Elastic

The object passes its target slightly and then returns to it; differs from Bounce in that it makes one pass and settles without hitting a floor.

This is for a motion graphics video. End the move in [scene] with an "Overshoot" (also called a back ease or back out): the object runs slightly past its target, then comes back and settles on it.
It should pass the target only once, with no wobble afterwards — a bounce hits the target and rebounds without passing it, and an elastic ease swings past it several times.
Fit the move into [duration], and keep the overshoot small so it reads as energy rather than a mistake.

The object hits the target like a ball hitting the floor and rebounds with smaller hops until it rests; differs from Elastic by a hard stop at each contact.

This is for a motion graphics video. End the move in [scene] with a "Bounce" (also called a bounce ease or bounce out): the object hits its target like a ball hitting the floor and rebounds in smaller and smaller hops until it rests.
It should never pass through the target — each contact is a hard stop that turns it straight back, unlike an elastic ease, which swings past the target on both sides.
Fit the move and its hops into [duration], and make each hop clearly shorter than the one before.

Physics-driven motion that overshoots and oscillates around the target before resting; behavior comes from stiffness, damping and mass rather than a fixed curve.

This is for a motion graphics video. Drive the move in [scene] with a "Spring" (also called a spring animation or damped spring): a simulated spring pulls the object to its target, so it picks up speed from rest, runs past the target and swings around it before resting.
The motion should come from stiffness, damping and mass rather than a fixed curve — lower the damping for more swings, or raise it until the object settles with no overshoot at all.
Let it come to rest within [duration], and keep the same spring settings on every element so they feel like one material.

A real movement pushed to more extreme scale or timing than realism; visible only as an intensity choice against a realistic version.

This is for a motion graphics video. Animate [scene] with "Exaggeration": take the movement as it would really happen and push it further — a bigger wind-up, a longer stretch, a harder stop.
It is the same action with the intensity turned up, not a different one: keep the path and the order of events, and enlarge how far and how sharply each of them goes.
Fit it into [duration], and stop just short of the point where the object is no longer recognizable — it should feel cartoony and playful, not broken.

Loosely attached parts keep moving or trail behind after the main body stops or starts, so parts do not all move and stop together.

This is for a motion graphics video. Animate [scene] with "Follow Through and Overlapping Action" (also called drag or lag): the loosely attached parts trail behind when the main body sets off, and keep going, swing past and settle after it has stopped.
The parts must not all move and stop together. They are passive — pulled along by the body — unlike a secondary action, which is a small separate gesture playing alongside the main one.
Fit the move and the settling into [duration], and let longer or lighter parts lag further and take longer to come to rest.

Outlines tremble slightly frame to frame as if redrawn each time, giving a lively handmade look even when the shape stays still.

This is for a motion graphics video. Give the outlines in [scene] a "Line Boil" (also called boiling lines or wiggly lines): redraw every line slightly differently every few frames, so it trembles in place even while the shape itself stays still.
It should change in small sudden steps at a low frame rate, like flipping through hand-traced drawings — not flow smoothly, which reads as liquid, and not shift the whole shape around, which is a wiggle.
Keep it boiling for [duration], and keep the tremble small enough that the shape stays easy to read.