How It Looks in Pencil Test
Here is the result:
This is about what I wanted it to be in so far as Albert is concerned. I think you can see him thinking. He gets serious and cautious at the beginning, he communicates his plan to Victoria, and when he gets bumped in the nose by the fox as he lowers him down, Albert doesn't let it bother him much. One thing I will make more clear is Albert's expression, which will remain disapproving until, at the end, he relaxes his stern expression to gaze in perplexity at the fox, who is behaving so badly.
Next it is Victoria who will try to deal with the fox, first as if to make some argument, then feeling hopeless, and finally just appealing to his good nature. And all without a word of dialog or narration.
I have begun by adding a few more key drawings to define Victoria's performance; the first ones would be sufficient for a storyboard, but the animator must go further and think of everything that will be in the character's performance.
|Victoria regards the stubborn fox.|
|She resolves to try something to make the fox let go.|
Pose B shows her determination to act. It also is an anticipation to Pose C.
|She moves as if to speak out loud to the fox...|
|...but stops short, realizing the futility of this.|
|Victoria slumps, feeling the situation as hopeless.|
|An anticipation to pose G.|
|The last pose: with her eyes she pleads for the fox's mercy.|
This is a tough bit to do because it is designed so that the character can barely move her head; where the fox grips her by the nose is a pivot point and anchor for the whole character, and the animator must work only with her expression, with her arms and hands, and with some cautious movement of her shoulders and body.