Original subtitles

- Now that we have our base pose,

it's time for us to push this pose

to make it more dynamic and appealing.

We have learned before the fundamentals

by identifying the line of action

and studying the basics of creating a nice silhouette.

Now it's time to apply those fundamental

and exaggerate them.

The first thing I'm going to do

is duplicate our current key frames onto frame two.

This way we can compare both poses

by hitting the up and down arrows.

The first thing we can do

is to push the directionality of the line of action.

While on our basic pose

our line affection create a nice curve,

I will straighten the line of action

to give it more directionality.

The first thing to do is to lower

the center of gravity of our character

and push it to the side on the supporting leg.

Then we need to increase the contrast

between the right leg and the left leg,

meaning that I will try to make the right leg

as straight as possible.

First, with the different controller in this case

I will slightly move the pole target

and I will also use the tweaker controller

to align the knee with the ankle and the hips.

Then I will slightly open the stance of our character,

pushing the left foot a bit backwards

so that it's not out of balance

and indirectly,

contrasting the open stance of our character.

As usual, this is not a linear work,

so I may make the character leaning forward too much,

then leaning backward,

then trying different poses that looks more dynamical.

In the end, I've chosen to rotate

the center of gravity more forward

so that that it reduces a bit

the profile of the torso

and makes it more aligned with the line of action.

Then we need to tweak the position of the hips,

of the torso, of the head also,

tilting it a bit forward,

more into the pose.

And then we can start shaping the arms.

As for the line of action,

where I have a smooth curve.

I've decided to increase the tension in the arms,

making the right arm straight

and supporting the line with the left arm

by opening it a bit.

But I was really hesitating and still hesitating

to pose it more into an angled way.

I think this pose works too

and is also very strong.

I've straightened what was straight

and I've created another angle where it was angled.

But they feel like there is more readability

in the hand of my initial pose,

so we will stick to it.

So I will raise the shoulders,

I will open the hand,

I will slightly rotate it toward the sky

and make sure that the palm is more open too,

more to the side.

To keep the directionality,

when we open the forearm,

we need to raise the arm and raise the shoulder.

I will do the same with the left arm,

I will make sure that it's in the continuity

of the current line of action

and I will slightly open the hand

so that we can clearly see the fingers

on the silhouette of the character

which wasn't the case previously.

While it might not look super natural,

I like to curl the fingers forwards.

It brings a lot of tension

as if our character was pushing the air.

During the whole process,

I will repeat the same steps again and again.

Because it's very odd to push a controller to its maximum

without comparing it to the other one.

Because the pose is to be read as a whole,

it's a relationship between the legs,

the torso, the arms, etc.

So whenever you're pushing the torso,

then you are rebalancing your character by moving the feet

and it changes the pose.

But then maybe you want to push this pose even further.

What I'm trying to explain here is that

you may need to repeat the process several time

before you hit the right pose

or you hit the most extreme pose or exaggerated pose

that still feels right.

As explained before in the previous videos,

we are sculpting the pose.

And when you are sculpting,

you don't sculpt the details of one hand or of the face

without looking at the whole body of your character.

You generally already start looking

and then you refine each part one by one

and you refine them depending on the other one.

You refine the proportion of the head based on the chest

or the proportion of the legs based on the arm, etc.

And don't fool yourself,

animation as an art form

is really comparable to drawing or sculpting.

Because we are shaping our whole character,

working on the relationship between the shoulder,

the arms, the forearms,

the hands, the chest, the hips, etc.

So if you have fundamentals into sculpting or drawing,

make sure you also apply them

whenever you are posing your character for animation.

And if you don't have any fundamentals

in sculpting of drawing,

don't be afraid to study drawing and sculpting techniques.

I'm not meaning that you need to draw every day

or sculpt every day,

but at least read some book about figure drawing

because you will see that a lot of the vocabulary

we are using in this course,

or a lot of the fundamentals we are using in this course

are applied in drawing and sculpting also.

So let's jump into the next video and work on more poses.