Hardly any action will happen without squash and stretch. Sometimes it will be quite broad and obvious, and at other times so subtle that it will be felt rather than seen. Here is an example of squash and stretch, where the anticipation drawing is also the stretch drawing. Notice in the center drawing both squash and stretch occur at the same time. The body is squashed while the arms are stretched to their limits. The last drawing is also a stretch drawing but not as violent as the first.
Notice how the animator directs your attention to the object of the move. In the first drawing there is a strong triangular shape, with lots of tension set up, narrowing right down to the briefcase handle. The grabbing attitude of the right hand, the open stance of the body, and the strong eye contact all help. Notice here how everything has been pulled away from the line of vision, allowing the look to be unobstructed. In the second drawing, the triangle has squashed and nearly dissipated itself in the contact. Work your eyes from drawing to drawing and watch this happen.
Notice, too, how the animator has opened up the negative areas in the anticipation or “preparation for the action” drawing, and the sudden diminishing or disappearing of them in the “action proper.” Then normal negative areas are reestablished in the “termination of the action.”
