Now,
as for the silhouette. You'll rarely get a good silhouette looking
straight at a character. It's much easier to get a strong pose from
a camera with a bit of an angle on the action. In Choreography, you will
achieve this with an actual camera, but in this exercise, it's just as
easy to use the "Birds-Eye view" in the Action tool. Click 't' to
enter Turn-viewpoint mode, and click and drag to the left and slightly
down, so that the viewpoint is to the right of DojoBot, and slightly above.
The most likely
problem that will leap out at you is that the legs may be obscuring each
other in silhouette. This is a result of the requirements of the
stance, and the angle of the camera. Here's how to correct it:
Select the right
foot target. Click on it's translate handle. Hold down the
'1' key above your alphabet-keyboard, and drag to the left until it almost
clears (but not quite) the left leg. Bear in mind that the 'X', 'Y' and
'Z' axes that '1', '2' and '3' restrict movement to are relative to the
position of the bone. They are not the same as the absolute axes
that the keys restrict to in the modelling window. In this case,
this means that the '1' key restricts the foot target to translating directly
along the line of the ankle, even though that line is not parallel with
the global 'X' axis.
Select the left
foot target. Hold down '1' and translate it to the right until it
barely clears the right leg. At this point, the knees should still
be bent substantially together.
Click to the front
view. This should show you that, because you have moved the foot
targets apart without lowering the pelvis, one or both of the feet have
left the ground. Lower the pelvis until they are back in solid contact,
with a little bit of slack in the legs.
Now you will use
that slack in the legs to clear up the knees. Go back to Birds-eye
view. Select the left thigh target and translate it out so that the
left knee lines up more evenly over the left foot.
Now we'll move on to dealing with the upper-body silhouette.