Module 9 - In-Betweening - Thirds

ANIMATION NCII – Animation 12a
Governor Pack Road, Baguio City, Philippines 2600

Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT Ani 12 A, B, C, and D
Email: email@uc-bcf.edu.ph; Website: www.uc-bcf.edu.ph
MODULE 9 – Ani12a Subject Teacher: Lovely Jenn A. Reformado
In-betweening – thirds
Objectives: At the end of this lesson, students shall be able to:

1) Differentiate how to animate actions in thirds and in favors;
2) Enumerate the parts of a standard walk cycle in side view;
3) Explain the difference of animating a walk cycle in side view, front view, and ¾ view;
4) Understand how thirds are animated by analyzing the case studies for animating a run cycle
and a wave principle; and
5) Apply the concepts and principles of animating in thirds by creating a walk cycle for an
original character.
Animating in Thirds
 The spacing / speed between the frames are equal

o Drawing in thirds allows for the animator to draw in a straight ahead style much easier
 However, it is still recommended to draw in pose-to-pose animation
o This allows for the poses to be consistent in terms of its positioning and movement
Case Study – Standard Walk Cycle (Side View)

 Introduction
o The walk cycle is one of the standard examples of an action that is animated in thirds
 Advice from Ken Harris: ‘A walk is the first thing to learn. Learn walks from all kinds, ‘cause
walks are about the toughest thing to do right.’
o Defined as a series of controlled falls
 It’s a process of falling over and catching oneself just in time
 The falling over allows the character to move forward; catching oneself allows the
character to not fall flat
o Composes of four main poses, which can either have in-betweens or none at all
 In a realistic walk cycle, there are only two main poses – the contact and passing
 The other two poses – lowest point and highest point – have been added to make the walk
exaggerated and more believable
 Without the other two poses, the realistic walk cycle, when animated, shall look like a
character dragging their feet
o The view can differ how the walk cycle is created
 Side view – easiest view to execute a walk cycle; used as an introduction; focuses on how
to do the poses without taking into consideration any perspective or solid drawing
 Front view – can be done in fewer steps than the side view; there is a need to understand
perspective and foreshortening
 ¾ view – hardest view to execute a walk cycle; there is a need to understand perspective,
foreshortening, and solid drawing to create this walk cycle
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 Poses of a Standard Walk Cycle
o Contact
 Starting / ending position of a normal walk cycle
 Both legs are in contact with the ground
 One leg is in front of the character; the other foot is at the back of the character
 Arms are also the farthest away from each other
o Lowest point
 AKA down, bend, or low
 The height of the head is at the lowest compared to the other poses in the walk cycle
 Both legs are still in contact with the ground
 Shows the most stable placement of the feet to the ground
 Legs are bent down, preparing for the shift of the foot
- The leg in front takes the weight of the whole body
 Arms can be:
- Farther away than the contact point (a form of drag)
- Closer towards the body
o Passing
 AKA the push-off
 Pose where the shift of the foot is seen
 One leg is only in contact with the ground
- The leg at the front during the previous contact pose should be the one on the ground
- The other leg should be lifted off the ground, bent to create an almost 90 degree angle
 Arms are closest to the body compared to other poses in the cycle
o Highest point
 AKA up
 The height of the head is the highest compared to the other poses in the walk cycle
 Only one leg is in contact with the ground
 Arms are starting to spread out
 The center of gravity of the torso may be placed more towards the front (torso tends to
lean in more towards the front)
 Other Important Information

o To create a full cycle, the poses must occur twice, one per foot
 Contact – right foot (front)  Contact – left foot (front)
 Lowest point – right foot (front)  Lowest point – left foot (front)
 Passing – right foot (ground)  Passing – left foot (ground)
 Highest point – right foot (back)  Highest point – left foot (back)
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o It is possible to create the walk cycle with only the eight poses, but in-betweens may be
added to make the walk more fluid
 The number of drawings can set the speed that the character is walking on
Number of Drawings
Description Frame Rate
(Animating in 1s)
4 drawings A very fast run 6 steps a second
6 drawings A run or a very fast walk 4 steps a second
8 drawings Slow run or ‘cartoon’ walk 3 steps a second
12 drawings Brisk, business-like walk; ‘natural’ walk 2 steps a second
16 drawings Strolling walk (more leisurely) 2/3 of a step per second
20 drawings Elderly or tired person Almost a second / step
24 drawings Slow step One step per second
32 drawings ‘…Show me the way… to go home…’
o There is another pose that can be added to the walk cycle: mediant
 Placed between the highest point and the contact
 It allows for a safer transition between the poses before and after it
 The foot in front guides down the walk heel first for a soft landing
 Better used when the character’s highest point is leaning slightly
 Can also be added between the contact and the lowest point
- Mostly used to slow down the walk
o The standard walk cycle is a template on how to create a normal walk
 However, every individual has their own style of walk, or their walk can be differed based
on their mood or emotion
 It is recommended to observe how one walks or how other people walk to get a sense of
how walks can differ
 Considerations – Body Parts
o Foot movement
 The heel serves as the lead part
- Heel controls the movement of the foot
- The heel leads and the actual foot drags behind and flops forward
- Lock the heel flat on the ground for the feeling of weight
- Keep the foot back until the last possible moment
 Add more differences in how the foot moves to add more vitality
- It is possible for the foot position to not move for the entire walk cycle, but that would
make it look robotic
- For the back foot at the contact point, bend it towards the toe to make it so that the
toe is delayed to the rest of the foot movement
- For the height point, lift the front foot (same foot as before) with a different feet angle
 Take note of how the foot moves
- There are three main sections to a foot (side view): heel, toe, and arch
- Make sure to divide the foot in this way to make it more believable
- Maintain the arch of the foot as much as possible
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o Leg placement
 Take note of the leg at the front and at the back for every single frame
- This is to prevent shifting of the leg in the middle of the animation
- When creating the basic shapes, shade the foot that serves as your left foot (with the
character facing forward)
 Draw the knees first before the legs
- Determining the placement of the knees first would help in a more consistent action
- The knees also serve as a pivot point with how the legs would move
- Determine the placement of the legs based on where the hips, knees, and feet are
 Take note of the proportions of the legs
- In most cases, both the upper leg (thigh) and lower leg have the same size
- Some beginner animators may forget the proportions when doing the walk cycle
 Once the walk cycle for the first half is finished, it can be copied for the second half
- However, take note of the differences between the right and left leg when doing the
rendering portion
o Arm movement
 Take note of the arm at the front and back for every single frame
- This is to prevent shifting of the arms in the middle of the animation
- The arms would usually move opposite of each other, only meeting near the body
- Similarly, when drawing the basic shapes, shade the arm that serves as your left arm
(with the character facing forward)
 Use the opposite leg to determine the position of the arms
- For a left arm, use the right leg; for a right arm, use the left leg
- Use the reverse position of the leg to determine how far the arm should swing (i.e. if the
right leg is at the front, the left arm should be at the back)
 The arm should have a consistent arc
- Use the wrist as the basis for the path of action
- The arm movement is somewhat like a pendulum
- The arm swing is used to balance the thrust of the walk
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 Draw the elbows first before the length of the arms

- The elbows are drawn after the wrist and rotator cuff (connection of arm to shoulder)
- There are some instances where animators go beyond the normal range of motion for
the arm, seemingly breaking the character’s arm
- Drawing the elbow first prevents that
o Belt line
 Located at the top-most part of the hip

 One of the first things to consider when animating
- To be placed first or after placing the foot
- Used to determine the placement of the knees and then the length of the legs
- The torso and head are placed on top of it
 Can determine the placement of the shoulder
- If the belt line is low for that side, then the shoulder placement is high
- If the belt line is high for that side, then the shoulder placement is low
 Tilt the belt line back and forth
- Favor the leg that is at the lowest point
- Belt line should be at the lowest towards the leg that is at the lowest
- Belt line should be at the highest towards the leg that is at the highest
- Helps determine the center of gravity, especially when the torso is leaning forwards
o Head movement
 The head and torso should only move up and down

- Do not make cycles of the head and body in circles or figure 8’s
- Creates a bird / pigeon walk
- Use the neck as the pivot point, then one can bob the head up or down
o Torso
 Similarly, the torso should only move up or down motion
- The torso can lean forwards when on the highest point pose, or may not be done at all
 Both the head and torso should be drawn based from the belt point, after establishing
most moving parts (except the arms)
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 Steps in Animating – Static Walk Cycle (Side View)

o Determine the vertical axis
 Place a vertical line at the very middle of the paper / canvas.
 This shall help in making sure that parts of the character (head, torso, belt line) are static
and will only move vertically.
 The head, torso, and belt line should be placed dead center on this vertical axis.
o Determine the ground level

 Draw a horizontal line at the very bottom part of the paper / canvas, while still leaving
some space.
 This shall serve as the ground level, where the feet shall be placed.
 This will aid in the placement of the feet, to make the walk cycle more consistent.
o Determine moving and non-moving objects

 Moving: Belt line (hips), feet, knees, legs, shoulders, arms, hands
 Non-moving: Head, torso
 The belt line, though technically only moving up and down, is part of the moving objects
since it is essential in determining the walk
 Arrangement of animating specific character body parts are as follows:
- Belt line / hips, feet, knees, legs
- Torso, head
- Shoulders, wrists, elbows, arms, hands
o Steps in animating and drawing the character
 It is recommended to start drawing first the first half of the animation (contact – R until
highest point – R), and use that to mainly trace the second half of the cycle
 Since the walk cycle entails the creation of the character, there is a need to break down
the animation into different stages of drawing to ensure that both modeling and the action
is consistent:
- Skeleton: circles – joints and head; lines – everything else
- Basic shapes: cylinders, ovals, etc.
- Rendering and addition of details
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o Animating moving objects – hips

 The hips are represented by drawing a circle.
 Start off first with drawing a circle around the middle portion of the paper / canvas, with its
center placed at the vertical line drawn. This shall serve as the contact pose.
 On another paper / canvas, draw a circle higher (around ¼ circle) for the passing pose.
 On another paper / canvas, draw the lowest point by drawing the circle lower (around 1/3
- ½ lower than the contact pose). This should be the lowest out of all of them.
 Lastly, on another paper / canvas, draw the highest point by drawing the circle (around
1/3 – ½ higher than the contact pose). This should be the highest circle out of all of them.
 It is possible that the positioning of the hips may differ later on when adding the legs.
o Animating the legs – contact pose

 Based on the hip / belt line of the first frame, draw the legs necessary for the contact pose.
 When animating a character facing towards the right, the right leg is in front. It is stretched
out at an angle, where the heel is the one touching the ground.
 Draw a line to represent the right leg.
 Add the foot by drawing a right triangle pointing upwards, so that the heel is the only thing
that is touching the ground.
 Add the knee by drawing a dot. This is based on the character’s design and proportions.
 The left leg is behind, bent slightly so that the toes are the ones touching the ground.
 In this case, it would be better to draw the knee first, then the legs, and then the foot.
 It would take some trial and error in the placement of the knee to make sure that the leg’s
proportions are maintained.
 To draw the foot, divide the right triangle into three, and only the tip (where the toes are)
should be the only ones touching the ground.
o Animating the legs – passing pose

 Draw the legs necessary for the passing pose.
 The right leg starts at the vertical axis, and is stretched out, however at an angle. Use the
proportions from the contact pose to determine the height for this pose.
 Draw the foot, which is planted on the ground.
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 Draw the knee based on the character’s design and proportions.

 The left leg is bent, without the foot touching the ground.
o Animating the legs – lowest point

 Take note of the poses for the contact and passing to draw this pose.
 For the right leg, draw first the foot by tracing the right foot from the contact pose.
 Draw the knee and the legs. It would take some trial and error in the placement of the
knee to make sure that the leg’s proportions are maintained.
 For the left leg, take note where the tip of the toes are, and place the left foot there. Only
the tip should touch the ground in this pose.
 Bend the knee a bit more based from the contact pose, and then draw the legs after.
o Animating the legs– highest point

 Take the poses for the contact and passing to draw this pose.
 For the right leg, draw the foot first. Determine where the toes for the contact pose are and
draw the foot based from that. Only the toes should be the one touching the ground.
 Connect the foot to the hips, and then draw the knees. If the leg is not the same
compared to the usual proportions, then adjust the foot.
 For the left leg, copy the thigh on the contact pose. Draw the knee afterwards.
 For the lower leg and foot, use the two poses to create an in-between pose.
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o Line-testing – legs
 At this point, it would be wise to line-test the movement of the hips and legs before moving
on to the non-moving objects.
 This is to confirm their movement and do any changes as early as possible.
Image reference: https://i.imgur.com/y4YBUQu.gif

o Tracing non-moving objects – torso and head
 Draw the torso and the head based from the hips. Draw the contact pose first.
 Focus on drawing only circles and lines. Draw a circle / oval for the face and chest, and
then lines for the rest of the upper body.
 Afterwards, use the one from the contact pose to trace the one for the other poses.
 While doing so, take note of the heights of the heads, making sure that they are different
and true to the poses that they belong to.
Image reference: https://i.imgur.com/Stcbd3Z.gif

o Animating the arms – contact pose
 Determine where the shoulders are based on the chest and the character’s design.
 Draw the right arm backwards, the upper arm at an angle and the lower arm vertically.
 Draw the left arm forwards, the upper arm vertically and the lower arm at an angle.
 Based from the arms, draw a curved line. This shall serve as the path of action.
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o Animating the arms – passing pose

 Determine the placement of the shoulders again. Use the character’s design and the
placement of the shoulders on the contact pose as reference.
 The arms of the passing pose are close to the body.
 For the right arm, draw the wrist first. It is placed at the lowest point of the path of action.
Based from that, draw the elbows and arms. Take note of the proper proportion.
 For the left arm, draw the wrist first. It can be placed at the same placement of the right
arm, or slightly above it towards the right, so that it can still be seen. Then, draw the elbows
and arms. Take note of the proper proportion.
 Based from the arms, draw a curved line. This shall serve as the path of action.
o Animating the arms – lowest point

 Use the contact and passing poses as basis for drawing the arms on the lowest point.
 In this pose, the arms are a bit delayed, so it should still be swinging outwards rather than
inwards. As such, extend the path of action to go a bit upwards.
 For the right arm, it is stretched to go backwards as much as the path of motion of the
character shall allow. As reference, extend the right arm found in the contact pose.
 For the left arm, it is stretched to go forwards, similar to the level of the one in the right arm.
 Take note of the proportions for each of the arms. As reference, extend the left arm found
in the contact pose.
o Animating the arms – highest point

 Use the contact and passing poses as basis for drawing the arms on the highest point.
 In this pose, it is the in-betweens of the arms found on the passing and contact poses.
 For the right arm, find the middlemost point of the path of action of the wrists of the
contact and passing poses. Based from that, draw the elbows and arms. Use in-
betweening steps to draw the other parts of the arm.
 Similarly, for the left arm, find the middlemost point of the path of action of the wrists of the
contact and passing poses. Draw the in-between of those poses and the rest of the arms.
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o Line-testing – arms
 The arms would be line-tested before adding the basic shapes.
 This is to determine the movement of the character, and to also see some discrepancies
on the differences in proportions.
Image reference: https://i.imgur.com/FjG8jXW.gif

o Adding basic shapes
 After finalizing the skeleton and movement of the walk cycle, draw the basic shapes.
 This is to add volume to the character.
 Take note of the placement of the legs and arms (i.e. the right leg and arm should be in
front for the contact pose, lowest point, and passing pose).
 Do another set of line-testing to make sure that the volume is consistent and makes sense
when implemented with movement.
Image reference: https://i.imgur.com/7qXidNY.gif

o Tracing the second half
 It is recommended to trace the basic shapes instead of the rendered version so that the
secondary actions (i.e. hair, clothing) may be integrated in the second half.
 Take note as well of the shift in what arm / leg is in front (i.e. in the second half, the left arm
and leg should be in front of the contact pose, lowest point, and passing pose).
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Image reference: https://i.imgur.com/tkcNjq3.gif

o Rendering
 Add details to the character, which includes facial elements, hair, clothing, and
accessories.
 For rendered elements that have drag (i.e. hair and clothing), it is recommended to add
some concepts of in-betweening and principles of animation. If possible, do them
separately before drawing everything else that does not need such elements.
 Take note of solid drawing when rendering the characters – treating them more like a
cylinder rather than a flat surfaced-object.
Image reference: https://i.imgur.com/AFYeGoL.gif
 Steps in Animating – Moving

o Determine ground level, direction, and distance of walk
 Draw a horizontal line at the very bottom part of the paper / canvas, while still leaving
some space. This shall serve as the ground level, where the feet shall be placed.
 Take note as well of where the character comes from and where the destination is.
 If the character comes from an off-frame (it’s not part of the frame), it is important to note
what part of the body is seen on frame first.
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o Determine moving and non-moving objects

 Moving: Belt line (hips), feet, knees, legs, shoulders, arms, hands
 Non-moving: Head, torso
 Arrangement of animating specific character body parts are as follows:
- Belt line / hips, feet, knees, legs
- Torso, head
- Shoulders, wrists, elbows, arms, hands
o Steps in animating and drawing the character
 In this case study, it is recommended to focus on creating all of the same poses at once
before moving onto the next one.
- Ex: Finish drawing all contact poses first, and then move on to the passing poses, etc.
 Since the walk cycle entails the creation of the character, there is a need to break it down
into different stages of drawing to ensure that both modeling and the action is consistent:
- Skeleton: circles – joints and head; lines – everything else
- Basic shapes: cylinders, ovals, etc.
- Rendering and addition of details
o Determine how many cycles of the walk is needed
 This is to help one space out the entire walk based on the set distance.
 As a guide, divide the ground into sections.
 Make sure that the legs of the contact pose would only take up that given space.
o Determine placements of the contact poses

 Draw the hips, feet, knees, and legs of the first and last contact poses on the distance.
- Use the steps from the static walk cycle as a guide in creating a good pose of the legs.
- This will help in determining the placement of the other contact poses within the set
distance.
 From that, use a straight ahead technique in copying the same contact poses within the
set distance.
- Take note of the alternating legs (i.e. if the first contact pose has the right foot in front,
then the next contact pose must have the left foot in front).
- Start from either the first pose going to the last pose or vice versa. It would be more
difficult when the pose-to-pose animation style is implemented (drawing the next pose
from the middlemost distance). Though, it is possible.
- Use the heel as the pivot point. The foot in front of the previous pose must be aligned on
the foot of the next pose.
- Simply copy the same pose towards the other poses.
- If there is a discrepancy in the distance (i.e. there is a fewer space between the legs on
the last frame compared to others), then one could either readjust every other distance
so that it is the same or compromise with that last pose being different.
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o Determine placements of the passing poses

 Draw the hips, feet, knees, and legs of one passing pose.
- Draw this passing pose between any of the contact poses.
- Start off with the foot first. Use the heel that is in contact as the pivot point.
- Take note of the steps in drawing the passing pose on the static walk cycle.
 Copy the same passing pose between the other contact poses.
o Determine placements of the lowest and highest points

 One may either start with the lowest point or highest point. But the pose must be
completed one at a time.
 Refer to the steps on creating the lowest and highest points from the static walk cycle.
 Use the foot as the basis for placing the poses.
- For the lowest point, make sure that the foot planted down is in line with the heel of the
foot of the contact pose (in front) and the foot planted down on the passing pose.
- For the highest point, use the foot on the ground level (the one behind) as the starting
point of the pose. Make sure that the foot is aligned with the foot planted down on the
passing pose (with the toes) and the back foot on the contact pose (with the toes).
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o Line-testing – legs
 At this point, it would be wise to line-test the movement of the hips and legs before moving
on to the non-moving objects.
 This is to confirm their movement and do any changes as early as possible.
 It is important to take note of the changes in what foot is in front and what foot is at the
back based on the previous poses.
Image reference: https://i.imgur.com/saoGCbr.gif

o Tracing non-moving objects
 Draw the torso and the head based from the hips / belt line. Draw the one from the
contact poses first.
 Focus on drawing only circles and lines. Draw a circle / oval for the face and chest, and
then lines for the rest of the upper body.
 Copy the head and torso for all the contact poses before moving to the next ones.
 After the contact pose, one can then move on to the other poses.
- What pose should be focused next is quite irrelevant.
- What is important are: to copy the same basic shapes to the other poses, take note of
the height differences, and to focus on only one specific pose before moving on.
 While doing so, take note of the heights of the heads, making sure that they are different
and true to the poses that they belong to.
Image reference: https://i.imgur.com/2KCbXpq.gif

o Animating arms – passing poses
 When animating the arms for a moving walk cycle, start off first with the passing poses.
- It shall be the lowest point of the arms and a basis to the path of action to be created.
 Draw the arms for the passing pose similar to that on the static walk cycle.
 Copy the same arms for the other passing poses.
- Take note of the alternating placements of the arms and the placement of the foot.
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- Ex. If the foot planted down is the right foot, then the right arm should be the lower one.
- Ex. If first passing pose has a lower right arm, then the next should have a lower left arm.
o Animating arms – contact poses

 Draw the arms of the first two contact poses.
- Use the static walk cycle as a basis on how to draw the arms.
- Take note of the alternating of the arms (i.e. if the first contact pose has the left arm in
front, then the next contact pose must have the right arm in front.
 Draw a path of action between the two contact poses.
- Use the wrists of two contact poses and passing pose as the points to create the arc.
- Each cycle should have a path of action, and must be consistent.
o Animating arms – lowest and highest points

 Start with either the lowest point or highest point but must be completed one at a time.
 Similarly, use the points from the static walk cycle to draw the arms.
- Use the path of action as the basis to place the wrists of the lowest and highest points.
- Again, make sure that the pose are alternating.
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o Line-testing – arms
 The arms would be line-tested before adding the basic shapes.
 This is to determine the movement of the character, and to also see some discrepancies
on the differences in proportions.
Image reference: https://i.imgur.com/JdWy9ke.gif

o Adding basic shapes
 After finalizing the skeleton and movement of the walk cycle, draw the basic shapes.
- This is to add volume to the character.
 Make sure to draw one pose at a time.
- For consistency, it would be better to trace the same basic shape per pose.
 Take note of the placement of the legs and arms and how they alternate with each other.
 Do another set of line-testing to make sure that the volume is consistent and makes sense
when implemented with movement.
Image reference: https://i.imgur.com/yb42oPu.gif

o Rendering
 Add details to the character, which includes facial elements, hair, clothing, and
accessories.
- It is recommended to do this per pose.
- Similarly, it would be better to trace the final pose to the other poses for consistency.
 For rendered elements that have drag (i.e. hair and clothing), it is recommended to add
some concepts of in-betweening and principles of animation. If possible, do them
separately before drawing everything else that does not need such elements.
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 Take note of solid drawing when rendering the characters – treating them more like a
cylinder rather than a flat surfaced-object.
- This is better seen when looking at the belt line. Take note that the lower leg has a lower
belt line, and the higher leg has a higher belt line.
Image reference: https://i.imgur.com/N2GkI0w.gif
Case Study – Standard Walk Cycle (Miscellaneous)

 Poses – Walk Cycle in Front View
o The poses in the walk cycle in front view is the same with the ones in the side view. However,
with a different view, there are some things that need to be emphasized more in this view.
o The poses in the front view can also be applied to the back view, just reversed.
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o Contact
 Both feet must be on the ground
 One of the legs (right) is visibly in front, so it is drawn much larger than the leg at the back
 One of the arms (left) is visibly in front, so it is drawn much larger than the arm at the back
 There is a visible tilt of the torso; it is bent to the side of the leg placed behind
o Lowest point
 Both feet are still on the ground
 Legs are bent down a bit more, so the foreshortening is much more pronounced
 The foot that is behind is lifting down a bit more, so foreshortening on the foot is also seen
 The arms are also swinging farther away from the center of the body, so the foreshortening
is also much more pronounced
 The tilt on the torso is less pronounced, where the bend is only mostly seen at the shoulders
and not on the hips
o Passing
 Only one foot is planted on the ground, which is the foot that was on the front during the
contact and lowest point poses
 The other leg (the one behind) is now off the ground and bent; the lower leg is not usually
seen; only the tip of the foot can be seen
 The size of the thighs for both legs are almost the same, since they are on the same position
 To maintain balance, the torso is tilted to one side, particularly to the leg that is planted on
the ground
 Both arms are now at the same position, so foreshortening is not as visible
o Highest point
 It is possible for this pose not to be present on the front walk cycle
 One foot is still planted to the ground; to exaggerate the highest point, the foot is standing
on the toes only
 The other leg is slightly nearer towards the ground, but still not touching it
 To maintain balance, the torso is tilted to one side, particularly to the leg that is planted on
the ground, albeit lesser than that of the passing pose
 The torso might also be placed more towards the front compared to the other poses, so
foreshortening may also be applied as such
 The arms are now farther away from the torso, as such the foreshortening must be seen
 Considerations – Walk Cycle in Front View
o Perspective and foreshortening
 A walk cycle in front and back view can either be static or moving
 Regardless, the idea of foreshortening must be applied to showcase which parts of the
body are in front and which are the ones at the back
 Body parts affected by foreshortening:
- Legs (thigh, lower leg, or both)
- Feet (either facing front of both)
- Arms (upper arm, forearm, or both)
- Hands (usually the palm and fingers are considered as one unit for ease of animating)
- Torso and head (usually for highest point only
o Belt line
 The belt line is where the hips usually are
 Helps determine the start of the legs – determining the start and end of foreshortening
- The belt line is down where the foot that is planted on the ground
- The belt line is up when the foot is placed upwards / off the ground
 Also aids with the tilting of the torso
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o Legs
 The legs are applied with foreshortening depending on whether they are in front or at the
back
- If the leg is in front, then it is drawn larger
- If the leg is at the back, then it is drawn smaller
- If the lower leg is bent, then it is usually drawn smaller
- The lower leg can also disappear to the thigh when bent
 The legs move either through the thigh only, the lower leg only, or both
o Shoulders
 The shoulders can help aid in the placement of the arms
 The shoulders are usually tilted opposite towards the belt line
- Reflects how the movement of the arm is reversed to that of the movement of the leg
- If the right leg is in front, then the shoulders are tilted upwards to reflect the right arm at
the back, and vice versa
 Also aids with the tilting of the torso
o Arms
 The arms are applied with foreshortening depending on whether they are in front or at the
back
- If the arm is in front, then it is drawn larger
- If the arm is at the back, then it is drawn smaller
 The arms could move either through the upper arm only, the forearm only, or both
 The hands can move independent of the arms (in terms of swaying), but still is based on the
movement of the arms
- The hands and lower arm may disappear when placed at the back of the passing pose
o Torso
 The torso and head usually do not need to worry about foreshortening
- However, it can lean forwards during the highest point pose
 The torso can tilt based on the movements of the belt line and shoulders
- Tilting usually occurs to balance out the body, usually affected by whether or not both
feet are planted on the ground
- A tilting is usually seen on the contact, passing, and highest point poses
 Poses – Walk Cycle in ¾ View
o The ¾ view walk cycle shall also follow the four poses of the previous two walk cycles
o In creating this cycle, it is recommended that the side view and front view be used as a basis
to determine the poses
o Foreshortening and perspective is necessary when animating this walk cycle
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o Contact
 Both legs are on the ground, with one in front and the other one at the back
 Arms are opposite of the leg (i.e. if the right leg is placed in front, then the right arm is at
the back)
 Belt line is placed downwards towards the leg that is at the back
 Shoulder is placed downwards towards the arm that is at the back
 There is a tilt to the torso
o Lowest point
 Both legs are still on the ground
 Knees are bent, so some foreshortening is necessary
 Arms are placed farther away from the torso, opposite of their leg (i.e. if the right leg is
placed in front, then the right arm is at the back)
 The torso is not tilted, but rather twisted due to the bending of the legs
 The belt line and shoulder lines are more horizontal compared to the contact and passing
poses
 Shoulder line is a bit higher since the arms are raised higher
o Passing
 One leg is at the ground (the one in front on the contact pose)
 The other leg is bent upwards, higher than any other pose
 Arms are nearer towards the torso
 The arm at the back could still be seen from the elbow until the tips of the hands
 The arm at the back is significantly higher than that of the other arm in the shoulder
 The torso seems to be a bit straighter, but the back reveals that the body is tilted towards
the direction where the leg that is on the ground
o Highest point
 The torso and head is leaning towards the front, with the back being less curved than that
of the other poses
 One leg is only on the ground, standing using the toes
 The other leg is bent lower than that of the passing pose, but still lifted
 Arms move farther away from the torso
 Considerations – Walk Cycle in ¾ View
o Path of action
 When creating a moving walk cycle in ¾ view, the path of action must be considered
 The plane where the character is walking is more diagonal, include horizontal (side view) or
vertical (front view)
 If the character is moving from one place to another, then the character must become
larger / smaller relative to the position of the camera
 It is recommended to draw a horizon, vanishing point, and then some perspective lines to
ensure that the spacing and the sizing are according to the rules of foreshortening
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o Perspective and foreshortening

 Out of all of the poses, perspective must be considered at all times
 Unlike the front view, where the foreshortening is more obvious, the walk cycle in ¾ view
has their foreshortening a bit more subtle
 When the foreshortening and perspective is done incorrectly, then the walk cycle will
reflect more of a side view rather than a ¾ view
 Since the term “3/4 view” can be subjective, there are instances where other walk cycles
look more towards the front / towards the side compared to the others
 There is a need to ascertain where the surfaces of the shapes are facing (i.e. placement of
the foot)
o Belt line
 The belt line is quite similar to that of the front view one, so that can be used as a basis
 Similarly, the belt line moves up and down according to the movement of the legs
- If the leg is planted on the ground, then the belt line is placed downwards
- If the leg is higher, then the belt line is placed upwards
 The movement of the belt line is also affected by the shoulders
- If the shoulders are slanted upwards, then the belt line is slanted downwards
- If the shoulders are more slanted, so is the belt line
- If the shoulders are more horizontal, so is the belt line
 The belt line can also affect the movement of the torso
o Shoulders
 The shoulders are quite similar to that of the front view one, so that can be used as a basis
 Similarly, the shoulders moves up and down according to the movement of the arms
 In this view, how slanted the shoulders are affect the entire drawing (how visible the other
arm is, especially the one at the back)
 The movement of the shoulders are also affected by the belt line
- If the belt line is slanted upwards, then the shoulders are slanted downwards
- If the belt line is more slanted, so is the shoulder line
- If the belt line is more horizontal, so is the shoulder line
 The belt line can also affect the movement of the torso
o Torso
 The movement of the torso is both characterized by how tilted it is to one side, and how
much it is twisting
- The tilting is affected by the movement of the shoulders and belt line
- The twisting is affected by how stable the movement is
o Legs and feet
 The legs are feet are quite similar to that of the walk cycle of the side view and front view
 The foreshortening is more subtle compared to that of the front view
 The feet’s dimensionality are more obvious compared to that of the legs; so when drawing
the basic shapes, it must be drawn with 3D shapes
o Arms and hands
 The arms and hands are quite similar to that of the walk cycle of the side view and front
view
 When animating them, the placement of the shoulders is a very important factor
 The foreshortening of the arms and hands are less subtle compared to its front view
counterpart
 The foreshortening of the arms and hands are also less subtle compared to that of the legs,
with them almost looking like it’s from the side view
 The dimensionality of the hands are more obvious compared to that of the legs
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 Poses – Four-Legged Walk Cycle (Side View)
o The foundations of the four-legged walk cycle is based on the four basic poses of the two-
legged walk cycle:
 Contact  Passing
 Lowest point  Highest point
o The front legs are considered as one unit and the hind legs are considered as another unit
o Each unit is reflected a pose of the walk cycle
o Each unit also has their own belt line to use as the basis (hips for the hind legs; shoulders for the
front legs)
o The pose on the back legs is two poses behind of the front legs:
Number Front legs pose Hind legs pose
1 Contact (right leg in front) Passing (right leg on ground)
2 Lowest point (right leg in front) Highest point (right leg on ground)
3 Passing (right leg on ground) Contact (left leg in front)
4 Highest point (right leg on ground) Lowest point (left leg in front)
5 Contact (left leg in front) Passing (left leg on ground)
6 Lowest point (left leg in front) Highest point (left leg on ground)
7 Passing (left leg on ground) Contact (right leg in front)
8 Highest point (left leg on ground) Lowest point (right leg in front)
 Considerations – Four-Legged Walk Cycle (Side View)
o Anatomy of the character
 Four-legged characters are usually modeled after actual animals (canines, felines, horses)
 For most of these animals, the anatomy of their front legs is similar to that of the human legs
whilst the hind legs are created differently
 As such, there is a need to consider how the character’s anatomy would work before
creating this walk cycle
 It is also noted that animated characters may have more human-like actions, as such, the
anatomy may be more similar to a human character
o Front legs
 Most four-legged animals would have their front legs’ anatomy the same as a human’s
 The ‘belt line’ is the character’s shoulders and ribcage, which can be represented as a
bigger circle when animating in its skeleton form
 The poses of the front legs are the same with that of the two-legged walk cycle
 The poses in the front legs must be two poses ahead of the hind legs
o Hind legs
 The anatomy of the hind legs must be considered when animating
- When following more realistic anatomy, from the belt line, there are three joints
(compared to the normal 2 joints for the front legs)
- The three joints are the one near the hips, a joint that bends backwards, a joint that
bends forwards, and the paws (which do not have a joint technically but can be bent
so that the paws are firmly on the ground)
- When animating the three joints, the last two joints (joint that bends forwards and the
one near the paw) are created into one joint
- In animation, it is possible that a four-legged character would have the same anatomy
as that of the front view
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 Regardless, it still follows the four poses similar to that of a two-legged walk cycle
 The ‘belt line’ is the character’s hips, which can be represented as a smaller circle when
animating in its skeleton form
 The poses in the hind legs must be two poses behind of the front legs
o Hips
 The hips is represented by a smaller circle that holds the hind legs together, serving as its
belt line
 Similar to the belt line of a two-legged walk cycle, it moves up and down a vertical axis
according to the pose of the hind legs
 The tail is connected to the hips as well
o Shoulders and ribcage
 The shoulders and ribcage is represented by a larger circle that holds the front legs
together, serving as its belt line
 Similar to the belt line of a two-legged walk cycle, it moves up and down a vertical axis
according to the pose of the front legs
 The neck and head is connected to the side of the shoulders
o Torso movement
 The torso is connected by the two belt lines, the shoulders and ribcage, and the hips
 The torso is more fluid, moving according to the movement of the belt lines
 The torso does not necessary stretch or squash, and only maintains a set volume and
length
o Drag elements
 Examples of these are the tail and the ears (and head in some cases)
 Usually, the tail’s movements would either be:
- Moving upwards and downwards
- From side to side
- A type of a wave principle
 For the ears, it is usually based on the movement of the torso, albeit delayed within a few
frames
Case Study – Standard Run Cycle (Side View)

 Poses – Standard Run Cycle
o Contact
 Considered as the starting / ending keyframe of a standard run cycle
 Only one leg is in contact with the ground
- Similar to the contact pose of a walk cycle, the leg in front is stretched, and is only the
heel is in contact with the ground
- The leg at the back is bent, with the foot away from the ground
 The arms are away from the torso, with the elbows at an angle
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o Mediant
 The mediant is an in-between to make the movement more subtle and less abrupt, despite
being a run cycle
 Can be placed either before or after the lowest point; may not even be placed at all
 The level of the head is quite low, but must still be higher than that of the lowest point
 When the mediant is placed before the lowest point:
- The leg in front is bent, the lower leg vertical to the ground, and the foot planted on the
ground
- The leg behind is the same with the contact pose
- The arms are nearer towards the torso, being lowered down, still at an angle
o Lowest point
 AKA down, bend, low
 The head must be at the lowest compared to the other poses
 The thighs are closer to each other and touching
 The lower leg at the front is bent even further, to help with cushioning the leg from the high
energy from the contact pose
 The arms are closer towards the body
o Passing
 The process of the changing of the foot in front
 The pose for the run cycle is quite similar to that of the highest point pose in a standard
walk cycle:
- Only one leg is on the ground, which is only by the toes; the leg is also stretching
- The other leg is off the ground, rising a bit higher from the lowest point
- The arms are closest towards the body
o Highest point
 AKA up
 Unlike its walk cycle counterpoint, there are some cases where the head level is the same
than that of the passing pose
 The back leg (the one in front at the contact pose) can either be:
- Still in contact with the ground, but only the tips of the toes
- Off the ground, slightly bent, highest off the ground
 The leg at the front is still off the ground, now higher than that of the passing pose
 The arms are going farther away from the torso once more
o Takeoff
 A pose unique to the run cycle
 Called because both feet are off the ground
 The leg at the front is lower than that of the one at the back to prepare for the contact
pose
 The leg at the back is lifting off, getting higher in preparation for the contact pose
 The arms are getting farther away from the torso, much more than the previous pose
 Considerations – Standard Run Cycle
o Difference from a standard walk cycle
 Each pose from the walk cycle must have at least one leg on the ground, while the run
cycle has the takeoff pose, where neither feet are on the ground
 Some poses of the walk cycle (contact, passing) have both feet on the ground, while the
run cycle usually only has one foot on the ground
 The poses on the run cycle, when compared to the walk cycle:
- Tends to be more rigid
- Thinks of conserving energy with the body parts nearer towards the torso
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o Legs
 Movement tends to have more vitality compared to a standard walk cycle
- This is because there is a lot more motion in a run cycle compared to a walk cycle
 At least one of the legs are off the ground for all poses
 When drawing the feet, it is still best to divide the bottom of the foot to three equal parts to
make it easier to draw later on
 The placement of the leg is opposite to that of the arm (i.e. if the right leg is in front, then
the right arm is placed at the back)
o Belt line
 The belt line is still present, albeit less curved compared to that of the walk cycle
 The movement of the belt line still dictates the placement of the legs
- Favor the leg that is at the lowest point
- Belt line should be at the lowest towards the leg that is at the lowest
- Belt line should be at the highest towards the leg that is at the highest
- Helps determine the center of gravity, especially when the torso is leaning forwards
 The movement of the belt line can still influence the movement of the shoulders
o Arms
 The arms seem to swing around less than that of a walk cycle
- This is to preserve any energy that may be created when swinging the arms
- It is also to prevent any wind resistance created by the movement of the arms
 The arms and hands tend to be more rigid than that of a walk cycle
- The angles of the arms are more pronounced compared to a walk cycle, which may
have some of the arms stretched out
- The hands are usually drawing as fists or the fingers straight out
 Similar to the walk cycle, the arms are mostly more of a secondary action, and can move
independently of the legs
 The placement of the arm is opposite to that of the leg (i.e. if the right arm is in front, then
the right leg is placed at the back)
o Torso
 The torso is leaning more forwards
- This is because of the speed of the run cycle
- Mainly to maintain the balance while the character is running
 The head must still be facing forwards
- The chin can be facing upwards to balance out the speed of the run
 Other Run Cycles
o Four-drawing run cycle
 AKA fast run

 Usually used for short-legged characters
 Has four main poses: extreme, push-off, passing, and contact
- Extreme: also known as the keyframe; different from a contact because this pose is
considered more as a ‘resting’ pose than the contact pose and is generally more
stable
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- Push-off: the process of using the back leg to push oneself into moving forward; allows
the character to move forward even further without changing the feet
- Passing: the process of changing the foot in front; both feet are off the ground
- Contact: process of one of the foot touching the ground from the previous passing
pose; another stable pose
 There is little change on the vertical movement of the head and body; it is possible for all
heads to be in the same level
 The torso and head are leaning more forwards to help balance the character during the
very fast run
 The arms are also in front (and usually non-moving):
- This run is mostly used to ‘chase’ another character
- It also helps minimize wind resistance
- It is also difficult to animate the arms independently due to the fast pace of this run
 To emphasize the speed of this run, one can also add animation blurs
o Three-drawing run cycle
 The recommended minimum number of steps for a run cycle

- Any fewer makes the run almost invisible
- There is a 2-drawing run, but is not recommended since it does not look like a run
 Movement of the legs are at a circle
 Only has three poses: extreme, passing, and contact
- Extreme: the new keyframe; allows for the character to move forwards without
changing the foot
- Passing: process of changing the foot in front; helps the character advance forwards;
both feet are off the ground, similar to a takeoff pose
- Contact: process of having one of the foot on the ground; most stable pose since the
foot is planted on the ground
 The arms does not change from pose to pose
- Similar to that of the fast run, where the arms are only in front
- Other poses can be used such as the arms tucked to the sides
Case Study – Wave Principle

 Introduction
o An example on how stagger timings work
 Stagger timing
- A term generally to refer to abnormal timing
- When animating, it is recommended to intentionally tweak the timing from the normal,
realistic one to emphasize some notes in the animation
- Makes the animation more interesting
- Examples: shaking / vibrating, shuddering, shaking, etc.
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o Derived from the whip action, but without the snap
o Reflects how a lot of actions move more fluid compared to rigid

 Most movements in nature are more fluid compared to something rigid
 Usually applied to objects that have an anchor point, moving at a line
 General Demonstration
Image reference: https://cms-assets.tutsplus.com/uploads/users/2073/posts/30731/image/wave-cycle-

sample-3b.gif
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 Sample Applications
o Animal tail
Image reference: https://cdna.artstation.com/p/assets/images/images/010/145/998/original/shaquille-

crosse-cat-tail-animation-shaquille-crosse.gif
o Candle fire + smoke
Image reference: https://cdnb.artstation.com/p/assets/images/images/010/145/983/original/shaquille-

crosse-candle-flame-animation-shaquille-crosse.gif?1522814360
Further Watching:
 Becker, A. (2015 April 18). LAN BECKER - Animating Walk Cycles [Video]. Retrieved from
https://www.youtube.com/watch?v=2y6aVz0Acx0
 Becker, A. (2015 April 25). ALAN BECKER - Animating Run Cycles [Video]. Retrieved from
https://www.youtube.com/watch?v=jggdbxTJPG4
 Buzan, M. (2016 October 5). Animation Tutorial: The Wave Principle [Video]. Retrieved from
https://www.youtube.com/watch?v=kLPqW3g9yPs
References:
 Blair, P. (1994). Animation. Walter Foster Publishing: California.
 Technical Education and Skills Development Authority (2018 February 27). Training Regulations
for Animation NCII – Version 02. Quezon City
 Williams, R. (2001). Animator’s Survival Kit. Faber and Faber: United States.
ACTIVITY 9: Standard Walk-Cycle

Instructions: Using the poses from the standard walk cycle, create your own static walk cycle using an
original character.
 Original Character
o The character must be of your own creation.
 References may be used, but must be used sparingly
 Take note of Intellectual Property Rights when using references
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o The character is mostly inspired by the student.

o Design of the character must be kept under PG-13.
 The character must strictly only be two legged
 Design may not be human, but must have mostly human characteristics (humanoid)
o Include the following information:
 Name
 Short description of the character (1-2 sentences; briefly explain how is this character
related to yourself)
 Must be placed as a special instruction (first frame only, lower left corner)
 Walk cycle
o The walk cycle to be used is the side view, and the one for two-legged characters
 The entire body must be seen on the frame
o The character must be static (character should not move horizontally) throughout the
whole cycle
o Use the standard four poses to create your walk cycle, with the right foot at the front on
the first frame
o The four poses are then done twice, to complete the cycle
o As such, frame labels are as follows:
 1 – contact (right)  9 – contact (left)
 3 – lowest point (right)  11 – lowest point (left)
 5 – passing (right)  13 – passing (left)
 7 – highest point (right)  15 – highest point (left)
o Do not add any more in-betweens between the poses
o Do not modify the main poses, but changes to the secondary actions (i.e. hair, clothing)
may be added
 Apply any necessary concept of in-betweening and/or principle of animation to the
secondary actions to make it more impactful and artistic
o Use a messy clean-up line for the keyframes and in-betweens
 The thickness can be decided by the student, but must be consistent throughout all
frames
 Each frame should only be in black or white; coloring is not allowed
 Time chart
o Create two time charts, one for the right leg and the other for the left leg
o Use the contact poses as the keyframes, while the other poses are the in-betweens
 Take note that the walk cycle loops around
o Place the time charts to where the contact poses are
 Submission
o One can use either traditional, digital, or a combination of both
o The frames can be sized as follows:
 Traditional – ½ short bond paper
 Digital – either 4:3 or 16:9 ratio, with a minimum width of 500px
o Use the line-testing software / application of your choice to turn it into a moving image
(.GIF only)
o Make sure that your name and section is at the bottom left corner of the image for all
frames
 You may use an editing software to add the name and section afterwards or write it on
every frame
 You may also add your signature if you wish
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Rubric:
Time Chart and Frame Labels, Modeling and Record Keeping
Walk Cycle Poses
and Clean-Up Procedures and Quality Control
20 (excellent) – Output 20 (excellent) – Time chart and 10 (excellent) – Character
showcases all eight walk cycle frame labels are included and modeling and proportions are
poses placed and detailed are correct; proper line quality consistent; all production
correctly, with less than five is consistent amongst all information necessary are
mistakes amongst all of them frames; all do’s and don’ts in present; showcases
clean-up were followed competency on the use of line-
testing software
16 (above average) – Output 16 (above average) – Time 8 (above average) – Character
showcases all eight walk cycle chart is included and correct; modeling and proportions are
poses placed and detailed most frame labels are included; mostly consistent; production
mostly correctly, with 6-10 proper line quality is consistent information are mostly present,
mistakes amongst all of them amongst all frames; most do’s and unnecessary information
and don’ts in clean-up were may be present; showcases
followed competency on the use of line-
testing software
12 (satisfactory) – Output 12 (satisfactory) – Time chart 6 (satisfactory) – Character
showcases all eight walk cycle and most frame labels are modeling and proportions are
poses placed and detailed included; recommended line somewhat consistent;
mostly correctly, with more quality is not followed but production information are
than 10 mistakes amongst all of mostly consistent; do’s and mostly present, and some
them don’ts in clean-up were unnecessary information is
followed but with significant present; showcases
errors competency on the use of line-
testing software
8 (fair) – Output showcases less 8 (fair) – Incorrect time chart 4 (fair) – Character modeling
than eight walk cycles placed and frame labels are included; and proportions are
and detailed with a significant recommended line quality is inconsistent; some production
number of errors for most poses not followed and inconsistent; information are present and
do’s and don’ts in clean-up unnecessary information is
were mostly unfollowed present; does not show
competency on the use of line-
testing software
4 (needs improvement) – 4 (needs improvement) – No 2 (needs improvement) –
Output showcases less than time chart nor frame labels are Character modeling and
eight walk cycles placed and included; no clean-up has proportions need significant
detailed; there is a need for been done for this output improvement; no production
significant improvement information is present; does not
amongst all poses show competency on the use
of line-testing software
How to Submit:
 It must be a moving image (GIF extension file only) with at least a 500 px width.
 File name: LastName, FirstName – ICT Ani 12_ - Module 9 Activity
Submission Channels:
 Canvas K-12 LMS (Assignments)
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ANIMATION NCII – Animation 12a

Governor Pack Road, Baguio City, Philippines 2600

MODULE 9 – Ani12a Subject Teacher: Lovely Jenn A. Reformado

Objectives: At the end of this lesson, students shall be able to:

 The spacing / speed between the frames are equal

Case Study – Standard Walk Cycle (Side View)

MODULE 9 – Ani12a Subject Teacher: Lovely Jenn A. Reformado

 Poses of a Standard Walk Cycle

 Other Important Information

MODULE 9 – Ani12a Subject Teacher: Lovely Jenn A. Reformado

MODULE 9 – Ani12a Subject Teacher: Lovely Jenn A. Reformado

MODULE 9 – Ani12a Subject Teacher: Lovely Jenn A. Reformado

 Draw the elbows first before the length of the arms

 Located at the top-most part of the hip

 The head and torso should only move up and down

MODULE 9 – Ani12a Subject Teacher: Lovely Jenn A. Reformado

 Steps in Animating – Static Walk Cycle (Side View)

o Determine the ground level

o Determine moving and non-moving objects

MODULE 9 – Ani12a Subject Teacher: Lovely Jenn A. Reformado

o Animating moving objects – hips

o Animating the legs – contact pose

o Animating the legs – passing pose

MODULE 9 – Ani12a Subject Teacher: Lovely Jenn A. Reformado

 Draw the knee based on the character’s design and proportions.

o Animating the legs – lowest point

o Animating the legs– highest point

MODULE 9 – Ani12a Subject Teacher: Lovely Jenn A. Reformado

Image reference: https://i.imgur.com/y4YBUQu.gif

Image reference: https://i.imgur.com/Stcbd3Z.gif

MODULE 9 – Ani12a Subject Teacher: Lovely Jenn A. Reformado

o Animating the arms – passing pose

o Animating the arms – lowest point

o Animating the arms – highest point

MODULE 9 – Ani12a Subject Teacher: Lovely Jenn A. Reformado

Image reference: https://i.imgur.com/FjG8jXW.gif

Image reference: https://i.imgur.com/7qXidNY.gif

MODULE 9 – Ani12a Subject Teacher: Lovely Jenn A. Reformado

Image reference: https://i.imgur.com/tkcNjq3.gif

Image reference: https://i.imgur.com/AFYeGoL.gif

 Steps in Animating – Moving

MODULE 9 – Ani12a Subject Teacher: Lovely Jenn A. Reformado

o Determine moving and non-moving objects

o Determine placements of the contact poses

MODULE 9 – Ani12a Subject Teacher: Lovely Jenn A. Reformado

o Determine placements of the passing poses

o Determine placements of the lowest and highest points

MODULE 9 – Ani12a Subject Teacher: Lovely Jenn A. Reformado

Image reference: https://i.imgur.com/saoGCbr.gif

Image reference: https://i.imgur.com/2KCbXpq.gif

MODULE 9 – Ani12a Subject Teacher: Lovely Jenn A. Reformado

o Animating arms – contact poses

o Animating arms – lowest and highest points

MODULE 9 – Ani12a Subject Teacher: Lovely Jenn A. Reformado

Image reference: https://i.imgur.com/JdWy9ke.gif

Image reference: https://i.imgur.com/yb42oPu.gif

MODULE 9 – Ani12a Subject Teacher: Lovely Jenn A. Reformado

Image reference: https://i.imgur.com/N2GkI0w.gif

Case Study – Standard Walk Cycle (Miscellaneous)

MODULE 9 – Ani12a Subject Teacher: Lovely Jenn A. Reformado

MODULE 9 – Ani12a Subject Teacher: Lovely Jenn A. Reformado

MODULE 9 – Ani12a Subject Teacher: Lovely Jenn A. Reformado

MODULE 9 – Ani12a Subject Teacher: Lovely Jenn A. Reformado