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Animating Motion: timing, spacing, and weight

  • Learner can control timing and easing through frame counts between poses
  • Learner can give motion weight and life with squash-and-stretch, arcs, anticipation, follow-through, and overlapping action
  • Learner can stage an action so it reads clearly to an audience

Animate a short bouncing/moving-character clip (hand-drawn or coded) that demonstrably applies the core principles: timing via frame count, slow-in/slow-out easing, arcing motion paths, squash-and-stretch for weight, anticipation before the main action, and follow-through/overlapping action after it — all staged to read at a glance.

This module builds toward one whole task: a short clip of a bouncing ball or simple character that feels alive rather than mechanical. In a live-coded visual set — sprites lerping across a projection, audio-reactive shapes pulsing to a kick — the difference between “screensaver” and “performance” is almost entirely these classical animation principles. The audience never sees your easing curve, but they feel it.

Start supported: take a linear two-pose bounce (given as a starter sketch or flipbook template) and change only the frame count between poses, watching how the same trajectory reads as heavy or light. Then redistribute those frames toward the key poses — the slow-in/slow-out drill — until the motion stops looking robotic. These two moves, timing by frame count and easing by spacing, are the automaticity drills: repeat them until adjusting feel is reflexive, because everything else layers on top. Next, bend the path into an arc, deform the shape on impact with squash-and-stretch, add a small preparatory crouch before the leap (anticipation), and let a secondary part — a tail, a trailing particle — settle late (follow-through and overlapping action).

Each required atom gates the capstone directly: the brief explicitly asks for every one of these principles, and the final staging pass — one clear focal action, readable at a glance — is what turns a checklist of techniques into a statement. The supporting atom on repetition as elementary rhythm enriches the work: once your bounce loops, its repetition becomes compositional force, a bridge toward rhythmic, music-synced motion in later modules — worth reading, but not needed to land this capstone.

Runnable examples

Generated from the context/ instrument corpus by concept (redistributable idioms only). Do not edit — regenerate with gen-module-examples.mjs.

oscillation

let y = height/2 + sin(frameCount * 0.05) * 100

p5live-0004 · CC0-1.0

float rings = abs(sin(length(uv)*20.0 - u_time*2.0));

glsl-0039 · public-domain

easing-curve

x = lerp(x, targetX, 0.1)

p5live-0032 · CC0-1.0

immediate-mode-draw

function draw(){ background(0); circle(width/2, height/2, 200) }

p5live-0002 · CC0-1.0

noise-drift

let x = noise(frameCount*0.002)*width, y = noise(frameCount*0.003)*height

p5live-0007 · CC0-1.0

Atoms in this module

Required — these gate the capstone

Timing in animation is controlled by the number of frames between poses: more frames = slower, fewer = faster
Principle L2 First instrument LH
Slow in and slow out — more frames near key poses and fewer in the middle — creates natural easing
Concept L2 First instrument LH
Natural motion follows arcs rather than straight lines, giving animation flow and biological authenticity
Principle L2 First instrument LH
Squash and stretch give animated objects the illusion of weight and volume
Concept L2 First instrument LH
Anticipation is a preparatory move before a major action that primes the viewer's expectation
Concept L2 First instrument LH
Follow-through means secondary parts of an object continue moving after the main body stops
Principle L2 First instrument LH
Staging presents an idea so that it reads clearly to the audience
Principle L2 First instrument LH

Supporting — enrichment, not gating

Repetition of a point or element is a source of elementary rhythm and a means of heightening inner vibration
Concept L1 Foundations LJ
Every visual animation is a parameter driven by a function of time — the character of motion is entirely in that function
Concept L2 First instrument HG
Immediate-mode 2D canvas redraws the whole frame each tick from explicit vector calls while retaining program state between frames
Concept L2 First instrument LH
Minimal motion is a single well-timed easing-curve drift — one move is the whole event
Concept L2 First instrument HL