible effects and directing the output.
Also known as camera right. It is used in post-production to communicate where something is on screen, especially in reference to actors or characters. An example of this would be this feedback note: "Let's change out the watch on his right wrist." The director might be referring to the character's right hand which is on the left of the screen or it could be the hand on the right of the screen. They are two different things. By specifying with "screen right" or "camera right," it is clear where the note is referring to.
Also known as screen right. It is used in post-production to communicate where something is on screen, especially in reference to actors or characters. An example of this would be this feedback note: "Let's change out the watch on his right wrist." The director might be referring to the character's right hand which is on the left of the screen or it could be the hand on the right of the screen. They are two different things. By specifying with "screen right" or "camera right," it is clear where the note is referring to.
Also known as camera left. It is used in post-production to communicate where something is on screen, especially in reference to actors or characters. An example of this would be this feedback note: "Let's change out the watch on his left wrist." The director might be referring to the character's left hand which is on the right of the screen or it could be the hand on the left of the screen. They are two different things. By specifying with "screen left" or "camera left," it is clear where the note is referring to.
Also known as screen left. It is used in post-production to communicate where something is on screen, especially in reference to actors or characters. An example of this would be this feedback note: "Let's change out the watch on his left wrist." The director might be referring to the character's left hand which is on the right of the screen or it could be the hand on the left of the screen. They are two different things. By specifying with "screen left" or "camera left," it is clear where the note is referring to.
OTS is short for Over-The-Shoulder graphics. This is used in news broadcast design to describe a graphic that appears next to the newscaster. It acts as a visual aid for the subject matter being discussed.
In film editing, a match cut is a transition from one shot to another where the composition of the two shots matches in terms of action, subject, or subject matter.In animation and motion design, a match cut can be visualized as a shape or visual element that maintains the same size, position, and animation timing.
The original software files used during production. For example, the original After Effects, Photoshop, Illustrator, Cinema4D files.
When someone pays way too much attention looking at minute details. For example, when examining the grain of a composite element to make sure it matches the film stock. Someone who pixel-fucks pays more attention to tiny details than the overall effectiveness of the shot.
A gobo is an object placed inside or in front of a light source to control the shape of the emitted light and its shadow. For studio photography purposes, the term "gobo" refers to any device that casts a shadow and various pieces of equipment that go in front of a light (such as a gobo arm or gobo head). In theatrical lighting, however, the term more specifically refers to a device placed in "the gate" or at the "point of focus" between the light source, called a lamp, and the lenses (or other optics). The exact derivation of the term gobo is unclear, although it appears to have originated in cinema studios in the 1930s. It may be an American slang abbreviation of "go-between", or "go-before" (just as New York's "SoHo" signifies the area "South of Houston Street"). Some lighting professionals believe that it is an acronym for "goes before optics" or, less often, "goes between optics."
A graphics delivery method for multiple screens within a single video file. Different rectangle areas are designated to be mapped to individual screens using a media server. This is often used with live events and experiential settings.
Pitching is the process of creating treatments for a prospective client in a bid to win a project. Pitching can be competitive against other companies. Usually, the agency/client will ask 3 studios/creatives for a pitch. Every job is unique, and not every pitch is equal, but pitches can include everything from design to storyboards, written treatments, and style frames.
A graphics delivery method for multiple screens within a single video file. Different rectangle areas are designated to be mapped to individual screens using a media server. This is often used with live events and experiential settings.
The process of creating treatments for a prospective client in a bid to try and win a project. Pitching can be competitive against other companies, usually the agency / client will ask 3 studios / creatives for a pitch. Everyone job is unique and not every pitch is equal, but they can include everything from design, storyboards, written treatments, and style frames.
In film editing, a match cut is a transition from one shot to another where the composition of the two shots matches in terms of action, subject, or subject matter.
In animation and motion design, a match cut can be visualized as a shape or visual element that maintains the same size, position, and animation timing.
OTS is short for Over-The-Shoulder graphics. This is used in news broadcast design to describe a graphic that appears next to the newscaster. It acts as a visual aid for the subject matter being discussed.
Morphing in motion design is a technique where one shape transforms into another. This is achieved by two ways. Either by creating a sequence of intermediate frames that smoothly transition between the initial and final shapes, giving the illusion of fluid transformation or by copying the paths of one shape to the other.
The original software files used during production. For example, the original After Effects, Photoshop, Illustrator, Cinema4D files.
A gobo is an object placed inside or in front of a light source to control the shape of the emitted light and its shadow.
For studio photography purposes, the term "gobo" has come to refer to any device that casts a shadow, and various pieces of equipment that go in front of a light (such as a gobo arm or gobo head).
In theatrical lighting, however, the term more specifically refers to a device placed in "the gate" or at the "point of focus" between the light source, called a lamp, and the lenses (or other optics).
The exact derivation of the term gobo is unclear, although it appears to have originated in cinema studios in the 1930s. It may be an American slang abbreviation of "go-between", or "go-before" (just as New York's "SoHo" signifies the area "South of Houston Street").
Some lighting professionals believe that it is an acronym for "goes before optics" or, less often, "goes between optics"
When someone pays way too much attention looking at minute details. For example, when examining the grain of a composite element to make sure it matches the film stock. Someone who pixel-fucks pays more attention to tiny details than the overall effectiveness of the shot.
An artist often working with the creative leads to explore concepts and ideation for projects. Often creating style frames that help the team achieve a unifed visual direction.
On bigger projects with multiple edits, editors sometimes work in teams to help process large volumes of footage, alternate edits, and assisting with any task the lead Editor needs.
Artist responsible for creating the final edit often in premiere, avid or final cut. Can be instrumental in finding the best takes, shots, timings and pacing of a piece.
Usually the lead 3D artists on the team, they help translate the overall vision from the creative leads to the 3D team. Establishing pipelines, workflows, and also helping on set making sure the artists have the required data / assets they need.
An artist who has created a singular role to focus on for their speciality.
A technical director can have a wide range of qualities but often are put into roles to help guide the team in project pipeline. Usually a hybrid role that has qualities of a developer and an artist.
An artist who doesn't specifically focus on one single role on a team, instead can serve in multiple roles.
Associate Creative Director, often mentoring under a more senior Creative Director, an ACD can be adding to a team for additional support or as a single creative lead.
One of the 12 Principles of Animation. Timing refers to the arrangement and duration of actions and movements within a sequence. It involves determining the speed and rhythm at which different elements of the animation occur, including the timing of key poses, the spacing between frames, and the overall pacing of the animation. Adjusting an animation's timing adjusts how the viewer percieves motion.
An order list of values. You can make arrays of integers, floats, strings, or vectors. Also called a Matrix in some software.
One of the 12 Principles of Animation. Pose-to-pose animation is a technique used by animators to create motion by planning out key poses or keyframes at specific points in the animation sequence, and then filling in the in between frames after. In this method, the animator starts by sketching or defining the key poses that convey the main actions or movements of the character or object being animated. Pose-to-pose animation is often used for scenes requiring precise timing, complex movements, or specific storytelling beats, such as character performances, dialogue sequences, or action sequences. The opposite technique to pose-to-pose animation is straight ahead animation, and either technique is usually chose based on an animator's personal preference.
One of the 12 Principles of Animation. Derived in the fundamentals of cel animation, straight ahead is an animation technique where an animator draws each new frame sequentially, without planning keyframes in advance. The animator will draw the first frame and continue advancing through an animation until the last frame. The opposite technique to straight ahead animation is pose-to-pose animation, and either technique is usually chosen based on an animator's personal preference.
One of the 12 Principles of Animation. Solid Drawing emphasizes the importance of creating drawings or designs with volume, weight, and depth on a two-dimensional surface. This principle helps to make characters or objects feel grounded with weight and realism.
One of the 12 Principles of Animation, coupled with follow through. Overlapping Action refers to the principle that different parts of a character move at different rates. It adds a sense of subtlety and/or complexity to main movements.
One of the 12 Principles of Animation, coupled with overlapping action. Follow through refers to the parts of an object or character that continue moving after the main action has stopped. It helps convey a sense of weight and realism.