Page | 150 A Adhesives, 78-79 Anchor bones, 82 Anticipation, 11-12, 24, 34, 39, 99 Appealing, 8-10, 20, 31-33, 41-44 Arc, 15, 101 Architectural Visualization, 125, 127 Armature, 68-91, 107 Armature Construction, 77, 80 Armature Stand, 79 Armature Wire, 77-79 Autodesk Maya, 124, 130 B Backbone, 70, 98 Believability, 10, 39, 70 Bending, 37,71, 79, 82, 99 Body Types, 41, 43, 54, 56, 59, 61 Bone Creation Tools, 77, 79 Bone Naming Convention, 82 Bone Orientation, 70, 72, 80 Bone Placement, 80-82, 86 Bone Structure, 54, 57, 62 Brush-Based Workflow, 126 Brushes, 79 C CGI Animation, 108 Cinema 4D, 124-126 Character Analysis, 81, 86 Character Animation, 33, 37, 38-39, 46, INDEX 70-71, 74, 80, 82, 86, 108-109, 118, 124-125 Claymation, 97, 107, 113 Complex Armature, 72, 82 Composition, 100, 137 Configuration, 81 Constraints, 70-72, 80-82, 86 Control Handles, 82-82, 86 Custom Armature. 74 Custom Control Shapes, 81, 86, Customization, 81, 86, Cutout Animation, 107 D Digital sculpting, 126 Digital Techniques, 111-112, 118 Dynamic range, 70 E Ectomorphs, 56, 59, 61 Elements of Art, 12 Endomorphs, 57 Epoxy Putty, 78, 79 Estrogen, 56, 58, 59, 61 Expressive Animation, 38, 70 F Facial armature, 74 Facial Expressions, 12, 38, 43, 74 Fat Distribution, 58-59 Functionalities, 130 Film, Television, and Gaming Industries, 124
Page | 151 Follow Through and Overlapping Action, 100 G Gender Hormones, 58-59, 61 Gesture Drawing, 12, 43 H Hands-on Experience, 130 Hierarchy, 82, 83 High-Resolution 3D Models, 126 Hierarchical Structure, 70, 72, 82, 86 History of 3D Animation, 97-98, 113 Human Anatomy, 31, 40-42, 46 Humanoid Armature, 73-74 I Illustration, 32, 105 Integration, 125, 139 Interface, 125-126, 130 Inverse Kinematics (IK), 71 Iterative Approach, 86 J Joint Constraints, 71-72, 80-81, 86 Joint Limitations, 82, 86 Joint Movement, 70 Joint Structure, 71 K Keyframe Animation, 111 Keyframes, 117 Kinematics, 71-72 Lighting, 11, 20, 99 Lightwave 3D, 124, 127, 130 Limit Joint Rotation, 81 M Maxon, 125-126 Mechanical Animation, 71 Mechanical Armature, 73 Mesomorphs, 51, 57, 59, 61 Modeling software, 10, 77, 79-80, 97 Motion Capture, 108-109, Motion Graphics, 126-127, 130 Muscles, 38-39, 46 N Non-Experts, 15 Non-Importance, 100 Non-Organic, 73 Non-Scientific, 7-8 O Optimize, 16 Organic, 39, 126 Organs, 37, 58 P Particle, 125 Perspective, 36, 75, 103 Physical Features, 57-59 Planning, 80-82, 86 Plugin, 77, 79 Polymer Clay, 78-79 L
Page | 152 Preparing, 79 Procedure, 85, 90, 104 Proportions, 90, 134 Puppet Animation, 107-108 Q Quadruped Armature, 73 R Rendering Capabilities, 125, 127 Rendering Engines, 124-125, 126-127 Rendering Techniques, 29 S Secondary Actions, 102 Secondary Controls, 86 Secondary Sexual Characteristics, 59 Skeletal System, 29, 40 Sketching, 80, 128 Slow in and Slow Out, 101 Solid Drawing, 103 Somatotypes, 54, 56-60, 61 Squash and Stretch, 34, 99 Staging, 100 Stop Motion Animation, 107 Storyboarding, 81, 86 Straight Ahead Action and Pose-to-Pose, 100 T Testosterone, 58-59 Texturing, 10, 20, 124-125, 127, 130 Textures and Materials, 130 Timing, 11-12, 24-25, 34, 39, 102 Toolsets, 125 Traditional Techniques, 97, 107 Testing and Refining, 80 Twisting, 82 U User interface, 122, 130 V Versatility and Efficiency, 127 Visual Effects, 14, 24, 99, 108, 109-110, 124- 127, 130 Vise, 79 W Weight Distribution, 38, 70, 91 Weightlifting, 62 Wire Cutters, 79 Wireframe, 97 Weight Painting Tools, 77, 79-80 X X-rays, 32, 37, 46 Z ZBrush (Software), 124, 126, 130