Tag: animation tips Page 1 of 5

Setting Up Hot Keys in Autodesk Maya

Every animator wants to have a quick, clean, and organized workflow system that helps them animate more efficiently. Hotkeys in Maya can help achieve that and save valuable time. In this clip from a live AnimSchool lecture, instructor Justin Barrett explains how to set up these hotkeys, and how to manage the hotkeys in order to animate quickly and efficiently.

The Default and Duplicate Hotkey Sets

When you first open the Hotkey Editor in Maya, you’ll notice a default hotkey set, labeled “Maya Default.” This set cannot be deleted, so you can always revert to it. However, as you interact with the interface, Maya automatically creates duplicate sets to avoid accidental changes to the default set. These duplicates copy all the hotkeys, allowing you to make changes without altering the core configuration. Be cautious—if you switch back to the default set or jump between duplicate sets, you may end up with conflicting changes across multiple sets. You cannot merge sets, so, to keep things organized, it’s best to stick with one duplicate set and make all your adjustments there.

Categories and Runtime Commands

The Hotkey Editor organizes available commands into categories, such as “Menu Items,” “Editors,” or “Custom Scripts.” While browsing through these categories, you’ll encounter runtime commands, which are essentially single commands that trigger a sequence of other actions. When linked to hotkeys, you can execute complex actions with just a key press.

Managing Hotkey Assignments

To assign or change a hotkey, simply click in the hotkey space and input your desired shortcut. Maya will warn you if you’re attempting to assign a hotkey that’s already in use. You can override existing assignments, but be aware that doing so will remove the previous function attached to that hotkey.

Maya also displays the available keyboard keys and any current assignments. You can filter these by modifier keys, such as Shift or Command, to help you find an unused combination. Once you’ve made your adjustments, remember to save your changes to ensure they’re applied.

Tips for Efficient Hotkey Management

  1. Stick to One Duplicate Set: Avoid jumping between multiple duplicate sets to prevent confusion and conflicting hotkey assignments.
  2. Use the Search Function: Use the search bar to quickly locate specific hotkeys or commands, ensuring you’re not accidentally overriding important settings.
  3. Test New Hotkeys: Always test your new hotkeys to ensure they work as expected and don’t interfere with existing system-level shortcuts.

Watch the full clip from an AnimSchool lecture here: 

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

Animating the Eye Mask

One aspect of facial expressions in animation that is often overlooked is the eyelids. Typically, focus is placed on the more noticeable features, such as the eyebrows. However, the eyelids are just as crucial in conveying the full range of human expressions – they work tandem with the brows to create cohesive and believable facial movements. In this snippet from a live AnimSchool lecture, instructor Scott McWhinnie discusses what the eye mask is and how important it is to understand how it works in order to create unified, appealing eye poses on your characters.

While it’s true that eyebrows do a lot of the heavy lifting when it comes to expressing feelings like surprise, anger, or joy, the eyelids are just as important. The lids support the brows by reinforcing the emotional tone. If the eyebrows are raised in surprise, the eyelids should also reflect that motion—gently lifting or widening in response. If the brows are furrowed in anger, the eyelids will typically compress or narrow in the same direction. In the example below of Flynn Rider’s expression board, note how the eyebrows are the main driver of the emotion, while the shape of the eyelids supplement it by telling the same story.

The key here is unity – the brows and lids should not contradict one another. Working together and supporting each other allows them to convey a clear and homogenous emotion.

The eye mask typically refers to the entire region around the eyes, including the brows, eyelids, and surrounding area. By thinking of these parts as a whole, singular unit, it becomes more easy to ensure the consistency of expressions. When creating an expressions in animation, it’s important to consider how the entire eye mask stretches or squashes. For example, in a surprised or shocked expression, the eyes and eyebrows will both stretch upward. The eyelids will widen, the brows will arch, and the whole eye area will elongate. Conversely, for a more focused or determined expression, the eye mask may compress inward, with the lids narrowing and the brows angling downward.

While symmetry is important for certain expressions, asymmetry can add a lot of depth and nuance to a character’s face. For example, when creating an angry or surprised face, one side of the eye mask may be stretched out, while the other side will be squished to convey more emotional tension. This slight asymmetry can make a character’s expression feel more natural and dynamic, as human faces rarely show perfectly symmetrical emotions. A subtle shift in the direction the character is facing helps reinforce the character’s gaze and emotional direction, guiding the viewer’s perception and keeping the expression grounded.

To create believable expressions, treat the brows and eyelids as part of the same system. By using the eye mask concept, all elements of the face can work together harmoniously to express the same emotion. This leads to more natural, unified expressions.

Watch the full clip from an AnimSchool lecture here: 

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

Caricaturing the Face: Exaggerated Expressions

One of the biggest challenges in designing facial expressions for animation lies in deciding how realistic or exaggerated the design should be. Interpreting and adapting real-life references plays an important role, but it’s also essential to understand when to push the boundaries of realism to better convey emotion and expression. In this clip from a live AnimSchool lecture, instructor Hans Dastrup demonstrates using a reference image to create a more stylized and appealing pose for the face.

One key to effective facial animation is understanding the balance between mimicking real-life expressions and adjusting them to suit the character and animation style. Avoid directly copying facial expressions from reference material without considering the unique needs of the character, as replicating a facial expression exactly as it appears in real life does not always translate well in animation. Mimicking expressions can often result in awkward or less appealing designs, especially if the goal is to achieve clarity and emotional impact.

Matching the reference exactly.

To create a more visually pleasing expression, subtle changes, like simplifying, are often necessary. For instance, in the process of creating a smile, adjusting the mouth shape and adding slight asymmetry can go a long way, as real human faces are inherently asymmetrical and can help maintain a more natural look. A smile in real life might have one side slightly higher than the other, and exaggerating this asymmetry can enhance the character’s expression.

When working with the eyes, it’s important to consider the character’s anatomy. In animation, characters often have larger eyes with exaggerated white areas, which can make them appear more expressive. However, it’s crucial to avoid pushing this too far, as extreme eye shapes can lead to unnatural or unsettling appearances. By adjusting the eye shape slightly, such as making the lower eyelid flatter, a more balanced and appealing look is created without overdoing the exaggeration.

Adjusted eye and mouth shapes to incorporate asymmetry.

Another important consideration is the character’s overall design. For instance, in a happy character, a more graphic and simplified mouth shape may work better than trying to replicate a realistic smile. Pushing the design in this way helps to exaggerate the emotion and adds visual clarity, making it more readable to the audience. The expression doesn’t have to be entirely unrealistic must be entirely unrealistic—it’s about finding the right level of push to enhance the emotion without distorting it beyond recognition.

Pushing the final expression.

While it’s important to consider real-life references, animation often requires tweaking those references to fit the style and emotional needs of the character. By simplifying, adding asymmetry, and adjusting features like the eyes and mouth, animators can create more engaging and believable facial expressions that convey the intended emotion. Ultimately, the goal is to find the balance between realism and stylization to craft a performance that resonates with the audience.

Watch the full clip from an AnimSchool lecture here: 

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

Asymmetry in Hand Poses

When posing and animating hands, achieving a natural, organic feel is crucial. One key technique to achieve this is incorporating asymmetry, which prevents them from feeling too stiff or mechanical. In this clip from a live AnimSchool lecture, instructor Scott McWhinnie explains the importance of asymmetry in hand posing to boost the organic feel of the overall animation.

Asymmetry in hand poses can be subtle, but it makes a significant difference. One of the simplest ways to introduce asymmetry is through small changes to the silhouette of the hand. For instance, the pinky finger can stick out slightly, breaking the smooth curve of the hand and creating a more natural look. A slight tilt of the pinky or variation in the angles of the fingers can make a hand feel less uniform and more believable.

Give special attention to the spaces between the fingers. When fingers are grouped together, such as in a closed fist, ensure the angles between them vary. A slight overlap or variation in finger positioning adds to the organic feel. This is also true when the fingers are spread out—consider grouping the middle fingers or varying the negative space between them.

The thumb is another key area for introducing asymmetry. It can stick out when holding an object, adding a touch of realism to the hand’s shape. Making small adjustments, like slightly twisting or bending one or two fingers, can further break up the symmetry and create a more natural, less rigid look.

It’s important to remember that these changes don’t have to be extreme – keeping the hands as simple as possible will go a long way. Small, almost imperceptible adjustments can make a hand pose feel more alive and less “computer-generated.” The goal is to add just enough variation to make the hand look real, without overcomplicating the design.

By employing asymmetry—whether through the positioning of the pinky, the angles between fingers, or the slight rotation of the thumb—hand poses can feel more dynamic and true to life. Take a look at how the hands can be tweaked to help break up symmetry and consistency – and make them stand out with natural elegance.

Watch the full clip from an AnimSchool lecture here: 

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

Animating Eyebrows

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

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

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

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

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

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

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

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

Watch the full clip from an AnimSchool lecture here: 

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

Animating the Head

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

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

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

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

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

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

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

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

Watch the full clip from an AnimSchool lecture here: 

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

Storytelling in Staging

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

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

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

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

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

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

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

Watch the full clip from an AnimSchool lecture here: 

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

Cartoony 3D Animation – Tips & Tricks

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

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

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

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

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

Watch the full clip from an AnimSchool lecture here: 

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

Choosing Between FK and IK

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

What is FK (Forward Kinematics)?

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

What is IK (Inverse Kinematics)?

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

Choosing Between FK and IK

Both FK and IK have their specific uses:

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

Switching Between FK and IK

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

To switch seamlessly:

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

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

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

Watch the full clip from an AnimSchool lecture here: 

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

Flexibility, Force, and Energy in Animation

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

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

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

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

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

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

Watch the full clip from an AnimSchool lecture here: 

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

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