Steps

The pose updates only every 2 or 3 frames, giving a choppier hand-drawn rhythm than every-frame (ones) motion.

This is for a motion graphics video. Animate [scene] by "Animating on Twos" (also called on twos or held frames): hold each pose for two frames, so the picture updates half as often as the video plays.
The motion should keep its path and overall speed but advance in small, even jerks, like hand-drawn or stop-motion animation — not a few big jumps with long pauses, which would be a stepped ease.
Keep it up for [duration], and hold each pose one frame longer (on threes) if it should feel choppier still.

Randomized small offsets at a set frequency and amplitude make the object tremble or drift irregularly rather than along a designed path.

This is for a motion graphics video. Add a "Wiggle" (also called jitter or a random shake) to the element in [scene]: it keeps straying from its place by small random amounts, at a steady rate and within a steady range.
The offsets must be irregular — an even side-to-side swing is a shake, not a wiggle — and only this element moves, not the whole frame as with a handheld camera.
Keep it going for [duration], wiggling its position — or its rotation or scale instead, if that suits the element better.

A small move in the opposite direction before the main move, like a wind-up; the start-of-move counterpart of Overshoot.

This is for a motion graphics video. Start the move in [scene] with "Anticipation" (also called a wind-up or back in): the object first pulls back a little in the opposite direction, then launches into the main move.
The pull-back belongs to the start, before the object leaves — it is the mirror of an overshoot, which runs past the target at the end.
Fit the wind-up and the move into [duration], keeping the pull-back small and unhurried so the launch that follows feels fast.