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| ABOVE ARE THE CONTACT DRAWINGS
FROM (A) THE WALK, (B) THE RUN, AND (C) THE FAST RUN. THE CONTACT
DRAWING IS THE DRAWING IN WHICH THE FOOT, AFTER BEING LIFTED, STRIKES
THE GROUND. IN THE LAYOUT OF A RUN OR A WALK FOR ANIMATION, IT IS
USUALLY THESE CONTACT DRAWINGS THAT ARE DETERMINED FIRST. THEY SET
THE SPEED AND THE SIZE OF THE CHARACTER. THE REST OF THE ACTION IS
THEN BUILT AROUND THEM. MORE THAN ANY OTHER SINGLE FACTOR, THE POSITION OF THE BACK FOOT ON THE CONTACT DRAWING DETERMINES THE SPEED. NOTICE THAT ON STEP A THE BACK FOOT IS STILL TOUCHING THE GROUND. ON STEP B THE BACK FOOT HAS LEFT THE GROUND. ON STEP C THE POSITION OF THE BACK FOOT IS EVEN HIGHER. ON THE WALK, THE FRONT FOOT IS STRETCHED OUT AND THE BODY IS UPRIGHT, DENOTING SLOW SPEED. ON THE RUN, THE BODY LEANS FORWARD AND THE FRONT FOOT IS FARTHER BACK. ON THE FAST RUN, THE BOPY LEANS FAR FORWARD, DENOTING SPEED, AND THE FRONT FOOT IS BACK UNDER THE BODY. THE ARMS SWING CONVERSELY WITH THE LEGS. THE LEFT ARM SWINGS WITH THE RIGHT LEG AND VICE VERSA. THE ARMS SWING MORE VIOLENTLY IN THE RUN, BUT IN THE FAST RUN THE SWING OF THE ARMS WOULD BE TOO VIOLENT; THEY ARE MORE EFFECTIVE WHEN HELD STRAIGHT OUT IN A REACHING POSITION. |
