Animation Handbook

it’s nice to give the last element a bit more duration and punch to punctuate the whole effect—the loose end of chain whipping out of your hand and overboard

The best use of secondary motion never takes attention from the primary motion, it only bolsters it

If animation is the body language of your digital creation, then secondary motions are the micro-expressions that help us tell the difference between a genuine and reluctant expression

sub-perceptual air of life

directing their focus to what’s about to happen

A good rule of thumb is to ease-out objects that are entering or gaining attention, and ease-in objects that are leaving and losing attention

In other words, we should see acceleration

For an object’s physicality to be believable, we need to feel the force that gets it started and the force that stops it.

How we sculpt time can completely change the perception of an interface’s speed, properties, or even mood.

after all, the underlying data could have changed multiple times in the blink of an eye