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
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
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
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! 🙂 🙂
This is a more technical topic so I think is important to make a written RECAP of my last Turorial about the Maya Constraint:
I want to show you how to create a parent constraint and how to plan the method to use based on the type of action you have
There’s a lot of different ways to constrain an object to an other and I’ll show you some of the more common situations using the maya constraint
It’s basically a relationship between two ore more objects, one is the TARGET Object, the one that leads the movement or the position, and the other is the CONSTRAINED object, that is influenced by the target, so it doesn’t moves independently but it’s driven by the target object
The type of constraint depends on the axes you need to constrain to the lead object: translation, rotation or scale
In Maya, if you go in the Animation Tab
and then on CONSTRAIN
you find some different types of constraints: POINT – AIM – ORIENT – SCALE – PARENT
the more used are POINT / ORIENT and PARENT
As I said before the difference between this constraints are the axes involved:
So if you constrain an object with the POINT constraint you will constrain the translation axis that will follow the lead object but you can rotate it independently
Vice versa: if you use the ORIENT constraint you can translate it but the rotation is constrained to the lead object
And when you use the PARENT constraint both the axis (translation and rotation) are constrained and follow the lead object movements
When you open the constraint Option Panel you have the first box “Maintain Offset” that means that if you turn it ON: the object will be constrained maintaining his starting position, if you turn it OFF: when you will apply the constraint, the object will jumps on the target object pivot
In most of the cases you will need to turn it ON, so…always check this option before apply the constraint!
Another thing you can check are the Constraint Axes: here you can choose which axis you want to constrain
In the example we have the translation and rotation axes cause it’s a parent constraint
By default you have ALL the axes turned ON but you can turn off the ones you don’t need!
When you apply the constraint you will see that the axes constrained turned blue in the channel box, this means that you can’t animate this values
Let’s now see the different situations where you’ll need to constraint some objects
This are the different situations we will go to analyze:
This are some common situations and it’s important that, before you go to start the animation and create the constraints, you have to plan the shot!
Do it in your mind or with some sketches, because is important to decide how to do the constraint and you need to anticipate all the actions you will do with the constrained object!
In this simple animation the character keeps his hands on his hip, so we need to constrain the hands to the hip in order to follow the hip movements, so… the hip will be the leading object that will drive the hands
In some rigs you could have the possibility to choose if the hands must follow the hip or other parts of the body (the Main control, the COG, the Head…) without manually create a constraint! Usually if this option is available, you can find it selecting the wrist control!But in case you have a very basic rig, without this option, let’s see how to manage it!
IMPORTANT: when we constrain the hands, this must be in IK mode, so switch both the hands in IK!
So we pose the hands on the hip, then…
REMEMBER THAT: to apply the constraint you always have to select the target control first, the one that will leads the movement and then the control or object you want to constrain!
So in this case: select the hip control, then -> shift -> and select the control of one of the hand, go in the Animation tab -> CONSTRAIN and choose PARENT
we choose parent ’cause we want that the hands follow the hip in both translation and rotation axes!
Open the Option Panel, be sure to have the MAINTAIN OFFSET turned ON and apply it!
So the translation and rotation axes turned blue in the channel box and now this hand is constrained to the hip, let’s do the same on the other one!
At one point he detaches the hands from the hip so we need to turn OFF the constraints in order to animate the hands!
To do that we simply select the hands controls, one at the time and we set a key
When you do this in the channel box you can see that the constrained axes turned green and you have a new attribute, the BLEND PARENT Attribute that you can animate! (scroll down in the channel box to see it)
So on the last key frame where you still need the constraint, set this attribute at 1 and add a key
in the following frame where you want to turn OFF the constraint set it at 0 and add another key, so from this point you can animate the hands!
An other similar example is a character that puts his hand on the shoulder of another character
In this case you do the same, you constrain the hand on the shoulder control, so select the shoulder ctrl first, then the wrist ctrl and apply a Parent constraint (Maintaining the Offset)!
Then you animate the blend parent before he touches him, turning the constraint OFF and when he touches the shoulder you set it at 1 turn it ON!
In this way, if you animate the other character, the hand follows the second character movements
First pose the two hands, then choose the leading hand (this hand can be in IK or FK) and constrain the other hand to this one (the constrained hand must be in IK) and choose a Parent constraint!
Let’s say your character need to grab an object, like this ball, he takes it with an hand (in this case you can us IK or FK) and then he throws it!
So the ball will be driven by the character but at one point it will moves independently
In this simple case, you could just constrain the ball geometry, it’s not necessary to have a locator or a rig for the ball, ’cause the animation is pretty easy. But if you have to do more complex actions with the ball I suggest you to use a locator or a rigged ball so that you could also have a squash and stretch!
So in this example I just constrain the geometry to the hand, as I show in the previous example, I pose the ball in the starting pose, then I pose the hand at the point where it grabs the ball
Select the hand control -> shift -> and select the ball geometry and choose Parent constraint (Maintaining the Offeset)
To switch On and Off the constraint, select the ball geo (or the group, locator or control you constrained) and add a key, set at 1 the blend parent attribute on the frame where the hand touches the ball
in the previous frame set it at 0, so the ball stays in the starting position!
When you need to detached the ball from the hand, go on the last frame where the ball must be constrained to the hand and set at 1 the blend parent, in the following frame set it at 0 and animate the ball!
SECOND OPTION: To have more control and have the possibility to add a secondary movements on the ball, you can create a group for the ball so that you can constrain the group to the hand and animate the ball geometry indipendently!
So we do just as in the previous example but we don’t go to constrain the geometry, but we constrain the group
Open the OUTLINER, select the ball geometry and press G, so you go to create a group and you go to constrain this group to the hand, so select the hand ctrl then the group of the ball and apply a Parent constraint mantaining the offset!
So now the ball follows the hand but you can select the ball geometry (that has no constraint and is free to move) to add further movements! When you want to turn ON and OFF the constraint just do as we have seen so far!
Let’s change the type of prop, let’s say he grabs a bottle
If you create a group from the bottle geometry and you go to constrain the group to the hand, you can still select the bottle geometry to add some overlap!
In this case I also need to move the pivot of the bottle geometry, that now is in the center and I wanted to move it on the top, where the hand grabs it! So to edit the pivot position just select the mesh and pressing D you move it where you want!
Now the bottle is driven by the hand (cause the bottle group is constrained) but we can animate the geometry to add an overlap!
If you have a rig on your prop, you can do the same: create a group that you will constrain to the hand and then you animate the prop control for the overlap!
There’s some situation where you will need to constrain the character to an object
For example: a character on a swing, obviously this is not a common thing you’ll have to animate, but it’s just to give you an example of situation where your character is driven by something!
You pose your character on the seat, both the arms are in IK, the legs must be in FK, and you constrain the COG of the character to the seat, so that when you move the swing the body follows the movements, except for the hands that are in IK!
So now we need to constrain the hands to the swing’s ropes, to do that we need to create 2 locators!
So we go to CREATE -> LOCATOR
We turn ON the locator visibility from the SHOW panel
We move the locator on the first rope, where we have one of the hands and then with ctrl D we duplicate this locator and we move the second one on the other side
Then, select one rope -> shift -> the first locator and create a Parent constraint, and do the same for the other locator!
Or, another way is to just PARENT the locators to the ropes, so we don’t create a constraint but we create a permant relashionship parent/child between the rope (parent) and the locator (child), to do that: select the locator -> shift -> the rope and press P, and do the same with the other locator and rope!
Let’s quickly see the…
-Difference between PARENT CONSTRAINT and PARENT-
In this case the result is the same, so you can choose one of this two options and in both the cases the locators will follow the ropes movements! The only difference would be if you need to change position of the hands on the rope during the animation, in this case is better to choose to just PARENT the locators to the rope, so that you can use the locators (the are not constrained) to animate the hands!
So now the 2 locators follow the swing movements, but we still need to constrained the hands, so we select one locator then the hand control and create a parent constraint and do the same for the other hand!
Or, if the character is trying to lift an heavy object without success… so the object will stays on the ground…
…would be easier for you to constraint the hands on the object
So we create 2 locators, that we keep in on the origin, so we don’t move them, then selecting the 2 locators we create a group pressing G
and we constrain this group to the object, so we select the object and then the locators group and we create a PARENT constraint, so now the locators group is constrained to the object
Now we need to position the locators where we have the hands, to quickly do that we create a temporary constraint!
We go on the frame where the hands touch the object, we select the hand control then one of the locator
and we create a parent constraint but this time we UNCHECK the MAINTAIN OFFSET, so the locator jumps on the wrist pivot (this is a very quick way to position an object on the pivot of another object)
and now we can delete this constraint from the locator, in the channel box we select the constrained axes and -> right-click -> BREAK CONNECTIONS
Then we constrain the hand control to the locator, so select the locator and then the wrist control and create another parent constraint!
From this point you can forget the hand control and use the locator to animate the hand! Do the same for the other locator to pose it on the wrist pivot and then constrain the hand to the locator
In this way when you animate the object, that leads the movement, the hands follow but you can also add some further movements for the hands by using the locators that are free to move ’cause we just constrained the group of the locators!
This is also something very common and I’m going to show you 2 different options for this
The first and faster way is to pose both the hands on the object, constrain the object to one of the hand (the hand you chose as the leading hand, the one that controls the movement) and constrain the other hand to the object, so when you’ll move the leading hand, both the object and the other hand will follow
REMEMBER THAT: the leading hand can be in IK or FK, but the constrained hand must be in IK!
But if you want something more complex, for example if you want to change the positions of the hand while grabbing the object you have to do something similar to what we have done in the example of the heavy object
Creating 2 locators, PARENT the object to one of this locator, so we select the object and the first locator and we press P, and PARENT the second locator to the object
Selecting the parent locator we move the object in position, and then we constrain the parent locator to the leading hand control, (the leading hand can be in FK or IK, but the other hand, that we will be constrained to the object must be in IK)
So we select the leading hand control then the parent locator and we create a parent constrain maintaining the offset
Now we need to position the second locator on the other hand pivot, so we select the hand control -> then the second locator and we create a parent (or point) constrain (DESELECTING the maintain offset), so the locator moves on the wrist pivot, and now we delate this constraint!
Then we select again the locator -> then the left hand control and we do parent constraint again!
So now you can use the right arm to lead the movement, the object and the left arm follow, but using the left locator you can add further movements for the left hand and change position during the animation!
In this case, when you plan to grab the same object with both the hands in different times, it means that the object must be constrained to one hand first and then on the other hand in a second time!
To do that: first let’s set up 2 locators on the object
So we create 2 locators that we rename left and right hand
then we need to PARENT the locators and the object . At this point we should plan which hand holds the object first and based on that we create this parent hierarchy:
So if we move the right hand locator we move everything but if we select the left hand locator we move just he object while the right hand locator stays in position
Now, selecting the parent locator, the right hand locator, we position the object in the right hand (that holds the object first), and then we constraint the parent locator to the right hand control, so we select the hand control -> shift -> the locator and we create a PARENT constrain Maintaining the offset!
Now we can move the arm and the object follows!
When we want to switch the hands, we move on the frame where the object is grabbed by the left hand and we select the left hand control -> shift -> the left hand locator and we create the PARENT constraint Maintaining the offset
then we add a key and we set at 1 the blend parent on this frame but we set it at 0 on the previous frame
Sometimes can happen, for different reasons, that you don’t see the Blend Parent attribute in the channel box
if this happens you can just select the Constraint Node from the Outliner, select the object and in the outliner press F to find the constraint node (the one with the red exclamation mask)
and animate the Weight Value, set it at 1 or 0 to manage the influence of the constraint on the locator!
So now you can pass the object from an hand to another just turning on and off the constrain on the left hand locator!
A similar situation is when the character passes an object, like an hat, from an hand to another and then he puts it on the head
In this case the process is the same but we need to add a third locator, that is the one that will be constrained to the head in the final part
So we start setting the locators on the hat, we create 3 locators, that we rename as the body parts they will be constrained to
and we go to PARENT this locators and the hat with this hierarchy:
So now selecting the parent locator, we position the hat in the left hand and we create a parent constraint (Maintaining the offset) with the hand control
Then we do as in the previous example, we animate the constraint blend parent On and OFF when we switch the hands and we constrain the right hand to the other locator… and the same when the hat is on the head, so that in the final part the hat is constrained to the head and follow the head movements!
This were just some examples of how to manage constraints on maya, there are a lot of different way to do them, it’s really depends on what you need in your scene and it also change depending on the type of rig you have
There are also scripts and tools to automatically create constraints, especially in production, but if you are beginners this should be enough to start to manage props in you animations
When you want to delate a constraint you can select the constrained control (or group or mesh) and in the channel box select all the attribute constrained and right-click BREAK CONNECTIONS
Or… select the object constrained, press F in the outliner to find the constraint node and… delate it!
Or, if you want to take off the constraint but you want to keep the animation… you can BAKE the curve
selecting the object constrained and, in the graph editor, click in CURVES – BAKE CHANNEL
so it will converts the the entire animation in keyframes
and now you can delate the constrain, as I showed before, without losing the animation!
In the last lesson I explained the principle of Secondary Actions and props are a good way to add this actions
So now you know how to manage the constraints and you can create an animation with a secondary action following this exercise to put in practice this principle! 🙂
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 😉
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
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!!! 😛
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!
that’s why we use ANTICIPATION! That, as the word suggest, is nothing more than the “preparation to the action”!
We can have
let’s see some example:when 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!
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!
Or… 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!
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
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
Some 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
Example: the door settle doing little movements back and forward in few frames
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! 😉
I want to introduce you the Official Rig for my Channel – INK 🙂
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)
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! 🙂
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!
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! 😉
As animator you can do great stuff with this great rig created by Eyad Hussein! 😉
The rig is not available yet but will be realeased soon (probably the end of this summer) but I suggest you to fill the pre-registration form so that you will be one of the first to receive an email when she will be ready for download! 😉
This exercise is connected to the Lesson 05 where I explain the principles TIMING and SPACING and the Tutorial 05 where I show how to animate two different turns with different timing: a Fast Turn and a Slow Turn! 😉
This exercise is perfect for BEGINNERS, you can learn how to manage Timing and Spacing on your character shot and also start to became familiar with character rig, facial expression and a bit of acting!
In this Tutorial I used this lovely Rig “Alya” by Eyad Hussein https://eyad.tv/home/ It’s really a great rig and I suggest you to check it when will be availabe (you have to wait the first quarter of 2017 :P). But you can fill the pre-registration form on this link and you will receive an email once the rig is ready for download https://eyad.tv/home/alya_pre_registr…
You can add a link to your exercise in the comments to receive my feedback
Before start…take your time to plan the Run and chose the style.
Follow the design of the character: this can guide you to make your run more appealing and interesting! Be creative!!! 🙂
Decide the Speed of your run, make some test during the blocking to find the best speed!
When you calculate the length of the shot consider that you have to sum the tow step, plus one frame at the end that is just a duplicate of the first one, so:
Start the Blocking with the main poses:
1- Straight Leg (sx foot) the leading leg is straight forward but doesn’t touch the ground yet. The right leg is behind in the air.
3- Down translate down the COG, the left leg is flat on the ground and starts to slide backward. The right leg start to pass forward.
5- Push Translate Up the body, the left leg is behind, bend the foot that is close to leave the ground. The right leg is almost in front.
8- Up Push a bit more Up the body. The left leg is behind in the air and the right leg is pretty high in the air, bended, in front of the character.
Speed UP the Spacing between the Straight Leg pose and the Down pose, then Slow Down between the Push and the following Straight Leg pose, the result will be a sort of “pause” in the air, and the run will result more snappy and cartoon.
Bend the feet and the Toes
Keep attention to the arcs of the feet (use motion trail if necessary)!!!
Here’s the final Curves of the foot on Z:
Here’s the final Curves of the UP and Down of the COG and the Chest Refine:
Let’s see how to create a run cycle! 😉
Video tutorial created with the Rig: Steel by Long Winter Members Long Winter Member
here other animations I made with this Rig:
If you’re planning to start an acting shot, maybe Mary could be the rig for you! 😉
The Rig is well done and functional (the facial blendshapes and controls could be improved IMO)
There’s a set of blendshapes for the facial expressions:
Some hair locks controls:
Deformers controls for arms and legs:
I recently bought this nice pack of Rigs from “Long Winter Member” site:
In the pack we have this 5 Rigs:
The simple and clean design is perfect for body mechanics and action animations.