Category: student

AnimSchool Student Spotlight: Daniel Kraft

Hi Daniel! Can you start by telling us a bit about yourself, like your background, where you’re from and experience before AnimSchool?

I’m from California, The Sacramento area. I originally went to Expression College and studied animation and visual effects. I didn’t focus on animation initially but more of a generalist role learning a little of everything. Only near the end of my time there did I focus on animation. Later I worked over at Adhesive Games as an animator and wanted to polish my animation skills more and do some shot animation. I looked for a good school and that’s when I found Animschool.




Who are the animators that inspire you?

It’s hard to choose, I get inspired by all the animation I see. One animation that sticks out for me is Ryan Woodward’s “Thought of You”:

I love the movement and expression that he conveys with simple gestures. I also view Wayne Unten’s blog and love his simple quick animations. Its creative animations that make me just want to buckle down and get my own done.

Can you share your process from start to finish on your shots for the body mechanics class?


This was a really fun assignment. I started with a brainstorming session. I knew I wanted to get the most out of this animation that I could. I took some time to come up with a clever and fun way to tell a story. I made a web with all my ideas and how they could be done differently. I went through quite a few ideas before settling on this one. The next step for me was to plan out my shot, I didn’t want to build any props if the idea was going to fall flat. A few thumbnails later and I was confident enough to get into Maya a build my scene.
Thumbnail drawings for Daniel’s body mechanics assignment

I built the tree house trying to keep it simple as I could so it would match the character. I left out the rope till later and just imagined it as I animated.

Then I filmed reference. I didn’t have access to a rope swing so I found some reference online for that. I did have my brother and a friend drag me around the floor to get reference for the end:

After some notes on my idea in class I began to block out my scene. I did the main story telling possess at first and from there broke down the physicality of the movements. Then it was on to more blocking! I got it down to 3’s for most of it, I think, before I moved into spline.

Of course I had lots of notes from my teacher to improve my work. In the polish stage I would do a pass then play blast and write down everything that I could see and then do another pass. Then repeated that step a few times more. After I was happy with it I modeled and rigged the rope and put it in.

Continuing on that, your facial expression shot is very emotional, and the character really shows that. How was the process to convey such subtle internal feelings on the character, from start to finish?



My facial performance shot was a challenge. I had several different ideas and quite a few sound clips. I really tried to get into the head of the character. I explored how she would act, not just what she was saying. I wanted her body and face to tell what she was thinking as she said the line. Again, I shot a lot of reference. When I got into Maya and started posing I really took the time to sculpt each pose.

But after a round of crits I had to rethink my acting choices. I redid most of my shot and tried to catch up to the class. I was a bit nervous at this point because I had a long shot and had already been set back but I knew the changes really helped. In spline I actually did some exploration of subtle acting choices to find the ones I thought worked best. I was still behind schedule so I pushed through polish in a weekend!

What was the most valuable pointers that your instructors at AnimSchool gave on your assignments, in your opinion?
Planning pays off! If you don’t spend the time up front it doesn’t matter how well you polish a shot it won’t be as good. You need to lay the foundation of a shot and how its framed and how it plays out before you get started. Then you need to look at the foundation you just made and pick it apart and try it differently. Then you know you’ve got something good. Another great bit of advice is that if it feels wrong it is wrong. It might be animated perfectly but if it doesn’t feel right then it’s not. On the flip side if it breaks the rig but feels great use it.
Any advice for your fellow students?
Don’t be afraid to start an animation over. When you do it the second time it will be faster and better!!

We thank Daniel for this interview and be sure to check out his LinkedIn profile and Facebook.

AnimSchool Student Spotlight: Jilmar Altamirano

Today we are interviewing AnimSchool student Jilmar Altamirano. Jilmar is taking the 3D Animation Program at AnimSchool and is showing some real talent in his animations!


Hi Jilmar! Can you share a bit about yourself, where you’re from, experience with animation prior to AnimSchool, and background?
I’m 20 years old and I currently live in Gainesville, FL. I was born in Ecuador and when I was 12 years old I moved to the US. When I was little, like most kids, I loved watching cartoons and playing video games. In particular, a video game called “Skullmonkeys” which I really enjoyed. At that moment I did not know anything about animation, or that people actually could make a living off of it. A few years ago I remembered about “Skullmonkeys” and decided to get it again. I still loved it. That’s when I started to do some research about animation and began to practice stop motion animation. After months of doing stop motion, I switched to computer animation.

Skullmonkeys in-game animation



The first year of my learning experience I watched tons of tutorials learning as much I can about modeling, rigging, lighting, rendering, etc. I really enjoyed all of those, but animation was still my priority. Learning animation with tutorials or on your own is very limited. So I decided to take my education further. I did not choose a college because of the poor reviews a lot of them got and how expensive they were. I looked into online animation schools. Luckily I found Animschool. I was really impressed with the student showcase, and the characters were very appealing. So I applied and here I am blessed to be doing this interview, and to have a very supportive family, friends and instructors.



Who are your favorite animators and artists?
I really don’t have a favorite animator or artist in particular; but if I had to pick I would say the whole team responsible for creating The Neverhood / Skullmonkeys because without them I probably would have never found my passion for animation. I also look up to my Animschool instructors. They are all great animators who are very supportive which inspires me to keep pushing myself.
We can see a very good foundation on your shot for your Body Acting class assignment. Can you describe how the idea came up and what was your process?





The idea of having a Halloween theme on my animation just popped in my head for some reason. It could have been because Halloween was coming up and also because I wanted to use the awesome “BoneApart” rig.
I won’t take all the credit for the idea, my story was improved by my awesome instructor at the time, Trevor Young, and at a general reviews class with another great instructor, Tony Bonilla.
I did not know I was going to do a cartoony piece until the middle of my first blocking, but I just felt like it needed to be snappy and it would just add to the comedy of the shot.


For the blocking I always try to block on 3’s or 4’s, but since this was a very snappy animation I found myself having to block on 1’s in those transitions.

For splining, I find it easy because of how much time I spend blocking. I just have to go through all my curves, cleaning them up, making sure the mechanics are there and the arcs are clean.


For polishing, I would say I focused 75% of the time I had on the kid and 25% on the skeleton. Since the kid was the focus of the shot I tried to polish him as much as I could, going frame by frame checking that every arc was clean.


You also have a great shot for the Character Performance class. Can you share your process from start to finish?

Picking audio clip: When I picked this audio clip I was telling myself: “what have I done? This is going to be way too hard for me.” I had no experience with dialogue shots, so I knew it was going to be very challenging for me from the beginning.

I listened to the audio like a hundred times. The character sounded very crazy and manipulative. I pictured the character in my head but when I would try to act it out it just wouldn’t be the same.


Reference: My instructor, Marcelo Sakai, recommended me to study Mother Gothel from Tangled, so I did. I watched all her clips from the movie a bunch of times. I shot a lot of reference; I mean a lot, maybe like one hour of footage in total. I also had a lot of help from my wife who acted it out. She helped me see a more girly performance and she made some acting choices I would have never thought of.


Blocking: Finally got my reference and after the fourth or fifth week of class I had my first blocking pass. It had a few story telling poses maybe 4 or 5 with basic facial expressions.


Blocking Plus: I added a lot of breakdowns, blocked on 3’s and 4’s. I refined some facial expressions and blocked all basic mouth shapes.


Spline: I splined the body first, cleaned all my curves. At this point I found myself getting more into the character, and finding facial expressions that fit the dialogue better. After spline on the body was done, I splined everything on the face except the mouth. I cleaned those curves, and then moved into the mouth, pushing the shapes. I had a lot of fun with those mouth shapes.


Polish: At this point I focused mostly on the face and hands, going frame by frame checking every arc, even the arc of the corner of the mouth. Also pushed mouth shapes even more. Added more fleshiness on the face and I worked on the hair.


I am really happy with how it turned out at the end. All my instructors were very helpful and supportive throughout the whole term.


How did your instructors help you achieve the desired quality in your animations?
My instructors are very supportive. When you tell them your goals for the term on your first day of class, they won’t stop pushing you until you reach that goal. They are all very talented artists and that is why my animation has improved so much over the past year. I tried to attend to as many extra classes offered in Animschool as possible.
The General Review classes have been very helpful. The instructors there care about your progress as much as your main instructor.
I can’t thank all of them enough, and I can’t thank Animschool enough for having all these amazing instructors!

Any advice for your fellow students?

Always try to challenge yourself on your assignments, try different things you haven’t tried on your previous work, like different styles (cartoony or realistic), different workflows, if you have only animated guys, then try animating girls, animals, robots, etc. Experiment a lot.

Don’t give up! If your assignment isn’t coming out like how you hoped, don’t get frustrated just keep working on it, it will look great in the end. Don’t be afraid to ask for feedback.
If you send your reel to studios and don’t hear back from them, it doesn’t matter: just keep improving your reel, and keep sending it to more studios.
Work hard!


We thank Jilmar for his time, and be sure to check out his site, Vimeo and LinkeIn pages!

AnimSchool Student Spotlight: 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.

Here
is a small teaser of the film. This piece is animated by Marcel
Tigchelaar, our supervising animator. The official trailer will be
released around February.
This is the Facebook page of ‘Trippel Trappel’:

What do you think is the most important thing you learned at AnimSchool so far?

I
think the most important thing is to really think about your scene
before animating. Thinking about what is happening in the scene, what
the character is thinking. If the character says one thing but thinks
something else. How you can use staging and timing to improve the
performance of your character. Thinking about every eye dart and every
small movement why you are animating it like this and if that is the
best way to communicate an emotion or thought. Most of the time I work
on short projects with very tight deadlines and then I just start to
animate and see where I’ll end up. In Animschool I finally have the
chance to really take my time to focus on small details and work on my
acting skills.

We thank Nanda for her time, and be sure to check out her awesome works on her site, LinkedIn profile, Facebook Page, Vimeo Page and Behance!

AnimSchool Student Spotlight: Laura Loossens

We’d like to present you Laura Loossens, student of the 3D Animation Program at AnimSchool. Hi Laura! Can you start by telling us a bit about yourself, like your background and experience before AnimSchool?

Before I even thought of being an animator, I studied economics and languages in high school. After that I started psychology at the University of Ghent but I didn’t felt passionate about it. I did however love to draw but I never thought to be doing something creative in the future. Until the moment one of my friends suggested a brand new educational program, Digital Arts and Entertainment (DAE), that only recently emerged in Belgium which was specialized in all the things I admired: 3D, 2D, animation and video games.
During my 3 years at Digital Arts and Entertainment I learned a bit of everything, even programming which I failed for in my first year. I had some trouble in the beginning with all the courses, simply because everything was new to me.
Nevertheless I never worked this hard for something, just because I loved to do it! All the hard work paid off and at the end of my studies I won the prize of best 3D artist and together with my awesome teammates, we won the prize of best game!
After my studies I started working in a small visual effects studio where I did various jobs but my main function was modeler and shader. I learned a lot and got better each day but there was no growing possibility as an animator in the studio, so I made a crucial decision to start the animation course at AnimSchool!

What made you want to be a character animator?


My first source of inspiration came from the many Disney movies I saw when I was a kid and later on movies like ‘Ratatouille’,’ Cloudy with a chance of meatballs’ and ‘Horton hears a who’ were a big inspirations for leading me in the direction of becoming a character animator.
My second source of inspiration came during my last year at DAE when we got the chance to create our own short and were completely free doing so. I came up with a little story named ‘Little Rico’ and made the clip in a short amount of time. During the development, I probably looked like a zombie but I also had the most fun bringing my story and characters to life. This was a decisive moment, I knew I was going to become an animator.

Laura’s student short animation “Little Rico”

Do you have any favorite artists that inspire you?


There are many different people that inspire me since the internet provides us a variety of animation clips, and I get inspired by many of them. I’ve seen some of them over and over, just to get a better understanding on their appeal.
Also, I will always have a passion for 2D animation. It is a medium that appealed to me ever since I was young. When I look at the work made by the artists at Bird Box Studio I get really inspired by the perfect timing and simplicity of their clips.

Your Facial Performance shot is a great piece. Can you tell a bit more about your process from start to finish?


Laura’s facial performance assignment

The sound I chose was one that had been stuck in my mind for quite some time. The audio had so much personality of a sassy woman demanding a new drink in her own way. With that image in mind I started shooting different kinds of reference videos and I seemed to like acting like a sassy lady.


Laura’s video reference for her facial
performance assignment

I imagined her sitting at her desk or at a bar, or not sitting down at all, just to get different angles that could look appealing. I learned this by watching a reference shot of Garrett Shikuma that showed us his variety of reference takes, just to come up with appealing poses and ideas.
After setting up my reference I start to block out my shot. I only look for the key poses that could really sell the shot. My reference served as a solid base and helped to find the key poses and timing for my animation.

After that very first pass of blocking I go over the same poses and look if the timing is working and if I can push some poses even further.
Spline is the next step where I spend time adjusting my curves. Normally I would take a long time for blocking however my mentor at the time, Melvin Tan, had a different approach. He would block out the scene fast and start with spline, but the method I used was the opposite.

I decided to follow Melvin’s suggestion, since it is always interesting to try out different ways of working and understand what the benefits are. In the beginning I struggled a bit but soon I discovered the benefits of working this way. I could spend more time on the details and characteristics traits of the character.

Laura’s Character Performance assignment

What was the most challenging assignment you had to deal with so far? How did you manage to overcome it’s obstacles?


I think each assignment has its challenges. Every time I overcome one challenge there is another waiting in line. But these challenges are what makes me move forward.

In my case there was the assignment for the Body Acting class. We had the possibility to create our own story without sound. I came up with a funny story of a scientist that was inventing an invisibility potion and was searching for the last clue. When he finally found it and tested it, he bumped over his potion on the chalkboard with his formula written on it.

While making this clip, I had difficulties getting the timing and poses correct. My instructor at the time, Tony Bonilla, was hard and honest. He kept pushing me in the good direction and I never gave up, even when I had to redo all my poses to really push them.

Even the latest version is not completely finished, but I had overcome so many challenges with that assignment that the following terms became a bit easier to complete, since I was better prepared for what was coming.

Laura’s Body Acting assingment

What do you think is the most important thing you learned at AnimSchool so far?

Laura’s Run and Jump assignment on Animating Characters class

Make the best of all the time you get with your instructors! Anthea Kerou taught me how to create a good base for animation, Tony Bonilla and Garrett Shikuma the importance of each stage of animation and Melvin Tan how to give your character more personality.

Listen to the feedback you get not only from your instructors but also from you fellow students. Always be critical of your work. Keep trying to get better and never think you are doing bad, since each step you take will bring you closer to your goal!

Thanks AnimSchool!

We thank Laura for her time and be sure to check out her Blog and her LinkedIn profile!