Rhythmic vertical movement. Does the character rise up or drop down on the passing positions, and by how much? I have Albert rising up enough to be noticeable.
Shoulder action. Albert's upper torso rotates in opposition to his hips, but his right shoulder is kept highest at all times because of the load he is carrying on that side.
The legs and feet. They are working well. Just before each of the contact drawings I inserted a little kick; he throws his foot out past the point of contact for one drawing (2 frames) which adds a nice confident snap to his walk. It has an impact more felt than seen. Here is the detail showing that:
|Two drawings before contact.|
|One drawing before contact; the foot is thrown forward, beyond the contact point.|
|The contact drawing (his right foot.)|
The swinging arm. This works pretty well but I don't like the way the arm comes forward. It should swing out farther rather than in as I have it now.
Follow through actions.  After the contact drawings, the belly descends and delays coming up for a couple of drawings, giving him an appropriate heaviness. I want to refine this some more.  When the left hand reaches its full extent at the front it flips up.  The hatbrim flips up and down a little as he bounces along, but that needs more refinement also.
These details and others can be thought about and added in now that the basic elements of the walk are in and approved. Although it is possible to suggest secondary and follow-through action during the first pass through the animation, usually they will need some adjustment, and it is perfectly alright not to put them in at all until the first pass is complete. A walk cycle like this presents a lot of challenges, so it is all-important to get the basics right first.
For an exhaustive look at animating walks, see Richard Williams' book The Animator's Survival Kit.
Next: Refining the Details of the Walk