In this tutorial We will animate a sad walk of our character.Walk cycles are the most difficult to animate. This video will be divided into two parts. Part 1 will include drawing the rough poses of the walk. These poses will only be the key poses and not in betweens. This is because we are going to animate this work using our rigged character and tweening. So there is no need to draw the in between drawings. Because the tween option eliminates the need of the in betweens, we will add a new layer and trace the head so that.That we won't have to draw the head for every pose, we can just copy and paste it ahead. We draw the head using the brush tool, the shortcut for which is B.After drawing the head, we will turn it into a group by pressing Control plus G We will use this group for all the poses. We now rotate the head using the free transform tool. The shortcut is Q. This is a sad walk, so the weight will be falling down on every pose. Keeping the head straight will not make it look sad.Please follow the video on how we draw our first key pose here. After drawing the first key pose, we Move ahead to draw the second pose. We add a blank keyframe on frame 25 using the F7 key. We turn on the onion skin button to see our last keyframe. The second key pose will be the same as first one with the legs flip. We add a blank keyframe on frame 7 and start drawing the next key pose. This is also known as the down pose because the head is the lowest in this pose. In this key pose, the foot is flat on the ground. After this pose, the character starts moving forward for the next step. We have now completed the down pose. We now add another blank keyframe on frame 31.We turn on the onion skin and start tracing the down pose with the legs flipped. We now add blank keyframe on frame 13 and start drawing the next pose. This is known as passing pose of the up pose. This is the pose where the head goes up and the legs are passing each other which means the leg which is on the back is coming forward and the leg at the front is going back. We will draw the same pose on frame 37 with the legs flip. We can also bring the drawing near the frame 37 if we cannot see the drawing properly using the onion skin. After we have traced the drawing, we can delete the keyframe we had brought near this frame. We will draw another key pose here on frame 19 and do the same on frame 43 with the legs flipped. We have completed all the key drawings of our sad work. We can already see the sad attitude of the emotion from the work. Let's move on to Part 2 to make it work even better.