He also suggested animating on the beat of the music, a technique used in lots of classic cartoons, which is something I had never really considered before. To personify the walk, he suggested that rather than designing an entire new walk, sometimes adjusting the contact and up positions is enough to give a completely different character. He pointed out that animators often put too much action into the head and neck, and instead suggested to keep the head’s movements up and down. We started by watching some of Richard Williams ‘The Animator’s Survival Kit’ and taking notes on the different types of character walks, and how by adjusting the timings of the key poses we can achieve a wide variety of movement within our walk cycles.
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