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| Foreword | |
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| About This Book | |
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| Who is This Book For? | |
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| How to Use This Book | |
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| The Models | |
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| The Exercises | |
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| Inverse Kinematics: Its Strengths and Weaknesses | |
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| IK | |
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| IK's Strengths | |
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| IK's Weaknesses | |
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| LightWave-Specific IK Weaknesses (at the time of this writing) | |
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| Flipping | |
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| IK Setup Basics | |
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| IK Rules | |
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| Prepping Your Character for Setup | |
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| Where is He Going to Bend? | |
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| Pre-bending to Help IK | |
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| Boning Your Character | |
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| Adding Bones to Your Character | |
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| Spinal Controls | |
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| Hand Controls | |
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| Foot Controls | |
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| Fingers | |
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| IK System Skelegons | |
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| Converting, Organizing, and Aligning | |
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| Converting Skelegons to Bones | |
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| Organizing the Schematic into Something Helpful | |
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| Aligning the Spine, Pelvis, and Feet | |
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| Bone Hierarchy | |
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| Recording Pivot Rotations | |
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| Recording Bone Rest Information | |
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| Putting IK to Work | |
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| Terminating IK Chains | |
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| Creating Goal Objects | |
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| Activating IK | |
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| Activating Individual Controllers | |
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| Deactivating Individual Manual Controls | |
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| Point Weighting | |
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| Point Weighting Basics | |
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| Beginning the Point Weighting Process | |
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| Swapping Models and Testing Weight Mappings | |
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| The Use Weight Map Only Option | |
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| Finding Stray Points | |
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| Straightening the Feet for Animation | |
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| Putting Him Through the Motions | |
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| Tidying Up | |
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| Using the Controls | |
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| The Model Itself | |
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| Root | |
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| Pelvis | |
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| Spinal Bones | |
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| Head | |
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| Hand Translation Controls | |
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| Hand Rotation Controls | |
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| Shoulder Controls | |
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| Elbow Controls | |
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| Foot Controls | |
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| Toe Controls | |
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| Knee Controls | |
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| The Fingers and Thumb | |
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| Notes on Modifying the Setup | |
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| Life Drawing--The Next Logical Step | |
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| The Standing Model | |
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| The Seated Model | |
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| The Reclining Model | |
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| The Character and Weight | |
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| The Timed Pose | |
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| The "Cool Walk" | |
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| Clickin' Them Heels | |
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| Batter Up! | |
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| Life Drawing | |
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| Reviewing Animation Basics | |
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| Timing | |
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| Squash and Stretch | |
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| Gesture and Line of Motion | |
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| Anticipation | |
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| Drag | |
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| Follow-Through | |
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| Easing In/Easing Out | |
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| Moving Holds | |
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| Advanced Animation Mechanics | |
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| Silhouette | |
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| Exaggeration ("Bad" Poses) | |
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| Snappy Animation (Modified Timings) | |
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| Circular Animation | |
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| Successive Breaking of the Joints | |
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| Overlapping Action | |
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| Entertainment Value (Presentation) | |
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| Acting, Not Action | |
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| The Importance of Thumbnails (Planning Your Scene) | |
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| Pacing | |
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| Taking a Scene from Start to Finish | |
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| Do Your Homework | |
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| Talk with the Director | |
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| Scene Planning | |
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| Visualize | |
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| Thumbnail | |
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| Exposure Sheet | |
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| Animate | |
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| Examine | |
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| Critique | |
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| Revise | |
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| Important Points for Every Scene | |
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| Composition/Design | |
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| Appealing Poses | |
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| Anticipation, Drag, Follow-Through | |
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| Weight/Timing | |
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| Entertainment Value | |
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| Characterization | |
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| Character Evolution | |
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| Storytelling/The Distillation of One Main Idea | |
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| What's Best for the Production (Don't Grandstand) | |
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| Additional Practice Scenes | |
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| The Technique | |
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| Life Drawing | |
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| Scenes to Copy | |
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| Scenes to Create | |
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| Actions | |
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| Walk Cycles | |
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| Scenes | |
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| Where to Go Next | |
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| Digitigrade Characters | |
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| Bones | |
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| Plantigrade Modifications | |
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| The Next Logical Step... | |
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| Support | |
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| Editing | |
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| Watching Movies | |
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| Other Studies | |
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| Finding the Character | |
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| Radiating Focus | |
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| The Psychological Gesture | |
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| Characterization | |
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| Character | |
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| The Animator's Trust | |
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| In Conclusion | |
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| Index | |