The initial rough pass for me is like thumb-nailing; the different is that not only it allows one to work out the unfolding extremes, finding right gestures but also with relation to the feel of force becoming visible through actual spacing of drawings.
By keeping drawings of first pass very loose, focusing on main essence of movement, one can rough through a scene at a much faster pace, making possible to stay in touch with the intended feel of force.
After timing rough pass, one can analyze a movement in motion, then making critical analysis to implement to the selected extremes in tie-down stage.
Tie-down is a more time consuming stage with attention to defining every details of movement. But because the unfolding of character has been blocked out, the defining extremes are rooted in feel of force.
From previous post, the slower version is 41 frames and the faster one is at 32 frames. I opted to go with the faster version and proceeding to tie-down.
Analyzing the rough pass, there are 2 competing leading forces, one from upper body at swinging arm and the other is the leg area; this makes the movement too busy, lacking clarity in body compartments coordination and more importantly, a focal point to movement. I opted to direct attention to upper body and tone down the energy of leg area by allowing more delay time, looser tension is the physical look of leg.
The brighter drawings are selected extremes to be tied-down. The remaining in-betweens are discarded; their spacing and exposures are to be transfer to timing chart and noted accordingly on tie-down extremes drawing.