Walk cycle drawings

Walk cycle drawings DEFAULT

How to animate a walk cycle

What did you think of the tutorial?
We saw in detail and each of the drawings to animate a character walking head-on.

Remember to activate the subtitles in your language, you will find many.
If the language of your country is not there, leave me a comment telling me in which language you would like me to add.

Now, I want to show you the main drawings that we made in the tutorial:

Main poses of the front walk cycle of a man.

And then you do the same with the poses drawn above, they are reversed as I showed in the tutorial.

This is the Final Animation that we made in the tutorial:

I await your comment under the article 😉
I leave you a greeting, that you are very well and until next time.

Sours: https://tips.clip-studio.com/en-us/articles/2003

Learn to Animate your Drawings

The Art of the Walk Cycle

by Jerry Slayton

Animate objects, such as you and I, live in constant motion. We use our skeleton in concert with our muscles to perform a wide variety of large and small movements. Animals, plants, even water, share this animate quality. So why do we create artworks that sit still?

Stop-motion animation developed alongside photography in the late 1800s. It is a filmmaking style in which objects are physically moved in small increments and then photographed after each movement. The wonder of animation is that any object, from a still drawing to a block of wood, can be brought to life through this process. Cut paper, fabric puppets, and clay models are commonly used in animated films to tell fiction and non-fiction stories.

To develop their characters, many animators create walk cycles, or walking loop animation. A walk cycle allows the animator to explore the personality of a subject through movement. In today’s blog post we will breakdown the basic steps in creating a Walk Cycle and give you the tools to make your own.

Step 1- Choosing a Subject

To begin the process of making a walk cycle, we must first choose a subject. For today’s example, I have chosen a cat. We start by sketching the cat with a pencil, then add dark outlines and color.

Step 2- Planning the Movements

To create the illusion of movement, we will need to draw the cat in a variety of walking poses. It helps to start by sketching the basic stick figure of the cat and then add the contour lines of the body. In the photo below I have drawn each cat on a separate sheet of paper. Regular 20lb copy paper works great because it is slightly transparent, allowing you to see through and trace. For this animation we draw 8 separate pictures of the cat walking. We’ll finish each cat by adding dark outlines and color.


Step 3- Recording the Animation

Next, each picture in the sequence must be photographed. I like to write the order number on the back of each drawing to help me remember the sequence. It’s important to keep your camera absolutely still while photographing the drawings, I recommend using a tripod or mounting your camera or device to a solid piece of furniture.


Step 4- Editing

Once the drawings have been photographed you can organize them in an editing software to play the walk cycle.There are many methods for recording and editing available to animators today. For this animation, I’m using an application called iMotion. It’s a free download in the Apple Store and I will attach a video link below that goes into more detail.

Now that you have a basic understanding of the walk cycle and stop-motion animation, your still drawings can come to life. I encourage anyone interested to explore other materials, such as clay, cut paper, even household objects to create new and exciting works of moving art!

Sours: https://www.artsparktx.org/2020/06/18/learn-to-animate-your-drawings/
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Introduction: Animate a Simple Walk Cycle

In this tutorial, I'll be showing you how to animate a simple walk cycle. I used adobe flash to make it, but you can use whatever program you want.

Step 1: Creating a Character

First, you'll create a new file. You can set the size to whatever you want, but if you want to upload your cartoon to YouTube or anything when your finished, 1920x1080 is the way to go; as it will upload in HD. You'll also want to change the frame rate. Usually cartoons are created at 24 or 25 frames per second(FPS). Go ahead and change yours to 24.

The first step is to draw your character. This can be whatever you want, but if you're creating a walk cycle for the first time, it's best to go simple. I'm starting at a point in this profile walk cycle that's usually called the passing point. This is where one leg crosses in front of or behind the other. You'll also notice that at this point both of the characters arms are at the sides.

Step 2: Beginning Frame by Frame

Most of what you do in animation is frame by frame, where you draw each frame just a little different from the last to create the illusion of movement. One tool that flash as well as many other programs have is called "onion skin." In flash it is located under your timeline (where it says layer 1) and is two overlapping boxes.Turn that on. This will let you see exactly what was in the previous frame.

So on to the next step in your walk cycle. Just after the passing point, the character begins to spring forward, and the back foot is only partially on the ground. Another important part of this frame is that the character is slightly taller in this frame than the previous one.

Step 3: Continued Frame by Frame

At this point, the front foot has just barely reached the ground, and the back foot continues to peel off the ground. The character's head is slightly lower at this point than it was in the previous frame.

An important part about walk cycles to remember is that the arms will swing in reverse of the feet; so if the left foot is forward, the right arm is also forward.

Step 4: Contact

Your character has now fully made contact with the ground, so the body should reflect that. The head should be the lowest at this point in the cycle, and the arms spread out the farthest. While the front foot is fully flat on the ground, the back foot is just getting ready to take off.

Step 5: The Passing Point Again

We have reached the passing point once again: but you're not done yet. It's the other legs turn to move forward.

The next couple frames might seem like Déjà vu, but they have to be done nonetheless.

Step 6:

The next two frames should be almost identical to steps two and three, but with the arms and legs on opposite sides of the body. Add them in the next two frames based off of those drawings, so that they create a nice bridge between the two passing points.

If you've not done so already, you can check out your animation so far by pressing ctrl+enter, at least for PC and flash users. It might seem a little fast. This is just because of how simple the animation is and how few frames it uses. A good way to remedy this without adding in more drawings is to drag out each picture so it lasts for two frames, which essentially brings your frame rate down to 12.

Step 7: Finish!

Good to go! Step back and admire your walk cycle. It should look something like this.


If you drew all of them in the same place like I did, you can change it to have the character move across the screen by having the background move the opposite direction, or by actually moving the character.


If you have any questions, or would like me to do another tutorial, please let me know. In the meantime you can check out some of the cartoons I've made https://www.youtube.com/channel/UCtF_gXsGsMrxhRsA9.... I've learned everything I know about flash through tutorials like this instructable, so hopefully this helps!

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Sours: https://www.instructables.com/Animate-a-Simple-Walk-Cycle/
Tutorial #1 - Walking - FlipaClip

tutorial-2 : walk cycle

So, you want to follow along some of my Flash lessons?
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Most sane people have a fear of animating walk cycles. Many events are happening at the same time, and it can seem overwhelming. A single mistake on your first drawing can wreck the rest of the scene. However, the process can be broken down into a series of steps which can go some distance in simplifying the process.

A walk cycle can be described by four distinct poses:


These four poses and a handful of inbetween drawings constitute a walk cycle. The single most important frame of the four is the contact pose. Once you draw it you have already determined 80% of the rest of your walk. If you make a mistake on your contact pose, it can be very difficult to correct later on. Therefore: pay close attention now and save yourself a world of pain.

Here is the contact pose in front and side view.

Look at the pose carefully. You will notice some very important details: The feet are at their furthest extension in the walk. That is their most extreme position in the cycle. That alone makes this the most critical pose in the sequence. You can plan an entire walk sequence just by laying out all the contact poses as they work into one another.

Some animators think that the recoil and high points are the most important poses because the head is at its highest and lowest positions. This is wrong. The contact pose is the fundamental building block of a walk cycle. If you do not start your cycle with this pose, then you are doomed. It’s as simple as that.

When the right foot is forward, the right arm is back, and vice versa. This is called “counterpose”. This is how nature keeps everything in balance when you move: one side of the body “opposes” the other. Good animation has these “opposing actions” all the time. If animation seems weak or unnatural to you, it is frequently because it lack opposing action. You can think of a walk as a series of “falls”. The character propels himself forward by leaning into the walk as he moves forward. His trailing foot constantly swings forward to catch himself before he moves on to the next “fall” in the sequence. It shares many attributes with the bouncing ball in tutorial 1. Look at the front on view.

I have drawn in imaginary cylinders to illustrate the orientation of the shoulders and hips. Again, as one is thrust forward, the other is thrust back. As one tilts up, the other tilts down.

Another name for this is “Torque”. It is a fundamental principle of good posing. It should be an element of almost every figure drawing that you do. Michelangelo always used torque in his sculptures, creating dynamic poses, even in ones that were standing still. One hip takes the weight, while the other passively provides the balance.

The body is very rarely symmetrical: indeed, symmetry can be your enemy.

Now look at the recoil pose, the second main pose in the cycle.

This is the frame where the character impacts the ground. It is also the lowest point in the cycle. The characters arms are furthest from the body as a result of the force of hitting the ground. The front foot is fully in contact with the ground; the rear foot has just lifted up from it.

Note that the leading foot is directly beneath the body, supporting the weight above it. Too many beginners produce recoil poses where the foot is not beneath the body, but several inches ahead of it. Try to avoid this.

To keep things simple, let’s skip the passing pose…it’s closer to being an inbetween. Let’s look at the high point.

This is the highest point in the cycle. The character’s body is stretched to the maximum as he lifts his leading leg forward to reach the next contact position. The heel of the trailing foot is just beginning to leave the ground.

Those are the three most important poses to remember when creating a walk animation. If you can wrap your head around them, you will have a much better chance of completing a satisfactory walk cycle.

There are two basic ways to animate a walk cycle. You can animate the cycle “in place” or across the screen. Here is the same scene shown in each style.

Why animate in place? There is one main advantage:

You only have to draw a single stepping cycle, then you can reposition it across the screen, saving time and paper.

The main disadvantages of animating in place:

1.It can be confusing.

2.The “arcs” on the character can look weird when the character is moved across the screen.

3.It can be difficult to match the character properly to the background, if he has to register to something on it.

I am going to show you how to animate a character walking across the page. Once you feel comfortable with that, an in-place walk cycle should be slightly less intimidating.

Let’s begin.

Look at this image:

This shows the keyframes of a walk cycle moving across the screen. The most important pose is the contact pose. Use this image as an overall guide to your scene.


On a clean sheet of paper, draw two parallel horizontal lines moving across the bottom of the page.

These are the lines that the feet will follow as they walk across the page. Without these lines to guide you, your character can drift either too high or too low on the page.

2.Draw the first contact pose.

Put a clean sheet of paper down over the guideline drawing. You are going to draw the first contact drawing.

Position the heel of the right foot on the lower line; position the toes of the left foot on the upper line. Name this drawing #1, and since it is a contact pose I usually write the letter “c” in the top right of the page, above and away from the frame number. (This is a habit of mine, I don’t know if anyone else does it….you will find that it helps to reduce confusion when you have 12 drawings flying all over your drawing board.) Don’t forget to circle the drawing number, since it is a key.

3. Draw the second contact pose, drawing 7.

If you have a backlight then switch it on. Put down a clean sheet. Number it #7. Circle the number, as this is a key frame. Write the letter “C” above the frame number, to remind you that it’s a contact pose.

Note that the second contact pose occurs about half a second after the first. Here’s how you position the second contact relative to the first: The leading foot on #1 will be the trailing foot on #7. In this case the right foot is about to contact the ground on #1. In frames #1 through #7 it is going to hit the ground and more or less stay there. By frame #7 it will have begun to lift off the ground. Look at the picture below to see how #1 works into #7:

The right foot (the leading one) has touched the ground and the entire body has moved forward. The left foot (the far one) has now swung forward and is now about to contact the ground.

Lightly sketch it in, keeping the overall attitude as similar to #1 as possible. The only differences will be the arms, legs and orientation of the hips, all of which will be reversals of #1.

After you have roughly sketched in the second contact pose, you’ll have to check it against the first. Lift #7 off the pegs, and position it over #1. Flip #1 against #7 to see that both drawings have the same volume and attitude. You don’t want either to look bigger or smaller than the other. Also, both should be leaning forward into the walk at the same angle. If not, your walk will look more like a limp.

Now that you have drawn these two poses, you can begin to block in the main keys between them. First, an overview of what is going to happen.

Here are the main keys. The contact, recoil and high point drawings. Remember these positions when you begin to draw them in on their own sheets of paper. If you were to positon #2 too high for example, it would make #5 very difficult to draw properly: the overall action would be too “tight”…not enough bounce in the walk.

This would feel like a very stiff cycle, unnatural for a cartoony character. See what I mean below:

The opposite is also dangerous: moving the recoil too far down can result in a wildly exagerrated action, too unbelievable for all but the weirdest characters:

Just bear in mind that after the first contact, the character works down into the recoil, then up into the high point, then back into the next contact where the pattern is repeated:

4. Draw the recoil pose

(Bear in mind my rant in the previous paragraph). Put down a clean sheet, number it #2 in the top right of the page, write the letter “R” beside that, and draw the character as his foot hits the ground. The character will be at his lowest point in the cycle. Don’t move the head and body too far forward or you can inadvertently cause any number of arcing problems later on.

I find as a general rule of thumb that the body should fall by half a head to one head in height to keep the walk “bouncy” enough. (It’s a common beginner’s mistake to keep the figure at the same height throughout the entire walk.)

Remember…the recoil position will be almost identical later in the walk, on the subsequent step:

This is what will determine the overall arc pattern, and the positions of all the poses inbetween the recoil and the following contact pose. On the recoil pose the character impacts the ground. The rear foot lifts off, and the arms are extended to their maximum from the body because of the force of hitting the ground.

Now a brief note on the overall timing of a walk.

The most general type of walk cycle is completed over the course of one second. This means that the character makes a single step every half second. This is known as hitting beats, and luckily two beats a second is a typical musical pattern, or so I’m told. We’re animating this scene on the typical 12 frames per second, therefore the overall sequence of drawings so far will look like this:







#07:contact (much like #1, but for the reversal of the legs and arms).






#13:contact ( a duplicate of #1, only further to the right).

As you can see, a complete cycle works from #01 to #12, beginning its repeat on#13. I put the recoil immediately following the contact without an inbetween between them because an inbetween frame would make it look “mushy”. The contact should usually snap into the recoil immediately, without an intervening drawing.

I have not named the frame that the high point will go on. I could assign it as #4 #05 or #06. A different frame number will make quite a difference to the properties of the character. Here is why:

If #04 is the high point the walk will look like this:

As you can see above, this makes the character “bounce off the ground very quickly, making him light footed.

If #06 is the high point the walk will look like this:

This timing above slows down the character as he rises from the recoil pose, making him seem a lot heavier.

I will take the middle path and name the high point #05, resulting in this:

This is a more even timing: it should make the character seem like an average weight, without any extreme attributes. These are the kinds of decisions that you should make before you begin animating. Now we can look at our overall exposure sequence again:





#05:high point.


#07:contact (much like #1, but for the reversal of the legs and arms).

#08:recoil (like #02, arms and legs reversed).



#11:high point. (like #05, arms and legs reversed).


#13:contact ( a duplicate of #1, only further to the right).

Now we have our 3 main key frames, #1 #2 and #5, and their near twins #7 #8 and #11. The empty spaces in the sequence above will all be inbetweens. Don’t worry about them yet.

For now we will focus on #1 thru # 07, finishing a single step.

5. Draw the high point.

Put down a clean sheet. As explained above, this will be drawing number #5. Write the number in the top right of the page. Circle it. Write a small letter “H” above the number. Now begin the drawing:

You have a little more freedom when drawing the limbs on the high point than on the recoil, as the leading foot is up in the air, and the arms are swinging over a pretty wide space. That gives you a number of different possibilities. The example frame that I have included is fairly typical.

The most important thing to get right with this drawing is the arc path of the head and body. A mistake on this one frame will effect all the inbetween frames around it.

Once that is finished, you are ready to move on.

6.Add the timing charts.

Before you do anything else, you should add the timing charts to describe the correct positions of the inbetweens. Here are the drawings we have finished so far:





#05:high point.

#07:contact (much like #1, but for the reversal of the legs and arms).

Timing charts need to be added to #2 and #5. The timing chart on #2 will describe the positions of #3 and #4 as they work into #5. The chart on #5 will describe the position of #6.

Put #2 on the drawing board. Underneath the frame number in the top right corner of the page, you will add the chart. Here’s what it should look like:

As you can see, #4 is the main inbetween halfway between the two keyframes. #3 is a smaller inbetween which will completely smooth out the motion.

The next timing chart to be added is on #5. Put #5 on the drawing board and write a timing chart beneath the drawing number in the top right corner of the page. It should look like this:

This shows that #6 will be a single inbetween halfway between #5 and #7. Now it’s time to draw the inbetweens.

7.Draw #4: the main inbetween.

Be sure that you have the guideline drawing on the drawing board.Put #2 on the pegs. Now put #5 above that. Put a clean sheet on top of all three. Switch on the backlight. Now you must draw #4, also known as the “passing position”. Some treat it as a key also, but to simplify things, I’m treating it as an inbetween. I’ve never really found it to be as critical as contact, recoil or high point poses.

You have to flip between #4 and the two key frames beneath it. You should remember that from the bouncing ball tutorial:

Again, be sure that your character follows the arc path as he walks. When you’re finished the drawing, remove the drawings from the pegs and place #2, #4 and #5 back on the pegs in that sequence. Now you can roll them to see if they move properly. You’ll also remember that from the bouncing ball tutorial.

If you see any errors in your inbetween, then you must lift the drawings off the pegs again, then place #2 on the bottom, #5 above it, and #4 on the top. Then you can flip again, correcting any errors that may have crept in. It’s tedious, but it’s the only way to do it.

8.Draw the remaining inbetweens.

Repeat step 7 with #3 and #6. If you do them right then you should be finished with the first half of the walk cycle. I hope you had fun, but I doubt it.

You should be looking at a stack of paper, numbered #1 through #7. If you put all those drawings on the pegs, you should be able to roll them and have a rough idea of what your scene will look like when it’s shot. If anything catches your eye, chances are it’s wrong. Go back in, repeating the process described in step 7, until you’re happy with it.

9.Finish the rest of the cycle (or else).

Repeat the steps above to complete the rest of the walk cycle. You’ll have to draw #13 (the third contact pose) to work into. Simply trace off the pose on #1 onto #13 in its new position, further to the right. If it took 2 inches to make a single step from #1 to#7, then slide #13 over 4 inches to the left and start tracing…

I hope that makes sense.

The second half of the walk is identical to the first, except that the arms and legs will be on the opposite sides of the body.

Indeed, you can refer to the first half of your scene to help you with the second. The recoil pose on #8 should be as similar to the recoil pose on #2 as possible, otherwise the walk may seem uneven, or even more like a limp.

10. A general note about arcs.

Every joint of the body has its own arc path. It’s a good idea to check them all. Here’s how.

Place all your drawings on the board. If you have a backlight switch it on. Pick a body part, e.g. the right wrist. Place a clean sheet over the drawings and draw a small dot on it at the position of the right wrist on frame 1. On the same sheet draw a dot for the position fof the wrist for #2…and so on.

By the time you’re finished you’ll have a sheet of paper that looks like this:

That’s what it looks like if it’s done properly. If you’ve made an arc mistake, it’ll look like this:

If your walk is to look smooth and natural, your arc paths must also be smooth, curved, natural shapes. You should repeat this process for every part of the body to make sure they all move properly.

If you’re new to this: draw simple cartoony characters at first. Don’t even think of attempting anatomical designs until you’ve gotten comfortable with the simple ones first.

That’s all for now!

This entry was posted in traditional, tutorial. Bookmark the permalink.

Sours: https://www.angryanimator.com/word/2010/11/26/tutorial-2-walk-cycle/

Cycle drawings walk

Israel has a New Impossible Government

Also, The Covid Delta Variant is messing with our illusion that the pandemic here is over.

HaBonim Beach: A Perfect Re-Start for Plein Air Painting Trips

It's been a long and unusually cold winter, not to mention that other reason we didn't get out of the house for a year! 

Now the parks have reopened and the weather is just perfect, my painting buddy and I set out to find locations for new plein air painting trips. 

HaBonim was on our wish list for a long time - and it's amazing:

HaBonim Beach, Israel

Yom HaShoa - Holocaust Memorial Day

This is the week between Memorial days and Independence Day. I wrote this on the Day itself:

This evening we remember the six million Jews who were murdered in the Holocaust. 

I went to the local ceremony in the village where I live. It was modest, and it was moving. 

Personally, I always think of the great clan my family once was, and how few of us had survived. I always envied my Moroccan friends in Beer Sheva who had 20 aunts and uncles and a hundred cousins.

I stand here today, in my own country, The Jewish State of Israel, and I promise to always remember.

You can watch the national ceremony here:

Peace in The Middle East!

After years and years of courting in secret, Israel and the United Arab Emirates are now officially out <3

Peace, flags of Israel and the UAE

Amid the pandemic and all kinds of bad news, this peace accord is like a fresh breeze on a hot summer day.

To our friends in the Emirates, let me welcome you:

سلام‎! Salām! !שלום

Peace update!!!

Bahrain has joined the Abraham Accords.


Peace update #2

Sudan is our friend now, too! Isn't this amazing?

Peace update #3

Morocco is back! Ahlan, friends! We missed you.

I grew up in Beer Sheva, which has a large Moroccan community. My caretaker was a Moroccan woman, and I loved her, I loved the food she made, the joy of her house, and the great warmth of her culture, which for me is cemented into "Being Israeli".

Ever wondered just WHERE Israel is?

Here's a map drill-down infographic, followed by a bunch of Q&A that I hope will put some things in order:

What region is Israel in? Infographic preview

Stuck at home quarantine because of the Coronavirus?

Here are some special and interesting coloring pages for adults and teens, to help you pass the time!

* there's a new glider coloring page - scroll and see!

Adult coloring page preview

Tel Aviv Urban Sketchers go on a Field Trip

In the dead of winter, we set out to draw in Kiryat Tivon. It was so nice to meet face to face with people I've only known thru facebook! I've also discovered a great artist - come and see >>

Urban Sketchers on a field trip

Living in Israel

Stories that illustrate what life in Israel is really like - for example, the Cafe-Kioskwhere the wifi is free and everyone you meet has an idea for the next great startup :-)

Now let's eat:

Israel food market

We love to eat. 
Israeli food is the delicious culmination of jewish eating traditions from kitchens all over the world ("you look pale, eat something"), meeting the fresh mediterranean diet. 

Falafel and Humus, juice stands, sushi bars, steak houses, vegan menus and everything in between - we've got it all.
Sit in one of the fashionable sidewalk cafes in Tel Aviv, order a big salad and ice coffee, and you'll never want to leave :-)

Try the recipes for the classic Hummus recipe, and how to make Labane cheese:

Israel Weather and Climate

Israel weather

The weather in Israel is both a challenge and an opportunity. 
For example, practically every house in has a solar water heater, and we solved the worst of our drinking water shortage with desalination technology. 

Still, the heat is part of our daily life, so we need to find ways to live with it.
Find out how we save water, 
And when you go shopping in Dizengof Center, make sure to visit the Hydroponic farm on the roof!

Whatever you do, please don't miss the warning about the Israeli SUN:


The writing's on the wall, especially here. 

What I find so unusual about Israeli graffiti, is how much of it its text, or text based. Walking the streets of Tel Aviv is like reading a coded newspaper. Here's this wall for example, depicting the events of "the Tents Protest":

A quick note about phonetic spelling:

There are lots of names and words on this site that are phonetic transcripts from Hebrew. The way to read them, and pronounce them, are according to the basic vowel sounds:

A – say "ah"

E – "eh"

I – "ee"

O – "oh"

U – "oo"

Follow Israel Illustrated on Instagram:

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Copyright notice –

All visual material and other materials on this site are copyright of israel-illustrated.com, unless indicated otherwise.

Sours: https://www.il-lustrated.com/
Tutorial #1 - Walking - FlipaClip

Character Animation: Walk Cycles

Design, Rig and Animate a Character: walking and walk cycles




Section 1: Introduction

Section 2: The Character Design Process
Drawing Rough Sketches Part 1
Drawing Rough Sketches Part 2
Preparing your Drawing for Animate
Setting up Your Workspace in Animate
Overview of the Drawing Tools in Animate
Working with Symbols

Section 3: Building Your Character Rig
Building the Pirate’s Face
Building the Pirate’s Hat
Building the Pirate’s Shirt
Building the Legs and Boots
Turning parts into Symbols
Checking the Rig for Animation

Section 4: Animation Projects
Animation Project 1: Key Poses for the Jump
Animation Project 1: In-betweens for the Jump
Anatomy of a Walk
Animating the Pirate Walking
Animation Project 2: Looped Walk Cycle

Section 5: Creating a Scene with your Animation
Adding Animation to a Scene
Something Missing!
Adding a Mask to your Animation
Combining the Jump and the Walk in One Scene
Adding Music to Your Animation
Final Touch: Animating the Tavern Doors

Section 6: Conlcusion
Export Settings for Your Animation

Sours: https://artskillsonline.com/courses/character-animation-how-to-design-and-animate-a-character/

You will also be interested:

Walk cycle

Sequence of drawings looping to get the illusion of walking

In animation, a walk cycle is a series of frames or illustrations drawn in sequence that loop to create an animation of a walking character. The walk cycle is looped over and over, thus having to avoid animating each step again.

Creating a walk cycle[edit]

Walk cycles can be broken up into 4 key frames, namely Forward Contact Point, Passing Pose1, Back Contact Point and Passing Pose 2. Frames that are drawn between these key poses (traditionally known as in-betweens/Inbetweening) are either hand-drawn or using computer software to interpolate them.

Besides the apparent move of the legs, many more details are necessary for a convincing walk cycle, like animation timing, movement of the arms, head and torsion of the whole body. (For example, in [1]).

There exist many techniques to create walk cycles. Traditionally walk-cycles are hand drawn but over time with the introduction of new technologies for new mediums, walk cycles can be made in pixel art, 2D computer graphics, 3D computer graphics, stop motion method, cut-out animation or using techniques like rotoscoping.


External links[edit]

Sours: https://en.wikipedia.org/wiki/Walk_cycle

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