Wiggle

The operator carries the camera so the frame has small irregular drift and shake; shaky cam exaggerates it.

This is for a motion graphics video. In [scene], give the camera a "Handheld" feel (also called a handheld shot or shaky cam): it is carried in the operator's hands, so the frame never sits perfectly still.
The whole frame should drift and tremble in small, irregular ways, with the horizon wobbling slightly — never a regular back-and-forth — while a Steadicam shot along the same path would glide without any shake.
Keep it going for [duration]; hold it subtle for documentary realism, or exaggerate it into shaky cam for chaos.

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.

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.

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.

The object follows a curved trajectory instead of a straight line; compare with a straight A-to-B move.

This is for a motion graphics video. Move the object in [scene] along "Arcs" (also called arc motion or a curved path): it travels from one position to the next on a curved trajectory instead of a straight line.
The start and end points stay where they are — only the path between them bends, the way a thrown ball or a swinging arm moves, where a straight A-to-B move looks mechanical.
Fit the move into [duration], and keep the curve one smooth sweep with no kinks along the way.