Motion Principles

Decide how something should move so it feels right — independent of the tool used to build it. This skill answers timing, easing, spacing, weight, and rhythm. It does not pick a tech stack; it produces concrete numbers (durations, cubic-bezier curves, stagger offsets, spring configs) ready to hand to any implementation.

When to use

• Motion feels stiff, floaty, mechanical, robotic, or cheap and needs diagnosis.
• Choosing a clip or transition's duration, easing curve, and stagger offset.
• Reviewing whether motion respects physics intuition (weight, follow-through, arcs).
• Synchronizing keyframes to a musical beat or edit accent.

Three pillars — settle these before any number

Every piece of motion should answer three questions before you pick a duration or curve. Skip them and you get technically-correct motion that feels like nothing. These are the shared vocabulary the rest of the collection refers back to.

Pillar	The question	What it drives
Emotional intent	What should the viewer feel? (joy, calm, urgency, trust, elegance)	Easing, duration, amplitude/overshoot
Visual narrative	What's the micro-story? Setup → action → resolution	Sequencing, staging, what enters when
Motion craft	How do we make it believable?	Physics, secondary motion, arcs, follow-through

Three motion layers — depth, not flatness

Flat motion = only the main thing moves. Believable motion runs three layers at once:

• Primary — the main action the eye follows (the hero move).
• Secondary — supporting richness reacting to the primary (a shadow shifting, an icon nudging, a label settling late).
• Ambient — background life that never demands attention (slow gradient drift, a low-contrast pulse).

The judgment layer (motion-art-direction) calls these Hero / Support / Texture — same three layers, ranked for what earns motion. Primary≈Hero, Secondary≈Support, Ambient≈Texture.

Core principles

Easing is the single biggest lever

Linear motion reads as robotic. Reserve linear for continuous loops (spinners, marquees, infinite scroll) only. Everything an eye perceives as a discrete event needs acceleration.

Match the curve to the action:

• Enter / appear -> ease-out (fast start, gentle settle). Object arrives with energy and decelerates into place. cubic-bezier(0.16, 1, 0.3, 1).
• Exit / disappear -> ease-in (gentle start, fast end). Object accelerates away. cubic-bezier(0.7, 0, 0.84, 0).
• Move / reposition (stays on screen) -> ease-in-out (symmetric). cubic-bezier(0.65, 0, 0.35, 1).
• Playful / branded -> slight overshoot. cubic-bezier(0.34, 1.56, 0.64, 1) (the 1.56 pushes past 1.0, creating an overshoot-and-settle that reads as "weight").

Rule of thumb: the eye forgives a slow start far less than a slow end. When in doubt, decelerate into rest.

Hand-shaping easing (After Effects). When keyframing by hand rather than supplying a curve, the same principles map to the Graph Editor: shape the Speed Graph so the ends flatten toward zero, and push deceleration influence to 80–90% for a snappy launch and smooth settle. F9 (Easy Ease) is only a 33% symmetric starting point — make it asymmetric. See references/easing-graph-editor.md for Graph Editor reading, handle/influence techniques, and step-by-step overshoot, anticipation, and bounce recipes (including a decaying-bounce expression).

Timing communicates weight and importance

Element	Duration
Micro-interaction (hover, toggle, tap feedback)	100-200ms
UI transition (panel, modal, page region)	200-400ms
Hero / large element / full-screen	400-800ms
Cinematic camera move	800-2000ms

Distance and size scale duration. A small icon moving 20px and a full-bleed panel moving 800px should NOT share a duration — the panel needs more time or it looks weightless. A practical scaling: keep perceived velocity roughly constant by adding ~30-50% duration when distance or area roughly doubles. Heavy objects start slowly and overshoot less; light objects snap and may bounce.

Spacing and stagger create rhythm

Never reveal a list, grid, or group all at once — it reads as a single flat event. Stagger each child's start.

• Lists / sequential items: 40-80ms between items.
• Dense grids: 20-40ms (more items, less per-item delay, or the tail drags).
• Cap total reveal at roughly 600-800ms for a group; if count * offset exceeds that, shrink the offset or switch to a distance-based stagger (items further from an origin point start later).
• Stagger direction should follow the eye: top-to-bottom, or radiating from a focal point.

The 1/3 Rule (two forms, both universal):

• Distance — no element travels more than ~1/3 of the screen without an intermediate keyframe or a scale/opacity change. Long unbroken slides read as "the template moved," not "something happened."
• Simultaneity — with 3+ elements, keep no more than ~1/3 in active motion at once. The rest hold or move as ambient. Everything moving together = noise with no focal point.

Anticipation and follow-through sell physical motion

• Anticipation: a tiny counter-move before the main action (a button dips scale 0.95 before popping, a character crouches before jumping). 60-120ms is enough.
• Follow-through / overlapping action: trailing parts keep moving after the main body stops (a hero card lands, then its shadow and label settle 40-80ms later). Stagger the settle of attached elements rather than stopping everything on the same frame.
• Arcs: natural movement curves; pure straight-line translation of an organic object looks mechanical. Add a slight arc to x/y or animate a path.

Beat-sync and rhythm

When motion accompanies audio, land impact keyframes (a hit, a cut, a reveal) on the beat, not between beats. At 120 BPM a beat is 500ms; an eighth-note grid is 250ms. Quantize key moments to that grid. For edits without music, establish a visual pulse (e.g. one major event per ~500-800ms) so the piece breathes consistently.

Spring vs. duration-based motion

Springs (mass / stiffness / damping) self-determine duration and feel more physical for interactive, interruptible motion (drag-release, gestures). Duration+easing is better for choreographed, timeline-locked sequences (video, scroll-tied reveals) where exact sync matters. A snappy default spring: stiffness 300, damping 30, mass 1. See references/easing-curves.md for a full spring table.

Diagnosing common failures

• Feels stiff/robotic -> using linear or symmetric easing on an enter; switch to ease-out.
• Feels floaty/sluggish -> duration too long or ease-out too gentle; cut duration 30%, sharpen the curve.
• Feels cheap/janky -> everything appears at once (no stagger), or all elements share one duration regardless of size.
• Feels mechanical despite easing -> no anticipation, no follow-through, straight-line paths; add arcs and overlap.

Quick reference

Need	Use
Enter	cubic-bezier(0.16, 1, 0.3, 1), 300-500ms
Exit	cubic-bezier(0.7, 0, 0.84, 0), 200-300ms
Move	cubic-bezier(0.65, 0, 0.35, 1), 300-400ms
Branded pop	cubic-bezier(0.34, 1.56, 0.64, 1), 400-600ms
List stagger	40-80ms per item, cap ~700ms total
Loop only	linear

Reference files

• references/easing-curves.md — named cubic-bezier library with exact values, spring configs (Framer/react-spring/iOS), and per-element-type duration guidance.
• references/easing-graph-editor.md — After Effects Graph Editor craft: speed graph vs value graph, easing handles and influence/velocity numbers, and step-by-step snappy, overshoot, anticipation, and bounce recipes.
• references/twelve-principles.md — all 12 Disney principles, each with a concrete, numeric motion-graphics example.