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



Facial Expessions for Rigging with Niko Sanghrajka

In this clip from AnimSchool’s Advanced Rigging class, instructor Nico Sanghrajka shows us that it is just as important to study facial expressions for rigging as it is for animation.

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

Class lecture on Timing by Ben Rush

In this lecture for Body Acting class of AnimSchool’s 3D animation program, Pixar animator Ben Rush touches the following important points regarding Timing::


a: Why the bouncing ball is crucial to understand timing.
b: How it helps bringing all the elements in a scene together. He gives example of an orchestra.
c: What does “floaty, swimmy animation” mean and how you can avoid it.
d: How crucial timing is to help deliver a comedic punch.

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

Head Modeling with Adam McMahon



In a lecture from AnimSchool’s ZBrush Modeling class, Blue Sky Studios Modeler and our instructor Adam McMahon shows us his method of creating a base head model. 


While the fun may come later, it is very important to have a simple, accurate base to start from. Correctly blocking out the main forms early can eliminate the need for any major changes down the line.






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

AnimSchool’s New Game Character: Griffon

 

United States – Jan 18, 2016 — AnimSchool is proud to
present our newest game character, Griffon, exclusively for AnimSchool
game animation students.

AnimSchool is the leader in appealing, flexible characters. Our students
animate with the most refined, advanced characters, using the popular AnimSchool Picker.

Griffon was designed by designers EliOli.

AnimSchool game rigs are built to export to the Unity engine for animation testing.

To use Griffon, apply to an AnimSchool program or individual class with game emphasis.

AnimSchool characters and the AnimSchool Picker are used by more
than 20,000 users worldwide, and have been used to win numerous
animation contests and for commercial needs. AnimSchool is known as the
most trusted name for appealing 3D characters.

With over 200 students, AnimSchool
was founded in 2010 to bring character-focused 3D animation instruction
to students all around the world, through live online sessions with the best film and game professionals.


AnimSchool
admissions@animschool.com
555 South State Street, Suite 315
Orem, UT 84058
801 765-7677

AnimSchool’s New Malcolm 2.0

United States – December 8, 2015 — AnimSchool is delighted to announce the public release of our new Malcolm 2.0 rig. Our crowdfunding backers and students have been using him for
months, and today we release Malcolm 2.0 to the
community. This is possible because of the generous support during our
crowdfunding campaign.

Animator Cody Lyon

Malcolm 2.0 is a free 3D animation character rig for Autodesk Maya available from AnimSchool. Malcolm 2.0 was re-rigged to accommodate wardrobe changes. We’ve
added tons of wardrobe and hairstyle options to him, giving him all
new geometry to support all kinds of configurations, including bare feet.

(Mad scientist and Cowboy outfits are exclusively for crowdfunding backers and our students.)

Malcolm
has been an industry icon for years — possibly animators’ most popular
free 3D character in the world. The face is very advanced, very
malleable — yet he plays nearly in real-time. He’s been used for school
assignments, to win awards, short films, and even commercial projects.

We’re so happy to see Malcolm used by so many around the world.

More than 20,000 people have downloaded Malcolm and the AnimSchool Picker–and they’ve always been free.

AnimSchool is the leader in appealing, flexible characters. Our students
animate with the most refined, advanced characters, using the popular AnimSchool Picker.

Animator Cody Lyon

AnimSchool rigs are built with each part and control being tested to extreme levels, making the strongest poses possible.

You can see the range of motion and poseability you can achieve with Malcolm 2.0.

To use Malcolm, download him from our site and install AnimSchool Picker.
To learn more, apply to an AnimSchool program or individual class.

AnimSchool characters and the AnimSchool Picker are used by more
than 20,000 users worldwide, and have been used to win numerous
animation contests and for commercial needs.

With over 200 students, AnimSchool
was founded in 2010 to bring character-focused 3D animation instruction
to students all around the world, through live online sessions with the best film professionals.

Malcolm 2.0 Introduction animation by Jean-Luc Delhougne.

Images courtesy of Animator Cody Lyon.


AnimSchool
admissions@animschool.com
555 South State Street, Suite 315
Orem, UT 84058
801 765-7677

AnimSchool Modeling & Rigging Student Showcase 2015

AnimSchool is proud to present our Model / Rig Student Showcase for the past year. Great work, AnimSchool students!

Apply to be a student at: www.animschool.com

AnimSchool Student Progression: Juan Diego Lugo

We caught up with AnimSchool Student Juan Diego Lugo to ask him a few questions.
Juan has just completed his final course at Animschool. Since enrolling at AnimSchool in January 2014, his modeling skills have grown considerably. But don’t take our word for it, why don’t you take a look for yourself?

1. How has AnimSchool helped you grow as a modeler?


AnimSchool simply provides an enormous amount of resources, knowledge and help for a modeler in the making. The impression that struck me from the very first introductory class was that modeling requires particularly keen attention to detail, as it is the convergence of design, technology, anatomy and craft. As I got to more advanced classes, this impression only solidified. As a result, our own judgement changes, we scrutinize things more, and we develop a deeper appreciation for good craft wherever we see it.

On top of all of this, and what makes AnimSchool uniquely powerful in this regard, is that we have incredibly talented individuals giving us critique. Luis Labrador, Brien Hindman, Juan Pablo Chen, Dylan Ekren, and Dave Gallager to name a few. Amazing artists with real world experience who not only teach us concrete truths about modeling, but more profoundly, who they are as artists and humans ultimately changes you, it motivates you and inspire you to push for better work – you only need to put in the time.

I guess it’s hard not to improve when you surround yourself and learn from these deeply influential artists, and really talented classmates who become your friends along the way. I guess every school or service or enterprise boils down to how good its community is, and I’ve found that this community is as kind and receiving as it is talented.


2. Tell us about yourself and how you got into 3d



I was born in Venezuela and lived there until I was 17. Getting a computer from a very young age exposed me to a whole new world of animated games and digital art, and it didn’t take long for me to start learning how to create things. Eventually I found happiness in doing that.
Venezuela, even then, was a dangerous country. But here I had an escape from it with technology and art!
Sometime growing up I also met someone who was very influential in my life, and whom I admire. He studied 3D and was able to do amazing drawings and animations, and I think he gave me the confidence and the necessary mentorship to start playing with different 3D programs like Blender, Maya, and Cinema4D.

3. Are you currently working in the industry? 


I’ve been working for a little over a year remotely as a Rigging Artist for a studio based in California. Still, I would like to find something where I can be on site as well, perhaps something more involved. I’m hoping I can do that soon, after graduating and producing a new demo!


4. So you can rig and model! How has knowing both fields benefited your work?

I’ve been able to fill out gaps between modeling and rigging. I think knowing two areas deeply related to one another gives you a competitive edge, and the freedom to just do more or be more useful.
In my work environment I’m more critical of topology and how important good topology is for deformations, (specially in gaming where there are limitations from the engine) and that can potentially save you and others quite a lot of time.



5. Tell us about your tank girl model!


Well – the concept for her was made by Cory Loftis and when I first saw it, it really hit me. It has so much personality. Then it was just a matter of doing it, and Advanced Modeling in ZBrush was the key to learning how. Over the course of 11 weeks, we gathered references and started going for it. Our instructor was incredible, and we would get just on point critique and lessons on how to improve.. this process happened again and again, until she was finished, and even though I’m very happy with the result, I’m even happier of the things I learned, because it opens the door to a world of characters we can take on the challenge of doing in 3D.


6. Care to share one of the things you learned?


I gave this one some thought.

When working on a model or a project, the last 10% of the work takes as much as the last 90% of it.
It’s simple but profound – we often feel like something is finished when we could push it so much more.

The last 10% takes as much time and effort as the 90% that led to it.

7. So have you ever revisited one of your models you once called complete?


I haven’t, at least not yet. I feel more inclined to take on new projects with what I’ve learned from past mistakes – and this stills in me a sense of excitement as well. But it is in no way a bad idea, and it is ultimately necessary. For example, for my next demo reel, I’m sure I will have to revisit and mend a lot of things if I plan to present them next to newer, better projects, or else I run the risk of people thinking I have bad judgement or bad taste.









8. Do you have foundation skills in traditional forms of art?


Yes, I have a bachelor in fine arts, which sounds loftier than it is. I learned to draw using charcoal, but we also learned clay sculpting and baking. Even though I don’t use traditional mediums anymore, I wish I still did. Yet every bit helps and reinforces
3D skills, I think.


9. You’ve made some great progress since taking your first class at AnimSchool. Do you have any advice for those who are just starting out?


Yes, absolutely. I would urge everyone to try to connect beyond the classes with the other students that are putting in their time and effort. In my case, a few of the people I met on my first class accompanied me until the later ones, and doing google hangouts with them allowed us to critique each other while working on our projects, and that was great! I’d also recommend trying to do every art class, even if you don’t draw; you will learn a lot. Lastly, I’d recommend taking advantage of the general reviews available during the week, because the feedback is very, very useful.


10. Thank you, Juan. Any last words for our readers?


I think I’d just like to add one last comment.
And it’s to echo a tweet from one of my instructors here. He said we are responsible for our own success. And I think it’s awfully true. It’s easy to fall on the trap of thinking there are magic buttons, techniques or plugins or software, but it comes down to discipline and determination and love for the craft.


———–


Thank you, Juan Diego Lugo for allowing us to share your progress and for taking the time to speak with us! If you’d like to see more examples of Juan Diego Lugo’s work, check out his ArtStation !

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