Category: nanda van dijk

Today we are interviewing animation student Nanda Van Dijk. Nanda is very talented in the digital arts realm and is taking the 3D Animation Program at AnimSchool.

Hi Nanda! Can you start by telling us a bit about yourself, like your background and experience before AnimSchool?

Animation
has always been my passion. As a child I was always drawing and
watching animated films. I went to the Utrecht School for the Arts in
Holland and studied computer animation and visual effects and graduated
with a master’s degree. I learned a lot about creating animated films,
from writing the scripts to making the storyboards to the production
itself. There wasn’t really an option to specialize yourself in
animation. The Dutch animation market doesn’t really work with
specializations so the school trained me to be a generalist. Because I
didn’t learn much about animation at the Utrecht School of Arts I taught
myself as much as possible. I was hired in 2010 as a 3D artist at
Mediamonks, a creative digital production agency, right out of school
and worked there for two years. In 2012 I started Animschool in class 4.
I showed my work to Tony Bonilla and he told me that I had enough
experience to skip the first 3 classes. After 3 terms at Animschool I
had to take a couple of term breaks to work on a feature film. I had the
opportunity to work as a 2D key animator at the Anikey Studios for the
Dutch feature animated film “Trippel Trappel”. Currently I am
working as a freelance 2D and 3D artist in my own company Anim.nl and
I’m back at Animschool to resume my classes. 

This term I’m taking the
Advanced rigging class as an in between class to learn how I can
make a high level facial rig and next term I will take class 7 in
Animation.



You seem to be comfortable with digital painting, rigging, modeling and animating. What area do you like the most and why?

Animating
is still my favorite area, I always loved acting and character
development. But the most fun for me is is to design, model, rig and
animate an entire character. It’s great to have control over the entire
process. To animate a character and make it come to life is always a
magical thing, but to make your own creation come to life, makes it
extra special. When I started to animate in 3D at school there weren’t
many great free rigs to work with like the amazing Malcolm rig that
Animschool offers for free. I had to work with rigs like the Generi rig, a
very unappealing basic free rig. Some of you will probably remember him
with mixed feelings, haha. This is one of the reasons that I wanted to
make my own models and rigs so that I would have appealing characters to
work with. This is also one of the main reasons why I picked Animschool
over the other schools to go to. Animschool has some of the most
appealing and professional character rigs that I have come across.



Who are the artists that inspire you?


There are so many amazing artists that
inspire me. Everyday I try to look at blogs with artwork. A couple of my
favorites are, David Colman, Peter de Séve, Greg Dykstra, Loralay Bove,
Ryan Lang, Pascal Campion, Barbara Canepa, and lots and lots more. And I
have a lot of very talented Dutch friends who inspire me every day as
well, specially the illustrations by Lois van Baarle and Wouter Tulp,
two amazing artists. And as for animators, I’m a huge fan of Glen Keane. I
love his animation style and the appeal his characters have. When I
went to CTN in 2012 I watched him animate the little Mermaid. That was
very inspiring to watch. And of course the animations by the nine old
men are a huge inspiration for me.




Can you share your process from start to finish on your shot with Mr. Bones for the Body Mechanics class?

That
animation was so much fun to make. I had an amazing teacher, Tim Crawfurd. He has over 12 years of experience working at Pixar. I
couldn’t have asked for a better instructor. It was also a coincident
because Tim is also from Holland. That was a lot of fun because we could
sometimes speak in our native tongue with each other and make small
inside jokes. The assignment for this term was to make a short pantomime
story with one of the simpler Animschool rigs. I loved the look of the
Mr. Bones rig so I decided to create my story around him. I knew it had
to be a Pirate story because Pirates are simply awesome! The idea for
the character to lose his arm came really quick to me but it was very
tricky to think of a way to communicate this idea to the audience. First
I had to establish that the character lost his arm and that he still
had to find out himself that his arm was gone. It all depended on the
timing of the animation. If he noticed his arm missing too quickly the
audience wouldn’t have noticed it themselves yet so they would miss the
punchline. I really had to think about a way to direct the eye of the
audience to the missing arm so. the yawn, and the looking for the arm
helped to stage out this scene. It also helped the performance to give
the character some real personality. After figuring out the staging and
the blocking I polished my animation, modeled the stage for the cave,
modeled and rigged the bat and did the lighting and shading. To really
finish the animation I asked Dave van Luttervelt, a very talented
composer, to do the sound design and music for me. I’m very pleased with
the end result. I hope you’ll enjoy it as well!






You
worked on Trippel Trappel, a dutch feature animation film. Can you tell
us more about the film, your role and what challenges did you face in
the production?


Trippel
Trappel is produced by il Luster in co-production with ViviFilm,
animated at Anikey Studios. The story is about a couple of pets who want
to celebrate the Dutch Holiday ‘Sinterklaas’. Sinterklaas is very
similar to Santa Claus, he also brings presents to children through the
chimney. The pets want to get presents too so they’re going to find
Sinterklaas to bring him their wishlists. The film is still in
production and will be released October this year in Dutch and Belgian
theaters. This will be the first fully hand drawn animated feature from
Holland since 1983. When I learned about this production I made an
animation test and the studio asked me to be one of the Key animators
for this film. In the studio they use TV paint and Wacom Cintiqs to
animate. Unlike the old Disney films I didn’t work on just one
character. More like in 3D I got an entire scene and had to animate
everything in it, so I had the chance to animate all the main characters
in the film. It was very fun to do but also very challenging especially
because I normally work in 3D and now had to animate by hand in 2D. I
had about two weeks to learn how I had to draw the characters and after
that I got my first scene. Because the movie is funded mostly by the
government there isn’t a big budget to work with. So I had to work very
quickly and still try to keep the quality as high as possible. It was
very challenging and hard work but I think it payed off.
I’m very impressed by the quality of the animations made by everyone in the
studio and I know that it will be a very beautiful film when it’s done.