Module 10 - Personalizing An Animation

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 10 – Ani12a Subject Teacher: Lovely Jenn A. Reformado
Personalizing an animation
Objectives: At the end of this lesson, students shall be able to:

1) Identify common mistakes in doing in-betweening in accordance to a case study;
2) Determine the factors that can make a walk cycle different;
3) Explain how to modify parts of the walk cycle to give off a certain emotion or style; and
4) Apply the concepts and principles of personalizing an animation by creating a personalized
walk cycle based on an emotion or style.
Introduction
 Importance of Personalizing an Animation
o There are some animations that have existing templates, but those tend to be standard.
 Using the standard templates, if any, is usually the bare minimum in an action.
 It is also important to note that most actions do not have a set template, so there should
be an innate need to create the action from scratch.
o Standard templates tend to be more robotic.
 Most animations (both character and effects) are organic in nature.
 It is simplified to make it easier for beginners to understand, but it removes a lot of nuances
that make an animation more organic.
 Modifying them can make them look more natural, even with some exaggerations.
o Modifying the animation makes your animation unique.
 Sticking to the standard is good for beginners, but after quite some time, you would find
yourself some things in the animation that would be better.
 Adding modifications (or quirks) on the animation can make it more interesting to the
viewer, and can set your animation from the rest.
 The modifications depend from person to person, as the difference are usually determined
by their own preferences.
o It gives more character to your works.
 Adding character to a work makes it more personal, which to viewers, can translate as a
powerful theme or emotion.
- Actors try to get a hold of a character by figuring out how he/she/it/they walks and
allowing the character to tell the whole story with a walk.
 The animations created tend to have your own characteristics, quirks, and preferences.
 Usually, in an animation studio, the animators can tell their own works even with similar
modeling, clean-up, and other standards. This is because the character’s actions tend to
mimic that of the animator’s.
 This is further reflected as a lot of animators use themselves as reference when animating.
Animators tend to have a mirror on their workstation to recreate facial expressions needed.
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 Review – Head Turn (Side-to-Side)

o Normal head turn
 The minimum requirement for a head turn is to move the head from one side to another.
- The timing for this is a slow in and slow out
- The path of action is a horizontal line
- There are no changes in the facial expression
 This is technically a head turn, but it may not be appealing as an animation due to how
standard or bland it is.
Image reference: https://i.imgur.com/DfIyjXy.gif

o Curved path of action
 No organic object (like humans) generally move within a straight line. Movement is usually
within a curved path of action.
 Curving the path of action makes the action more organic, and therefore more natural.
 Typically, the path of action curves downwards then back again. This is because humans
tend to lower their head at the middle of the turn.
 It is also to have the other following paths of action:
- Curved upwards then goes down, to give a sense of hubris
- Extended curving near the start and end of the head turn, to give the idea of scoping /
looking around
Image reference: https://i.imgur.com/rJlmGdi.gif

o Blinking
 Humans tend to blink every now and then.
 Adding blinking within the course of the head turn makes it look more natural.
- It is recommended to do this only once
 This can be placed in any path of the head turn.
- However, usually, it is placed in the middle / breakdown frame.
- This is because the breakdown frame has the most speed, so it is the character’s
reaction to the speed
- It can also imply that the character is protecting their eyes from the wind.
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Image reference: https://i.imgur.com/mAnHYRF.gif

o Adding facial expressions
 Adding facial expressions within the course of the head turn can give it better purpose.
 It can be placed within any portion of the head turn.
- However, it is recommended to place them at the start, end, or breakdown frame.
 Take note of how many facial expressions are imbued within the head turn.
- Usually, the head turn is used to signify change in the facial expression.
- The recommended maximum is two facial expressions – placed at the start and end.
- If it is used within the middle of the head turn, then there should only be one facial
expression throughout the entire head turn.
Image reference: https://i.imgur.com/edAWViY.gif
Common Mistakes in In-betweening

 Taking In-betweening Literally
o The basic concept for in-betweening is finding the middlemost point – that pertaining to
distance, sizing, volume, and the like.
o Generally, that would work. However, there are also a lot of cases where that idea of in-
betweening does not work.
o Thus, it is important to see some case studies on some examples that do not follow this rule,
and how to properly do it.
 Disregard for Perspective Drawing
o Generally, the idea is to determine the distance of the path of action and draw the in-
between there.
o However, when there are instances where perspective drawing is needed (i.e. foreshortening,
point-perspective, turning, etc.), then those have to be taken into consideration.
o Head turn
 This example can be seen in a lot of more complex animations, which mostly involve
twisting or turning – which applies some understanding of translating a two-dimensional
space (paper / canvas) into a three-dimensional one.
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 It might be mistaken that the head is a circle – which is a 2D object; when it should be a
sphere – a 3D object.
 When that interpretation is used, then the eyes on both sides will be considered as only one
unit. It can also be seen that the mouth might be considered as just one line.
o Telephone lines
 This is an example is usually seen in backgrounds, or in objects that might require some
extreme point perspective.
 The basic understanding is to find the middlemost distance of the two extreme poles, and
then draw it in the middle with its size the middle-point of the two poles.
 When tackling one-point perspective, it is recommended to rather create a cross using the
bottom and top of the objects, and using the middle of it to determine the ‘middle’
distance.
 Pre-Emptive Distortion
o Generally, one has to draw the shape of the in-between according to the shape of the two
keyframes, finding its middle shape.
o However, distortions in the object’s shape are based on the forces acting upon it. When the
object is in the air, then no distortions should be made.
o Mallet
 The reason why the nail is bent is because of the force from the mallet.
 The nail should not bend in the in-between since there is no contact with the mallet.
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o Water droplet
 The water droplet ripples because of the contact with the ground.
 As such, the water droplet in the in-between must not see any distortion.
 In terms of the speed, raindrops (and water droplets) tend to maintain a terminal velocity,
so any squash or stretch is not usually seen.
o Falling ball
 For a falling ball, the distortion can come from the force of the contact with the ground or
the speed.
- If the ball is more rubber like in material or harder, there is no distortion done in the air
since the weight brought upon by the acceleration is not enough to distort it. Only the
immense force when in contact with the ground can give some squash to the object.
- If the ball is softer like a water balloon, the weight brought upon by the acceleration
can distort it. The distortion is more vertical than horizontal. This also works with how
before a squash happens, a stretch usually occurs.
 As such, no horizontal distortion is seen because there are no forced acting upon the sides
of the ball.
 Disregard of Joints
o Foot – walk cycle
 Basic in-betweening tells that the foot is placed at the middle point where the foot is from
the air and the foot is planted on the ground. The resulting in-between will have the foot
near the ground (toes almost in contact with the ground) and with the foot angle between
the two keyframes.
 This is improper since in a walk cycle (or lifting the foot in general), it is quite uncomfortable
for the foot to be off the ground for a longer amount of time than necessary.
 To compromise, it would be better to somewhat go a bit forwards and have the foot in
contact with the ground, but only the toes.
 This way, the foot has a bit more stability since it is in contact with the ground.
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o Pointing finger
 In this case, the path of action (arc) is followed at the tip of the finger.
 However, the unraveling of fingers is not like a springboard, but rather joint-by-joint.
 As such, it would be better for the pointing finger to slowly unravel, one at a time, to create
the in-between.
Short Review: Standard Walk Cycle

 Poses in a Walk Cycle
o There are four typical poses in a walk cycle: contact, lowest point, passing, and highest point.
o In some cases, there would be in-betweens these poses if the walk is meant to be slower.
o They follow a certain way with how different body parts move: legs, feet, arms and hands,
torso, and head.
 All Walks are Different

o No two people in the world have the same walk style.
o How a character walks differs according to a lot of factors.
o Changing the walk according to these factors, amongst other things, is necessary to make
sure that the walk created is unique compared to everyone else’s.
o However, the poses from the walk cycle must still be used as the main basis.
 Do not remove any poses from the main walk cycle.
 As much as possible, maintain the timing of the walk cycle (thirds only).
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o When modifying, make sure that any decision should enhance the animation and what it can
offer to the audience.
 Plan the walk cycle first and decide what modifications you plan to do beforehand.
 Take into consideration some factors that might affect the character’s walk cycle.
 Add only a few modifications out of all of the recommendations listed below. It is better to
edit out rather than adding more.
- If we take a normal clichéd action and alter one tiny part, we get something different.
 Prevent having too many modifications at once.
- It distracts from the main action.
- There might be some modifications that would counter each other.
Considerations in Creating a Walk Cycle

 Age
o The character’s age can affect with how it is drawn / modelled.
o Certain ages also tend to have their own unique characteristics:
 Babies / Infants / Toddlers
- Usually off balance since they cannot walk / are learning to walk
- Drawn using shorter arms and legs, so they tend to move with the entire leg
 Children
- They move with a more exaggerated action (both in feet and legs)
- Either they have just learned how to walk, or they have a lot of energy to expend
- Some children character are also drawn with shorter limbs so there is a need to
exaggerate their action to make it seem like they’re walking
 Teenagers and Adults
- Closely follows the poses and speed of a standard walk cycle
- Differences usually occur in the other considerations
 Elderly
- They tend to move slower due to the fact that they have lesser energy and more
restrictions on the body
- A number of elderly people tend to have a bent spine over time, so there is limited
movement to their shoulders and arms
- Lack of energy also means that the spacing between the steps is also smaller
 Sex and/or Gender Identity
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o Women (or those who identify more as a female):

 Often take short steps in a straight line
 Their legs are closed together more when walking – especially when they are wearing a
skirt
 Feet are parallel to the direction they are walking to
 There is little up and down movement on the body
 There is a lot of movement in the hips, so swaying is seen more when walking
o Men (or those who identify more as a male):
 Often take larger strides over a larger surface area
 The legs are more open
 Feet are more diagonal to the direction they are walking to
 There is a lot of up and down movement on the body
 Movement on the shoulders is very visible when walking
 Body Composition
o How their body is created and composed can mostly affect the posture and counteraction of
the character’s walk cycle
 Thin body composition
- Tends to follow the standard walk cycle
- Might walk more sprightly than a fatter character since there might not be a lot of
weight holding them down
 Fat body composition
- Looser body fat like the stomach might bounce off during poses of the walk cycle
- Tends to have their steps wider from each other since the fat in the thighs prevents
them from having a tighter line to walk on
 Female characters
- The breasts might bounce off during poses of the walk cycle
 Elderly
- Cannot move their shoulders and arms much due to a hunched spine
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 Emotion
o This is considered as one of the biggest factors in creating a walk
cycle.
 Most walk cycles are usually driven by the emotion of the
character.
o A person will have drastic changes in their walk when they are
overwhelmed by a certain emotion.
o Certain emotions can alter the way a character walks:
 Happy – bouncier and lighter movements, almost bouncing
 Sad – slumped back and shoulders, little spacing on the
movement of the feet
 Angry – stomping feet, arms are angular, torso and head is not
moving due to focus
 Scared – limbs are close towards the body, fewer movements
 Situation
o Situation is mostly an extension of an emotion.
 The situation allows them to feel a certain emotion
that they evoke as the situation is happening.
o These are brought about by circumstances
happening towards a character.
 Drunk – walk mainly focuses on keeping balance;
body movements are very erratic
 Injured – tends to move very little; has apparent pain
on the face
 Walking on stage – the character is mostly likely
nervous, so the movements are slightly jittery, with
apparent caution on the face.
 Style
o Style is the overall way on how a character walks, unaffected by
emotion.
o It can be influenced with a number of factors such as personality
or lifestyle, amongst others.
o It can give off certain aspects to the character, such as their
personality or status.
 Sailor – body tends to rock side to side, mostly influenced by the
rocking of the ship during naval travels
 Rich – sometimes called a ‘snooty’ walk; head is usually held up
high, shoulders are steady but the arms are almost flailing
 Swagger – an extension of a masculine walk, but with more
confidence as the head is always held up
 Introverted – usually keeps to themselves; little swaying is done
on the arms, legs are closer together; head is bent downwards
Note: Each consideration has some examples to demonstrate how it can affect the walk cycle
animation in a more practical way. Some of the examples here are somewhat stereotypical in
nature and may change due to more progressive beliefs. Overall, it is not a reflection of the
beliefs of the author and the department. You are also free to change them as you see fit.
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What to Modify in a Walk Cycle

 Heel
o The heel serves as the lead part.
 Heel controls the movement of the foot.
 Though sometimes the toes might reach the ground first, the heel would be the one
controlling it.
o Modifying the heel can help with indicating weight shift.
 If heel is always on the ground, then the character has a heavier weight or is stomping.
 If the heel is off the ground, then the character tends to skip more on their walks.
 Foot Action
o A foot usually picks up slowly, then travels quickly through the middle, and puts down fast.
o 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.
o 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.
 Weight Shift
o Essentially, the weight shifts from one foot to another.
 When a foot is raised, it thrusts the weight of the body forward and to the side of the other
foot.
 Shoulder mostly opposes the hips.
o Modifying this can affect the weight and/or emotion of a character.
 Having a more diagonal line for the shoulders and hips can imply that a character is
heavier. It can also mean that the character is stomping.
 Having a more diagonal line for the shoulders and hips can also mean that the character is
dragging themselves.
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 Having a more horizontal line for the shoulders and hips can imply that a character walks
lighter and bouncier.
 Belt Line
o This is 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.
o 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; and/or
 The placement of the shoulder.
o It helps determine the center of gravity, especially when the torso is leaning forwards.
o Can also affect when the character is twisting, turning, or there is a need to apply some
foreshortening.
o The placement of it as well can affect the intensity of the weight shift, and how much the legs
would be bending.
 Arm Movement
o 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.
o The arm swing is used to balance the thrust of the walk.
o The arm swing can also be used to imply mood according to how much it moves.
 More movement – infants / toddlers / children, happier mood, more erratic situations
 Lesser movement – elderly, sad mood, low-energy walks
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o Twisting, turning, and application of foreshortening may also be applied here to make it more
dynamic.
 Counteraction
o These refer to any other secondary movement that can affect the movement of the body in a
walk cycle.
o When the character goes up, the drapery or hair or soft bits go down.
 It usually applies the concept of follow through and overlapping action.
 Some of them would also apply the idea of drag – following the movement of the main
action.
o Take note of the material of the secondary actions.
o Simply give them movement, add some restraint.
 Exaggerating the movement of the counteraction diverts the attention from the main walk
and instead places it on the counteraction.
o Here are some examples of counteraction that may be found in the walk cycle:
 Soft muscles
- Examples of these are breasts and stomachs. For animals, these can be ears and jow
 Hair movement
- The movement would come from the crown of the head, bellowing when going down.
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 Hat movement
- In this case, a lot of restraint is seen – only the brim of the hat acting as a counteraction
with a simple up and down motion.
- Also, when the character’s head moves up, the brim’s movement goes down – an
example of drag or delay of a secondary action.
Modifying a Walk Cycle

 Getting the Weight
o There is a need to accentuate the weight of putting the legs up and/or down compared to a
realistic walk cycle.
o The lowest and highest point poses on the walk cycle are present to give more weight to the
character when walking.
 The lowest point has the legs bent down – which is mostly used to give the idea of weight.
 The highest point has the legs stretched – which is mostly used to give the idea of lightness.
 Setting the Tempo

o 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 Recommended walk cycle (according to drawing number):
Poses – Standard Frame Number (recommended
Frame Number (animating in 2s)
Walk Cycle for marching)
Contact (right) 1 1
Lowest point (right) 5 3
Passing (right) 9 5
Highest point (right) 13 7
Contact (left) 17 9
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 Passing Position / Breakdown

o The passing position allows for an easier way to build a walk:
 Create the two contact poses (taking note of the placement of the legs).
 Draw the passing pose at the middle, with the foot placed on the ground at the middle.
 Draw the lowest point and highest point at the middle of the passing and contact poses.
o Modifying the drawing of the passing pose can create some difference to the walk:
 Default passing pose – Has the leg on the ground stretched, torso and head are straight
 Cartoony walk – foot on the ground is bent down a bit; makes the walk bouncier
 Lazy walk – has the legs bent; back is also bent (torso is shaped like a kidney)
 High-strung walk – leg is stretched out; chest is out
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 Zombie-esque walk – head and torso is tilting from side to side, almost robotically; can also
be used when the character is a bit more wary
 Walk that focuses on the movement of the feet
 Loosening It Up
o Focuses on the shoulder movement.
o Exaggerating the movement of the shoulders exaggerates the movement of the arms even
further.
 This is done by moving it slightly more forwards / backwards
 This can also be done with the hip movement
o This is used to make a character sprightlier or more ecstatic when doing the walk cycle.
 Head Movement
o This can be done at any pose, but usually is determined by one only.
 Either use the passing pose only, or the contact pose only.
 Choose one pose to focus on the head movement
 Then the other poses will serve as in-betweens.
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o The head can be moved to emphasize movement.

 Moving forwards / backwards – looking around, sense of wary
 Moving from side to side – more carefree
 Breaking The Joint

o This is also known as bending the knees and/or ankle, with the look almost looking distorted.
o It gives more character to the movement.
 It can give the idea that the character is more flexible.
o Take note of foreshortening when doing this.
 Even though there is some distortion going on, it should still look logical, and not the
character breaking their joint.
 Others
o Double bounce
 Usually shows energetic optimism, seen in a lot of animations in the early 1930s
Image reference:
https://64.media.tumblr.com/61425f6a18fd4f98265849ec1da5ce9b/tumblr_n5tlq4AfHj1s2wio8o1_400.gif
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 Usually used for a moving walk cycle, or when it is possible to do multiple cycles of the walk
cycle (instead of 8 drawings, the entire walk cycle is 16 or 24 drawings)
 Done in the passing pose, by bending the foot in contact with the ground
o Getting Vitality in a Walk Cycle

 Lean the body.
 Use straight legs on contacts and passing positions (going from straight to bent or vice
versa).
 Twist the body.
 Tilt the shoulders and hips, have the shoulders oppose the hips, swivel the hips.
 Flop the knee in or out.
 Delay the feet and toe leaving the ground until the very last instant.
 Tip the head or make it go back and forth.
 Delay parts – don’t have everything working together at the same time.
 Use counteraction.
 Break the joints.
 More ups and downs (for weight).
 Use different timings on legs, arms, head, body, and other body parts.
 Twist the feet, take them off the parallel.
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.
REFLECTION: What do you think makes an animation special?

 Condense your thoughts into 2-3 sentences. Sharing will be done through a posted discussion
on Canvas.
 This activity is optional.
 Those who will answer shall be given 5 additional points for the Activity 10.
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ACTIVITY 10: Personalized Walk Cycle

Instructions: Based on the character used in the previous module, modify the standard walk cycle
and animate it using your original character.
 Original Character
o Use the same original character that you have used for the Module 9 activity.
o Tweaking of the design may be done, but not to the point that it significantly alters it.
 Modified Walk Cycle
o Choose only one emotion, style, or situation that will be the basis of your modified walk
cycle.
 You are allowed to choose more than what is stated on the examples below.
 DO NOT USE AN ANGRY WALK. That will be used for the demonstration.
 Examples:
- Emotion: happy, sad, nervous, embarrassed, etc.
- Style: sprightly, snooty, swagger, sassy, etc.
- Situation: drunk, tightrope walking, etc.
o Specify the modification used by placing it on the lower left corner of every frame.
o Be careful on how you will modify your walk cycle.
 Adding too many elements can make the modified walk cycle worse.
 Include at least three (3) modifications from the standard walk cycle.
 Time Chart
o Use at least eight (8) drawings to create your walk cycle.
 You are allowed to go beyond 8 drawings if you see that it would improve your
modified walk cycle.
 More drawings does not necessarily equate to more points.
o All poses from the walk cycle must still be present.
 Contact, lowest point, passing, highest point done in twice.
 If there are more 8 drawings, then mediants and other in-betweens are placed in the
middle.
o Maintain the thirds animation of the time chart. Do not add any slow in and slow out, or
any variation of the thirds animation.
o Label the frames accordingly. This should be animated in 2s.
o Use the contact poses as the keyframes. Draw the timing chart on the contact poses.
 Clean-Up
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.
 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:
Score
20 16 12 8 4
Criteria Description Excel- Above Satis- Fair Needs
lent ave- factory impro-
rage vement
Walk Cycle Output has at least 8 drawings with
the identified poses necessary for
the walk cycle; final output looks
like a character walking despite
the modifications
Modifications Output has been modified from the
standard walk cycle; decisions on
the modifications allows a tasteful
interpretation of the given emotion,
style, or situation
Timing and Time charts properly reflect the
In- frames and the timing; all frame
betweening labels are written down; any
concepts and principles of in-
betweening necessary were
applied
Clean-Up Prescribed line quality is consistent
amongst all frames; do’s and
don’ts in clean-up were followed
Record Character modeling and
Keeping proportions are consistent; all
Procedures production information necessary
and Quality are present; showcases
Control 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 10 Activity
Submission Channels:
 Canvas K-12 LMS (Assignments)
Page 19 of 19

Module 10 - Personalizing An Animation

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ANIMATION NCII – Animation 12a

Governor Pack Road, Baguio City, Philippines 2600

MODULE 10 – Ani12a Subject Teacher: Lovely Jenn A. Reformado

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

MODULE 10 – Ani12a Subject Teacher: Lovely Jenn A. Reformado

 Review – Head Turn (Side-to-Side)

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

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

MODULE 10 – Ani12a Subject Teacher: Lovely Jenn A. Reformado

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

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

Common Mistakes in In-betweening

MODULE 10 – Ani12a Subject Teacher: Lovely Jenn A. Reformado

MODULE 10 – Ani12a Subject Teacher: Lovely Jenn A. Reformado

MODULE 10 – Ani12a Subject Teacher: Lovely Jenn A. Reformado

Short Review: Standard Walk Cycle

 All Walks are Different

MODULE 10 – Ani12a Subject Teacher: Lovely Jenn A. Reformado

Considerations in Creating a Walk Cycle

 Sex and/or Gender Identity

MODULE 10 – Ani12a Subject Teacher: Lovely Jenn A. Reformado

o Women (or those who identify more as a female):

MODULE 10 – Ani12a Subject Teacher: Lovely Jenn A. Reformado

MODULE 10 – Ani12a Subject Teacher: Lovely Jenn A. Reformado

What to Modify in a Walk Cycle

MODULE 10 – Ani12a Subject Teacher: Lovely Jenn A. Reformado

MODULE 10 – Ani12a Subject Teacher: Lovely Jenn A. Reformado

MODULE 10 – Ani12a Subject Teacher: Lovely Jenn A. Reformado

Modifying a Walk Cycle

 Setting the Tempo

MODULE 10 – Ani12a Subject Teacher: Lovely Jenn A. Reformado

 Passing Position / Breakdown

 High-strung walk – leg is stretched out; chest is out

MODULE 10 – Ani12a Subject Teacher: Lovely Jenn A. Reformado

 Walk that focuses on the movement of the feet

MODULE 10 – Ani12a Subject Teacher: Lovely Jenn A. Reformado

o The head can be moved to emphasize movement.

 Moving from side to side – more carefree

 Breaking The Joint

MODULE 10 – Ani12a Subject Teacher: Lovely Jenn A. Reformado

o Getting Vitality in a Walk Cycle

REFLECTION: What do you think makes an animation special?

MODULE 10 – Ani12a Subject Teacher: Lovely Jenn A. Reformado

ACTIVITY 10: Personalized Walk Cycle

MODULE 10 – Ani12a Subject Teacher: Lovely Jenn A. Reformado

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