9/28/2025
Post 5 In-between Fixing:
This week my focus shifted from working on large, dynamic poses to refining the smaller but equally important details of my animation. After finalizing the major movements of Toph’s jump-spin attack in the previous week, I turned my attention to secondary animation, specifically the hair strands around her face and the folds of her outfit. These details may seem minor compared to the big fight choreography, but they play a huge role in making the character feel alive and believable. For example, when she stands idle, the subtle sway of the hair and the gentle shifting of her outfit add an element of realism that keeps the character from feeling stiff. When she launches into the spin, the way her hair whips and her clothing folds react to the force of the motion gives the attack more weight and energy, which ultimately makes the scene more engaging for the viewer.
One of the challenges I encountered this week was figuring out how to animate fabric and hair so that they looked natural without being distracting. I had to carefully balance the exaggeration: too much motion and the elements felt cartoony, but too little motion made the animation appear static. I spent a lot of time scrubbing through the graph editor and experimenting with overlapping action, making sure the secondary movements lagged slightly behind the main motion of the body. This layering process was tedious, but it helped me better understand how small adjustments can completely change the overall flow of an animation.
Looking ahead, my plan for next week is to begin work on the Azula rig and get her animation blocked out. I want to establish her fighting style early so that it contrasts strongly with Toph’s. Since the two characters move so differently, I’m excited to explore how their personalities and techniques will clash on screen. Blocking her movements will also help me start shaping the pacing of the overall fight sequence.
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