7- Using arcs to animate the movements of characters helps achieve a natural look because most living creatures move in curved paths, never in perfectly straight lines. Non-arc motion comes across as sinister, restricted or robotic. In three-dimensional computer animation we can use software constraints to force all or some of the motion within arcs. Even motion-captured performances can be fine-tuned with curve editors, as long as the motion is not flattened.

8- Secondary action consists of the smaller motions that complement the dominant action. In three-dimensional computer animation we can take advantage of layers and channels for building up different secondary motions, for example, a layer for hair, a layer for the character's hat, a layer for the cape, and so on

9- Timing is the precise moment and the amount of time that a character spends on an action (figure below). Timing adds emotion and intention to the character's performance. Most three-dimensional computer animation tools allow us to fine tune the timing by shaving off or adding frames with non-linear time-editing. Timing can also be controlled and adjusted by placing each character on a separate track, and using sub-tracks for parts of the character such as head, torso, arms and legs.

TIMING

10- Exaggeration usually helps cartoon characters to deliver the essence of an action. A lot of exaggeration can be achieved with squash and stretch. In three-dimensional computer animation we can use procedural techniques, motion ranges and scripts to exaggerate motion. The intensity of a moment can be increased with cinematography and editing, not just with performance.

11- Solid modeling and rigging, or solid drawing as it was called in the 1930s, emphasizes the clear delineation of shape necessary to bring animated characters to life. Solid and precise modeling helps to convey the weight, depth and balance of the character, and it also simplifies potential production complications due to poorly modeled characters. Animation rigs are at their best when they are optimized for the specific personality and motion of the character. Pay attention to silhouettes when aligning characters to the camera.

SOLID MODELING AND RIGGING

12- Character personality, or appeal as it was originally called, facilitates the emotional connection between character and audience. Characters must be well developed, have an interesting personality, and have a clear set of desires or needs that drive their behavior and actions. Complexity and consistency of motion are two elements of character appeal that can be easily developed with three-dimensional computer animation. Writing down the ways in which the character moves (Fig. 10.5.7), how he/she reacts to different situations, and how he/she relates to other characters can help define the main characteristics of the character's personality. Fine-tune the personality with the key poses and the character turnarounds.