Author: AnimSchool Page 17 of 23

Graduate Spotlight: Carlos Rivas

Carlos Rivas was one of our most helpful students. He would always give his support to his classmates and would never hesitate to share his resources. It was a delight to interview him.

Carlos tell us about yourself and your background.
I am a Peruvian and I live in Lima City. Ever since I was a child, I have been in love with cartoons and especially “The Simpsons” series. I am a huge fan. I also remember how I loved watching the making of the show, “Woody Woodpecker” after each episode. I was always amazed to see those drawings come to life and take on personalities to become characters that would make me laugh. I spent a lot of my childhood time drawing cartoons on the corner of my books during lectures. Later I started using flipbooks to draw characters and had fun going back and forth drawing and feeling like a director.
I also like music and acting. I love watching movies in cinemas and studying them for better acting choices and compositions. I love to travel in my free time as well but that doesn’t happen as often as I’d like.

So what motivated you to join the 3D animation field?
When I finished school I wasn’t sure what I was going to study, I knew it had to be something related to drawing or design. While I was deciding my field, Shrek got released and instantly became the talk of the town. Everyone was talking about it and when I got a chance to watch it in the cinema, I instantly fell in love. I had to know how it was all made. They were not just drawings so I started my investigation and that was the first time I learnt about 3D animation process. In Peru, we had no proper teaching program regarding this field so I started searching for local 3D studios to join and learn everything related to it. I signed up with one that provided me a basic level of understanding for all areas of 3D field like modeling, rigging, animation, texturing, lighting so I learned a little bit of everything and I realized that animation was the one I enjoyed the most so when when studio needed interns for only animation, I signed up. This gave me a chance to learn from the local talented animators and I had a great time there. It was a dream come true when I worked on my first animation movie there.

Carlos Rivas at Disney Studio tour



What made you decide to join AnimSchool’s animation program?

After we finished the movie, I realized that even though I knew more about animation than ever before, there was more to this field. It’s like a rabbit hole. There is always room for more knowledge and improvement. So I knew I had to reach next level. I started considering my options and checking the local community when I met a friend who was learning from an online school. It was like a perfect solution. I could learn from animators working in top studios from my home. I was excited. I chose AnimSchool because I liked their students showcase. AnimSchool also offered qualified teachers, live clases and general reviews. I couldn’t ask for more and joined it.

How did the instructors help you hone your animation skill?
First of all, I was amazed by the level of dedication and patience my instructors showed in all of my classes. It was refreshing to meet teachers that were this much invested in what students were doing and were genuinely trying to help and make them animate better. For me, term 4 was a break through. I knew many things before, principles and all but they clicked during this term. My instructor Trevor Young and atrium runner Nigel Style helped me see lots of tiny, tiny things that I had no idea about. Their critiques and feedback pushed me further. There were a lot of resources at my disposal and I was.. I was super excited. I couldn’t ask for more. It was awesome.

Tell us about your workflow?
It depends on my shots but since I mostly handle dialogue shots, I’d discuss it here. First I listen to the audio again and again to get the feel of it. If there is a storyboard, I’d take a look at it too. These two help me get an idea of character and how he should act. After this I shoot reference. This is where I play with different acting choices and let the creative ideas flow. I then take a look at what I shot. I cut and join different footage together to get what I want. Now is the time when I sit and, based on my acting choices, draw thumbnails. I draw only story telling poses and push them to get strong and clear line of action. Once I am happy with my thumbnails, I move to Maya and play with rigs and cameras. After I am happy with my set up, I start posing my character in 3D based on my drawings and see if they are working. When I am happy, I add more poses and keep on adding till I reach 4’s (one pose for every four frames). This is the time where I hit spline.
Now the first thing I do is to hide arms. I work only with body for couple of hours to make sure mechanics are working and performance is clear then I put them back again and start polishing it all together. I polish facial expressions and lip sync in the end and get the performance that I want.
I always make sure to show my work in progress to others at each stage. It is really important for me to get feedback of other animators. Their fresh eyes help you see things that you might not be seeing because your eyes have gotten used to seeing the scene.



You met us when you came to receive your graduation certificate. How was your experience, going to America and attending CTN?
CTN 2014 was everything I expected and then some more. It exceeded my expectations and I tell you, I had HUGE expectations to begin with. It was an adventure I will never forget. I got the chance to meet AnimSchool crew and instructors first time in flesh and blood. It was amazing. I met all my online fellow students which was really cool.
Graduation ceremony with David Gallagher, AnimSchool staff, and students at CTN booth.


I met many talented directors, animators, modelers, sculptors but nothing beats the time I met Glen Keane. I was awestruck. 
Carlos Rivas with Glenn Keane

It was interesting how it all happened. I was very disappointed that I couldn’t buy ticket to his workshop because they got sold out so quickly. So I got ticket to another workshop and as I was walking down the hall, a guy who looked like Glenn passed me. I didn’t realize it was him till after like 40 frames. 

I turned and tried to catch up with him all the while thinking: “please be Glenn, please be Glenn”. When I got closer, it was Glenn and at that time I just stopped thinking. I was that pumped. I put myself right in front of him and popped my hand out and with a huge grin on my face, I said, “Hi!!”. I just had to. Haha. He stopped and he was very nice. He shook my hand and said, “Hi”. Then he started to chat and we talked for about 5 mins. He gave me an autograph and I took a picture with him. It was so so cool. I still can’t believe I met him. So glad I have this photo.


AnimSchool instructor Tony Bonilla arranged a Disney Studio tour for all the AnimSchool students. It was incredible and the whole time I was super happy. I couldn’t believe I was at THE Disney Studios. I met animators and AnimSchool instructors that were working there. They arranged screening of Frozen’s short film for us. I also saw sneak peak of Zootopia that was in production that time.

Being at Disney Studios, among Disney animators was everything I ever hoped for. It was amazing.
AnimSchool students and teachers at Disney Studios
 What are you up to now?
Peru animation industry is slowly gaining momentum. After finishing AnimSchool, my friends and I founded our very own studio called “Golem Studio”.  In our initial years, we worked on Tv Spot and Tv Series and currently, we are working on our first film called “Dalia and the Red Book”. It is a co-production with “Vista Sur” of Argentina. It is in its initial phases. With this project in our hand, we want to demonstrate that not only Peru can develop great stories but has CGI industry advanced enough to handle the technical aspects of it as well. We want to expand what CGI industry we have in Peru to all the Latin American countries.


Of course, we want our Golem Studio to evolve, expand and become the best studio of Latin America in the production of 3D movies. We look forward to colleaborations with other big studios and we are glad that we are on the right path.
I am also teaching animation at a local institute in Peru. The vision I share with other Peruvian animators and digital artists needs to have a steady stream of young artists to grow and expand. I am very thankful to AnimSchool for teaching me and helping me reach this point in life where I am giving back to my small community. We have a long way to go but I am part of this amazing journey and I couldn’t be happier.
Is there any advice you want to give to the aspiring animators?
Don’t be shy. Ask for feedback all the time. There is no shame in asking and the way animation is, you have to constantly get feeback and critiques to improve on it. This is important if you want to take your shot to next level as well.

Happy animating. J

Extracting Clothes from the Body Mesh with Adam McMahon

In AnimSchool’s Advanced Modeling class, Blue Sky Modeler Adam McMahon shows how to extract clothes from the body mesh in Zbrush.

For more useful tips like this one, please come and join us at www.animschool.com

Class Critique by Kent Alfred


 In this clip from 3D animation program, Animschool’s instructor Kent Alfred discusses how to focus on weight, muscles and volume in a wrestling animation to increase the force and impact.


For more useful tips like this one, please come and join us at www.animschool.com

AnimSchool Critique Time: Environmental Modeling with Juan Pablo Chen

In AnimSchool’s Environmental Modeling class, Dreamworks Environmental Modeler Juan Pablo Chen shows us how to resolve problems from concept art to 3D model.






For more useful tips like this one, please come and join us at www.animschool.com

Posing Do’s and don’ts with Ben Rush


In this clip from 3D animation program, Animschool’s instructor Ben Rush talks about do’s and don’ts of posing and how to avoid cliche acting choices.







For more useful tips like this one, please come and join us at www.animschool.com

AnimSchool Graduate: Mark Tan at Blue Sky

We’d like to reintroduce AnimSchool Graduate Mark Tan!

Mark Tan was a star student we’ve interviewed in the past. Since graduating from AnimSchool, Mark has went on to work at Blue Sky Studios on the Peanuts movie. We got a chance to catch up with him to ask some brief experience about his journey so far!

Can you describe your experience at Blue Sky so far.

      
Blue Sky Studios is my first animated feature studio experience.  I have previously
worked on television shows and video games, but never at a place that housed so many 
animators.  There are currently over a hundred artists in the animation department creating performances that are seen by millions of people. 
The initial impression was intimidating, but the friendly environment was a good counter balance.  All of my Animschool instructors except for one (Matt Doble, Melvin Tan, Steve Vanseth, Trevor Young) are currently working at Blue Sky along with fellow classmates (James Kim and Jilmar Altamirano).  It was interesting meeting everyone in person for the first time. 



Animating here is both extremely challenging and rewarding.  Peanuts had a 2 week program (Van Pelt University) that involved being immersed in the unique style. The training program was followed by a test which involved creating a shot with Charlie Brown.  After the test was approved, we were moved into production.  I tried to put as much effort and time as possible to every shot I was given, regardless of the length or character.  Most the work I was assigned involved marketing promotional shots or background character animation in the movie.  I did get a small Snoopy/Woodstock shot and Red Haired girl shot, which I am very grateful for.  Currently we are crunching on Ice Age 5.  I have never animated quadrupeds professionally, so getting thrown into a show with 10+ main characters who are all creatures is forcing me to adapt and learn.  My skills have grown significantly since I first stepped foot in Blue Sky.






What’s your typical day at blue sky like?
      
A typical day at Blue Sky can involve different things.  Before starting you attend a kick off, which usually involves the directors showing you the layout or storyboard sequence and telling you what they want.  


 After getting kicked off, I plan either with reference or sketches and move into blocking my shots.  When the shot is blocked out (enough to get the feeling and point across), I show my lead, address the notes, then show the supervisors, and address their notes as well.  After it looks good to them, then you send off your shot to sweatbox, which is where the directors look at your shot again. 


 This process continues in a cycle until your shot is approved.  Sometimes I could get a shot with a lot of characters and the task gets split to two or three animators.  We communicate and try to keep each other up to date on our progress as we all  move through the process. 


How has AnimSchool prepared you for this role?
      
The obvious answer would be that four of my mentors currently work here.  Animschool gave me the closest thing to a first hand experience of what is expected of me as a professional animator.  The quality and sense have to always be present for every shot you get.  Also I understand a lot clearer what the directors/supervisors want when I get notes, so I finish each task promptly without confusion.



What advice would you give to current students?

      
My main advice would be to look at the work of the pros and not your fellow classmates.  The demo reels you see of people actually working in the field set the bar that you have to hit to be employed.  Be critical of your work, but don’t discourage yourself.  Learn to enjoy the process of being challenged so you are always improving.



Thank you, Mark!


Mark’s Demo Reel




Meet Scott Sava

We’d like you to meet the multi-talented, Scott Sava, who’s worked on everything from video games to television to feature film to comic books. He is now producing, directing, and writing his first full-length feature animated film, Animal Crackers.

Hello Scott! Can we start by getting to know how you became interested in 3D?

I started out in video games in the early 1990’s. At the time… it was Sega Genesis games (I worked for Sega of America) and everything was 16 bit (animating pixel by pixel).

As the years went on… 3D became the new thing… and I got to learn the medium as it grew in the industry. Eventually… I got to try my hand at films when I worked on a couple of the Casper the Friendly Ghost movies.

Most people would not think of creating a comic strip (which is usually considered 2D) from 3D models. What was the deciding factor when you chose to try that?

I’d always wanted to be the artist on the Spider-Man comics. Since I was a kid. I went to art school. I studied illustration. But I never really had a knack for traditional pencils and inks. So despite showing my work at every comic convention for years… I never got the call to work on Spider-Man.

Finally… I met comic legend Marv Wolfman (Teen Titans, Blade, etc) who suggested I try using my “day job” skill of 3D animation and apply it to comics.

One thing led to another and… whatdyaknow? I got the gig.

After Spider-Man: Quality of Life (that was the series I did for Marvel to fulfill my childhood dream), I wanted to push the medium. So… Dreamland was born.



(The Dreamland Chronicles is available to read at http://www.thedreamlandchronicles.com/)

What do you think modelers, animators, or comic artists could learn from the unlikely combination of 3-D models in a 2-D format?

Well. You can photoshop a lot of your mistakes. That’s a plus.

But, the lack of movement makes the poses extra stiff looking. It’s very hard to get nice lines.

And, the fact that your readers can literally stare at a single frame for HOURS to spot every mistake is never fun.

But. You can tell a story MUCH quicker (and cheaper) than you would be able to in animation. So there’s that.

How long did it take you to get from your lowest professional point to where you are now?

I started professionally my junior year in college (Academy of Art in San Francisco) at Sega of America. That was 1990.

I don’t want to do the math. It would make me cry all over my keyboard.

You took a very unique path to get to where you are today. Could you identify the major stepping stones for you, and how you got to each one?

I started off wanting to draw comics in High School.

I went to Art school and learned Illustration.

My junior year of art school, I got an internship to learn animation for Sega games.

A few years later, my wife and I moved to Los Angeles to work for a comic company (Malibu Comics) where I did both games and comic book covers (Star Trek and Mortal Kombat).

A few years later, I got a chance to work on my first feature film (Casper: A spirited beginning) which got me doing character animation for film. (I was the lead animator for the uncle Stretch.)

This turned into a lot of work doing tv animation for Saban (Power Rangers, Digimon, Nascar Racers, etc).

All the while, I wanted to do the Spider-Man comic I’d dreamed of since I was a kid.

Then, Marv Wolfman introduced me to the concept of merging the two mediums (animation and comics) and I got my dream job.

From there… I did several years of comics. Mostly for my, then newborn, twin boys.

Suddenly, Hollywood studios were optioning (when they pay you a small amount of money to take a property off the market while they develop a film) my books.

After many years of nothing ever getting made… I decided I’d do it myself.

And here I am. Making my first animated film… Animal Crackers.

How did you get the inspiration and courage, as well as the funds, to turn your Animal Crackers and Pet Robots comic books into full-length feature animated films?

Inspiration was my kids. My twin boys. They were maybe 7 or 8 at the time. I write all my books for them.

The funds was tough. REALLY tough.

The way we got the funds was to put together an animated short to show the investors what the movie would look like. That’s what sold it. Showing them.


What is the most exciting part of producing an animated film from your own home?

I think the fact that I’m doing it from my own home. I love not having to deal with traffic or… well… just people in general.

🙂

I love being able to paint while talking on the phone. Or skyping in my PJs.


Here’s another amazing Sneak Peek from Blue Dream Studios Spain for Zoe Huntington (played by Emily Blunt).I’ll try to keep adding new snippets here and there throughout the production. Hope you enjoy.Emily Blunt Official
Posted by The Animal_Crackers Movie on Monday, May 4, 2015


What advice do you have for other people who dream of doing something very similar?

Learn and adapt.

I’m an introverted artist. I do not have the personality or tools to do this. So I had to study Hollywood producers. I had to pick up the mannerisms. I had to become a person completely alien to me.

It’s uncomfortable and scary (Xanax helps).

But it was this… or lose my house. So I did it.

As an artist. You can see the end result clearly. But no one else can.

You have to show them. You can’t say “trust me… it’s gonna be great’.

Show them. That sells it.

People have no vision. They lack any imagination.

It’s pretty pathetic, really.

Too Close…
This week’s sneak peek is with Brock (Patrick Warburton) and Owen ( John Krasinski)Can’t tell you how fun it was working with Patrick. He steals every scene he’s in. It’s hilarious.In fact. I don’t think we wrote any of this gag. Totally ad-libbed. EnjoyScott
Posted by The Animal_Crackers Movie on Monday, January 25, 2016

As a creative person and also a business person, how do you define success? For example, is it in the satisfaction with a completed project, from income generated, or something else?

I find success daily. Finishing an email. A painting. Getting the kids to bed without a crying fit.

Every day has little successes.

These build up to bigger ones.

Finishing the movie is the culmination of many years of little successes.

I’ve been working on painting the movie poster for 7 weeks now. Each day… I have a little success. Finishing a chimpanzee. Or just a hand or paw. But it’s a goal I set and accomplish for that day.

One day soon. It’ll be done.

Same for the movie… or pretty much anything we do.

The BIG stuff is always too big to just look at the end result and work towards it alone. You have to chop it up into manageable successes. Bite size.

As for the money? Nah. Artists don’t do it for the money.

We’re just happy to be able to pay the mortgage and feed the kids.

This doesn’t mean I’m not going to get paid well. Eventually. But it’s never the motivator.

As artists… we have to both be willing to sacrifice for our art… while also fighting for our right to be paid for it.

Everyone tries to take advantage of you. It’s just how the industry is.

You have done a lot of work (and a lot of different kinds of work!) in the 3D world. Over the years, did you ever make a major mistake that you learned an important lesson from?

Daily. It’s how you learn.

I don’t recall any one particular BIG mistake. Like my successes… I like to do mistakes daily. In bite size.

Hopefully they don’t add up to one BIG mistake one day. But art is trial and error. It’s exploring the paths less taken.

That’s the fun of it.

Do you have a specific philosophy or approach that you take to creativity and learning?

As above… I have found trial and error, little bites of success, and learn and adapt to be good ones I’ve followed.

My art and my profession have changed so many times throughout my career. From illustrator to video game animator to game designer to character animator for feature films to comic book artist to graphic novel author to movie producer/director/writer.

I’ve gone from exclusively using prismacolors to watercolors and now gouache to paint.

I once had a head full of hair. Now? Totally bald.

Life is change.

Don’t get hung up on one style. One profession.

Explore. Learn. Become more than the person you were yesterday.

Always try to improve yourself… while still being happy with the person you are.

I think that’s the toughest thing. Striving to be better… while still being happy of who you are and who you were.

Knowing that you did your best with what you had in front of you that day… and being content in that is good. Knowing that you can do better tomorrow is great too.

Hope that helps.

Scott

For more information about Animal Crackers and the team that’s behind it,
please visit http://bluedreamstudiosspain.com/

Critique time: Adding personality in loop animation

In this clip from Game animation program, Animschool’s instructor John Paul Rhinemiller talks about off sets and bringing personality in a game character even during loops.




For more useful tips like this one, please come and join us at www.animschool.com

AnimSchool Graduate Spotlight – Katelyn Roland

Hi Katelyn! Can you start by telling us a little bit about yourself and your previous modeling experience?

     Sure! I grew up in southern California and always had a passion for cartoons and animation. I stayed close to home and attended a film school, hoping to study animation there. When I first started at the university, I was actually planning on being a 2D animator! I didn’t know anything about 3D, but that quickly changed. I took some basic Maya classes at my university and really fell in love with CG animation.
     Coming into AnimSchool, I had a decent understanding of Maya and modeling, but nothing too advanced. I had never even used Zbrush before! Which I always laugh about cause I can’t imagine not using Zbrush now.

Do you remember the moment you realized that this was what you wanted to do?

     Yes! It was actually thanks to AnimSchool that I realized what I really wanted to do. I originally entered the character program with the intent of focusing on character rigging. I had always enjoyed both character modeling and rigging, but had somehow gotten it into my head that it was much more difficult to get a job in modeling and that I couldn’t do it. Since I also enjoyed rigging, I decided to focus on that more instead. But after taking the intermediate modeling class at AnimSchool, I had so much fun making my model, and got such positive feedback, I realized I could succeed at modeling if I actually gave myself a chance!



Was there any time while learning 3D that you felt overwhelmed or wanted to give up? How did you overcome it?

     Well like I said in the last answer, I originally intended to be a character rigger. I don’t think rigging was ever my passion, but I was trying to force myself to do it anyway. So I definitely started feeling overwhelmed in the rigging classes. The interest wasn’t there and nothing was making sense to me after a certain point. I really wasn’t enjoying myself and I did feel like I just wanted to give up. So I did! I know that’s not the positive, never-give-up response people want to hear, but that’s what I decided to do! And I think it was for the best. I knew even after I finished the rigging classes, it wasn’t going to be something I pursued, so I saved myself some stress and gave up on the rigging classes. It gave me more time to focus on modeling, the thing that was my passion, and I was happier that way!

Is there a particular lesson you learned during your time at Animschool or advice that you’d like to share with people just starting out?


     Apart from actual modeling techniques, I think the thing that stuck with me the most is that you really have to put the time in! As with all art forms, no one gets better overnight. And you can’t always finish your homework assignments with just one all nighter either!

We can see from your beautiful 3D models that you’ve grown a lot since starting Animschool. How do you think you’ve improved as a modeler?


     I think I’ve improved in a lot of ways. I learned so much during my time at AnimSchool. First of all, as I mentioned earlier, I actually learned to use Zbrush for my models now! That alone has helped improve my models immensely. Also thanks to the modeling classes at AnimSchool, I learned a lot about appeal, which is arguably the most important thing for characters. I still have a lot to improve on, but AnimSchool helped me get up and going in the right direction!

Are there any particular artists or modelers in the industry who inspire you?

     My advanced modeling teacher, Dylan Ekren, is always inspiring! His models are gorgeous and I was very lucky to have him as a teacher. There are so many other modelers that inspire me, but I can’t remember the names of them all now. I really enjoy the work of Michael Defeo, Matt Thorup, Chad Stubblefield, and Brandon Lawless to name a few!

What have you been up to since you graduated? Any new projects that you’ve been working on?

     Not too much yet! After graduation I was mostly working on polishing up my reel and portfolio to start looking for jobs. Luckily a job found me! I started working at Ready at Dawn Studios at the beginning of this year, and that’s been keeping me pretty busy for the time being. 
     But I do have a personal project I want to work on! I’ve been talking about making a short film with some of the friends I made at AnimSchool for a while now. So maybe keep an eye out for that in the future! 😉

Where do you hope to end up from here? What’s the ultimate goal?

     Hmm. I’m not sure to be honest! Originally my goal was always to work in feature animation. Right now I work in games, which is something I wasn’t expecting, but I’m having a lot of fun doing! For my ultimate goal…I think I’d really like to work in television animation, but I know CG TV shows aren’t quite up to par. I’d like to get them there! I’d love to see more engaging and better quality animated CG shows.

Thanks for chatting with us Katelyn!
To see more of Katelyn’s beautiful work, check out her ArtStation: 
And her Demo Reel below:

Modeling Reel Summer 2015 from Katelyn Roland on Vimeo.

AnimSchool Graduate Spotlight: Jacob Van


Today, we’d like you to meet Jacob Van who is a recent graduate from Animschool Modeling Program. He is one of the most helpful, hard-working, down to earth and friendly artists that we have in our community who doesn’t mind going extra mile to help fellow artists. 

Jacob’s family
1: Hi Jacob. Tell us about yourself and your background.

I am 33 years old. I live in Long Beach, California, USA. I have been married for 11 years and have four crazy kids. When I first got married my wife was putting me through school. I was going to community college and my plan was to transfer to Cal State University of San Jose for Traditional Animation. 
I was just about to transfer when my wife told me she was pregnant. So, I quit school with just an AA and went to work full time. I got a job repairing machinery. I kept drawing on the side. I eventually participated in a 5 second animation contest and it rekindled my passion for this field. 

2: So how did your journey start in this medium?


After doing the 2D animation contest, I started doing quick little animations. They weren’t good, but I had a lot of fun. My friend told me to try 3D animation and he helped me getting started in that. I took some classes, but I think I lacked flavor. I wasn’t happy with my results.

Characters have such a strong pull on me. I moved onto modeling and started practicing Zbrush for a little bit.

 3: Why did you decide to join AnimSchool’s modeling program?

After I had decided to learn how to model I started my search for online tutorials. There are a ton of tutorials out there for modeling a character or just objects in general. However, after following those tutorials, I quickly learned that everything was disjointed and I didn’t even know if the source of the tutorial was someone with experience in the industry or not. Sometimes, I would spend hours to find a credible working solution for some error I had encountered which made the whole process quite frustrating and time consuming.
One day I was looking at other modelers work and I stumbled upon Eyad Hussein’s website, a graduate of Animschool, I saw how appealing his work was and I decided that Animschool’s modeling program was worth looking into. 

4: Tell us about your workflow and how did instructors help you shape it.


My workflow between the intermediate modeling class and the advanced modeling class changed drastically. One of the main differences is that I started the model in Maya for the intermediate, and started the model in Zbrush for the advanced. 

The thought process is completely different in my mind. During the intermediate class I was constantly worried about topology and having things line up properly, I wasted a lot of time on that. In Zbrush I felt more free and focused on form first. You are always going to have topology changes along the way, so worrying about it is useless. 
At the end of my intermediate class, Brien Hindman really pushed me to take the Advanced Modeling course next. He said it would help my eye. I took his advice and had Dylan Ekren as my next instructor.


  

Form and appeal are Dylan’s strong points. He really tried to drive it home. He worked the whole body and head at the same time. Going from piece to piece to bring it to the next level. This process is the same as Animation-big to normal. Block things in and move on to the details. Get the blocking done really well and your details will go a lot smoother. 
I moved on to Juan Pablo Chen’s Environment modeling class and this idea really helped.  He really helped with organizing a scene with a lot of objects to prevent being overwhelmed. He is a solid modeller and a great teacher. He and Dylan put so much time into their classes. 

5: Tell us about you models.


 The models I choose to do are based off of designs that make me want to model them. Models take so many hours and so much energy that you really need to pick something that inspires you. All of the designs I have chosen inspire me. I have always been a big fan of Disney’s art. So, when deciding on a design I try to find something that could fit in Disney’s world. Then while I am modeling I constantly compare my work to Disney’s art. 


6: Modeling is considered to be a very intricate job where you have to focus on all the details and capture all the nuances of a character design. Has knowing animation helped you in this process?


I actually thought knowing animation would help more, but it hasn’t helped much with capturing the design. I think it benefits you more on the rigging and topology side. You know, trying to predict whether the shape can be held when deformed. 

7: Are you currently doing a job in animation industry?


I don’t have a full time job in the industry. I currently work repairing machinery in the packaging industry. I am either in the office ordering parts and working on in house projects or out in customers’ warehouses to fix their machines. 
However, I just received a freelance job from Animschool. David requested a modern office setting for an animation. I had to model all of the pieces that would go in the scene and then place them around the animation sequence. It was a tight deadline, but really fun. I think it is really awesome that they feel that confident in their students, and graduates, that they would use them for work.

8: Modeling is also a very time consuming field for starters. How did you manage balancing your daily job and this program while also taking care of your family?


I have an excellent wife. Seriously, without her this would have been impossible. I spend most of my time at home trying to practice modeling or doing homework. A lot of times I feel guilty and ready to give up. But my wife would just say it’s only a year and a half for this program, just get through it and then you will have more time. Whether you are responsible for just yourself, or a whole family, you will need some support. I don’t think there is one artist, that I have talked to, that hasn’t been depressed about their work at some point. At that point is when we need someone the most. 
After a while I decided that at least one day a week I wouldn’t do modeling. I think I mostly stuck with that and that was the balance. To progress in anything requires sacrifice and learning modeling requires time. Without time you end up missing some of the polish and finalizing things on models. So, you have to be smart about your time and really rely on hot keys and your gut. One of the best things I can recommend is that people join their fellow students in a Google Hangout or some way of sharing the screen and motivate each other. Just having someone modeling on the other end of the computer helps you to do your work, even when you really do not want to. 
The good news is that the class does provide you with a lot of knowledge. Also, you can go back and watch the recordings and find a lot of things you missed the first time around. 

9: What is the best advice you received in your training?


 The best advice is kind of funny. I heard multiple teachers say it. It is ugly until it is not, keep pushing it forward.
Basically, everything is ugly at first and you have to work to bring the right forms and volumes through model. It is a really simple thought, but it helps to know that your instructors aren’t satisfied with their work at the beginning too.

Great job AnimSchool student Jacob VanValkenburg! Personal project between terms.

Learn with us at:… https://t.co/5lg48FmPdy

— AnimSchool (@AnimSchoolTweet) January 18, 2016

10: What is your advice for people who have a passion like you for arts but are doing job in other fields?

My advice would have to be the same as the instructors. It is ugly until it is not. Life will be hectic, there will be a lot of stress and a lot of times you just want to give up. Keep pushing through, eventually you will have the skills to move into the field and that is a fun and exciting time. 
This is an investment of both time and money into your future. If it is worth something to you, then these teachers are the ones to help you through it. They are working in the industry and top names too. I mean Dylan modeled Hiro and Fred from Big Hero 6. Juan Pablo Chen modeled a ton of the environment in Kung Fu Panda 3. You can never go wrong learning from them.
I am happy to be at the end of that particular journey, a little sad, but this is a new season to be excited for.


For more of Jacob’s work, please visit https://www.artstation.com/artist/jacob_van



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