This is the final version of the animation that I will be submitting. I feel significantly more confident with this version, particularly after incorporating the dragging of the body toward the head and adding more in-betweens to enhance the transitions between movements and facial expressions.
Through this exercise, I have developed a deeper understanding of facial animation. I discovered that using filmed references of myself was more challenging than anticipated, especially in comparison to exercises focused on body mechanics. Even when attempting to portray a specific emotion, it often does not register clearly on the face.
For instance, I have learned that a worried expression typically involves the downward corners of the eyes and mouth, along with eyebrows that curve downward while maintaining a slight separation above the eyes. This understanding is reflected in the screenshot provided below.
Achieving convincing facial expressions in conjunction with appropriate body gestures requires a high level of observational skill and familiarity with both real-life behavior and animated performances. I intend to continue applying the insights gained from this experience.
This week, I focused mainly on fixing the shoulders of my model. At the beginning of the process, I made a mistake by rotating the Y axis, something I later realized I should not have done. This small error caused a ripple effect, forcing me to reset the Y axis value to zero and make further adjustments to connected parts like the neck and chest. It was a frustrating experience, especially because it felt like I was going backward before I could move forward.
Despite the setbacks, I am actually surprised by the outcome. The final result turned out better than I expected, and I learned a lot from working through the problem. It reminded me how important it is to double-check the foundation before moving on to more detailed elements.
Next time, I will ask for help earlier in the process. Whether it is a student assistant, a teacher, or a classmate, getting a second pair of eyes to look over the body setup before jumping into the face will save time and stress. Working on both the body and face at the same time is more complicated than I thought, and it makes it harder to know where to focus. This experience taught me the value of patience, planning, and collaboration.
To be honest, this version makes me feel a bit uneasy. There is a weight to everything we have learned so far, and I am beginning to feel the pressure. It has been overwhelming trying to keep up and make sense of it all.
While working on the blocking, I tried to refine the poses by adding more keyframes. However, instead of bringing clarity, it made the movement feel unstable, which was definitely not the intention. The animation is supposed to feel snappy and deliberate, not busy or chaotic. Every adjustment I make seems to create new issues, and I often feel like starting over completely.
At the moment, I feel somewhat lost in the process. I understand that this is a natural part of learning, but I am realizing that I could really use more guidance to help me move through this phase.
After receiving feedback, I feel somewhat more confident about the concept of overshoot. I had misunderstood it before, thinking it referred to continuous movement at the end. But now I understand it as a reactive movement that follows an action. For example, when someone jumps and lands, they do not just stop. There is a small rebound or follow-through motion, like in the video I found.
In the lesson today, we went into the details of animating dialogue and lip syncing.
Vowels Define the Shape of Emotion: Approaching Lip Sync
When animating dialogue, it is not just about syncing the mouth to sound, it is about capturing the emotion behind the words. Vowels play a critical role in this; they shape the emotion of the performance. A character does not just say something, they feel it.
Lip Sync as Phrasing, Not Words
Think of dialogue in terms of phrasing rather than individual words. Natural speech blends sounds together. For example, we often say “how’s it going?” as “howzitgoing?” Avoid animating word by word. Instead, animate the flow of thought and speech.
Animate Thought, Not Just Action
Do not animate what the character is doing, animate what they are thinking. Strong performances come from clear intentions. This means using only a few key poses (typically three) that express the character’s inner state. Stay in these poses. Let the performance breathe.
Aaron Blaise, Disney veteran animator, emphasizes this in his approach.
What Makes Up a Sound?
Understanding how we physically produce sound will improve your lip sync. Here are the core elements:
Tongue
Lips
Jaw – Place one hand under your jaw and another on a table. Speak. You’ll feel the subtle movement. The jaw rarely opens abruptly or too wide. Observe carefully.
Teeth
Vocal cords
Nose – Yes, the nose moves too (these subtle movements are typically added during the polish phase).
Phonemes: Variations in Pronunciation
Phonemes are the building blocks of speech, distinct sounds that make up words. Knowing the different pronunciations helps you create accurate and expressive mouth shapes.
Tools & Tips
Software to Download:
Tween Machine / Anabot – Great for easing poses and automation.
Chester Sampson – Explore tools and rigs provided by this artist for practice and workflow enhancement.
Voice Acting Blocking
Before diving into blocking for this voice acting animation, I spent extra time refining my reference footage. I wanted a stronger foundation to animate from, but I quickly realized just how challenging referencing can be.
It felt like animating an imaginary face rig on my own face. Beyond just memorizing the dialogue, I had to consciously control every subtle movement: eyebrows, eyes, jaw, nose. Managing all of that simultaneously while staying in character proved to be much harder than I expected. I ended up recording myself over 20 times for a single shot just to capture the right performance.
What stood out to me is how different referencing for animation is compared to everyday conversation or even live-action acting. While it shares some similarities with movie performance, animation requires an added layer of exaggeration and clarity. It is more stylized and cartoonic, and that means the acting needs to be more deliberate.
It is an ongoing process, but every iteration teaches me something new about performance and motion in animation.
This version of my reference is the first major revision I made. However, I noticed the chest movement was too shaky and lacked a clean arc. It didn’t feel snappy or fluid enough. So I recorded another take, aiming for a quicker transition into the second pose and a smoother overall motion. Then I tried to fix this issue, and the second reference seemed better.
For blocking, I decided to take a different approach compared to my previous body mechanics assignment. Last time, I added a lot of keyframes during blocking plus, but I realized that having so many keyframes made it difficult to make adjustments later on.
So for this first version of blocking, I kept it simple and focused only on the key poses. I keyed the main poses and added keyframes primarily when the mouth shape changed. This helped me maintain flexibility and made the shot easier to refine in the later stages.
In today’s class, we began a new topic: voice acting, which will be the focus of our next task in this unit.
Voice Acting
Voice acting is an essential component of most animations. It is not simply about pointing at something and exclaiming, “Look!” Instead, it involves using facial expressions, voice modulation, and body gestures to effectively convey a story. Voice acting brings characters to life and deepens the audience’s emotional connection to them.
We were shown a helpful example of voice acting and referencing in animation:
This video illustrates different stages of animation production and highlights the critical role of referencing in professional workflows. Previously, during my undergraduate studies, I often created animations from scratch without using references. At the time, I viewed referencing as a form of cheating. However, the final outcomes often felt awkward or unconvincing. Since I began using references, I have found the animation process much easier and the results significantly more polished.
Anticipating the Voice Acting Task
I am particularly excited about the upcoming voice acting task. It is a skill I have not previously explored, and I look forward to learning through both practice and detailed feedback. I am eager to start developing ideas as soon as possible.
Key Insights and Techniques from Today’s Class
We also received valuable tips and observations regarding effective animation:
Referencing is most effective when everything is captured in one take.
It is important to reshoot until the performance feels right.
Animators must evoke real emotion to make the audience connect with the character.
Emotional expression should go beyond a single feeling; for example, instead of simply showing anger, it is more impactful to illustrate a shift between emotions such as frustration, confusion, or acceptance.
The tutor provided the following guidelines for animation:
Ensure the animation is both clear and sincere.
Clarity: Is the action understandable in a single moment?
Sincerity: Does the character feel authentic and human? For instance, subtle gestures like coughing or touching one’s hand can express nervousness.
A good animation example we saw portrayed an emotional shift—from being worried to feeling happy and confident. This reminded me that I had not previously considered how conveying emotional transitions could enhance storytelling. I used to focus on generating ideas that I could complete quickly, which I now recognise as avoiding challenges rather than facing them. This mindset limited my growth as an animator. I now understand that embracing complexity is necessary for improvement.
Character Study: Understanding Before Animating
Another highlight from today’s class was the emphasis on character study. Before beginning any animation or voice acting, it is important to understand how a character behaves and feels. This starts with imagining how the character would enter a room, based on their emotional state and personality.
We viewed an insightful video demonstrating this process:
This kind of pre-animation exercise helps animators gain a deeper understanding of the character’s traits and motivations. It not only enhances the quality of the animation but also saves time in the later stages, as the animator is already familiar with how the character moves and reacts.
Today’s session provided a deeper appreciation of voice acting, referencing, and emotional clarity in animation. It also made me more aware of the importance of preparation and character study. I look forward to applying these insights in the next stage of our project and to developing my skills further in this area.
Final Spline for Body Mechanics
In this version, I addressed the issues identified last week. As I progressed, I noticed a significant improvement, particularly after I began removing unnecessary frames and adjusting the poses. However, I could not help but feel that, given more time, I would have preferred to start over entirely. There were numerous problems throughout the process that made me realize the importance of more consistent practice. With stronger foundational skills, I believe I could reduce the number of mistakes and, in turn, make the cleanup and polishing stages far less frustrating.
Planning of Voice Acting
I have selected three dialogues for my voice acting animation project. Below are two of the primary choices I intend to use. The third dialogue, while still under consideration, may be too lengthy for the scope of this project and will be kept as a backup option.
For the first idea, I focused on incorporating the required emotional shift. I found this particularly challenging when it came to facial acting, which proved to be more difficult than body acting due to the need for greater subtlety and detail in facial expressions. Initially, I attempted to exaggerate the expressions to convey the emotion more clearly, but the result felt unnatural. After several adjustments, I was able to produce a version that more effectively captured the intended emotion and served as a stronger reference.
Unfortunately, I was unable to use the dialogue mentioned above, as it originated from an animated film. While we were advised not to select lines from popular movies, I hadn’t realized that this guideline also applied to animated films. I now understand that using such material can lead to unintended comparisons with the original performance, which may undermine the effectiveness of my own interpretation. This is an important lesson that I will keep in mind for future projects. As a result, I decided to shift my focus to the second idea.
The second idea is based on a segment from The Tonight Show Starring Jimmy Fallon. For this reference, I aimed to enhance the staging and incorporate a dynamic rhythm shift—from fast to slow—to make the performance more engaging and visually compelling. I found this approach more effective and personally prefer this reference. I’m looking forward to moving into the blocking stage with this one.
Today, we did not learn any new material but continued refining our existing work.
For my part, I focused on improving my project. However, I encountered several challenges. At one point, I became unsure of what I had already completed, what still needed to be done, or even the purpose behind some of the changes. I was making revisions based solely on my tutor’s instructions, without a clear understanding of the overall direction. As a result, I began to feel lost and uncertain about how to proceed with the polishing process.
To address this, I decided to attend class and speak with a classmate to gain advice and feedback. I believed that hearing another perspective could help clarify my thoughts before presenting the work to my tutor for further feedback. This experience reminded me of the importance of seeking guidance and reflecting critically when facing creative obstacles.
Lately, it feels like things are not working very well. I have been trying to fix the issues step by step, but in doing so, I have ended up adding more frames that capture incorrect poses. Each attempt to correct one problem seems to uncover another—such as misplaced foot positions or awkward timing. Still, I continue to work through it, focusing on each flaw as it appears, hoping that persistence will eventually lead to clarity.
I tried to further polish my parts, including adding the bending of the back after the character and the overshooting hand movement at the end. However, it still does not seem to be working very well. I will continue refining it based on the feedback and hope it will improve soon.
Throughout the first term, we explored spline multiple times as part of our foundational animation training. Now, returning to this stage again, I find myself approaching it with a more informed perspective—particularly in relation to industry-standard workflows.
Prior to taking this course, I had a misconception about how spline was used in professional animation. I had assumed that much of the animation process was carried out entirely in spline mode. However, as I’ve progressed and gained a clearer understanding of the production pipeline, I’ve come to realize that this is not the case.
In professional practice, the majority of the animation work—especially the planning of key poses, breakdowns, and moving holds—is actually completed during the blocking stage. Spline, contrary to what I initially believed, functions primarily as a final polish phase. It is where the animator smooths out transitions, refines timing, and adds subtle details to bring the performance to life.
This shift in understanding has significantly changed how I approach my own animation workflow. I now place greater emphasis on making my blocking as strong and detailed as possible, ensuring that the intent and rhythm of the performance are already well-established before entering spline. This not only streamlines the process but also allows the spline stage to focus more effectively on refinement rather than major structural changes.
Progress on Body Mechanics animation
This is my weekly progress update.
I attempted to implement the feedback provided by my tutor; however, I encountered several challenges that made the process frustrating. One significant issue arose when I switched the animation mode from blocking to spline: the left hand of the character began rotating continuously without stopping. In an attempt to resolve this, I added keyframes to stabilize the motion. While this provided some improvement, it still did not produce an ideal result. Additionally, I experienced problems with the sword’s material, which was intended to be transparent but did not render as such.
Overall, I am not satisfied with the current spline version. I underestimated the amount of time and work required, assuming it would only involve implementing the suggested changes. In reality, the process was more demanding and required reworking poses to ensure visual clarity—for instance, preventing body parts from overlapping in ways that obscure the character’s silhouette (as seen in the reference image below).
One particular moment that stood out as problematic was the section where the character steps back after successfully pulling the sword. This part feels awkward, although I am currently unable to identify the exact issue. I plan to consult with my professor for further feedback and suggestions on how to improve it.
That said, there was one aspect of the animation I found quite successful: the final overshoot of the character’s hands. I was pleasantly surprised by how smooth it appeared. Initially, I expected to spend significant time polishing that section, but the use of IK (Inverse Kinematics) for the hands contributed to a more natural and fluid motion.
By keyframing the hand controllers directly, the arm movement followed intuitively, eliminating the need for detailed frame-by-frame adjustments. This is a valuable technique I will consider applying in future projects.
My tutor highlighted key areas for improvement, specifically spacing and posing. He also recommended modifying the ending to have the character fall to the ground, which could help simplify some of the current issues. Nonetheless, I am inclined to continue refining my original idea. I see this as an opportunity to challenge myself, improve my understanding of body mechanics, and build confidence in tackling similar tasks in future animation work.
In today’s class, we explored more advanced aspects of blocking than I initially anticipated. At first, I understood blocking as simply setting up the key poses in Maya. However, after the session, I realized that blocking involves much more than that. In fact, blocking can incorporate significant movement, similar to spline, and the more detailed our blocking is, the fewer challenges we will face later on. Since blocking is the foundational stage of animation, investing time in it reduces the work required during the spline phase, where we can focus on refining knee pops and performing cleanup tasks.
Key Concepts in Blocking
Basic Blocking:
Establishing key poses, timing, spacing, and initial motion.
Blocking +:
Expanding on the original blocking by adding more frames, refining the initial movement.
DO NOT HIT SPLINE:
It is essential not to automatically convert to spline during this stage. The focus is on solidifying the animation’s structure.
Moving Holds:
Moving holds are critical to prevent the animation from appearing static or “floating.”
These are moments when a character is holding a position while still subtly moving.
For example, before the head turns to the right, the body, head, or hand might slightly tilt to the left.
Overshooting:
After a movement, there may be residual movement that follows through.
For example, after a head turns to the right, the body, head, or hand might continue to move slightly to the right, creating an overshoot effect.
Copy-Pairs:
Sometimes, you may want to hold a specific frame without any in-betweening. To achieve this, you can copy and paste the frame to maintain the pose or position for a desired duration.
Additional Tips:
To adjust the timing of a moving hold, you can use the middle mouse drag to shift its placement.
By understanding these advanced principles, I can now approach the blocking phase with greater depth and attention to detail, ultimately streamlining the later stages of the animation process.
Breakdown: Breakdowns are the in-between poses that help define the motion between key poses. For example:
Waving: Shows the movement of the arm as it waves.
Bending: The poses between straight and fully bent positions.
Leg Walking: The in-between frames showing the movement of the legs as they walk.
Arcs: Arcs are the curved paths followed by moving objects or body parts. They are crucial for making movement feel natural and fluid. Even if there are some mistakes in the animation, arcs help improve its overall quality.
In short, breakdowns define the in-between poses, and arcs ensure smooth, natural motion. Both are key for creating believable animation.
Body Mechanics Progress
This week, I revisited and re-shot the reference footage for my sword-pulling animation, focusing on enhancing both the emotional expression and the physicality of the character’s performance. In particular, I worked on exaggerating the celebratory moment when the character successfully pulls the sword from the stone—emphasizing the joyful “Yay!” to make the moment more expressive and readable. I also aimed to increase the sense of physical effort during the pulling motion by incorporating more stretch into the body and adding several follow-through steps after the sword is released.
During the reference shoot, I paid close attention to body mechanics, particularly the weight shift required to convincingly portray the character’s struggle. Initially, I attempted to simulate resistance by embedding a stick into a heavy object, mimicking the sword-in-stone scenario. Unfortunately, I was unable to find a prop with enough resistance, which made the performance feel less grounded. As a workaround, I asked a friend to hold the stick tightly, allowing me to better simulate the character’s physical effort.
Even with this adjustment, I felt that my acting lacked dynamism. This prompted me to be more expressive during the animation blocking stage, pushing poses and timing beyond what was captured in the reference. I also made a conscious effort to add more curvature to the character’s poses. I’ve come to realize that I need to think more about how the character’s form changes dynamically during movement—incorporating curves throughout the body to avoid stiffness and to create more appealing, fluid motion. In particular, I am beginning to understand that different body parts should move with offset timing, similar to how different parts of a bouncing ball move in a chain reaction, emphasizing follow-through and overlapping action.
After shooting the reference, I sketched thumbnail drawings to explore key poses and refine the composition. I focused on using more curved lines to accentuate movement and silhouette clarity.
For the blocking phase, I experimented with using locators—a technique I had not previously utilized. Although there was an initial learning curve, I found it extremely helpful, especially in sequences where the character travels through space. Locators allowed me to plan the overall timing and trajectory of the character by animating the main control first, and then transferring that motion to the individual body part controls. This helped establish a strong foundation for the animation early on.
In this pass, I also decided to add more keyframes during blocking, aiming for a version that was closer to the spline stage. This approach allowed me to reduce the amount of refinement needed later and gave the animation a more finished appearance early on. I am relatively pleased with the results; the animation feels more polished than my previous work during my undergraduate studies. However, I do acknowledge that the improved result may also be partly due to the higher-quality rig I am currently using.
In summary, this week’s work provided a valuable opportunity to reflect on both technical and performance-related aspects of character animation. Key takeaways include the importance of pushing acting choices, creating curvature in poses, and treating different body parts with staggered timing to enhance fluidity. Going forward, I will continue polishing this animation, with particular attention to refining movement arcs and emphasizing believable, expressive motion.
Blocking is a term borrowed from film and television, though it is also essential in animation. It refers to the initial setup of key poses and the foundation of the animation’s movement.
In animation, blocking can be seen as the “skeleton” of the animation, where the core poses and movement arcs are defined.
2. Blocking in Animation
When translating an idea from reference to animation, blocking serves as the foundation for conveying the action. However, reference and final animation should not be identical. The animation should be adjusted to suit the intended style, mood, or emphasis.
Example: A character’s head might be tilted more towards the audience than in the reference, or they may not be as upright as the reference suggests. These small adjustments help to create a more dynamic, personalized animation.
Be mindful of contrast in shapes between the different poses to ensure visual interest and clarity in movement.
3. Tips for Effective Blocking
Efficiency is key in the blocking phase. It’s essential to get the idea out quickly without over-detailing, focusing on the major poses and timing first.
Copy-paste can be a helpful technique to speed up the process when creating repetitive actions or movements.
Don’t neglect hand and finger movements—it’s crucial to also fix the hands, fingers, and wrists, not just the palms or the basic position of the arms.
While it’s tempting to rely heavily on the timing of your reference material, avoid being too dependent on it. The reference should guide the action but should not define the final product too rigidly.
Tools like Anamonolok can be helpful for visualizing the timing and ensuring that the poses transition smoothly.
When working with FK/IK (Forward Kinematics/Inverse Kinematics), remember to switch between them as needed to get the most fluid motion.
While working in stepped mode, always check your animation in spline mode to ensure smooth transitions and adjust poses where necessary.
4. Mental Tip
Embrace Imperfection
Perfection is often unattainable in the early stages of any animation. It’s essential to focus on completing the work first and refining it later. As the saying goes, “It’s better to have something finished than something perfect that’s never completed.”
Progress is achieved through iteration, and continual improvement is a natural part of the creative process.
Synchronization of Movement
Coordinating movement across the body is crucial for achieving fluid and realistic animation. Small adjustments to each part of the body help to create harmony and maintain proper weight distribution.
In animation, all body parts should move and be keyed simultaneously to maintain consistent, believable motion. For instance:
When animating the arm, the movement of the shoulder must also be taken into account, as it will naturally be affected by the arm’s motion.
Progress on my shot
After revisiting my earlier concepts, I came up with a completely new idea for my animation, though it still involves a sword. The concept centers around the act of pulling a sword from its sheath, a gesture commonly seen in many films, particularly those involving royalty or epic battles.
To make the animation more unique and engaging, I decided to add a slapstick element at the end: the sword breaks as it is drawn from the sheath. This unexpected twist adds humor and surprise to the scene, providing both a visual and narrative contrast.
I find this new idea to be more compelling and manageable compared to the previous concepts. It offers a good balance between complexity and feasibility, and I have already filmed several references to guide the animation process.
When viewing the animation, the audience should immediately understand the action and intent.
Example: A character throwing a snowball might first show excitement, then fear or surprise upon being hit.
Movement Dynamics:
Ensure the action has a clear arc from point A to point B.
Introduce obstacles or complications to create tension or surprise.
Makes the animation more engaging and less predictable.
Example: A character attempts to jump into a pool but slips and falls instead.
Character & Story Elements:
Include contrast in personality traits to add depth.
Example: A character who is capable of violence but gently cares for a flower.
Employ exaggeration to enhance the clarity and appeal of pantomime.
Blinking will not be included at this stage.
Technical Notes:
The camera will be locked in place for now (subject to change later depending on scene requirements).
Reference Selection
While some references are useful for body mechanics alone, choose those that also convey character personality.
Personality is crucial for engaging and believable animation.
Avoid relying solely on motion-focused references lacking emotional intent or context.
Workflow Checklist
1. Planning
Begin with conceptualizing the animation.
Mentally visualize the sequence.
Voice record yourself performing the scene to help establish timing and tone.
Import audio into Maya and block out keyframes based on this initial timing.
Utilize Anamotolong timing tools to assist with early planning.
Journaling: Maintain a record of your daily work.
Note key decisions and approaches.
This helps preserve consistency and avoid unintended changes to core elements.
2. Blocking
Start with clear, strong poses.
Ensure all body parts are keyed together during blocking to maintain control and consistency.
Optional:
Use stepped mode for clean pose-to-pose visibility.
Alternatively, stay in spline mode and use the “.” and “,” keys to toggle between poses.
3. Animation
Work section by section.
Aim for 1 second of spline animation per day.
Prioritize clarity and refinement within each segment.
Watch playblasts, not just Maya’s viewport, to better evaluate motion, weight, and timing.
Emphasize the movement of:
Head
Hands
Waist
These areas are most critical for expressive animation.
Lower body movement is less essential in many cases but should still be addressed as needed for balance and realism.
Progress on my shot
This week, we were tasked with completing the planning phase for a body mechanics animation shot. During the brainstorming process, I developed several initial ideas. However, I quickly realized that the timing of these concepts far exceeded both the project limitations and my original expectations. This prompted me to reconsider the scope of my ideas and explore more concise alternatives.
Additionally, I was interested in continuing with a concept from my previous work—specifically, the balloon story used in last semester’s previs assignment. I saw this as an opportunity to begin developing the opening sequence of my Final Major Project (FMP) and begin refining it early.
However, upon further review, I recognized that the beginning of that scene lacks the physical complexity typically required in a body mechanics shot. It involves minimal weight shifts, limited upper and lower body dynamics, and few expressive movements of the hands or feet. As a result, while the idea holds narrative value, it may not be the most appropriate choice for fulfilling the technical goals of this week’s body mechanics exercise.
Reflection on First Idea – Fencing Animation
The initial concept I developed involved a fencing sequence. In this story, a fencer repeatedly attempts to strike a dummy but fails, even after trying various techniques, including a spin. Eventually, in a humorous twist, the fencer surrenders by handing the sword to the dummy, playing on the idea of slapstick comedy.
However, upon further consideration, I realized that the story was quite long and complex. Beyond the body mechanics required for the character’s movements, conveying the full narrative would likely demand a significant amount of time and effort to execute effectively. The extended duration, combined with the intricacy of the movements, would pose considerable challenges both in terms of animation and meeting the project’s time constraints.
As a result, I decided to abandon this idea in favor of a more manageable approach that better fits the project’s requirements.
Reflection on Balloon Story Concept – Previs Continuation
This idea essentially represents the beginning of my balloon story from last term’s previs project. I expanded the narrative by adding more detail, such as the boy poking the balloon at the end, in an attempt to enrich the scene. However, upon further evaluation, I determined that this idea also wasn’t suitable for the current body mechanics shot assignment.
The movements involved were limited to slight rotations of the upper body and minimal hand and head motions. While the concept had potential for emotional expression, it lacked the necessary physical complexity, particularly in terms of body mechanics. There was little to no significant weight shift or dynamic movement in the body, which is essential for the assignment.
As a result, I recognized that I needed to develop an idea that would incorporate more substantial body mechanics, such as weight shifts, turning movements, and more dynamic use of the hands, feet, and torso.
