Movement in animation goes beyond simply making characters move—it helps viewers connect emotionally. When a character pauses, leaps, or slumps in response to something, those motions convey internal emotion without needing words.

A key part of this process is body language. For example, when a character’s shoulders slump and their head tilts down, the pose suggests sadness or defeat. A raised chest, open arms and a quick step forward might communicate confidence or joy. Research shows that animation uses visual cues like body movement and gesture to express emotion. (ijfmr.com) Facial expressions also matter. The Facial Action Coding System (F.A.C.S.) is a way to classify facial muscle movements that express emotions. (Wikipedia) In animation, even when exaggerated, the animator must decide how to change the eyes, brows, cheeks or mouth to signal fear, happiness or surprise.

Timing, spacing and movement style are technical terms that affect emotional tone. “Timing” means how many frames or how fast a motion happens; “spacing” refers to the distance between positions of an object or body part over time. (21-draw.com) For example, a slow, smooth movement can feel calm, reflective or sad. A fast, sharp motion can feel urgent, surprised or angry. Research into motion and emotion confirms that different tempos in animation provoke different emotional responses. (restpublisher.com) Animators also use the “12 principles of animation” — a set of foundational guidelines (such as squash and stretch, timing, exaggeration) that frame how movement is constructed. (Adobe) For instance, “squash and stretch” means compressing or elongating shapes in motion to suggest flexibility or impact — this supports emotional expression by making movement feel more alive. (deedeestudio.net) Another strong factor is anticipation. In animation, a pose or motion that precedes the main action (such as a character leaning back before jumping) gives the viewer a cue. That moment builds emotional readiness. (Wikipedia) Movement also works in tandem with other elements: colour, lighting, sound and camera. In one study the authors noted that colour and lighting influence emotion, but motion and rhythm of movement enhance emotional engagement deeply. (ewadirect.com) For example, a character walking through a dimly lit corridor in slow motion can feel suspenseful; if that same character moves quickly through a bright space, the feeling might be energetic or optimistic.

To summarize in practical terms for a high-school-level future animation student:

  • Watch how characters move in your favourite cartoons or films. Notice how the speed, posture and gesture change when the mood shifts.
  • Try animating a short scene: one where a character is sad, another where they are surprised. Change the movement timing and spacing; note how different it feels.
  • Learn the basic principles like squash & stretch, anticipation and timing; apply them to simple shapes or characters.
  • Pay attention to how motion intersects with other design choices like colour, lighting and sound; movement alone is powerful, but it becomes much stronger when combined.

In animation, movement is not just “what happens next” — it is a language. It gives characters emotion, lets viewers empathise, and helps stories connect. If you want to explore animation at university, understanding how movement builds emotion will give you a strong creative and technical foundation