Original subtitles

- [Instructor] In the beginning of this chapter,

we've been talking about exaggeration

and line of action.

Exaggeration can be used to amplify feeling.

If you want to communicate anger,

just make your character mad, for example.

But we have also seen that we can use exaggeration

to give whether more impact or more freely to the motion.

Look at all, the Trident here is completely bent,

helping to read the arc of motion.

Next frame, all the limbs are reshaped

to exaggerate this pinning motion of the character

or on this landing pose.

The character is stretched toward the ground

clearly supporting the line of action

and the directionality of the jump.

And if you did your homework, this should remind you,

this should remind you something, right there.

Whenever we are stretching the ball,

we create some kind of smear

and we are exaggerating its motion

and the same occur

whenever we are squashing the ball on the ground.

It's another exaggeration that better sell the impact.

So how can we apply those principles to our character?

When we are first in the light the reference pose

output the different line of action of the pose

using the red and orange line.

So now what if we push those lines?

What if we exaggerate them?

The goal is to build our shape or silhouette

based on the motion of the character

as if he was pulled by the inertia of the movement.

As our line of faction is curving, just push the curve.

And as our character is twisting, just support the twists,

creating a rotation motion within the hum and the sword.

We can also build a strong smear upon the sword

to simulate motion blur.

To do it, let's go back into pose mode.

I will duplicate the initial pose

and I will start by pushing

the center of gravity of our character to the right,

in the direction of the motion

or in the direction of the force is applying

to strike the ball or maybe cut is opponent in half

to be able to shape the silhouette of our character at will

we will need to enable the tweaker bones.

All the yellow controllers,

I'll use to reshape each part of the arms,

the legs, torso, or even the whip.

So as we need in the previous video,

I'm slightly pushing the pose.

And then I will start using those tweaker controllers,

starting with the left leg.

My goal will be to shape the whole left side of my character

as a single curve.

Note that I will mainly build the shape to camera.

It's all down to create smears

that can read from all the angles

and focusing on the camera point of view

will alow you to push the pose even further.

The bigger knee tweaker controller

allows you to push the knee with the thigh

and shin following.

While the smallest one will allow you

to shape each joint of this thigh and the shin.

So, as we did so far,

just repeat the process several time.

Push should be the pose.

Shape the arm and the leg into a curvy shape.

And whenever you reach a satisfying shape,

just try to push it by repeating the process.

As you get more experience,

you will be able to reach your extreme

or exaggeration faster.

Another important thing is not to over-focus

on one part of the character,

and this is why you should often add a loop

to the silhouette of short character.

The first step to give a better shape

to the sword is to first bend it.

To do so, you can use the sword master rotational controller

available on the root of the blade

by pressing R and D twice, I can rotate it

along its local Z axis.

Then you can use each individual controllers

to whether tweak the rotation or location or to scale them.

Here, I'm currently scaling them along their local X axis.

Starting from the tip of the sword

And then going up until the root of the sword.

Look, all, we already improve the character's silhouette.

And we do feel like the sword is currently swinging.

From this point, my goal would only be to push the pose.

So I need to accentuate the curvature of the body

on the left side so that I have better continuity

between the left leg and the torso.

This will support the line of action of our character.

I will also slightly tweak the shape of the blade,

so that it is smoother.

I just need to re walk a bit the X local scale

of the different tweaker bones

to avoid those jacket profiles.

So don't forget to test each controller.

I've also used the tweaker bone within the torso

to give it a more curved shape.

Progressively push the pose,

and don't be afraid to fail.

If you can't nail a good pose at once

that's perfectly fine.

While I do believe I ended up with a satisfying pose,

I am convinced it can be improved a lot

and a more experienced animator

will probably get a better pose than mine faster.

As any other art form becoming good at animation

is just a matter of practicing.

And someone practicing every day for four hours

will be better than someone practicing once a week

for one hour, while it may sound abused,

this is something I'd like to remind you,

And I will probably remind you often

during this whole course.

And if you lack of confidence,

just stop telling yourself that you lack of talent.

I personally don't believe in talent

and whenever you meet any artist that is very good

as it's art and you make the effort

to dig a bit into his career.

You understand that they don't land there

because they were talented,

but just because they were working a lot.

So I will let you there.

Don't hesitate to experiment with the body shape,

stretch the EDD to give it speed.

Just try to affirm. And don't forget that it's okay to fail.

So if this pose doesn't look right to you

just restart from scratch.

(relaxing music)