Rigs SHOWCASE #1 – “Lee” by Squiggly Rigs


Rigs Showcase #1 – I’d like to present “LEE”, a new cartoon style character RIG created by SquigglyRigs

Facebook: https://www.facebook.com/squigglyrigs
Instagram: https://www.instagram.com/squigrigs/

BUY Lee Rig: https://www.squigglyrigs.com/product/lee
Website: https://www.squigglyrigs.com/

SPECIAL COUPON

Buy “Lee” Character using the special coupon with 50%OFF applying the code you see in the image below

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Welcome to Deena (Dee) #01 


So… here the polls (sum) result 😊DEENA (DEE)! Now it’s time to give some work to do to the rigger so that we can see her finally comes alive!😁 #animation #beananimator #character #model #rig #deena #dee

Time to choose a NAME! 


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

Model Update!


🌵Little update of the model!Still missing some little details but most of the job is done! Now’s the time to give her a skeleton 😛 #animation #character #rig #model #beananimator

Model Update 


🥕Here a little update of the 3D model ☺️ (still in WIN but I already love it) 😍 thanks to Sofia Gariazzo that is working on that!! #animation #beananimator #model #character #cartoon 

New Rig in WIP


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

LESSON #11 – EXAGGERATION


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! 😉

Tutorial 11 – Maya Constraint


– Maya Constraint –

Let’s see how to use the Maya Constraints analyzing different situations 😉

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Lesson #10 – Secondary Action “RECAP”


Here the written recap of the Lesson #10 based on the animation principle “Secondary Action” 😉

here the Video Lesson

indexw

-RECAP-

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Secondary Actions are the kind of things I like to put in my shots to add details regarding the character’s attitude and personality, and ’cause I really like to have some “natural” movements that we usually do in real life but that we probably don’t notice!

This is not the easiest principle, you really have to learn how to use it and when the shot requires it, otherwise you risk to add too much movements in your shot that would result confused and unreadable for the user!

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In a piece of animation you have the PRIMARY ACTION, the main action that is necessary to describe the story

But, you can add SECONDARY ACTIONS to give more depth to the scene, to add more informations about the character’s personality and make the scene more entertaining!

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Example: in a scene we have to see a character sitting at a table, this is the main action, but we can add the action of moving the chair forward and some adjusting movements to make it more natural and interestingSitting01.gifIf we take off the secondary actions, the main action is still clear and it works, on the contrary, we couldn’t take off the primary action ’cause the secondary ones are subordinate to the main one!Sitting02.gif

  • MAIN ACTION + SECONDARY ACTION = tell the story and perfectly work together
  • MAIN ACTION – SECONDARY ACTION = tell the same story
  • SECONDARY ACTION – MAIN ACTION = ? (no sense)

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Secondary actions are just a plus, something we add to:

  • support the main action
  • to make the performance stronger and appealing
  • to add realism and authenticity to the scene

IMPORTANT: This secondary actions don’t have to “steal” the attention from the main action, but just fortify it!


The secondary actions are strictly connected to the characters in the shot and they are based on the character’s personality and mood in that moment

But they are also specific to the location and props in that environment!Schermata 2018-01-10 a 16.23.10.png


Tip: study the body language to add the right gestures to well describe the character’s feelings!


 -Examples of secondary actions created using BODY MOVEMENTS-

  • A character sitting and waiting for someone could be a bit nervous and you can add a movement of the foot to better show this feeling

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Waiting.gif


  • Or… someone uncomfortable could scratch his head while speaking <- secondary action Scratch2.gif

  • Or… a sad and resigned mood could be emphasized with the body shape but also with a secondary action like kick a pebble, so we add this little movement of the foot kicking a little stonePebble.gif


     -Examples of secondary actions created using EXPRESSIONS and FACE MOVEMENTS-

  • a character crying could wipes a tear with an handSchermata 2018-01-10 a 16.24.30.png

Cry02.gif


  • A character that moves his eyes left or right while talking to someone…shows his embarrassmentRight.gif

  • A fast look up during an acting to communicate disappointmentUp.gif

  • During a walk, that is the primary action, you can add the head movements looking around and changing expression according to the character’s mood

Walk.gif


-Examples of secondary actions created using PROPS INTERACTION-

I personally love to add props the characters can play with during a dialogue or in many other situations!

  • A character playing with a pen while speaking to someone, the pen is a prop connected to the location (we have a desk so this is a common prop for this type of location)Pen.gif

  • We could do the same with a prop connected to the character like his glasses, he could take them and use them to support the actingGlasses.gif

 


  • In this case… the character is eating and he just stands there, because he’s thinking and probably someone is speaking to him, but we could add a secondary action of him playing with the food to give the idea that he’s thinking about stuff or just annoyedeat.png

  • If your character is sitting on a sofa, he could bring a cushion to make the action more realistic and interestingSofa

  • If he’s drinking he could touch the glass while speaking or thinking, just to avoid moments where the character doesn’t do nothing and again, in this way it’s easier to have a connection with the character’s feelingsdrink.png

This are just some common and easy secondary actions, with the experience you’ll be able to add more complex secondary actions


Workflow tip: Start blocking the main action first, watch the shot several times and ask yourself…how you could make it more interesting in terms of rhythm, entertaining and to better describe the character’s feelings and mood?

Then decide where to add this secondary actions and watch it again and again to make sure that they …don’t overshadow the main action!

In that case…is better to avoid too many secondary actions! 😉


That is all about this principle! See you for the next one “Exaggeration”! 🙂

Coming Soon


I really didn’t had enough time for this channel in the last days, I’m having big changes in my life so… sometimes it’s really hard to find a little “moment” just for my stuff 😛

BUT…. I’m working on a new video tutorial/breakdowns based on a shot connected to the last lesson “Follow-through and Overlap”!

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This is just a little preview, a wip of the blocking, showing part of the shot! Just few poses… DragonBLK_Wip01.gif

I used two rigs for this shot: my Tail ball/head and Arc the Dragon by Josh Sobel!
Both the rigs have an element like tail and wings that show the principle of follow-through and overlap applied to an easy basic tail animation (for the ball) and a more complex animation of tail and wings for the Dragon! 😉

In the video I’ll show you how I concepted the shot from 2d sketches up to the refine version!

So…I hope to be able to continue to work on that and…post it as soon as possible! 🙂

In the meantime you can follow this blog (just clikc on the follow button on the right :P) so that you’ll receive an email when I will post something new, and….. like and follow my: Facebook PageTwitter and Youtube Channel! 😉

I Like to present: Arc the Dragon


I want to present you a very cool rig I’m “testing” right now for a shot, Arc the Dragon, created by Josh Sobel 🙂

Arc

Arc1e.png

Arc is a really well done and pretty complex rig with some customizable options: you can choose between different “personality”: 6 in total! That is pretty cool! 😀

I’m animating the Young version and is really nice to pose and instantly appealing! 🙂


You can also change the texture and eye color between this 7 variations:


The rig comes with a very useful picker where, in addition to the customization options, you can easily select the rig controls, splitted in Body and Facial (extremely useful for a complex rig like this one) I usually don’t use pickers, I like the direct approach with the rig but …. in this case I use it a lot 😉

Arc1d

In the picker is also available a little set of expressions and poses:


The rig has a very affordable price 18,00€ for a standard license and is available on this link http://www.joshsobelrigs.com/arc-the-dragon

So far I didn’t find any issues with the rig that works pretty well!

As I said, it’s not an easy character to animate for those who are just beginners, but is absolutely a good character if you want to test your skills with a quadruped, or in some flight cycle, acting shots or action! 😉

It’s really funny to animate and soon I’ll post a tutorial/breakdown for the shot I’m working on, so that I can show you my approach with the rig and my workflow! 😉

So… if you are looking for a new and original character for your next acting/action shot, Arc could be a good option! 😉


Here all the links:

Official site: http://www.joshsobelrigs.com/arc-the-dragon

Facebook: https://www.facebook.com/joshsobelrigs/

Vimeo: https://vimeo.com/227662496

 

EXERCISE #4 Animate a Throw


In the Lesson 08 I explained the Animation Principled “ANTICIPATION” so now, following the corresponding Tutorial 08 you could try to re-do this exercise of a character throwing an object! 😉

Tutorial #08 – How to Animate a Throw


-How to Animate a Throw-


How to Animate a Throw RECAP

In this quick tutorial I will show the main poses, the timing and the spacing to animate a character throwing an object. The tutorial is linked to the Lesson 08 “ANTICIPATION”

I’ll use Ink, the official rig of my channel! Ink has a very simple design to better focus on the poses and animation, and has this flat monochromatic texture with shoulders, chest and hip lines to helps you to create nice and appealing poses for him! 😉

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Let’s create the object he will throw away, a simple ball. We go to create the control for the ball and we parent the mesh to itSchermata 2017-08-02 a 12.10.47.png

I set the camera, with the character on a side and I create a plane to check feet position and compenetration

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We set the first pose, you can do the pose you want. In my pose he holds the ball with both the hands, he’s quite relaxed, the shoulders are rotated downward, the head is a bit rotated downward like he’s watching to the object and the feet are pretty spread, the weight of the character is more on the left foot

Let’s adjust the finger position, to avoid compenetrations and be sure that the hands are really holding the ball, so keep attention to pose each finger in good and natural pose

Now add a constraint for the ball! Select the right hand control, then the ball ctrl and create a translation and rotation constraint


Let’s create the anticipation main pose, around frame 28

The timing I’m using is just indicative, to give you an idea of the distance between a key pose and an other, but you can do it with your own timing

So, for the anticipation he will move backward with the entire body, stretching the chest, and he also moves back the right foot to balance the weight, raise the hell of the right foot (he’s really stretched in this pose, so he needs to stand on his toes)

Now just one hand holds the ball, the right one and I move it pretty backward, is not completed straight but a bit bended (try to simulate this movement yourself, you will see that the more natural pose is keeping the hand faced towards the area where you will throw it, and you will naturally move upward your shoulder)

The left hand started to move forward and it’s bended towards the body, it helps to maintain the balance and gain more energy


Now let’s move forward in the timeline for the extreme throw pose, around frame 42

The body moves and roates forward. The weight of the character is on the left foot, but the right foot in the air helps him to balance the weight and contrast the power of the throw that moved him forward. Create a nice and pretty relaxed pose for the right foot, with the toes pointing down.

The right hand is now straight and stretched in front of the character, the left arm moves backward, and it’s still bended at this point

The head is rotate upward, contrasting the rotation of the chest, he’s following the ball movement


Let’s add an other little anticipation, around frame 8 with the very small movement upward with the hip and the hands, just before the big backward movement (pose 28)

Practically, we go to create an anticipation of an other anticipation!


Now we add an important breakdown, around frame 15, when he starts to move backward, here we need to slow down the spacing between the pose at frame 8 and the pose at frame 28

The body starts to move down and backward, the left hand is not touching the ball anymore but it’s still pretty close to it, the chest is squashed and rotated forward, and the right foot started to slide backward, I keep it flat on the ground, I just overlap a bit the toes that moves offsetted by 1 frame


Let’s add an other important key to slow down before the pose at frame 28
(we need to keep this pose longer) so let’s add a in-between approximately 5/6 frames before the pose at frame 28

On this new in-between, frame 22, the body is already stretched and ready for the throw (with a pose really close to the pose at frame 28)

So the big movement and change in position is between frame 15 and frame 22


Now we slow down again just after the pose at 28

Add an in-between at frame 34 where he just starts to move a bit up and forward , very small change


On frame 39 he continues the movement up and forward BUT the chest is still rotated backward

Bend backward the right arm so that the hand with the ball don’t moves too much, maintain a position closed to the position of frame 28 (use deformers for the arms and create a very dynamic pose)

The right foot starts to move upward in the air and the hip in this transition moves a bit upward as well


Now we need to add two poses at the end for the SETTLE
On frame 46 the body continues to move and rotate forward, the right hand goes down, the left hand continues the movement upward, and the same for the right foot


On the last frame the body starts to go back, the right foot to go down and forward, and we have a follow trought of head, forearms and wrists


Now that we have all the poses we can switch the curves in stepped to see the result (the ball is still attached to the hand, but let’s ignore it for the moment, we will animate the ball in a second time) throw_BLK


We can now proceed with REFINE, we change again the curves in auto tangent and let’s polish the path of arms and the right foot

We start with the right arm: if you create a motion trail, you will see that the path of action of the arm movement is not so nice, we can do better then this so we go to add some poses for the arms in order to create a nicer path

Continue to polish your curves and when the body is done you can move to the ball

On the frame where you want to turn off the constraint on the ball (frame 41 for me) add a key on the ball control and it will create a blend parent attribute: set it to 0 and add a key

On the frame before (frame 40) add an other key on this attribute and set it at 1Schermata 2017-08-02 a 11.31.23.png

Now the constrain is active up to frame 40, after that you can animate the ball

On frame 41 we move the ball forward following a linear path, it must be already pretty distance from the hand, with a very fast spacingSchermata 2017-08-02 a 11.31.34.png

Add a stretch on it, then move forward in the timeline and place the ball so that it goes out of the screen in very few frames, 3 or 4 frames, keeping the stretch!Schermata 2017-08-02 a 11.31.48.png


That’s it, this is my final resul! 😉Throw_Refine.gifIf you want to re create this throw animation you can do the Exercise #4  following the steps of this tutorial and send me your animation (adding a link in the comments)  to receive a feedback !

Lesson #8 – ANTICIPATION


A new Lesson available! This time talking about ANTICIPATION and the different types of animations that need it! 😉

In the Lesson I’m using my NEW “cute and super cool” (♥) personal and official channel’s rig INK!!! 😛


Anticipation RECAP

One of your first goal, when your are creating an animation, should always be to make something that is perfectly readable! You can create awesome poses and have a great concept, but…if you don’t make it clear and readable… would be impossible to catch the sense of what you are trying to communicate!Anticipation01.png

Anticipation02.png

that’s why we use ANTICIPATION! That, as the word suggest, is nothing more than the “preparation to the action”!

We can haveAnticipation03.png

let’s see some example:Anticipation03b.pngwhen the movement of a body (or an object) prepares for an action

Example #1: if a character throws something far, he would prepares the action by moving back the arm with the object (preparing for the throw)

In this way he will have enough energy but this movement also prepares the users for what will happen. From this anticipation, you already can imagine that he will throw the object!

Example #2: a character running out of the screen, is made more readable thanks to an anticipation of the character moving in the opposite direction and raising one leg!

This helps the user to read a very fast action. Without this anticipation…. the user could have some problems to read the scene!

Example #3: or you can use it for a very cartoon effects…. or for something more realistic, with a much more soft anticipation!


Anticipation09.png

Another way to use an Anticipation is to create a funny effects!
Example: if you see the same run anticipation of the run we’ve seen before, you imagine that he will run away super fast…but…adding a pretty slow run just after this big anticipation…you will create an unexpected result!Run_Fun.gif


Anticipation10Or… you can use it to direct the attention to something that is going to happen or leading the eye in the right screen area.

Example #1: if your character is standing in the middle of the screen and something is going to enter from the right, if you don’t add an anticipation, the users would probably miss the first part (when the second element is entering in the screen) ’cause you are looking at the character in the center.

But…if you add an anticipation of the character looking on the right your attention would be re-directed in the right area, just in time to better follow the action!

Example #2: in case the character is going to take something, a fast look at this object prepares the users to what he’s going to do

Or you can use the anticipation with the hand, holding it in the air for few frames, this is an other way to communicate to the user that he’s going to take the glass!


Anticipation15.png

Example: thanks to the anticipation you can better feel the weight of the character in two different jumps.

In the one on the left he makes a soften anticipation cause he’s pretty light.

In the one on the right he’s bringing an heavy backpack so he needs more energy for the jump, he needs a stronger anticipation, bending and keeping this pose a bit more


Anticipation17.png

depends on the action!

Usually with fast action or big change in position we need more anticipation!

Like for the fast run or the cartoon one, both this examples has big anticipation, and a very fast action just after them!
Or, an angry reaction like, a character smashing a door, would require a big anticipation to enphasize the action and after, the door is closed in very few frames


Anticipation20.pngSome Anticipation must be really subtle!

Example #1: an hand that is going to grab a light object would have an almost imperceptible anticipation! The hand just goes upwards for few frames before going down to grab the apple

Example #2: in a simple take we have a little anticipation, a very small movement with the character moving upwards before the take, few frames of anticipation, is there but it’s not so visible


Anticipation24

Example: the door settle doing little movements back and forward in few framesAnticipation25


Anticipation26.png

You absolutely don’t need an anticipation for every single movements of your character…with practice and experience you will get used to it and you will naturally know when an action need it, as I said, usually we use it before big and or fast action, but also to make the movements more fluid and readable! 😉


Now that you know how to use ANTICIPATION you can follow the Tutorial #08 “How to Animate a Throw” and try to do de Exercise #4 following the steps of the tutorial! 😉

I Like To Present: Ink


INK – Character RIG

I want to introduce you the Official Rig for my Channel – INK 🙂Ink_Rig3.gif

I wanted something simple to better show you same basic principles and I love the 2D effect in general!

Finally is ready and I already started to use it for my new lesson! 🙂

(the Rig is not available for download)

Alya’s Facebook Page


My friend Eyad Hussein created this Facebook Page where you can follow the progression of his amazing rig ALYA that will be available for download very soon! 😉

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I already used this rig for some lessons and animation test and I definitely recommend you to download it as soos as it becomes available! 🙂

Tutorial #06 – Animate an Head Take


-Animate an Head Take-

Learn how to animate an Head Take in two variations, a soft take and one more cartoony! 😉

This tutorial is connected to the Lesson 07 where I explain the principles of SQUASH and STRETCH!

In the Tutorial I used the “Eleven Rig”eleven3

“Eleven Rig”

After the tutorial I suggest you do do the Exercise#3 “Animate an Head Take”Exercise_003

Lesson #7 – Squash & Stretch


Let’s continue with the Principles of Animation … let’s see how to handle with “Squash & Stretcht”! 😉

(In the Lesson I used the “Eleven Rig”)

Work in progress


I’m working on the new Lesson but in the meantime I’m also working on this Shot for a friend with Alya Rig 😉

When the shot will be finished I will post a breakdown video on how I created the shot, step by step! 🙂

This is just a wip, a sort of animatic, I put together some poses of the 3D charcater and I painted over them to create the outfits (the 3D outfits version will be modeled at a later stage). In this way I already can choose the timing, the main poses and actions and I will have a more clear idea in mind when I will start the animation!Alya's_show_animatic

So far, I created some sketches, studied the outfits and the concept of the shot! It’s an introducing video for Alya so we will show her in different styles…it will take a while to finish ’cause I never have enough free time but…I’m really enjoying working on it! 😉

Tips #3


– TOON SHADER –

Here a different way to render your character! Are you a fan of 2D style? A Toon Shader is an alternative choice! 😉toon01

To create a Toon Shader you just have to select the geometry, go in the TOON Tabtoon02

here you will find different TOON style, I usually use SHADED BRIGHTNESS TWO TONEtoon03

after you click on one of the options, go in the ATTRIBUTE EDITOR and edit the two colors in the COLOR TABtoon04

one lighter, one darkertoon05

That’s is! 🙂 But…toon06