Today's Walk is a Creeper Walk.
Head - light bobble with extra squash and stretch
Chest / Hips - rotates to favor the next step, with a little bounce and squash and stretch
Legs / Arms - little bounce steps, rotate out on the passing position, land and rotate inward
Today's Walk is a Gap Walk.
Head - light bounce, drags back and flops down
Chest - light bend inward, a little side to side rotate and twist with a bit of drag back and squash on the jump
Hips - rotate to offset the chest, light up and down and jump with a bit of recoil
Legs - low smalls steps, jump up and land down
Feet - drag back on the passing position and land with a little toe flop, drag and offset on the jump, land with a bit of force
Arms - light swing, drag back and recoil on the jump
Hands - overlap and drag from the swing and recoil of the arms and forearms extending into the fingers and thumbs
Squash and stretch
Anticipation
Staging
Straight Ahead Action and Pose to Pose
Follow Through and Overlapping Action
Slow In and Slow Out
Arcs
Secondary Action
Timing
Exaggeration
Solid Drawing (same or different as Weight)
Appeal
STRAIGHT AHEAD AND POSE TO POSE ANIMATION
Straight ahead animation starts at the first drawing and works drawing to drawing to the end of a scene. You can lose size, volume, and proportions with this method, but it does have spontaneity and freshness. Fast, wild action scenes are done this way. Pose to Pose is more planned out and charted with key drawings done at intervals throughout the scene. Size, volumes, and proportions are controlled better this way, as is the action. The lead animator will turn charting and keys over to his assistant. An assistant can be better used with this method so that the animator doesn't have to draw every drawing in a scene. An animator can do more scenes this way and concentrate on the planning of the animation. Many scenes use a bit of both methods of animation.