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- The next pose I'd like to add to my animation

is the subtle,

just after the other shoot of the cross punch.

To our right cross default pose,

we have created a pose where everything is extended forward

so that it better communicate impact and speed.

As a smear frame, this kind of pose can't last too long,

or it will really looks weird.

So we need to burn a subtle pose,

where we get rid of all the exaggeration,

the chest we'll get back in place.

The hips will catch up and the right arm

will recover it's normal size.

Not that the left arm is doing an overshoot and finishing

it's ark by getting a little straighter.

So building this pose is going to be pretty straight

forward.

I will pull the beat to the center of gravity back

and I will reset the location on all the

bones on the arm so that it's not stretched anymore.

I will do the same with the IEPs and the chest.

And then, I will reset or transform

on the tweaker bone, along the chain

of the spine.

We have used those bones to fix the shape

of the torso when it was extended,

but we don't need them anymore.

It's in the chest to the right.

And as the left arm was a swinging back during the previous

frames,

I will spread a bit more the whole arm chain as it is

finishing its motion back.

So compared to the previous pose

I have built during the blocking stage,

I've kept the character way straighter this time.

I was initially planning to make him dive

into the anticipation for the hook,

but the character look way out of balance.

I prefer that he pulled back his right arm

so that the right leg can catch up

and then dive into the anticipation for the hook.

So we do need to build the pose

where the right foot is catching up.

If we watch the previous pose,

we have built and the next one in the animation

that we can see that as the right foot

is going forward, the chest is going backwards

into a more neutral pose.

We are going to break the position between

where the right foot is still traveling,

and so our characters center of gravity

is more to while that the left leg.

He's still lightweight on his right foot

and pulling it.

This is why I raised the heel as the hips

are leading the animation because

they are dragging the character backward

the chest is dragging. So does the right arm chain,

but they have already started to move backward.

Particularly the lower part of our character

is visualizing the next pose, while the upper

part is visualizing the previous pose.

On this lead there is not that much

to say about the posing process

whenever I'm building these specific in-between.

So I will jump to the next pose.

As usual, you will find a slow paced

time-lapse of the whole processes

that you can follow along.

(wind rushing)

The next area of our animation is, that really

lacks information, is the step-

back after the kick.

We have already built the pose where

our character is pulling his left leg back

after the kick, then going into the contact pose,

and then it's idle pose, right leg goes back

and supports to weight of the character.

But we do need to create the poses where

our character will be pulling his right leg.

Then when the right leg is going to contact,

then you can even create a down pose.

Before you settle into the idle pose.

To start positioning the torso controller,

you can press shift E to activate the break down there.

And then you can slightly offset the torso controller to the

left, on top of the left leg that is going

to support the weight of the character as the

left leg is supporting the weight

of the character, I'm concealing the rotation

of the heels is that it's in contact with the

ground and they've slightly pushed

the left foot into the ground,

to fake body pressure.

Then you can slightly lean your

character to the left as he's pulling

his right leg up.

Normally I will slightly clench or pose

the chest by twisting it to the right.

Since the hips are twisting the other way

to pull the right leg.

Finally, you can relax a bit the arms

by spreading them. In this case,

the right leg looks a little bit too

over extended, so I will slightly raise the

foot as it starts traveling backwards.

We know of the pose where the foot is taking off,

we need to create the post where the foot

is just contacting the ground.

As usual, you need to first think of the

position of the center of gravity.

The feet are traveling faster.

So the center of gravity will still

be more onto the left foot, which is supporting

the weight, but also more forward.

It will catch up the right leg later on.

It's a common beginner mistake to see the center of gravity

traveling as fast as the feet. But generally

your center of gravity, starting to move backward

The front foot is taking off, then it will

land, and then the center of gravity will catch-up.

From there, since our character is more relaxed

than during the punches, I'm trying to make the

arm strike a bit. So if the body

is moving backward, I will slightly

rotate the arm forward. If the body's going down,

I will slightly rotate the arm up

and I will do the same with the neck

and the head of the character.

You can track the chin of your character.

For example, if the body is going down,

or the center of gravity is going down,

slightly rotate the head backwards

so that the chin is raising it.

(wind rushing)

While our character is moving back.

You can take this opportunity to

pose the punching bag as it lands on the ground.

So, instead of making each landing flat,

I will slightly raise the tip of the bag.

And then on the next pose, I will push it

further away so that it seems to slide on the

ground. Just push it a touch, don't move it too

far away or it will looks weird.

(wind rushing)

Another area of the animation, where the feet

are changing location and we haven't created

the contacting pose, is the jab.

As usual to get the right location for the

left foot I will go on to the jab pose.

I will press control C to copy the pose

of the left foot, go to a previous frame

and press control V. From there I can

tweak the foot rotation and the heel rotation.

Remember what we have said before,

the feet move faster than the center of gravity.

So using the break downer, I will create

the pose for the center of gravity,

favoring the previous pose.

So if we compare the pose of our

character on the previous frame

and on the jab frame, and now we

watch the transition frame we are currently

building. Foot is moving faster

than the center of gravity. As the character

is pushing with his right leg,

the center of gravity is likely

shifting toward the left foot.

Don't forget to also twist the

center of gravity towards the left foot,

increasing the range and the strength of the punch.

Another detail regarding this pose

is that I've opened, a bit, the fingers

so that it feels like they are dragging

back as the character is moving fast forward.

The finger of the right hand are relaxed,

are bending backward as they are dragging back.

This is the kind of detail that

could have been added during the polishing stage.

But if you think of something during the

looking stage, you should the block it

because you may forget it afterwards.