FOUR POSITIONS FOR A PERSPECTIVE RUN.
Below: How the drawings are placed on the separate sheets of paper.
PHASES OF MOVEMENT FOR A PERSPECTIVE RUN.
Above: In the last of the series—on the right—the figure has taken a position nearly that of the first of the series.
Below: How the figures are placed with respect to each other when drawn on separate sheets of paper.
Happily in most of the occasions when a perspective walk is required in a story it is for some humorous incident. This signifies that it can be made into a speedy action, and that but a few drawings are needed to complete a step.
Artists when they begin to make drawings for screen pictures find a new interest in studying movement. In the study of art the student gives some attention, of course, to this question of movement. Usually, though, the study is not discriminating, nor thorough. But to become skilled in animating involves a thoughtful and analytic inquiry into the subject. If the artist is a real student of the subject its consideration will be more engrossing than the more or less slight study given to the planning of the single isolated phases, or attitudes, of action in ordinary pictorial work.
A great help in comprehending the nature of movement and grasping the character of the attitudes of active figures are the so-called “analysis of motion” screen pictures. In these the model, generally a muscular person going through the motions of some gymnastic or athletic activity, is shown moving very much slower than the movement is in actuality. This is effected by taking the pictures with a camera so constructed that it moves its mechanism many times faster than the normal speed.
