All language subtitles for 07-05-Pushing the pose

- 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.