03-13-2013, 05:50 PM
(This post was last modified: 03-14-2013, 02:01 PM by Chris2Balls [:B].)
I like Gors's edit, but I want to go over dynamics again (I'm no professional so bear with me):
Several things puzzled me when I looked at your picture: what is happening to the leaning arm? Is it leaning on a surface (as the black line I drew suggests), or on the pommel of the sword? If it's leaning on the sword, why is all the pressure in the wrist?
I'll re-iterate on the legs: they are both perfectly straight lines, which conveys a tenseness or a rigidity. This is mostly what is hindering the liveliness of your character.
The third edit is a quick demonstration on how to simply create dynamics: creating a dialogue between curves and straights, a to and fro. From this dialogue your pose becomes dynamic.
I hope it helps and don't feel discouraged!
Edit: you can actually use the lines in the third edit as the final lines because of the power they express. Mike Mattesi talks about force for animators, and I learned from his book about dynamics, so I'd recommend you check out some of his websites :
Several things puzzled me when I looked at your picture: what is happening to the leaning arm? Is it leaning on a surface (as the black line I drew suggests), or on the pommel of the sword? If it's leaning on the sword, why is all the pressure in the wrist?
I'll re-iterate on the legs: they are both perfectly straight lines, which conveys a tenseness or a rigidity. This is mostly what is hindering the liveliness of your character.
The third edit is a quick demonstration on how to simply create dynamics: creating a dialogue between curves and straights, a to and fro. From this dialogue your pose becomes dynamic.
I hope it helps and don't feel discouraged!
Edit: you can actually use the lines in the third edit as the final lines because of the power they express. Mike Mattesi talks about force for animators, and I learned from his book about dynamics, so I'd recommend you check out some of his websites :