Exaggeration

Because animation, despite the technological advances of CGI these days, still doesn’t quite mimic the reality of emotion on a character unlike a live action piece could, exaggeration is used to characterise it. There needs to be an element of balance within it to avoid too unrealistic actions, comedy when not intended or just general “over animating”, but if done well the audience understands the emotion as it is intended.

The example of exaggeration using Cartoon Network’s Road Runner and Coyote demonstrates the use of exaggeration where appropriate for its intention. The frantic leg spinning of the chasing Coyote, the smoke billowing from the feet of the Road runner, the coyotes tongue hanging out and his eyes bulging in excitement of catching his prey creates the comical element the makers were after, where as if Cartoon Network hadn’t exaggerated and decided to be as realistic as possible, well… that would be just down right boring and seemingly emotionless on both character parts.

Exaggeration: Road Runner and Coyote - Cartoon Network

Luxo Jr

Staging

The idea of staging within animation is to keep the viewer informed or aware of what is the main focus in a scene using techniques such as the focus on a particular character, the set up of the scene itself or interactions between characters or objects to create a feeling or emotion. It is a visual informative that guides the viewer to what is supposed to be the centre of attention in that particular scene. Too much going on in a scene can distract a viewer from what the main focus should be, but with good staging an audience is aware of what the main focus in a scene should be.
The example below shows staging based on interaction between characters and "expression" of the characters leading the viewer to know what to focus their attention on. The father figure in Luxo Jr is originally in the centre of the frame keeping the audience attention on him, as the rolling ball comes into frame he follows it with his head encouraging the viewer to also focus their attention on the ball. As he knocks it out of the frame it also informs the audience that there is potentially another character off screen. As the second character bounds on to screen the father figure who is still central in the shot follows his son's movements with his head diverting the attention off himself and therfore encourages the viewer to focus their attention on the son.