ABSTRACT
Inbetweening is not merely putting line in between line but actually moving shapes and volumes to conform to some predetermined action. True, when inbetweening a slow movement where the volumes are very close together, one sees only line going between line https://s3-euw1-ap-pe-df-pch-content-public-p.s3.eu-west-1.amazonaws.com/9780080928234/9b18bc6f-5304-498a-8de8-fcf2e79382cd/content/figpg116_001_B.tif" xmlns:xlink="https://www.w3.org/1999/xlink"/> but when inbetweening a broader movement the lines will be further apart and the volume itself must be considered or https://s3-euw1-ap-pe-df-pch-content-public-p.s3.eu-west-1.amazonaws.com/9780080928234/9b18bc6f-5304-498a-8de8-fcf2e79382cd/content/figpg116_002_B.tif" xmlns:xlink="https://www.w3.org/1999/xlink"/> in the first case, inbetweening is usually pretty mechanical, i.e., put one line in between two others and that's it. In the broader movement the lines may be so far apart as to forgo any attempt to merely inbetween lines. However, there is a short cut to doing such drawings, which is called superimposing or place and trace. This is simply putting the two extremes on the pegs, say #1 and #5 plus a blank sheet for #3. After sketching in roughly the character's inbetween position plus an accurate drawing of all lines close enough to inbetween, extreme #1 is left on the pegs while extreme #5 is placed over it in a superimposed position and taped to the desk leaving the part to be flipped free. Then superimpose the sketch and tape down also. You may double-check the position of #3 by “eyeing” the corners of the paper to see if they line up. (This will only work if all the papers were punched alike.)
