In week 5, we focused on the fundamentals of weight shift in animation. The main principles we applied were anticipation and overlapping action, and we began by using blocking techniques to establish key poses and timing. This exercise helped me see how subtle movements, like the preparatory shift of a ball before a step, can make the animation feel much more natural.
One important lesson for me was the role of balance and symmetry. In the class presentation, we saw how a character could be split in the middle to check balance on both sides. It made me realize how small, often unnoticed design choices can have a huge impact on the overall feel of an animation. I paid close attention to the hips and legs during the weight shift, making sure the body followed the right motion and timing for each step.
Using a ball with a 2-leg rig, I experimented with anticipation, follow-through, and varying speed between poses. I noticed that planning each frame carefully was essential, as timing mistakes can make the movement look confusing. By keeping the animation simple (K.I.S.S principle), focusing on key poses, and understanding how the weight shifts from one foot to the other, I created a more stable and believable motion. This week helped me grasp the mechanics of walking and how small adjustments in speed, angle, and body movement can create a realistic and dynamic result.
Here is my first version of the weight shift ball task:
Here is the fixed version:
Another focus this week was creating realistic and relaxed poses. We explored how flow and movement lines through the body can make poses feel more dynamic and natural. Our tutor emphasized the importance of exaggeration in curves and tilts to add tension, interest, and personality to a character, something I’m still learning to apply consistently in my own drawings and animations.
In my first attempts, I relied mostly on imagination and my own movement, which made the timing and coordination feel off. I struggled with mechanical adjustments and couldn’t always tell what needed fixing. Feedback from tutors helped improve certain aspects, like the positioning and movement of the limbs, resulting in a more fluid animation.
Also, our tutors emphasized the importance of flow, showing how a line from the head through the torso to the legs can create a more dynamic and interesting pose. I noticed that exaggerating the curves in the arms and tilting the torso adds tension and personality, something I still tend to underplay in my own life drawings, where my figures often look stiff or mannequin-like.