Original subtitles

- Let's go ahead with the next pose,

the right cross.

While I have chosen not to push

the pose too far for their job.

For this specific pose,

if you compare my current pose to the reference,

I've pushed my character way further.

While the left jab is settle punch,

to get closer to the target and mask the next punch.

This right cross is made to destroy the target.

So to bury this pose, I'm applying the principle

we've learned in the previous chapter.

I'm looking for the specific features of this pose,

like the foot orientation, the distance between them,

the orientation of the torso,

and the position of the center of gravity

based on the feet position.

On the right cross,

the center of gravity is shifting towards the left leg.

So the front foot get flattened on the ground,

while the right foot twist towards the left foot

and its heel get traced.

The torso is twisting toward the left foot

and the shoulders are aligned to create a straight line

toward the target.

But since we have already identified the marker of this pose

I am already pushing the character.

I've built a wider stance with the feet.

I've lowered the center of gravity

and the line of action is pushed forward.

It's more oriented toward the impact,

but instead of keeping the left elbow against the rib cage

I've raised it backward,

so that both arms from the profile view

creates a straight line.

This way even the back arm

or left arm is supporting the directionality of the punch.

Once I'm done with this, I will slightly twist

and tilt the neck toward the right shoulder.

I'm exaggerating the previous concept we have seen

where the character is protecting his face

and his chin using his shoulder.

One little detail I like to point out

is the way I slightly twist the punching fist

so that the thumb is pointing down.

This is the way you have to throw a straight punch,

whether it's across or a jab to avoid overextension

of the elbow that can lead to injuries,

but it's also a way to get through

the guard of your opponent.

But once you're done with your character pose

don't forget to also pose the punching back.

So I've rotated the main controller

so that we can start swinging the bag.

And then I'm using the tweaker bone to shape it

so that we feel like the fist is getting through it.

Don't worry if you have a hard time following

everything I'm doing here.

I will then provide a slow paced time-lapse

showing the whole process so that you can follow along.

Here I am trying to give you a guidance

to what you have to look for and what is your goal

whenever you are creating those different poses.

The next pose is the anticipation of the hook.

Since the punching bag just received a heavy blow

and is no longer in contact with the character,

I've decided to pose it first.

I'm simply canceling all the transformation,

and then I'm gonna rotate it away using the main controller.

But one super important tip whenever you are building

a new pose with your character, is to cancel the rotation

of the chest, the hips, and even the torso root controller.

First of all, it pushes you to rethink about

the current pose instead of building it

based on the previous pose.

You will better watch your reference

and try to match it, so it will improve your focus,

and secondly, it will avoid you to source mistakes

from the previous pose.

Especially when it comes to hips and chest twisting.

Now as usual, I've repositioned the feet first,

and then I'm working on the torso.

Both the reference and the pushed pose

shows that the character has both of his feet flat.

The character is gathering energy.

So he's twisting toward the left.

Since he will twist to right to deliver the hook,

his weight and center of gravity is shifted

toward the left foot.

Both arms are bent, the right arm is bent in front

of the character to protect his face,

while the left arm is slightly more open and slightly lower,

preparing to fire a big punch into the next pose.

As usual, I work the shoulder lines and the arms

so that I get a nice curve.

The arm and the shoulder flow into an elliptic shape.

It supports the twisting of the character

and it communicates the fact that our character

is going to swing the other way.

Once you are done, don't hesitate to play the animation

even if there is no timing.

It's just a good way to see if the flow

between the different poses is okay for you.

And you will get more familiar with your animation.

When jumping into the next pose, again,

it's interesting to have a quick look

to the video reference.

As usual, my goal is to spot if the feet

are changing of location, and the right feet

is currently moving forward.

I will work exactly as I did for the previous pose.

I will first work on the foot supporting the weight.

Rotating each a bit inward.

I will move the center of gravity toward the supporting leg.

Move forward the right leg, as we have seen on the video.

And then I will cancel the rotation on the hips,

on the torso controller, and on the chest,

and build the whole torso pose from scratch.

I decided to make the hook to the head,

because the previous punch is pretty low,

this way by changing the level we are hitting,

we bring contrast to our animation

and so it will be more appealing.

From there make sure that you're applying the rules

we have seen in the previous chapter.

Make sure you properly define the line of action.

Make sure that the secondary shape properly communicate

the wheel of your character.

In the punching pose for example,

make sure that the flow of the arms really shows

what your character is hitting, how he's hitting,

and as for the previous pose,

I make sure that the character lower is

at between his shoulders to protect his chin,

because he's an experienced fighter.

A little reminder here, whenever you are posing

the shoulder you can rotate them,

but I also encourage you to change their location.

As for the finger, you will have a hard time reaching

the right pose by only using rotation.

Avoid over-twisting the chest and hips controller

and for the rise using the torso root,

the chest and hips can't really twist that much.

Doesn't mean they can't, but if you over rotate the hips

and rotate the chest the other way,

it will look a bit weird,

even for our stylized character.

Again, don't forget to turn around your pose.

We are not animating to camera

because I want your poses to work from any angle.

This is how you will make the best progress.

Later on, we will add the camera

so that we can push the appeal of our animation,

but for the time being, let's create a nice animation

without a specific camera angle.

I spend a lot of time on each pose

to make sure that everything flows properly,

that the character is looking at what he's hitting,

that I don't have any broken joint,

unless this is a personal choice

to push the pose, for example.

And finally that my character is balanced.

The more time you spend during the blocking stage,

the easier will be the position later on.

And as for the previous poses,

don't forget to pose the punching bag.