It’s totally OT (well…actually not so much) but for those who are fan of vintage/retro Disney items like me… I want to share an awesome discover: I just found a magic “trip to the past” vintage shop in Rome full of old toys and Disney stuff! Today I bought this little cute lenticular (or flickering-animated card) from 1960. For those who are in Rome: Il Pianeta del Collezionista (The Collector’s Planet), I absolutely recommend this place😍
‼️I’m preparing some new Lessons/Tutorials/Tips!
Next topics will be: the last Animation Principle “APPEAL”; POSING; How to use Animation Layers, Lipsynch… It will take a bit ’cause I still have to wait the final rig of Deena but…. I’m preparing the theory part😉 IN THE MEAN TIME HERE AN AWESOME VERSION OF DEENA MADE BY FILIPPO FOGLIETTI! She’s sooo nice😍
#deena #animation #lesson #tutorial #beananimator
I can’t not share with you some rig test pics of #DEENA 😊 It’s still a wip but…she’s on the right way!! Thanks to Sagi Cohen (Squiggly Rigs) for sent me this great update!! I know I totally disappeared in the last months but for NEXT YEAR I’m preparing a lot of new contents for the channel!! All the videos I create require a lot of time….time that I don’t have right now so…..I hope you’ll understand!!☺️
#iwanttobeananimator #deena #rigupdate
When I started this channel….I just had in mind to create a couple of video tutorials, just for fun and test myself in something new..trying to explain my animation method to others through quick and simple videos demonstrations. I wasn’t sure to be able to do that and I was ready to “delate” the first video uploaded if I would have received a flood of insults 😅But…this didn’t happen and a lot of aspirants animators just founded my videos easy to understand and a font of inspiration, so ..I want to say thanks to all this people that supported this project and when I read my Blog listed in article like “10 Awesome Animation Blogs for your Inspiration”….I just feel happy😁Thanks Florian and Introbrand.com for the mention!!!😊
I want to share with you this beautiful surprise I found in my basement 🖤The reason why I’m not creating new contents for my animation channel (but I’ll start soon…It’s a promise😉) is that I’m dedicating my time to clean out my family house from all the old things my parents, grandparents and great-grandparents gathered over the years…..and…. hidden among all this old stuff I found…an early 900s Magic Lantern!😍An amazing and fascinating precursor of the actual animation….I think my dad and my grandad probably didn’t even know what it was…and then…here I am…an animator who found this in her basement….I so love it and make me think it really was my destiny 😄😍
#magiclantern #animation #beananimator
Buona Pasqua! Happy Easter! Bon Paques! Frohe Ostern! Feliz Pascua! С праздником Пасхи! فِصْحُ سعيدُ !イースターおめでとう! 행복한 부활절이 되시길! Geseënde Paasfees! 復活節快樂! สุขสันต์วันอีสเตอร์! Paskalya yortunuz kutlu olsun! Maligayang Pasko ng Pagkabuhay! 🐰🥚🌼and happy Easter day in all animators languages! 😁
Rigs Showcase #1 – I’d like to present “LEE”, a new cartoon style character RIG created by SquigglyRigs
Buy “Lee” Character using the special coupon with 50%OFF applying the code you see in the image below
I want to thank two awesome artists: Filippo Foglietti for the 2D concept and Sofia Gariazzo for the 3D model (https://www.artstation.com/sofiagariazzo)! It was a pleasure to work with you and I hope we will create other stuff together! 😃NOW It’s time to give her a NAME!!! I need help and fantasy FROM ANYONE 😛❗️Just one directive: must starts with the letter “D”! I add a progression collection of pics from concept to 3D model to inspire you! 😊Thanks in advance for your suggestions!
#animation #beananimator #name #suggestions #character #concept #model
We are working on the new official Channel’s Rig 😊I want to use it for all the new videos (to avoid any copyright issues 😛) That’s why I’m waiting to create new lessons and tutorials videos! In the meantime I want to share with you a preview of the concept (right now a modeler is sculpting it)
Concept artist: Filippo Foglietti
#animation #rig #concept #character #beananimator #animationforbeginners #learnanimation #iwanttobeananimator
▶️🎈Ok now the video is available for everyone 😉 (sorry for the problem with the premiere) 😛 https://youtu.be/EZ3WFgPBJgo #animation #staging #animationprinciples #beananimator
-LESSON #13 – Straight Ahead and Pose to Pose-
Let’s see how to approche an animation shot and what’s the best method for you! 😉
In this lesson we will see the two possible approaches to an Animation!
As the name suggests STRAIGHT AHEAD means to start to animate from the FIRST KEY POSE adding all the other key poses in sequence order.
So you animate from the start to the end of the shot going ahead, adding key poses, breakdowns, and all the other poses in-between one after the other!
POSE TO POSE means start adding just the main KEY POSES (that are all the poses necessary to describe the action, the more significant poses)
WE DON’T HAVE TO FOLLOW A SEQUENCE ORDER!
We can create the first and last key poses and the…add the other in the middle, or we can choose to add them following an order we prefer, it’s up to us and our inspiration!
When we finished to create the key poses we go back adding some breakdwons here and there, where this are necessary to better read the action and to have a more precise reference of the timing we will have in the final result!
When we work on Pose to Pose is recommended to keep all the CURVES IN STEPPED so that when we pass from a key to another we don’t have any interpolation but we just skip from a pose to the following one!
This two different techniques have a very different approach!
When we animate in STRAIGHT AHEAD the approch is MORE INSTINCTIVE, you’ll animate following YOUR IMPULSE!
With the POSE TO POSE animation you’ll PLAN your animation concentrating on the keyposes and the timing, in this way you’ll have an idea of the finale result even with few keys!
If you are BEGINNER I suggest you to go for a POSE TO POSE approach, in general is the best way to start and even I usualy choose this approach, especially for complex and long animation!
With the STRAIGHT AHEAD you risk to:
- OVER ANIMATE, adding too many movements, actions and gestures!
- LOSE REDABILITY OF THE MAIN POSES
- HAVE MORE DIFFICULTIES TO MAKE CHANGES, adjust the acting/action, the timing and the spacing!
In production, when a supervisor have to look at your animation, it will be more difficult to tell you what change and you’ll lose a lot of time doing this changes, due to the high number of keys we have in a STRAIGHT AHEAD approach!
With POSE TO POSE you avoid all this problems ’cause:
- YOUR ANIMATION WILL BE IMMEDIATELY READABLE, in term of timing, poses and intentions!
- YOU’LL BE ABLE TO ADD VARIATIONS AND CHANGES IN FEW MOVES
- YOU’LL SAVE TIME, focusing in the more important aspects: key poses, timing and the intention of the shot!
In this example I’ll show you the same animation but done with the two different approaches!
First, let’s see how we would create this animation following the STRAIGHT AHEAD approach!
As I said before with straight ahead we start from the first key pose…
…and we proceed with all the other poses (key poses and breakdowns) following the sequence order
So, when we do this, we add as many keys as we want, just following our instinct! So we don’t just focus on the main poses and the timing, but we already adjust the spacing and create the moving holds, the settle, the offset of some parts but…as I said before there’re no rules! So you could also choose to go for a blocking approach in straight ahead and add the offsets and other little adjustments in a second time!
I usually use STRAIGHT AHEAD when I work on less complex and hight quote production like:
- TV series with simple characters and a majority of close up acting shots
For this shot I go for straight ahead animation, animating directly in spline and skipping the blockin phase! BUT AS I SAID BEFORE, I DON’T SUGGEST YOU THIS METHOD IF YOU’RE BEGINNER!
Let’s see the example with the POSE TO POSE! So first we go to create all the key poses or the extremes!
We know that he starts sitting at the table so this is the first key to create
and we know that the shot will finish with him going out from the door!
So let’s add a pose around the end of the shot of him opening the door, in this way we also set a rough timing of the entire action!Now we know that in this range he will have to do the other action, so let’s add some other key poses
At one point he looks towards the door so we add the pose of the turning head:
We also add three key poses for the standing up, the hands contact on the table, one where he stands up and another of him turning with the body:
Last…we add three keyposes to show the steps towards the door:
That’s all for the FIRST PASS OF BLOCKING, and it’s enough to check the action and the timing
If we are fine with what we’ve done so far…we can add some breakdowns (the passing poses between the key poses). We decide how the character moves and reacts to reach the following poses. Based on where we put this breakdowns we also go to roughly decide the spacing (the speed variations during a movement)
This blocking would be READY TO BE SEEN BY THE SUPERVISOR and he could give you some simple tips to enhance it! And would be VERY EASY for you since you have FEW KEYS TO MANAGE!
Same thing if it’s a personal work, you can easly adjust poses, timing, spacing in few moves!
One of my personal method for for the POSE TO POSE avoiding to create too many poses is to start adding the KEY POSES in SPLINE (without breakdowns)
In this way we will have the SOFTWARE INTERPOLATION between the key poses
Scrolling back and forth in the timeline I choose some interpolation poses for my breakdowns, so I turn this frame in KEY FRAME and these keys will be my BREAKDOWNS
Now I take this BREAKDOWNS and I adjust the keys created by the interpolaion, making better poses, adjusting the spacing, the way he moves, the silhouette etc…
If we like the result….at the end WE SWITCH ALL THE KEYS IN STEPPED TANGENTS AND OUR POSE TO POSE IS DONE!
IN THIS WAY WE CAN KEEP A LOW NUMBER OF KEY POSES AND BREAKDOWNS TO MANAGE AND DECREASE THE CHANCE TO HAVE BAD SURPRISES DURING THE REFINE PASS!
WHEN YOU’LL SWITCH AGAIN YOUR TANGENTS FROM STEPPED TO SPLINE THE ANIMATION WILL BE ENOUGH “CLEAN” AND WILL WORKS PRETTY WELL!
-Lesson #12 – ARCS-
A simple principles that will make a huge difference! ♥ HERE THE LESSON! ENJOY 😉
Let’s see another awesome principle that will enhance your animations: ARCS the invisible lines created by objects or body parts moving!
The ARCS are the PATHS OF THE MOTION!
BUT ALSO MORE NICE AND HARMONIC TO WATCH!
Never forget, while you’re animating….most of your movement should have smoothed and circular ARCS!
We should visualize and adjust this paths for the big movements such as… an arm gesture (see the first arm movement) with a simple and circular arc…or we should follow a rounded path during a more complex movement! (see the second arm gesture)
Other examples of PATHS:
But we should also remember to check in the arcs even on little movements!
A little HEAD TURN creates an ARC!
Also a jaw moving creates an arc!The hip during a changing weight from a leg to the other creates an arc!For all this situations you should keep attention to the visual path created by the movement and adjust it until you don’t reach a nice result!
We have different TOOLS to help us to check the ARCS:
- MAYA MOTION TRAIL (very fast to use and I explained in the Tutorial #7 “How to Refine a Shot”)
- But you can also install some scripts to show the path or use some other extra software that allow you to draw on your screen and create your arcs or manually do it using a transparent paper on your monitor!Let’s see other examples analyzing different actions. In a Walk Cycle we should have a smoothed arc for the HEAD and the HIP with their movement UP and DOWN
The arms swing usually creating a FIGURE 8 ARC!
The feet create a CIRCULAR ARC when they are in the air and a STRAIGHT LINE during the contact on the floorA BIG LEG MOVEMENT could create this ARC
A small rotation movements would creates a small circular path
Even the EYES move following an Arc! When you change the look direction it will be a very fast movement (2/3 frames) and the pose in the middle should be pose in order to create an arc!
During an ACTING, where the arms do al lot of gestures, each gesture should has a nice path but is also important to ADD VARIATIONS in the arcs shapes and amplitude of the gestures, especially if we have different movements in few frames!
During a “WOW” esclamation we can play with the ARC to give more flexibility to mouth and face and make it more appealing! The opening jaw movement should move up/down and left/right to create this effects!
A character on a swing has different arcs for the seat/hip, the head and the feet!
In this example with a more powerful kick, the path of action will be more close to a straight line to give the effect of more power/speed! A softer kick would have a more rounded path!
I really hope you can now apply this principle to your animations so that you will see how important this ARCS are!
Ye…this is the most popular question…
After any video… people usually ask me where to download the Alya Rig or my Ink Rig, so… let me update (again^^) about these rigs 😉
by Eyad Hussein
I totally understand that you ask me for this rigs ’cause she’s really appealing and I love her! But the cretor of this rig, my friend Eyad Hussein is still working on that, he’s working in Sony Pictures Imageworks and I know he’s pretty busy so… I recommend you to sign to the pre-registration form (if you haven’t done it yet) and be patient ^^
The one I’m using is a wip version that he shared with me to test it, also…I customize it a bit in some of my videos (like the pink hair one) and that version is not in the rig, but she’ll be customizable with different hair styles and accessorize 😉
Ink is my personal rig and it’s not available for download, sorry 😉 He’s my little, simple rig I really wanted for this channel, no details, no face, monochromatic texture… only the essensial shapes to show you the principle of animation!
So… after this “bad” news, what can I suggest you? There’s a lot of nice free or not free rigs you can download on the web, most of them are what I was using before this ones so..to learn animation is not really important the type of rig you’re using but… let’s hope other great riggers like Eyad will provide us new rigs soon that we can use for our AWESOME ANIMATIONS! 🙂 🙂
Here the written recap of the Lesson #11 based on the animation principle “Exaggeration”
here the Video Lesson
When we talk about this principle we actually also talk about the other principles we’ve seen so far, because …
It means to go out from the limit of the realism and exaggerate the actions and the poses to make the final result more instantly readable for the users!
It can be applied on:
- KEY POSES (pushing the lines of action, exaggerating the way you represent a feeling or an action)
- BREAKDOWNS (exaggerating the arcs, the amount of squash and stretch and breaking some joints)
- CHARACTER DESIGN (exaggerating shapes, proportions and caricature elements)
- STORY (exaggerating a concept, an action to make it stronger)
- POSES (exaggerating the representation of a mood or an action)
- TIMING/SPACING (make it more cartoony exaggerating the contrast between acceleration and deceleration of a movement)
But as animator we have to focus just on some of this:
- KEY POSES
But it’s not as simple as the word would suggest!
When we exaggerate we must be sure that it helps to:
Exaggerate doesn’t means to do something completely out of any physic principle and realism, BUT it means do something starting from realism and exaggerate it to make it more interesting, enhancing and push an idea!
And it gradually increases depending on the level of cartoon style of the animation!
I’ll show you some of this example but this principle would really requires long talks and practice to really understand it and know how to push it!
Do it in KEY POSES pushing your poses to cleary show the mood, always based on the style you need. You have different solutions depending on how much of realism you want!
In this simple example we can see a normal jump:
…and this other one more cartoony and exaggerated!
If we compare the two jumps, we can see that the first one is more close to reality: there’s a small anticipation, the jump distance is not so long, so this is very close to how a real jump looks like
In the second version: I made a bigger anticipation (the hip goes much more down, the arms raise more) and the spacing is different, there’s more preparation to the jump so during the anticipation there’s a longer pause, then I over stretched the body during the push (especially the legs and the chest), the jump is higher and there’s a slower spacing when he stays in the air so he jumps very fast and then decelerates in the air. Then he accelerates when he falls, I stretched the body again and when he lands I made the feelings that he’s heavier making a stronger lands, with the hips that goes very low and a big pause before he stands up again! Also the jump distance is exaggerated!
You also can use it in BREAKDOWNS: for example when you broke a joint during an action, this is not reality but it’s an exaggeration of the arc that you will create with this movement!
You can use deformers (if there’re in the rig) to accentuate the curve of the arms and give (for just 1 max 2 frames) an innatural flexibility to the “bones” to give more energy and create a nice arc and it also help to create a smoother transition in a very fast spacing whenre the arms moves from point A to point B in few frames!
Use it in EXPRESSION you can exaggerate the organic feel of the face, make it super flexible. Exaggerate the asymmetry, exaggerate the lines of action, just as for the body poses, to make the acting and the feelings more convincing!
When you stretch a face, push it to give the idea that the head and the muscles could really stretch as a balloon of water! Stretch the eyes, the mouth and the neck and use the shoulders to emphasize the push upward that we have during a take!
Do the same when you squash an head, press it in the chest and raise the shoulders! Also squash and press the eyes between the eyebrows that push down and the cheeks that push up!
Starting from a realistic bouncing ball, you can create a version more cartoony and exaggerated: increasing the contrast with fast and slow spacing, when the ball is in the air we have a slower spacing, and when it falls we have a big acceleration!
We can also exaggerate the amount of squash and stretch, keeping the stretch longer during the fall and make a bigger squash in the contact!
In this simple animation of a ball you can exaggerate the timing and the spacing to add energy to the scene and If this would be a character ….. we would have two different jumps and the exaggerated one, with more contrast in the spacing and an exaggerated use of the squash and stretch, results more cartoon and appealing!
This is all for this lesson, don’t miss the next one! 🙂
WHERE WERE WE? 🙂 We still miss 5 Animation Principles and here a new one “Exaggeration”!
Is not so easy to figure out how to use this principle … it requires a marked sensibility, a good eye and a lot of practice! As soon as we’ll finish the principles I was thinking to create an E-Book to gather what we have done so far…so… I’ll keep you update! 😉