Yay! We are practically in the last exercise on class 01. In the previous week we finished learning all the basic fundamentals for a walk. And during this time, you should imagine that there are millions walks, right?
I've lived my college time in a big and bustling city, and if you stop for a minute to see the movement, you can see how diverse the walk is. You can see how the person is tired or hurry and their mood, only with the way he walks.And that's what you should look to apply in your walk.

"And how I'll do it to animate?"

 Well, one of the main thing you need to think when you put personality is the weight. He will tell you a lot about your character. For example: a fat character! He will have a footstep change fast or slow?

"Hmm... Slow!"

 Exactly. Think the motion difference with Roadrunner. He is so fast that you don't have courage to think that's heavy, right? You have to worry about your timing & spacing and inbetweens of your keyframes. It's like thinking about how many words you can make with the alphabet. The possibilities are endless. You will need many references. Record your own, look around! There is no excuse to what the internet can offer. When you start your gold poses, you will notice that there are similar poses with vanilla walk.

"Oh yeah? And what's the damn difference?"

Simple answer. Exaggeration. Unless the purpose of your animation is an almost rotoscoping and faithfully follow the reference, the animation will be boring! How is the mood of your character? The head is down because he is sad? Pull it down! Warp the spine and leave it devastated!


 The more you can show who is your character, what he is doing, better! Remember: The people are watching defines what and who the character is. If you can sell this without your character say a word, you win.

"Okay... How do I dose the exaggeration?"

You cannot exaggerate too much. But also cannot leave as your human reference, because it will be boring. Train hard and show how your mileage will show the way.

Other tip is to think your poses as "story-telling poses" as Don Graham likes to call and making this more expressive. Also, you should take care of your silhouette. 


Try to see the silhouette of the poses in your animation. When it is a mess, fix that. Certainly the result will improve in your animation. Look at the second example as he moved his left arm to improve the line of action of the spine. Sometimes it doesn't seem so clear in a silhouette like this where the arms are together with the body because is in perspective. But a silhouette in side view has difference.

Pheww... Class 01 is almost done. Here is my assignment: