{"id":7204,"date":"2021-11-21T20:01:31","date_gmt":"2021-11-21T20:01:31","guid":{"rendered":"http:\/\/boomer.pt\/os-12-principios-da-animacao\/"},"modified":"2021-11-21T20:01:31","modified_gmt":"2021-11-21T20:01:31","slug":"os-12-principios-da-animacao","status":"publish","type":"post","link":"https:\/\/boomer.pt\/raiodoblog\/os-12-principios-da-animacao\/","title":{"rendered":"Os 12 princ\u00edpios da anima\u00e7\u00e3o"},"content":{"rendered":"\t\t
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Os 12 princ\u00edpios da anima\u00e7\u00e3o<\/h1>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Vamos te explicar neste artigo os 12 princ\u00edpios da anima\u00e7\u00e3o que servem de base para trazer vida e realidade a qualquer objeto!\u00a0<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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A anima\u00e7\u00e3o est\u00e1 presente nas nossas vidas desde os desenhos animados que v\u00edamos durante a inf\u00e2ncia, at\u00e9 aos v\u00eddeos que vemos nos media digitais nos dia de hoje. O desenvolvimento de uma boa anima\u00e7\u00e3o \u00e9 um processo que requer bastante tempo e trabalho para obter um bom resultado, isto \u00e9, um bom equil\u00edbrio entre as leis da f\u00edsica e a dramatiza\u00e7\u00e3o dos movimentos. O objetivo dos animadores \u00e9, portanto, dar vida a formas, objetos ou personagens.<\/p>

Os 12 princ\u00edpios b\u00e1sicos da anima\u00e7\u00e3o foram desenvolvidos pelos famosos animadores da Disney, Frank Thomas e Ollie Johnston. Estes conceitos foram introduzidos pela primeira vez em 1981, no livro \u201cIllusion of Life: Disney Animation\u201d, sendo este considerado por muitos profissionais como a \u201cb\u00edblia da anima\u00e7\u00e3o\u201d, em que os dois animadores demonstraram como produzir movimentos mais realistas e naturais.<\/p>

\u00a0<\/p>

Quais s\u00e3o ent\u00e3o os 12 princ\u00edpios da anima\u00e7\u00e3o<\/span>?<\/span><\/h2>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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1. Squash and Stretch (Comprimir e Esticar)<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\u00c9 um dos princ\u00edpios mais importantes na anima\u00e7\u00e3o, permitindo dar uma sensa\u00e7\u00e3o de gravidade, peso e flexibilidade. Por exemplo, quando atiramos uma bola de borracha (apelidadas de bolas pinchonas) para o ch\u00e3o, a sua largura aumenta, enquanto a altura diminui.<\/p>

No entanto, o volume do objeto deve ser constante e n\u00e3o se alterar quando \u00e9 comprimido ou alongado, havendo sempre um equil\u00edbrio entre a sua largura e a altura.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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2. Antecipa\u00e7\u00e3o<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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A antecipa\u00e7\u00e3o \u00e9 usada para preparar o espectador para uma a\u00e7\u00e3o e tem como objetivo tornar a anima\u00e7\u00e3o mais realista. Da mesma forma que n\u00e3o conseguimos saltar sem dobrar os joelhos, o mesmo se espera de uma personagem animada. Se n\u00e3o existir antecipa\u00e7\u00e3o, os movimentos parecem demasiado mec\u00e2nicos e sem vida. Ou seja, antes de uma a\u00e7\u00e3o, deve existir uma a\u00e7\u00e3o oposta para preparar este movimento.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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3. Encena\u00e7\u00e3o (Staging)<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Tal como a composi\u00e7\u00e3o nas obras de arte ou design, o enquadramento \u00e9 um fator muito importante, pois ajuda a guiar o olho do espectador, revelando onde se vai passar a a\u00e7\u00e3o. Seja atrav\u00e9s de luz e sombra, ou da posi\u00e7\u00e3o da c\u00e2mera, o objetivo \u00e9 demonstrar ao p\u00fablico o foco da cena, mantendo o movimento dos restantes elementos ao m\u00ednimo, de forma a tornar o centro das aten\u00e7\u00f5es mais claro e vis\u00edvel.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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4. Anima\u00e7\u00e3o direta ou pose a pose<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Existem duas abordagens que podem ser utilizadas na cria\u00e7\u00e3o de uma cena animada: anima\u00e7\u00e3o direta e pose a pose.<\/p>

Na anima\u00e7\u00e3o direta, o animador desenha os\u00a0frames<\/em>\u00a0(quadros) de forma sequencial e espont\u00e2nea, de um momento para o outro, permitindo um movimento mais fluido. Este m\u00e9todo \u00e9 mais utilizado em cenas com mais a\u00e7\u00e3o ou quando o animador n\u00e3o sabe ao certo como vai decorrer a cena.<\/p>

J\u00e1 na anima\u00e7\u00e3o pose a pose, o animador desenha primeiro o in\u00edcio e o fim do movimento e s\u00f3 depois preenche os\u00a0frames<\/em>\u00a0dos momentos entre as duas posi\u00e7\u00f5es. Esta abordagem concede um maior controlo sobre a anima\u00e7\u00e3o e \u00e9 mais usada quando queremos dar mais dramatismo \u00e0 personagem ou objeto, visto j\u00e1 ter a posi\u00e7\u00e3o final estabelecida. O mais comum \u00e9 utilizar uma combina\u00e7\u00e3o dos dois m\u00e9todos.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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5. Continuidade e Sobreposi\u00e7\u00e3o<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Da mesma forma que a antecipa\u00e7\u00e3o est\u00e1 para o in\u00edcio de um movimento, a continuidade est\u00e1 para a termina\u00e7\u00e3o desse movimento. Quando uma personagem para de correr, o seu cabelo n\u00e3o para instantaneamente, mas continua a mover-se ap\u00f3s o corpo ter parado.<\/p>

A sobreposi\u00e7\u00e3o \u00e9 a tend\u00eancia das diferentes partes de um objeto complexo para se movimentarem em tempos diferentes, mesmo que ainda assim fa\u00e7am parte da cena ou do objeto principal.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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6. Acelera\u00e7\u00e3o e Desacelera\u00e7\u00e3o<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Todos os movimentos naturais necessitam de um tempo de acelera\u00e7\u00e3o inicial e de um tempo de desacelera\u00e7\u00e3o no fim.<\/p>

A melhor forma de entender este conceito \u00e9 pensarmos como um carro, que come\u00e7a a mover-se lentamente at\u00e9 ganhar impulso e atingir a velocidade pretendida. O oposto acontece quando o carro trava.<\/p>

Na anima\u00e7\u00e3o, esse efeito \u00e9 obtido quando s\u00e3o adicionados mais\u00a0frames<\/em>, no in\u00edcio e no final de uma sequ\u00eancia de a\u00e7\u00e3o, n\u00e3o havendo tanta preval\u00eancia nos intermedi\u00e1rios.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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7. Movimento em arco<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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A maioria dos organismos vivos tendem a seguir uma trajet\u00f3ria em arco, enquanto os movimentos mec\u00e2nicos seguem em linha reta. Para entender melhor este conceito, devemos pensar na forma como um ser humano se movimenta comparativamente a um robot, ou no tipo de movimento que utilizamos para os imitar. Para uma anima\u00e7\u00e3o mais fluida e natural devemos usar as trajet\u00f3rias mais apropriadas.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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8. A\u00e7\u00e3o Secund\u00e1ria<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Um dos m\u00e9todos mais eficazes de tornar uma cena mais din\u00e2mica e complexa \u00e9 a utiliza\u00e7\u00e3o de uma ou v\u00e1rias a\u00e7\u00f5es secund\u00e1rias, que resultem diretamente do movimento principal, ou seja, fa\u00e7am parte da mesma narrativa. As formas secund\u00e1rias podem ter timings diferentes e, por norma, t\u00eam movimentos subtis como, por exemplo, uma mochila a mexer-se enquanto a personagem corre.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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9. Timing<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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O timing \u00e9 o que controla o ritmo e, consequentemente, as emo\u00e7\u00f5es e o humor de uma cena. Ao reproduzir os movimentos naturais, e para que estes tenham maior credibilidade poss\u00edvel, os animadores devem ter aten\u00e7\u00e3o \u00e0 velocidade e se esta \u00e9 a adequada ou se, pelo contr\u00e1rio, est\u00e1 r\u00e1pida ou lenta demais.<\/p>

\u00c9 poss\u00edvel dar sensa\u00e7\u00f5es diferentes a dois objetos visualmente iguais atrav\u00e9s da manipula\u00e7\u00e3o dos respectivos tempos, utilizando mais\u00a0frames<\/em>\u00a0num dos objetos, para que este tenha uma maior sensa\u00e7\u00e3o de peso. Quanto mais tempo e quadros forem utilizados, mais lenta \u00e9 uma a\u00e7\u00e3o e vice-versa.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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10. Exagero<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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A anima\u00e7\u00e3o nem sempre deve ser baseada na realidade e em movimentos naturais, especialmente quando se deseja transmitir express\u00f5es e sentimentos. No entanto, uma forma de contornar esta quest\u00e3o \u00e9 adicionar algum exagero em pequenos elementos de uma personagem, quer seja aumentando o tamanho dos olhos quando est\u00e1 surpresa, quer apenas na subtileza de alguns gestos, dependendo do n\u00edvel de realismo pretendido.<\/p>

Desta forma, as a\u00e7\u00f5es s\u00e3o compreendidas mais facilmente e, al\u00e9m disso, mant\u00e9m-se o tom c\u00f3mico t\u00e3o pr\u00f3prio das anima\u00e7\u00f5es.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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11. Desenho s\u00f3lido \/ volume<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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O dom\u00ednio do desenho e da compreens\u00e3o das formas, volume e peso \u00e9 essencial na anima\u00e7\u00e3o, bem como a utiliza\u00e7\u00e3o da luz e sombra.<\/p>

A perspetiva deve ser consistente em todos os desenhos, para que estes funcionem de forma adequada, de acordo com os ambientes.<\/p>

Mesmo no caso das anima\u00e7\u00f5es 2D, os personagens n\u00e3o devem ser planos, por isso os animadores usam \u00e2ngulos e poses diferentes para acrescentar volumetria, o que ajuda a transmitir uma sensa\u00e7\u00e3o de realidade.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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12. Apelo<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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A personagem ou o objeto principal usado numa anima\u00e7\u00e3o deve apelar ao espectador e atrair a sua aten\u00e7\u00e3o. Isto implica que o seu desenho seja f\u00e1cil de entender, com caracter\u00edsticas f\u00edsicas e express\u00f5es corporais marcantes e uma personalidade distinta dos restantes.<\/p>

O apelo \u00e9 nada mais do que o carisma de uma personagem, que deve criar uma conex\u00e3o com o p\u00fablico, de forma a que este ganhe mais interesse pelo que se passa no ecr\u00e3.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Cada vez mais vemos v\u00eddeos com\u00a0motion graphics<\/em>\u00a0nas redes sociais e fica dif\u00edcil destacar-se no meio de tantas publica\u00e7\u00f5es. Por isso devemos apostar na comunica\u00e7\u00e3o visual e na qualidade das anima\u00e7\u00f5es, de forma a captar melhor a aten\u00e7\u00e3o do p\u00fablico!<\/p>

Este<\/strong>\u00a0artigo foi \u00fatil?<\/strong>\u00a0Deixa o teu\u00a0gosto<\/strong>!<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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V\u00ea mais artigos deste Autor<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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\n\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t
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Tiago Oliveira<\/h3>\n\t\t\t\t\t\t\t\t\t\t\t

\n\t\t\t\t\t\t\tDesigner<\/span>\n\t\t\t\t\t\t<\/h5>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\n\t\t\t\tPsicologia das formas: O Significado das formas no design\t\t\t<\/a>\n\t\t<\/h3>\n\t\t\t\t
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Cada elemento que escolhemos para uma pe\u00e7a gr\u00e1fica tem o poder de transmitir mensagens e influenciar a perce\u00e7\u00e3o do p\u00fablico.<\/p>\n

Entre esses elementos do design, as formas desempenham um papel fundamental na forma como percebemos e reagimos aos elementos visuais. <\/p>\n\t\t<\/div>\n\t\t\t\t\t

\n\t\t\n\t\t\n\t\t\tLER MAIS\t\t<\/a>\n\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t\t\n\t\t\t8 de March, 2025\t\t<\/span>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/article>\n\t\t\t\t
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\n\t\t\t\n\t\t\t\tCity Branding: Transformar Cidades em Marcas Vivas\t\t\t<\/a>\n\t\t<\/h3>\n\t\t\t\t
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No cen\u00e1rio global cada vez mais competitivo, onde as cidades se tornam centros de neg\u00f3cios, turismo e cultura, o conceito de “city branding” ou \u201cplace branding\u201d ganha relev\u00e2ncia. <\/p>\n\t\t<\/div>\n\t\t\t\t\t

\n\t\t\n\t\t\n\t\t\tLER MAIS\t\t<\/a>\n\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t\t\n\t\t\t31 de August, 2024\t\t<\/span>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/article>\n\t\t\t\t
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\n\t\t\t\n\t\t\t\t5 princ\u00edpios do Design Inclusivo\t\t\t<\/a>\n\t\t<\/h3>\n\t\t\t\t
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\u00c0 medida que as marcas procuram relacionar-se com uma audi\u00eancia cada vez mais diversificada, o design gr\u00e1fico inclusivo emerge como uma ferramenta poderosa para criar estrat\u00e9gias e produtos que transcendem barreiras. Este artigo explora cinco princ\u00edpios fundamentais do design gr\u00e1fico inclusivo e como as marcas os podem incorporar para ampliar o seu alcance e construir uma presen\u00e7a mais inclusiva e aut\u00eantica.<\/p>\n\t\t<\/div>\n\t\t\t\t\t

\n\t\t\n\t\t\n\t\t\tLER MAIS\t\t<\/a>\n\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t\t\n\t\t\t8 de May, 2023\t\t<\/span>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/article>\n\t\t\t\t<\/div>\n\t\t\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

\"\"<\/p>\n

\u00a0Vamos te explicar neste artigo os 12 princ\u00edpios da anima\u00e7\u00e3o que servem de base para trazer vida e realidade a qualquer objeto!\u00a0<\/span><\/p>\n","protected":false},"author":5,"featured_media":7191,"comment_status":"open","ping_status":"open","sticky":false,"template":"elementor_theme","format":"standard","meta":{"footnotes":""},"categories":[98],"tags":[131,130,156,197,140,154,151,139,148,260,133,132],"class_list":["post-7204","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-design","tag-agencia-digital","tag-agenciademarketing","tag-ai","tag-boomer","tag-branding","tag-design","tag-gestaoredesosciais","tag-marca","tag-marketingdigital","tag-principios-da-animacao","tag-redessociais","tag-vila-nova-de-famalicao"],"yoast_head":"\nOs 12 princ\u00edpios da anima\u00e7\u00e3o - BOOMER<\/title>\n<meta name=\"description\" content=\"Vamos te explicar neste artigo os 12 princ\u00edpios da anima\u00e7\u00e3o que servem de base para trazer vida e realidade a qualquer objeto!...\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/boomer.pt\/raiodoblog\/os-12-principios-da-animacao\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Os 12 princ\u00edpios da anima\u00e7\u00e3o - 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