In animation, we often say spacing is timing. Well, that’s not exactly true or complete, but spacing is a key component of any movement (along with time and path of action). When done wrong, spacing seems non-existent or an afterthought leading to flat work that’s both weightless and unconvincing. When done right, spacing gives action weight and makes it believable. The best, most creative animators will also use spacing to add force and charm to their performance.
Keeping this simple, I’ll breakdown the basics of spacing to bring about an easier understanding of the concept:
(1) Spacing always works along an arc.
Rarely, if ever, do we space frames in an even manner. If the movement is to be natural, rather than mechanical — such as with a conveyer belt or a machine — then spacing, too, must abide by the natural order of arc movement. In other words, if gravity is to have any effect on the object, it absolutely must move along an arc.
TIP: If your arcs are wrong, then you can just forget about spacing. Path always takes precedent over timing (the exception being pupil movement due to its small size and distance of travel, eyes appear to dart in straight lines). Good spacing cannot resolve problems created by bad arcs.
(2) Spacing always denotes acceleration or deceleration.
Nature demands that all objects in movement either accelerate or decelerate. That is, it never stays a constant speed. In the classic pendulum for example, we know that as the ball on the string — which could represent a movement like a free-swinging arm or leg — speeds up on the downward swing as it leaves the top “hang” position and then slows down as it swings up to the other side. This shows the effect of gravity on the pendulum arc; it slow out (gets faster) as gravity pulls it downwards, speeds thru fastest along the trough of the arc, then slows in (slows down) when gravity pulls against its momentum swing upwards towards the other side.
TIP: Slow-in and Slow-out is a remarkably simple concept, yet animators continually get it wrong. One must always being thinking about how gravity is acting on the object during its movement. That is the key.
(3) Perspective alters the appearance of spacing
As seen in the above diagram, even an object moving at a constant pace when viewed from an angle will show changes in spacing. To get a better grip of this concept, imagine someone standing 8 feet from you swinging a 6 foot long spiked ball and chain in a large circular movement gladiator style. As the ball swings away from you it appears to slow down (giving you a sense of safety), but when the ball swings towards you, it appears to speed up (hence adding fear that it might hit you) and whizzes by you at its fastest when it comes across your nose. In other words, the relative position effects the kind of spacing required for the impression you want to give.
TIP: In real life, spacing is much more gradual (as seen in video referencing of live people and animals) and far less exaggerated. It is here where the skill and creativity of the animators comes into play. Exaggeration of spacing — magnifying the differences of change in between frames — will bring impression of timing, weight and feeling to your animation.
(4) Use Gaps between frames for impact.
What are gaps? They are large spacing deficits along your spacing chart; larger than normal spacing difference between two frames that give punch to an animation. As seen from the above diagram from Eric Golberg’s book Character Animation Crash Course, gaps can be used in selective actions that demand that the impact of the action must be felt: a punch, a baseball swing. a swatting action, or a sharp take. Again, gaps don’t appear very often in real-life, thus animators that copy their video reference religiously often have soft landings and lack any physical force in their animation.
TIP: Gaps must be used sparingly. Save them for moments you want the audience to see or feel. Also make sure that when you use them, that the spacing of frames before and after still make sense; namely that they are properly spaced and flow nicely in the form of an arc.
Summary:
Always be mindful of the spacing in your work. It’s a great tool — one of the most important tools that an animator has. When I work with my students/clients, I teach them how to see spacing (or lack of spacing) in their work and how to apply it properly to make their work more impactful. There are many elements in putting a scene together and without the ability to see everything — both the big picture and the relevant details — one cannot make improvements. Knowledge is never enough; without clarity, there is no understanding. Without knowing the why, when and how spacing becomes just another tool poorly utilized.
