Shift Of Weight To Over Contact

Drawn Animation

Then the inbetweens are added.

Then the inbetweens are added.

Animated Drawn

AvumateJi ilacJ^x^mMMA^

As you will remember, for a profile walk to be acceptable, the background has to pan at exactly the same speed as the slide of the contact foot; this is best achieved by putting both the pan and cycle on ones. The same principle applies to front-on walks, except that for these walks the background cannot be panned. Instead, the background must be animated, shrinking in perspective as it moves into the distance. This requires much more work, but if it's well done it is very effective.

The basic rule is the same—however far the contact foot slides on the cycle, the background objects must travel the same distance when they move in the background animation. If there is a stone on the ground next to the contact foot on the first key, it must remain on all the inbetween drawings, right through to the next key, and beyond.

This rule applies to everything in the background, not just to objects that are close to the contact foot. Obviously, animating the entire background can be both time-consuming and expensive. It is advisable, if possible, to use a cycle of action that can be repeated ad infinitum. For example, a path with a line of telegraph poles along one side is a repeatable design to work with, as is a railroad track or a road with a broken line down the center. Bear in mind, however, that when you are inbetweening such an image in perspective, it is not sufficient to just draw a line exactly between two diminishing key positions—such as two telegraph poles.

Animated Mouth Positions
+1 0

Post a comment