Graphics Reference
In-Depth Information
Figure 11.2 The Beast in a two-frame throw
should move like this. To make it a little better, you must add anticipation and follow through . An action
almost never starts and ends with the main application of force. There is usually some sort of anticipatory
action and a follow through (Figure 11.3). The anticipation image has the beast leaning backward, really cock-
ing his arm and raising his forward foot off the ground. The follow through pose shows how his body has
continued to move even after the ball has left his hand.
Figure 11.3 Anticipation and follow through added to the action
That's a little better. Follow through is not constrained to just the main action, though. A character's tail, hair,
or tentacles can also exhibit follow through. A body absorbing the shock of a landing will show the results of
hitting the ground throughout its structure if it's animated carefully.
Timing. The next thing to consider is timing. How long would this action take in reality? How long would
the anticipation take? You don't have to stick with the real world here, and you can even change timing to
emphasize your action. To build suspense, for example, you could have the anticipation pose take longer than
it really would, then have the throw occur in a fl urry of motion.
Squash and stretch. When the ball leaves the Beast's hand, it has so far been perfectly round in the illustra-
tions. Perhaps, though, it would be more dynamic if you could see the motion even in one of these still frames.
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