Animating Non-Humanoid Characters

Animating non-humanoid characters presents a unique set of challenges and opportunities for animators. Unlike humanoid characters, which are rooted in human anatomy and familiar movements, non-humanoid characters can be anything from animals to abstract shapes or machines. Despite their differences, the principles of animation remain the same: timing, spacing, weight, and acting. However, animating these characters requires a deeper understanding of how to convey emotion, intention, and believability, even when the character doesn’t resemble a human form.

1. Understanding the Character’s Design

Before diving into animation, it’s crucial to understand the design of the non-humanoid character. Unlike humans, non-humanoid characters don’t have the same obvious cues for movement or posture. For instance, a character made of liquid might not have clear limbs, or a mechanical robot might have rigid joints. These design factors play a major role in how the character moves and interacts with the world around them.

• Shape and Structure: The shape of the character can determine the movement style. A bouncy, round character will typically move with more fluidity, while a character made of angular shapes may move more sharply or rigidly.

• Texture and Material: Is the character rubbery, metallic, or liquid? Each material responds differently to forces like gravity or impact, influencing the way it should move.

• Weight Distribution: Consider how the mass is distributed within the character. A character with a larger head or an imbalanced body will move differently from one that has a more symmetrical design.

2. Using the Principles of Animation

The 12 principles of animation are the core guidelines that animators use to bring any character to life. These principles apply to both humanoid and non-humanoid characters but may require some adaptation depending on the nature of the character.

Squash and Stretch

One of the most important principles when animating non-humanoid characters is squash and stretch. For instance, a bouncing ball will deform as it hits the ground (squash), then stretch as it rises. This gives the ball the illusion of weight, energy, and flexibility. The same concept can apply to other types of characters, whether it’s an abstract blob or a robotic figure.

• Rubbery Characters: Squash and stretch works wonderfully for characters made of flexible materials, like rubber or jelly. You can stretch them as they move quickly and squash them when they hit the ground.

• Rigid Characters: For characters made of hard materials, like metal or stone, the squash might be minimal, focusing more on impact effects, such as bending or creaking.

Anticipation

Anticipation is the lead-up to an action that prepares the audience for what’s about to happen. With non-humanoid characters, anticipation is vital for ensuring that movements don’t feel random or disconnected. A character that looks like an abstract blob might swell or change shape before it leaps or stretches.

Follow Through and Overlapping Action

Follow through is about how parts of the character continue to move after the main body stops. Non-humanoid characters often have very distinctive follow-throughs. A character with a long, trailing appendage (like a snake or tentacle) will have this appendage moving after the main action stops, creating a more fluid motion.

For overlapping action, think about how different parts of the character move at different rates. A mechanical character might have various components that move in sync or, in some cases, with slight delays, which can enhance the complexity and realism of the animation.

Timing and Spacing

When animating a non-humanoid character, you must also carefully consider the timing and spacing of movements. For instance, the faster a character moves, the more spaced out the keyframes will be, and the more exaggerated the motion will appear. On the flip side, a character that moves slowly might have tighter spacing and more nuanced timing.

• Fluidity vs. Rigidity: Non-humanoid characters that are fluid (like water or smoke) will have slow, continuous timing, while rigid characters (like robots) may have more staccato movements.

• Slowing Down/Speeding Up: Non-humanoid characters benefit from stretches of extreme speed or weightlessness, creating dynamic contrasts.

Appeal

Appeal refers to the likability and clarity of the character’s movements. For non-humanoid characters, appeal often stems from exaggerating certain aspects of the design. For example, a robot with oversized, clunky movements might not be traditionally “cute” in the way a human or animal character might be, but it can be charming if the animation emphasizes the character’s awkwardness or deliberate, robotic precision.

3. Personality and Emotion

One of the most significant challenges of animating non-humanoid characters is conveying emotion. Without facial expressions or human gestures, the character’s movement becomes the primary means of expressing emotion and intention.

Expressing Emotion Through Movement

When animating non-humanoid characters, animators must focus on how movement reflects internal states. For instance, a mechanical robot that’s angry might exhibit jerky, violent movements, while a character made of liquid might ripple and vibrate with tension.

• Slow, deliberate movements can indicate thoughtfulness or hesitation.

• Fast, erratic movements suggest panic or excitement.

• Smooth, controlled motions convey calmness or confidence.

Using Design to Reflect Mood

The design of a non-humanoid character can also help convey its personality. A jagged, angular design might imply aggressiveness or strength, while smooth curves suggest softness or friendliness. The way the character’s materials bend or move can mirror emotional states. A metal character might creak or grind when anxious, while a fluid character might swirl or contract when tense.

4. Environmental Interaction

Non-humanoid characters don’t live in a vacuum. They interact with their environments, and how they do so can enhance the animation. Consider how the world around the character reacts to its movements.

• Gravity and Inertia: Does the character follow the laws of physics? A bouncing ball will behave differently from a floating cloud-like character, which might drift more leisurely.

• Impact and Weight: When a heavy object or a mechanical character moves, it will push or bend the environment around it. A character made of slime might leave a trail behind as it moves.

5. Tools and Techniques for Non-Humanoid Animation

Animation software and techniques can be adapted for non-humanoid characters. Here are a few tools and methods that can be helpful:

• Procedural Animation: For characters that are made of fluid or abstract shapes, procedural animation can be used to simulate natural behaviors, such as dripping or flowing movements.

• Motion Capture: For more complex characters, motion capture can help create realistic, mechanical movements, even if the character doesn’t resemble a human form.

• Simulations: Techniques like particle systems or physics simulations can be applied to animate non-humanoid characters, especially when dealing with fluid, smoke, or cloth materials.

6. Examples in Animation

Many animated films and TV shows feature non-humanoid characters. Some of the most iconic examples include:

• Pixar’s “Wall-E”: Wall-E is a robot with minimal human features, but his movements and interactions with his environment give him an incredible range of expression. The animators use subtle gestures, like slow, heavy movements or quick, robotic gestures, to show his emotions.

• Disney’s “Finding Nemo”: The sea creatures in the movie, while not humanoid, are full of personality. Their fluid movements, reactions to underwater currents, and subtle facial expressions make them feel alive and relatable.

• “The Iron Giant”: The Iron Giant, despite being a giant robot, conveys emotion through exaggerated mechanical movements, often moving with force, yet gentle in moments of tenderness.

Conclusion

Animating non-humanoid characters requires a deep understanding of movement, design, and personality. It challenges animators to think beyond the familiar constraints of human anatomy and engage with a world of possibility. By applying the principles of animation in creative ways, focusing on the material properties of the character, and finding innovative ways to convey emotion, animators can bring even the most abstract non-humanoid characters to life in a meaningful and captivating way.