Animating Eyebrows

Animating eyebrows plays a crucial role in conveying facial emotions and enhancing the overall appeal of animated characters. Though often overlooked, brows are essential in portraying mood and personality. In this clip from a live AnimSchool lecture, instructor Justin Weg explains the importance of eyebrow animation.

When animating eyebrows, think of them as a single unit – try to connect them with a line flowing into one another, while matching the shape/expression of the eyes. This will create a smooth and cohesive look, which is key in creating a natural, expressive character. The brows tend to react to the inner emotional state of the character, so connecting them helps maintain this unity.

Additionally, keep in mind that brows are very dynamic shapes, with the inner sections being more active and expressive than the outer. When the brows go down, the inner brows tend to crunch in. When the brows go up, they will pull out.

One key technique in animating brows is having them lead the head/body movement. When a character is about to speak or make a dramatic gesture, the brows often move ahead of the rest of the face. This can help with timing, allowing the character’s expression to build up before the full action, such as opening the mouth. For example, a character about to speak might raise their brows before they open their mouth, signaling anticipation.

Facial expressions can be either voluntary or involuntary. Involuntary reactions, like surprise or fear, tend to make the brows more symmetrical. Voluntary emotions such as curiosity, suspicion, or contempt tend to create asymmetry in the brow movements. A character questioning something, for example, will raise both brows evenly, while a character expressing doubt or confusion might raise one brow more than the other, creating an asymmetrical look.

When animating brows, arcs are important for creating more natural movement. Instead of linear motion, which feels stiff, adding arcs to the brow movements introduces fluidity to the animation. For instance, when lowering the brows, the outer brow usually leads, and the inner brow follows in a smooth arc. The same principle applies when raising the brows—start with the outer brow, and let the inner brow follow, creating a wave-like effect.

To enhance the realism of the movement, it can be helpful to offset the X and Y positions of the brows. This offsetting technique creates a more dynamic motion, especially when working with diagonal movements. By including slight delays between the movements of the inner and outer brows, you can achieve a more organic feel.

By focusing on the unity, expression, and subtlety of brow movements, animators can bring a new level of depth to their character animation. Refining the movement of the brows is an essential skill for any animator looking to create more relatable and emotionally engaging characters.

Watch the full clip from an AnimSchool lecture here:

At AnimSchool, we teach students who want to make 3D characters move and act. Our instructors are professionals at film and game animation studios like Dreamworks, Pixar, Sony Pictures, Blizzard & Disney. ⁠Get LIVE feedback on your Animation from the pros. Learn more at https://animschool.edu/

Animating the Head

When animating a character’s head, think of the head like a stage and the face as the actors. The two must work together in order to convey a believable performance the audience can understand and connect with. In this clip from a live lecture, AnimSchool instructor Ricky Renna discusses some tips on how to animate the head in order to allow the audience to follow the character’s facial changes and emotions.

Small adjustments to head positioning can completely alter the mood or message of a shot. A subtle head tilt, for instance, can express a range of emotions. A slight tilt downwards may indicate humility or insecurity, while a slight tilt upward can convey confidence or even superiority. By controlling the head’s direction, animators can manipulate how a character is perceived, whether they’re viewed as an equal, an antagonist, or someone who feels subservient. For instance, in scenes where a character looks straight ahead, the tone might come across as neutral or straightforward. However, when the same line is delivered with the head tilted slightly, it can introduce an entirely new layer of meaning. It’s all about the small changes—animators don’t need to overdo it with exaggerated head movements. A little goes a long way in shaping the audience’s emotional response.

In the above example, though the head is very simplistic and quickly drawn, audiences can quickly recognize the difference in emotion and intention from something so basic as the tilt of the head.

Another critical aspect to pay attention to in animation is head stabilization. Birds, for example, have acute control over their heads, allowing them to stay focused on their prey while in flight. Animators strive to replicate this level of stability to maintain focus on a character’s face. In scenes where the head moves too dramatically, it can pull the viewer’s attention away from the character’s facial expressions or dialogue, making the scene harder to follow.

A prime example of controlled head movement in animation can be seen in the character Colette from Ratatouille. While delivering her lines, Colette’s head remains steady, keeping the audience’s attention on her eyes and the expression she’s conveying. Even as her emotions shift—from apathetic to more animated—her head stays focused, allowing her subtle facial expressions to communicate her changing feelings without overwhelming the viewer with unnecessary movement.

In the world of animation, there’s a technique known as eye trace, where the director ensures that the focus remains on the same point of interest across different shots. This technique helps prevent the audience from losing focus when the scene changes. For instance, when the camera shifts to Remy inside Linguini’s hat, the focus remains on the same point of interest, making the transition seamless and keeping the viewer engaged.

Note that, in the previous shot, Colette’s face is in the red circle; as it cuts to Remy, his face remains in the red circle – this technique is called eye trace.

Ultimately, the key to effective head movement in animation is balance. A steady head allows for clear, expressive communication while preventing distraction. Whether you’re animating a confident antagonist or a shy protagonist, controlling head movement is an essential tool for bringing your characters to life.

Watch the full clip from an AnimSchool lecture here:

At AnimSchool, we teach students who want to make 3D characters move and act. Our instructors are professionals at film and game animation studios like Dreamworks, Pixar, Sony Pictures, Blizzard & Disney. ⁠Get LIVE feedback on your Animation from the pros. Learn more at https://animschool.edu/

Storytelling in Staging

Staging in animation is the process of breaking down a story into the most simple and basic beats in order to provide a foundation with which to further manipulate the scene into something more unique and entertaining. It is about setting the stage for your character’s actions, ensuring the camera is in the right place, and conveying the story in the simplest, most effective way possible. In this clip from a live AnimSchool lecture, instructor Tyler Phillips breaks down an alien abduction scene from former student Jonah Sidhom.

In Sidhom’s example, the character begins sleeping and wakes up to an alien, reacts, and runs away, ultimately being sucked out into space. This sequence is a clear example of staging that conveys an entire story using only six simple beats. These beats guide the viewer through the character’s emotional and physical journey, from initial confusion to their final fate.

Staging can start with basic visual storytelling elements: simple poses and camera placements. As in the alien scenario, a character might move across the scene, push a button, and face multiple challenges. Each of these actions becomes a beat—an individual piece of the animation that, together, creates the flow of the narrative.

The key to effective staging is to capture not just the actions but the emotions behind those actions. Adding “thinking beats”—moments when the character pauses to react or assess the situation—creates depth and engagement. For example, a character might look at an alien, then pause, registering the danger, and only then react with a frantic escape.

Additionally, creating more granular acting beats can add texture and realism. In one instance, when the character slams against a wall, the small moment of bounce and holding that pose for just a couple of frames enhances the readability of the action. This small pause gives the viewer enough time to process the action before moving to the next step, ensuring the sequence is clear and believable.

One of the most important aspects of animation is variety—using quick, medium, and slow beats. A variety of pacing helps keep the audience engaged and ensures the shot feels dynamic. These contrasting rhythms add richness to the animation, making it feel more alive and less mechanical.

In professional animation, the focus is on bringing characters to life. They must be believable in their thoughts and actions, reacting to their environment. An animator’s job is to think about these moments of reaction and transition, creating a character that feels genuinely alive. Though seemingly small and perhaps even insignificant, intentionally placed acting beats are what ultimately make characters feel real and relatable.

Watch the full clip from an AnimSchool lecture here:

At AnimSchool, we teach students who want to make 3D characters move and act. Our instructors are professionals at film and game animation studios like Dreamworks, Pixar, Sony Pictures, Blizzard & Disney. ⁠Get LIVE feedback on your Animation from the pros. Learn more at https://animschool.edu/

Cartoony 3D Animation – Tips & Tricks

Animation is a unique medium; not only does it allow the artist to breathe life and feeling into a character, it also enables the artist to accomplish anything no matter how farfetched the idea. An animated character can break every bone in their body without issue, run across the map in two seconds flat, fly without wings, or even eat a sandwich the size of their body and immediately snap back into shape. Typically, this type of out-of-this-world animation is referred to as “cartoony” style animation, but how is it created? The hardest thing to tackle when it comes to creating something so wild is losing a realistic point of reference. Instead, new ideas are being introduced to the audience on the spot. The role of the animator lies in finding the balance between aiding the audience to follow the action while simultaneously creating an entertaining piece of storytelling. In this clip from an AnimSchool lecutre, instructor Justin Weg gives discusses some key tips to animate in a “cartoony” style.

When considering cartoony movements, two main techniques should be utilized: squash and stretch and multiples. These techniques enhance the animation’s dynamism, allowing characters to exhibit extreme emotions or actions, such as Scrat from Ice Age. His animation demonstrates how exaggerated stretching and quick movements can bring a character’s energy to the forefront. For instance, by tracking the eyes as a focal point, animators can help the viewer follow fast, chaotic movements without getting lost in the transition. The eyes serve as a reference for the viewer’s attention, anchoring the action as the character moves through space.

Another essential technique in cartoon animation is the use of multiples, especially when depicting fast motion. This method is designed to convey the speed of a character’s movement. When deciding to use multiples, treat them as if combining two or three frames into one. Typically, arcs are also utilized in the placement of the multiples, easing into the final position. Through this approach, animators can create fast, fluid actions that capture the viewer’s attention, like when a character’s limbs or eyes stretch out at high speed.

Moreover, squash and stretch is a technique that involves the physical distortion of characters, emphasizing their elasticity. This is evident when a character is compressed into a small form (squash) and then dramatically stretched (stretch) to indicate force or impact. This technique, along with well-timed follow-throughs and ease-ins/outs, makes the animation feel weighty and believable, even in the most exaggerated scenes.

By carefully combining these techniques, animators create a sense of exaggerated motion, while maintaining visual coherence. The focus on tracking key elements like the eyes ensures that viewers can follow the action, even in the midst of chaotic or comical movements. Ultimately, these principles help to keep animation lively, engaging, and full of character, providing the foundation for the expressive world of cartoon animation.

Watch the full clip from an AnimSchool lecture here:

At AnimSchool, we teach students who want to make 3D characters move and act. Our instructors are professionals at film and game animation studios like Dreamworks, Pixar, Sony Pictures, Blizzard & Disney. ⁠Get LIVE feedback on your Animation from the pros. Learn more at https://animschool.edu/

Choosing Between FK and IK

When considering whether to animate using forward kinematics (FK) or inverse kinematics (IK), many factors must be taken into account. It is crucial to understand what FK and IK are and how either, or both, can be used in an advantageous way within animation. In this snippet from a live AnimSchool lecture, instructor Ayoub Moulakhnif demonstrates the benefits and applications of both FK and IK.

What is FK (Forward Kinematics)?

In Forward Kinematics (FK), the process of animation starts from the base of the limb, like the shoulder or hip, and works its way outward to the end, such as the hand or foot. This means when you rotate a joint, you start with the main body part and rotate the subsequent joints one after the other. Think of it as a “forward” motion from the origin to the end. For example, if you want to move the arm using FK, you would rotate the shoulder first, then the elbow, and finally the wrist. Each joint’s movement affects the next, creating arcs of motion, which is often desirable for smooth, organic movements like swinging arms or walking.

What is IK (Inverse Kinematics)?

Inverse Kinematics (IK) is different because it works the opposite way—starting from the end of the chain, such as the hand or foot, and working backward toward the base of the limb. So, when you move the foot or hand, the rest of the limb will adjust accordingly to maintain the correct position. This technique is typically used when the character interacts with surfaces or objects, as it ensures that limbs stay in place without constant readjustments. For instance, when a character’s foot is on the ground, animating in IK keeps the foot locked in position while the rest of the leg adjusts naturally. It’s ideal for animations where precise foot placement is important, like walking or running.

Choosing Between FK and IK

Both FK and IK have their specific uses:

FK is ideal for natural movements where limbs swing freely, such as during a walking or swinging arm animation. It is easier for creating arcs and organic motion.
IK, on the other hand, is best for scenarios where the character interacts with a surface, like placing a hand on a table or stepping on the ground. IK ensures the contact point stays in place while the rest of the limb moves accordingly.

Switching Between FK and IK

Sometimes, a character’s movement requires both FK and IK, especially if they transition from interacting with a surface to swinging or walking. It’s common to start with FK when the limb is in motion and then switch to IK when the limb makes contact with a surface.

To switch seamlessly:

Keep FK until the moment of contact (e.g., when the character slaps a surface).
At the exact frame of contact, switch to IK to lock the hand or foot in place.
Make sure to do the transition in a single frame for smooth animation.

In Moulakhnif’s example of slapping the character’s hand down onto a surface, he first adds a key on the frame prior to the impact, and then on the frame of impact itself. He uses the FK2IK switch in the AnimSchool Picker on the frame of impact to make the change.

Mastering the use of FK and IK is essential for realistic and efficient animation. FK is great for natural movement and arcs, while IK is crucial for interactions with objects or surfaces. By understanding when and how to use these tools, you can create more dynamic and believable character animations.

Watch the full clip from an AnimSchool lecture here:

At AnimSchool, we teach students who want to make 3D characters move and act. Our instructors are professionals at film and game animation studios like Dreamworks, Pixar, Sony Pictures, Blizzard & Disney. ⁠Get LIVE feedback on your Animation from the pros. Learn more at https://animschool.edu/

Flexibility, Force, and Energy in Animation

In this snippet from a live AnimSchool lecture, instructor Neave Lifschits offers his keen eye for detail and explains how animation, at its most basic level, is about forceful energy that pushes a shape change to deliver the idea of motion. Even simple lines can deliver a powerful performance and evoke an emotional response. After all, what is motion but an exchange of energy?

Lifschits uses an example from an animator who creates many compelling animations using simple lines and shapes to depict characters within an emotionally charged story. Though the animator neglects smaller details such as facial expressions, micro shapes within the body, etc., the gestures and overall shape language are enough to convey the artist’s message.

Lifschits also discusses Mike Mattesi’s book, Force: Dynamic Life Drawing, and relates the concepts back to animation. In the example from Mattesi’s book, different types of shapes with force are shown; this is similar to line of action, and simple vs complex shapes and poses within animation.

When animating a character in motion, consider what kind of force is being applied and in what direction. These forces can be physical, such as the body rolling over, or more abstract and emotional, like anger or tension. After determining the type of force and the direction, the poses can be fine-tuned to support that idea.

Shape change is the key to showing energy, strength, speed, and direction.

Lifschits explains that animators should always strive for some sort of shape change within a shot in order to avoid feeling rigid and add fluidity. Good shape change comes from paying attention to where contrast may be needed, as well as how the forces at play cause the change.

Watch the full clip from an AnimSchool lecture here:

At AnimSchool, we teach students who want to make 3D characters move and act. Our instructors are professionals at film and game animation studios like Dreamworks, Pixar, Sony Pictures, Blizzard & Disney. ⁠Get LIVE feedback on your Animation from the pros. Learn more at https://animschool.edu/

Camera Tips for Film and Games

ames

In the world cinematography, every choice, from the way a scene is shot to how the camera moves, plays a critical role in telling a story. In this clip from an AnimSchool lecture, AnimSchool Instructor John Paul Rhinemiller goes through the basics of cinematography and illustrates how film and videos games use camera movements to create a specific emotion and feeling. JP addresses the importance of having motivated camera movements that have a purpose and also add to a character’s personality or story.

One of the most subtle yet effective tools for filmmakers is the use of a “locked-off” camera, which stays in one place without movement. The key purpose of a locked-off camera is to create stillness, focusing the viewer’s attention entirely on the subject or scene at hand. However, despite the growing trend of fast-paced, dynamic shots in modern filmmaking, sometimes the most powerful storytelling comes from controlling the camera, rather than letting it move.

Ensuring that any camera movement (or lack thereof) has a purpose is key. Whether the camera is panning left to right, following a character, or offering a point-of-view shot, every movement must serve the story. For instance, moving the camera in a specific direction can subtly indicate unease or tension. Left to right feels more natural due to the way people read in Western cultures, whereas moving in the opposite direction can suggest that something is wrong or unsettling. In contrast, a stationary camera can communicate a sense of control and deliberation. This is especially important in dialogue-focused scenes where unnecessary movement may detract from the characters’ performances or the emotional depth of the conversation.

JP offers some camera tips:

Moving the camera during dialogue can be distracting
- This is why the camera cuts many times during dialogue
- Always focus on the person speaking
Never use longer than 50mm when two characters on screen (no limit with one character)
Lead and follow
- Lead through a scene to suggest that the scene stays somewhat equidistant
- Follow through a scene – common in 3rd person

In this example from Full Metal Jacket, JP explains that the camera moves backwards as the sergeant steps forward, creating a sense of unease and tension within the scene, reflecting the discomfort of the recruits.

In this example from God of War, JP points out how the camera is consistently equidistant from the character, with some flexibility in zooming in at different parts to emphasize the action, such as attacking.

Another camera technique is “rack focus,” which shifts the focus of the lens from one subject to another, is used to draw attention to a specific element within the frame. This subtle shift guides the audience’s gaze, highlighting important details and directing the flow of the narrative.

An example of rack focus from The Incredibles.

Ultimately, camera movement, when used with purpose and intent, becomes a vital tool in shaping the emotions and experience of the viewer. Whether through subtle shifts or deliberate stillness, the camera can profoundly impact how a story unfolds, making it an indispensable element in visual storytelling.

Watch the full clip from an AnimSchool lecture here:

At AnimSchool, we teach students who want to make 3D characters move and act. Our instructors are professionals at film and game animation studios like Dreamworks, Pixar, Sony Pictures, Blizzard & Disney. ⁠Get LIVE feedback on your Animation from the pros. Learn more at https://animschool.edu/

Push Your Animation Poses

Creating clear and dynamic poses is essential to conveying character and emotion. In this clip from a live AnimSchool lecture, instructor Garrett Shikuma demonstrates how to move away from rotoscoping video reference and push the character’s silhouette and line of action to be better than the reference. He also emphasizes the importance of remembering to make intentional acting decisions while posing the character.

When refining poses and moving beyond rotoscoping, one critical element is improving the silhouette. A pose can be adjusted to make limbs and the body more distinguishable—particularly by adjusting the position of hands or arms that might otherwise get lost within the character’s body. Equally important is the angle of the character’s head. The way the character is positioned relative to the camera should communicate the right emotions and make it easy for the audience to read the character’s intentions. The right head tilt can direct the audience’s attention and set the tone for the scene.

Shikuma also touches on breaking a character’s body into three zones: top, middle, and bottom. By shifting these parts intentionally, animators can emphasize certain actions. For example, pushing the head or torso to imply a character’s internal state, like anticipation or conflict, can transform an otherwise static pose into one with deeper meaning.

From Walt Stanchfield’s Drawn to Life series

This principle also extends beyond full-body poses. In close-up shots, the same “push and pull” method can apply to minor movements, like a character’s head tilt or subtle gestures. For instance, in The Incredibles 2, Mr. Incredible’s poses are minimal yet powerful. While his body remains relatively still, small movements, such as a slight head nod, hold significant weight, which adds a layer of emotional depth to his character’s journey.

Ultimately, when designing poses, the goal is always to improve clarity, silhouette, and line of action, ensuring that each pose communicates exactly what the character is feeling or about to do. By pushing poses thoughtfully, animators can enhance not only the visual appeal of their work but also the emotional resonance it delivers to the audience.

Watch the full clip from an AnimSchool lecture here:

At AnimSchool, we teach students who want to make 3D characters move and act. Our instructors are professionals at film and game animation studios like Dreamworks, Pixar, Sony Pictures, Blizzard & Disney. ⁠Get LIVE feedback on your Animation from the pros. Learn more at https://animschool.edu/

Adding Stiches in Substance Painter

Substance Painter can be a daunting program to learn, but it is a very rewarding one. The power of Substance Painter lies in the amount of details one can paint on. Adding details like stitches can give the model the final touch it needed to bring it all together. In this snippet from a live class taught by AnimSchool Instructor Lorin Z. Pillai, learn about painting on stitches. Adding stitching details to digital textures can be time-consuming, but the Auto-Stitch feature in Substance Painter helps make the process much faster.

Auto-Stitch

Start by creating a black fill layer with a black mask, then apply the Auto-Stitch generator. Auto-Stitch will automatically place stitches according to your UV layout. If you don’t want stitches in specific areas, simply mask them out. This makes it easy to handle areas like sleeves or shoulders where different parts of a garment or texture might meet.

Customizing Stitches

Once the stitches are in place, you can customize their look. The Auto-Stitch feature lets you adjust the stitch path, distance from seams, and even the stitch size. For larger stitches or panel lines, you can increase the stitch length. This is great for creating a more prominent stitch that mimics a thick, reinforced line. Additionally, you can adjust other properties, like roughness or height, to control the appearance of your stitches. For example, increasing roughness will give the stitches a less shiny, more realistic appearance. If you want to tweak the lighting on the stitches, modifying the height will help you control how much light the stitches reflect.

For more precise control, you can use a paint layer to add hand-placed stitches. When doing this, be mindful of the layer settings. Once stitches are applied, they become part of that layer and cannot be edited directly in terms of size or shape afterward, so it’s best to work on a temporary layer for adjustments.

Stitch Brushes

To have even more detailed control over your stitching, use the brush palette to select specialized stitch brushes. These brushes offer additional settings, such as the ability to simulate punctures or seams, adding even more realism to your design. However, like the Auto-Stitch, once these stitches are painted down, they’re fixed to that layer.

Be prepared to adjust your settings repeatedly, as finding the perfect stitch type and configuration may take some time. You can also use the Lazy Mouse feature to smooth out your strokes and maintain consistent stitching across your texture. While editing settings might take some trial and error, combining these brushes with Auto-Stitch offers a highly efficient way to add stitching to your designs.

Watch the full clip from an AnimSchool lecture here:

At AnimSchool, we teach students who want to make 3D characters move and act. Our instructors are professionals at film and game animation studios like Dreamworks, Pixar, Sony Pictures, Blizzard & Disney. ⁠Get LIVE feedback on your Animation from the pros. Learn more at https://animschool.edu/

Blog cover image credit: Niles Thiselton

Modeling the Ear

When approaching a big modeling task, the big picture may become so overwhelming that it becomes difficult to remember how to break down a model into smaller parts. By slowing down and approaching a character model as the sum of its parts, as opposed to an all-encompassing project, we are able to set ourselves up to succeed. In this lecture taught by AnimSchool instructor Emilie Austin, we approach a small feature in a character model, the ear. Modeling an ear in 3D can be one of the trickiest aspects of character design. The ear’s unique shape, curves, and intricate details can pose challenges for even experienced artists. Emilie demonstrates how with careful planning, great reference, and patience we are able to break down this complicated shape into a manageable and approachable task, focusing on key techniques for creating a realistic and functional ear. Such a technique is applicable not only to the ear, but any modeling task at hand.

Start with the Basics: The Plane

Begin by creating a simple plane to use as your starting geometry. This is the foundation for shaping the ear. Instead of extruding the geometry from the head, which can create messy topology, it’s better to model the ear separately and merge it into the head later. This method avoids disrupting the face geometry and ensures that both the head and ear can be worked on individually for precision. Block out the basic shape of the ear from the side view, then move the plane into the desired position and adjust the orientation as needed.

Extruding the Ear’s Structure

With the base shape established, start extruding parts of the ear to give it depth. The back of the ear is crucial to define early on, so pay attention to its curvature and the way it wraps around the head. As you extrude, focus on the ear’s thickness and how it gradually tapers at different points. Add edge loops as necessary to preserve the ear’s form and detail.

Shaping and Refining Details

As you continue to extrude and adjust the topology, take time to refine the ear’s unique features, like its folds and curves. Ears have many subtle shapes that contribute to their realistic appearance, such as the helix and the concha. In many 3D programs, you can slide edges and vertices to manipulate these areas more efficiently. Don’t forget to constantly check your reference images to ensure accuracy.

Final Adjustments and Optimization

Once you’ve blocked out the main structure of the ear, continue refining it by adding details like the inner ear folds and adjusting areas where the geometry is too thin or too thick. Afterward, check the ear’s alignment with the head and adjust the angles as needed.

It’s perfectly fine if your model initially contains some triangles. These will be hidden in areas where they aren’t visible, such as the interior of the ear, which doesn’t need to be highly detailed. Finally, add a few holding edges to reinforce curves and make sure the ear transitions smoothly with the rest of the character’s face.

Modeling an ear in 3D may seem daunting, but breaking it down into steps—blocking out the shape, extruding to form depth, and refining details—makes the process manageable. With practice, you’ll be able to model ears quickly and efficiently, whether you’re designing realistic characters or stylized ones for animation and games.

Watch the full clip from an AnimSchool lecture here:

At AnimSchool, we teach students who want to make 3D characters move and act. Our instructors are professionals at film and game animation studios like Dreamworks, Pixar, Sony Pictures, Blizzard & Disney. ⁠Get LIVE feedback on your Animation from the pros. Learn more at https://animschool.edu/