Tutorial 12 – How to create a Walk Cycle in 15 Steps

Finally! Is online the new tutorial “How to Create a WALK CYCLE IN 15 STEPS”, detailed explained in all the steps! I hope you’ll find it easy to follow and it probably has been the more difficult video so far, I really spent most of the time trying to find the best way to explain you each step and why the body moves in a certain way… it’s pretty long compared to all the other videos on my channel, hoping you’ll not find it boring… 😛 So just let me know if you prefer this type of editing and length and if some parts are not clear enough so that this feedback will help me to improve my next videos! 😉 I wait to know what you think about it!

animation #walk #cycle #tutorial #deena #beananimator #learn #howto #animate #walkcycle #beginner #learnanimation #beananimator

20 Common Animation Terms #3

Third group of 20 COMMON ANIMATION TERMS! Another new series a quick introduction to the most used animation terms you’ll hear in production…so…if you’re new to this world… don’t get caught unprepared!😛

  11. IDLE
  18. RETAKE

#iWantToBeAnAnimator #Animation #Terms #Beginner


Schermata 2020-04-17 a 01.18.13

BALANCE never forget to check the distribution of the weight in your poses to don’t lose credibility in your animation Schermata 2020-04-17 a 02.07.57

CONSTRAINT a subordinate connection between two objects or parts of the body, the target object drags and leads the constrained object in all the axes or just the ones we selectSchermata 2020-04-17 a 02.08.02

ACTING a piece of animation where the character performs a dialogue or expresses feelings through the body languageSchermata 2020-04-17 a 02.08.05

DYNAMIC SIMULATION simulation of a movement created by the software based on physic rules! Often used for hairs, cloths or other body parts and inanimate elementsSchermata 2020-04-17 a 02.08.10

ASYMMETRY to make your poses and expressions more appealing… use asymmetries to enhance and make them more convincinglySchermata 2020-04-17 a 02.08.12

FOCAL LENGTH is the angle view of the camera, by changing the camera focus we can manage the size of the elements in the shot, that will result smaller or larger in the frame, and the perspective deformations!Schermata 2020-04-17 a 02.08.14

BREAKDOWN an important pose between two key poses that helps to define the timing, the spacing, the path of action…how the character reaches the following poseSchermata 2020-04-17 a 02.08.19

PASSING POSITION in a walk or run animation are the poses where one leg passes the other one moving forwardSchermata 2020-04-17 a 02.08.22

GIMBAL LOCK an issues that can occur in your animation when a rotation axis is placed over another causing a wrong rotation effectSchermata 2020-04-17 a 02.08.24

GREEN SCREEN or CHROMA KEY is a technique used to isolate an image from the background using a color keySchermata 2020-04-17 a 02.15.00

IDLE Mostly used in games, is a cycle where a character just stands and breathes!
We can use any type of pose we need (a neutral pose or an action pose)
and is conceived to be shown as an infinite loop!Schermata 2020-04-17 a 02.08.28

LOCATOR we can create locators in the software to control other objects by parenting them to the locator that will be use as a remote controlSchermata 2020-04-17 a 02.08.30

STAGGER Is a motion added to give the idea of shaking, vibrating or trembling.
A character trembling for cold or fear or the little movements
up and down of shoulders , chest and head during a laugh!Schermata 2020-04-17 a 02.08.32

BACKGROUND – the elements in the frame that appear furthest to the cameraSchermata 2020-04-17 a 02.14.41

SILHOUETTE a dark shadow that shows just the black flat image of the character and it’s used in animation to check the readability of a poseSchermata 2020-04-17 a 02.08.36

REFERENCE is the use of live action video shooting that helps us to study the body mechanics and acting ideas, timing, poses and to find inspiration for our shot!Schermata 2020-04-17 a 02.08.37

CHANNEL BOX in the 3D software is a panel that you can find in the right screen where you can manage and animate the rig’s attributes valuesSchermata 2020-04-17 a 02.08.40

RETAKE is a correction request from the animation supervisor or the director on your animation shotSchermata 2020-04-17 a 02.08.44

POSE TO POSE is another animation approach that differs from straight ahead by the the tangents in stepped mode, the low numbers of key poses and breakdowns
and the random time orderSchermata 2020-04-17 a 02.08.45

POLISHING / REFINE The final process for an animator is to polish AND REFINE the shot: cleaning the tangents, checking arcs, compenetrations, smoothness and fluidity of the movements…pushing the quality of the final result!

Schermata 2020-04-17 a 02.08.47

This is all for this 20 Animation Terms and I invite you to write me in the comments if you have some Terms to suggest so that I can increase my list! Subscribe to the channel if you like and support my project of free Animation Lessons and Tutorials by leaving a LIKE and SHARE my videos! see you for the next one!

Schermata 2019-12-30 a 03.17.37

20 Common Animation Terms #2

Second group of 20 COMMON ANIMATION TERMS! Another new series a quick introduction to the most used animation terms you’ll hear in production…so…if you’re new to this world… don’t get caught unprepared!😛


  19. RHYTHM

#iWantToBeAnAnimator #Animation #Terms #Beginner



Schermata 2020-04-17 a 01.18.13

ATTITUDE the feelings and thoughts of your character! When you animate you should always have clear in mind the type of attitude he/she has to better perform the scene!

Schermata 2020-04-17 a 01.20.52

FRAME RATE (FPS) the number of Frames Per Second (FPS) we set to compose a second of animation. Common fps: Movies 24fps – Tv 25 fps – Games 30/60 fps

Schermata 2020-04-17 a 01.21.39

BODY MECHANICS the way we move when we walk, run, take the stairs and so on… How the body reacts and moves during this actions!

Schermata 2020-04-17 a 01.22.05

MOMENTUM is a physics principle based on the character’s motion depending on its mass and velocity. Is the impulse, the boost, the power of the movement!

Schermata 2020-04-17 a 01.22.16

PHONEMES all the mouth shapes that characterized a particular sound associated to each vowels and consonants

Schermata 2020-04-17 a 01.22.25

HOOK UP or CONTINUITY the consistency between the character poses, camera movements or other elements between a shot and an other

Schermata 2020-04-17 a 01.22.33

ANIMATIC a preliminary editing with all the shots in sequence order, usually created with the storyboard images and will be used as reference for the layouts

Schermata 2020-04-17 a 01.22.41

AMBIENT OCCLUSION is the algorithm in the 3D software that calculates how an objects is exposed to ambient light and helps to add realism to the sceneSchermata 2020-04-17 a 01.22.51

BLEND SHAPES pre-defined shapes and expressions you can find in your rig! Animating them you are able to switch between poses and expressions!

Schermata 2020-04-17 a 01.23.00

PAN-PANNING (CAMERA) rotate your camera from a point to another following the character, to show a landscape or for a storytelling purpose

Schermata 2020-04-17 a 01.23.08


DEMO REEL any animator has his own demo reel, a video collecting our best animations that we use as portfolio when we want to show our skills and experiences
Schermata 2020-04-17 a 01.23.16

FOREGROUND the elements in the frame that appears nearest to the camera

Schermata 2020-04-17 a 01.23.25

KEY POSES the main poses that compose your animation. During a blocking we use just the keyposes showed in stepped to make the performance perfectly readable even in a rough phase.

Schermata 2020-04-17 a 01.23.30

LINE OF ACTION an imaginary line that passes through the character and shows the energy flow direction of the action and the dynamism of the pose, it helps us to create appealing and convincing poses!

Schermata 2020-04-17 a 01.23.41

CAMERA SHAKE movements added to a camera to give a handy cam effects or to simulate a camera trembling during an impact and other cases
Schermata 2020-04-17 a 01.23.52

GRAPH EDITOR is the best friend or the worst enemy of an animator! 😀 Is the fundamental tool where you can manage your curves and control your animation!

Schermata 2020-04-17 a 01.24.02

LIVE ACTION the movies made by real actors and sets, Some live action movies can include CGI elements

Schermata 2020-04-17 a 01.24.10

MOVING HOLD Keep your characters alive! Use moving hold adding a slight bit of motion of your characters when they are keeping a poseSchermata 2020-04-17 a 01.24.17

RHYTHM is the flow of your animation! An action or acting performance must have a nice rhythm. Timing, spacing, intensity of your actions/gestures determinate the rhythm of your shotSchermata 2020-04-17 a 01.24.24

SMEAR FRAMES is an exaggerated use of the motion blur principle, the mesh is duplicated or extremely stretched to give a blurred effect that is usually shown for just 1 frameSchermata 2020-04-17 a 01.24.35

This is all for this 20 Animation Terms and I invite you to write me in the comments if you have some Terms to suggest so that I can increase my list! Subscribe to the channel if you like and support my project of free Animation Lessons and Tutorials by leaving a LIKE and SHARE my videos! see you for the next one!

Schermata 2019-12-30 a 03.17.37

20 Common Animation Terms #1

First group of 20 COMMON ANIMATION TERMS! Another new series a quick introduction to the most used animation terms you’ll hear in production…so…if you’re new to this world… don’t get caught unprepared! 😛

  12. FISH EYES (in posing)

#iWantToBeAnAnimator #Animation #Terms #Beginner


This is part of a long series! Is a quick overview of the main ANIMATION TERMS you’ll get used to hear in production and is important to know what we are talking about! Let’s start this first group of 20 COMMON ANIMATION TERMS!Schermata 2019-12-30 a 03.16.12

ACCENTS during an acting we have some accents on some moments that we have to emphasize with the expressions and body movements! This are the strongest part of the animation! Schermata 2019-12-30 a 03.16.15.png


MODEL SHEET Is a final collection of guidelines for a character design.
They show the structure, appearance, proportions, poses and attitude of the character and works as guide for all the artists!Schermata 2019-12-30 a 03.16.20Schermata 2019-12-30 a 03.16.21

INBETWEEN/TWEENING in 3D is the generation of the interpolation created by the software between two poses. The software creates this morphing between poses that the animator can modify adjust if needed!Schermata 2019-12-30 a 03.16.23.png

GHOSTING you can use some tools to create a visualization of your animation through the scene, showing all the poses frame by frameSchermata 2019-12-30 a 03.16.28.png


PLACEHOLDER In animation we use to add placeholders in the scene for the assets that are not finished or still need to be totally designed and they will be substitute in a second time!Schermata 2019-12-30 a 03.16.33.png

SETTLE Add a settle to avoid an abrupt stop! When you finish an action you can use the following frames to add a settle in order to smooth the transition to a resting pose!

Schermata 2019-12-30 a 03.16.36.png


OVERSHOOT A settle is usually anticipated by an overshoot, an animation that exceed the end value. In maya we can also achieve this effects with the spline tangent that automatically overshoots the neighboring keyframe value!Schermata 2019-12-30 a 03.16.39.png

ANIMATION LAYER You can create multiple layers for your animation:
the primary movement is in the base animation layer and you can create a new layers for secondary movements!Schermata 2019-12-30 a 03.16.45.png

STRAIGHT AHEAD One of the possible workflow when we approach animation, is when you create the key poses of your animation forward in the timeline, one after the other following the sequence order!Schermata 2019-12-30 a 03.16.47.png

BREAKING JOINTS break and bend joints to add flexibility, to make the movement more appealing and creates nice arcs… going out from the limits of the realism!Schermata 2019-12-30 a 03.16.52.png

CYCLE/LOOP An animation that repeats as an infinite loop, often used in walks and runs animations! To properly work the first and last key poses must be exactly the same!Schermata 2019-12-30 a 03.16.55.png

FISH EYES (in posing) when we position the eyes too far apart, creating this fish like look that it’s not really expressive, except if this is required for a specifyc character or situationSchermata 2019-12-30 a 03.16.59.pngSchermata 2019-12-30 a 03.17.01

SAFE ACTION/AREA Is a guideline you can turn on in your view settings to keep all the actions clearly visible within this area when they will be displayed on TV screenSchermata 2019-12-30 a 03.17.05.png

OVERLAPPING ACTION Some parts lead the movement and others follow the action, the leading part moves with a specific timing and other moves in a different one!Schermata 2019-12-30 a 03.17.08

MOTION BLUR Is the effect of blurring objects during a movement, more is the change between positions, more is the blurred effects! In Maya you can automatically add this effect and enable it from the Render Settings!Schermata 2019-12-30 a 03.17.11.png

SNAPPY ANIMATION is an animation style characterized by strong contrast between slow/fast movements, the character “snaps” from a very appealing pose to another in a fast transition!Schermata 2019-12-30 a 03.17.15.png

MOTION CAPTURE – MOCAP Is the registration of the movements created by a real actor and transferred to the digital character through markers placed on the actor’s suit!Schermata 2019-12-30 a 03.17.24.png

FK – IK (FORWARD AND INVERSE KINEMATICS) FK is a chain of joints where a parent moves the other ones following the hierarchy. With IK the child in the hierarchy is not influenced by the parents!Schermata 2019-12-30 a 03.17.26.png

FADE IN / FADE OUT A transition at the beginning of a scene from a black image that gradually brighten or gradually darkens at the endSchermata 2019-12-30 a 03.17.28.png


EXTREMES The more important keys/poses during an animation,
Examples: the starting and the ending keys/poses of a WALK, or the extreme positions of a movement!Schermata 2019-12-30 a 03.17.30.png

This is all for this first 20 Animation Terms and I invite you to write me in the comments if you have some Terms to suggest so that I can increase my list! Subscribe to the channel if you like and support my project of free Animation Lessons and Tutorials by leaving a LIKE and SHARE my videos! see you for the next one!Schermata 2019-12-30 a 03.17.37.png

BEGINNER Exercise – “Expressions”


Now let’s focus on face and expressions! Learn how flexible a human face can be and most of all…learn how to EXPRESS feelings and moods using each part of the face…

Reference: Lesson #11 “Exaggeration” and any pictures of real actors that is particularly appealing, or watch yourself on a mirror….study your face!


BEGINNER Exercise – “Action Poses”


Just as the previous exercise, “Acting Poses”, this one is pretty much the same but with ACTION poses, this means that you will have to create dynamic, strong and readable poses getting inspiration from movies actors, sports or just your imagination!

Watch the Lesson #11 “Exaggeration” for learn how to push your poses!


BEGINNER Exercise – “Acting Poses”


Sometimes is important to “put aside” the motion and focus just on still poses! This exercise is focus on learning the art to create GOOD and APPEALING poses that is the base of any animation!

Connected to the Lesson #11 “Exaggeration” I suggest you to look for some image of real actors from movies, people around you or watch yourself to get inspiration!

BEGINNER Exercise – “Acting with a Ball”


Here another “famous” exercise : the ACTING with a BALL! It’s one of my favourite and I really believe it’s not just for beginners but is also something we should do, every now and then, even when we are experienced enough ’cause is always a good fresh up to our approach when we animate!

Connected to the Lesson #5 “Timing and Spacing” and my video TIPS #2 “Rhythm of your Shot”


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

I want to be…an Animator ✏️Mention

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!!!😊

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/


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

+20.000 subs!!!

The youtube channel reached the +20.000 subs!!😊THANKS! I would just want to be able to post more videos even if the time is never enough 😣😣😅 #animation #beananimator #iwanttobeananimator #tutorial #lesson #youtube #channel #mentoring #animationforbeginner #learnanimation

Animators Corner #4 – Character Animation Crash Course

-Character Animation Crash Course-

Here a new suggestion for the ANIMAROR’S BOOKSHELF! A book written by the animator and director Erig Goldberg! 🙂

Schermata 2018-11-19 a 00.35.45

LESSON #13 – Straight Ahead and Pose to Pose

-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! 😉


Schermata 2019-11-21 a 17.49.58.pngIn this lesson we will see the two possible approaches to an Animation!


Schermata 2019-11-13 alle 22.38.59.png

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!

Schermata 2019-11-13 alle 22.39.24Schermata 2019-11-13 alle 22.39.32

Schermata 2019-11-13 alle 22.39.39


Schermata 2019-11-13 alle 22.39.01.png

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 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!

Schermata 2019-11-13 alle 22.39.55.png

Schermata 2019-11-13 alle 22.40.00

Schermata 2019-11-13 alle 22.40.05When 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!

Schermata 2019-11-13 alle 22.40.22

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!
  • 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 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!SAPP

Schermata 2019-11-13 alle 22.38.59First, 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…

Schermata 2019-11-13 alle 22.41.57

…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!

Schermata 2019-11-13 alle 22.39.01

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

Schermata 2019-11-13 alle 22.39.55

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 posesSchermata 2019-11-22 a 08.24.47

At one point he looks towards the door so we add the pose of the turning head:

Schermata 2019-11-22 a 08.26.14.png

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:

Schermata 2019-11-22 a 08.26.24.png

Schermata 2019-11-22 a 08.26.27.png

Last…we add three keyposes to show the steps towards the door:Schermata 2019-11-22 a 08.26.29.png

Schermata 2019-11-22 a 08.26.38.pngSchermata 2019-11-22 a 08.26.33.png

That’s all for the FIRST PASS OF BLOCKING, and it’s enough to check the action and the timingposeTopose1.gif

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)

Schermata 2019-11-26 a 23.30.27.png


Schermata 2019-11-26 a 23.44.00.png

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!

Schermata 2019-11-26 a 23.50.28.png

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)Schermata 2019-11-26 a 23.57.56.png

In this way we will have the SOFTWARE INTERPOLATION between the key poses Schermata 2019-11-26 a 23.59.37.png

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 BREAKDOWNSSchermata 2019-11-27 a 00.04.04.png

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… Schermata 2019-11-27 a 00.05.13.png




Lesson #12 – ARCS

-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!

Schermata 2019-11-09 a 22.02.29.png



Schermata 2019-11-09 a 22.06.25.png

Schermata 2019-11-09 a 22.07.40.pngBUT ALSO MORE NICE AND HARMONIC TO WATCH!

Schermata 2019-11-09 a 22.09.47.pngNever forget, while you’re animating….most of your movement should have smoothed and circular ARCS! Schermata 2018-07-06 a 20.19.57.png

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!Schermata 2019-11-09 a 23.10.11.png

A little HEAD TURN creates an ARC!Schermata 2019-11-09 a 23.12.31.png

Also a jaw moving creates an arc!Schermata 2018-08-16 a 23.55.56.pngThe hip during a changing weight from a leg to the other creates an arc!cw.pngFor 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!

Schermata 2018-08-16 a 23.53.12.png

Schermata 2019-11-09 a 23.32.49.png

Schermata 2019-11-09 a 23.33.53.png

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!Schermata 2018-08-16 a 23.54.41.pngLet’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 DOWNSchermata 2019-11-09 a 23.41.12.png

The arms swing usually creating a FIGURE 8 ARC!Schermata 2019-11-09 a 23.43.16.png

The feet create a CIRCULAR ARC when they are in the air and a STRAIGHT LINE during the contact on the floorSchermata 2019-11-09 a 23.45.32.pngA BIG LEG MOVEMENT could create this ARCarcleg1

A small rotation movements would creates a small circular patharcleg2

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!Schermata 2019-11-13 a 16.04.40

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!Schermata 2019-11-13 a 16.09.37

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!Schermata 2019-11-13 a 16.12.01

Schermata 2019-11-13 a 16.16.35A character on a swing has different arcs for the seat/hip, the head and the feet!Schermata 2019-11-13 a 16.22.40

Schermata 2019-11-13 a 16.18.13

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! Schermata 2019-11-13 a 16.19.25A softer kick would have a more rounded path!Schermata 2019-11-13 a 16.19.25 2

I really hope you can now apply this principle to your animations so that you will see how important this ARCS are!





Can you send me that rig pleaseee?!? :)

Ye…this is the most popular question…?.png

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! 🙂 🙂


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! 😉


Hi!!!! Sorry for this “break”, I’ve been super busy with the relocation (It took longer than expected :P) but now I’m back 🙂


Updates of March

As some of you already know… I’m still finishing my relocation! That’s why I’m not posting new videos, BUT…. I’ll come back soon (I promise :P), my next video is in wip!
In the meantime…I’m seeing this my “old” gif shared on Facebook so… I just re-share it with you! 🙂


Lesson #10 – Secondary Action “RECAP”

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

here the Video Lesson



Schermata 2018-01-10 a 16.21.29

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!

Schermata 2018-01-10 a 16.21.39

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!

Schermata 2018-01-10 a 16.21.50.png

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

Schermata 2018-01-10 a 16.22.34.png

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

Schermata 2018-01-10 a 16.23.39.png


  • 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


  • 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


-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”! 🙂