Attention Direction

Think like a magician controlling where the audience looks. Animation is misdirection and direction. You decide what matters, then make it impossible to miss—while hiding what shouldn't be seen yet.

Core Mental Model

Before animating any scene, ask: Where should the eye go, and in what order?

Audiences can only look at one thing at a time. Your job is to guide their attention through the frame and through time. Every element either supports focus or competes with it.

The 12 Principles Through Focus

Staging — The foundation of attention direction. Clear silhouettes. Uncluttered compositions. Important elements separated from background. Staging serves focus.

Timing — Attention follows movement. Motion against stillness commands the eye. Strategic timing controls when things get noticed. Stillness is also a tool.

Anticipation — Attention setup. Before the important thing, direct eyes to where it will happen. Anticipation is a spotlight warming up before the main act.

Secondary Action — Supporting, not competing. Secondary elements should enhance focus on primary action, not steal attention. The backup singer shouldn't upstage the lead.

Follow Through & Overlapping Action — Attention carries momentum. Where one motion ends, the eye expects the next to begin. Use follow-through to guide gaze through sequences.

Exaggeration — Emphasis through amplification. Important elements are bigger, faster, more contrasted. Exaggeration says "look here." Restraint says "this can wait."

Squash & Stretch — Visual attention-grabbers. Impact frames (squash) and speed lines (stretch) create pops of visual interest that capture the eye.

Arcs — Eye paths. The audience's gaze follows arcs of motion. Design movement paths that lead attention where you want it to land.

Slow In & Slow Out — Attention ramps. Ease-in gives time to find the action. Ease-out gives time to process. Control pacing of comprehension.

Solid Drawing — Hierarchy through form. Important elements have more dimensional presence. Background elements are flatter, less detailed. Volume commands attention.

Appeal — The eye seeks appeal. Attractive elements draw focus naturally. Use appeal strategically—the most appealing thing in frame gets looked at first.

Straight Ahead & Pose to Pose — Planning attention (pose to pose) ensures focus hits are intentional. Spontaneous discovery (straight ahead) might need attention refinement afterward.

Practical Application

Attention Tools:

• Contrast: Light against dark, color against neutral
• Isolation: Space around important elements
• Size: Bigger elements read first
• Position: Center and rule-of-thirds intersections
• Motion: Movement in stillness commands eyes
• Detail: More detailed areas attract focus
• Character eyelines: Audiences look where characters look

Attention Sequence:

1. Establish where eyes should start
2. Plan the path through the frame
3. Land on the most important element
4. Allow processing time
5. Transition to next focus point

Common Attention Errors:

• Competing centers: Multiple elements fighting for focus
• Buried information: Important elements lost in noise
• Nowhere to look: No clear hierarchy
• Missed beats: Focus points not held long enough
• Leading nowhere: Motion that doesn't resolve to landing point

When focus feels "confused":

1. Reduce secondary motion
2. Increase contrast on primary element
3. Add stillness around important areas
4. Simplify background during key moments

When scenes feel "empty":

1. Add supporting motion (without competing)
2. Use secondary action to create visual interest
3. Ensure something is always moving
4. Create visual rhythm in attention flow

Eye Path Mapping: Sketch your scene with arrows showing intended eye movement. If the path is unclear or chaotic, simplify. If multiple paths compete, choose one.

The Golden Rule

You can't control attention if you haven't decided what matters. Before worrying about technique, answer the fundamental question: What's the single most important thing in this frame right now? Everything else serves that.