For George
Polishing Walk cycle
In the polish stage, I refined foot contact, hip motion, and arm swing while preserving the original weight shift and timing.
The walk remains neutral and readable, with clean curves and stable contact throughout the cycle.
| Focus Area | Polish Requirements |
|---|---|
| Weight Shift | Preserve the original blocking logic; fully transfer weight onto the supporting leg each step. |
| Root / Hips | Maintain steady forward motion with clean vertical movement and no jitter. |
| Feet Contact | Ensure solid foot contact, clear heel–toe roll, and natural push-off. |
| Torso & Hips | Refine hip sway and subtle counter-rotation in the torso for balance. |
| Head | Keep the head stable with subtle vertical motion; avoid excessive rotation. |
| Overlap & Follow Through | Apply light offsets so the upper body settles after foot contact. |
| Curve Cleanup | Remove unnecessary keys; keep clean curves and seamless |
For Ting
I. Core Theme
- The Role of Hands in Animation: Hand poses should reflect the character’s emotions, personality, and feelings, enhancing the believability of the performance and the audience’s emotional connection.
II. Five Key Design Principles for Hand Poses
- Shape
- Simple, clear silhouettes (e.g., square, triangle) are easier to read. Avoid complex, busy outlines that distract the viewer.
- Keep hand poses clean to guide the audience’s focus to key areas like the character’s face.
- Organic Quality
- Avoid stiff, mechanical-looking CG hands. Aim for natural, lively forms.
- Inter-connectivity
- All parts of the hand are connected; movements should be coordinated, not isolated.
- Leading Finger
- Use one finger to lead the motion, with others following slightly behind. This creates flow, direction, and a natural rhythm, preventing stiffness.
- Grouping
- Fingers naturally tend to group together or rest against each other. A completely open, splayed hand is unnatural and requires effort to maintain.
III. Suggestions for Studying Anatomy and Motion
- The hand’s structure is like a fan, with fingers radiating from the wrist. The thumb has a wider range of motion on a separate plane.
- Focus on the dynamics, rhythm, and tension of gestures, not just anatomical structure.
