ABSTRACT
Therefore , for an animator, the timing of an action is the same as deciding the number and spacing of the drawings or key poses needed to make up the action.
How many drawings are needed, for example, to make a character point his fi nger off screen? It is necessary to know a number of things to answer this. Is the character slow or quick in his reactions? Is he pointing, for example, to a distant view or is he pointing to warn somebody that a car is about to run him down? Is it a full arm movement or a more restricted fi nger movement?
