Tag: animation tips

Appeal in Animation

Appeal is often a misunderstood term in animation. It doesn’t just mean creating a cute, cuddly, and beautiful character. Any character can and should be appealing, from heroes to villains. 

Appealing animation is what keeps you watching, whether it be good or evil, beautiful or gruesome. Appealing animation captures your attention and hooks you into a scene.

What is appeal? 

Appeal is the ability to attract, interest, amuse, or stimulate the mind or emotions. Appeal is subjective. 

2024 AnimSchool Student Showcase – Carl Nyasore

2024 AnimSchool Student Showcase – Leticia Lozano

2024 AnimSchool Student Showcase – Seyed Tabatabaei

To help understand the nuances of appeal in animation, AnimSchool Instructor, Matthew Sheppard, has come up with an easy-to-remember and easy-to-navigate acronym, CRAISINS:

  • Complexity: used to support area of interest, or draw/lose attention to create clean contours/silhouette/shapes; think about what is competing for attention
  • Readability: clarity and legibility of the pose – potentially going beyond the accuracy within the 3D space to ensure the pose is effective
  • Asymmetry: weighting the face and body to support the line of action; using the “wedge” properly (opening up the character towards the action/who they are speaking to)
  • Intent: is the intention of the pose clear? Is there enough information to interpret the intent of the scene, thought, or action? Find the right balance to keep the intent of the pose/animation clear and decisive – do not be ambiguous; intent should be made clear during planning stages!
  • Silhouette: Clean up lines and contours to support the line of action/pose; hide tiny bits of information to strengthen a pose or add information to draw the audience in
  • Negative space: used to help direct the audience where to look either by creating or eliminating it
  • Simplify: reduce the information the audience sees or the amount of keys used to clarify the ideas and actions

Watch the full snippet from an AnimSchool class 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/

2024 Student Animation Showcase

The highly anticipated 2024 Student Animation Showcase is here! Watch the amazing work of AnimSchool students from over the past year featured in the annual showcase. Each year, students choose audio clips from various TV shows, films, and other media and reimagine them into a new animation with guidance from AnimSchool instructors who actively work in the industry.

This year, along with the release of the showcase, AnimSchool held a livestream with some of the animators whose shots are featured in the showcase to discuss their inspirations, workflows, and other behind-the-scenes information related to their work. Check out the livestream (link below) to hear the unique perspective and insight that each animator has to offer.

Sarah Crepeau

Noemi Rajczyba

Heather Vidal

Daniela Lobo Dias

Many of the audio clips featured in the showcase include Bo Burnham’s Unpaid Intern Song, Donna Champlin’s CW “Crazy Ex-Girlfriend,” “The Break-Up” movie, “Booksmart”, “The Straight Story,” “Adman” short film, “Requiem for a Dream” movie, a “Funny Or Die” skit, “Young Sheldon”, “The Producers” movie, musical podcast “Loveville High : Episode 1”. “We have a Ghost” movie,  “The Equalizer” tv series, “Anthony Starr, The Boys Season 3”, “Desperate Housewives” tv series, TikTok video by @freshmozzerella, “The Lighthouse”, BBC interview with Judi Dench, “Dungeons and Dragons” movie, Neil deGrasse Tyson interview, Chris and Jack YouTube episode “Future Ex-girlfriend”.

The showcase and livestream premiered on YouTube on May 21, 2024. Watch below:

AnimSchool Student Animation Showcase 2024

AnimSchool Student 2024 Showcase Livestream with the Animators

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 Animation

What is the role of an animator? Is it to have the best spline pass? Is it to have a masterful lip sync? At its heart, the role of an animator is to be a storyteller. As animators, we have to bring characters to life – but it’s our choices, how a character jumps, how a character sits, even how a character breathes – that tell the story underneath. 

From a walk cycle to a dramatic all-out fight, every decision made by an animator can tell a different story. Similar to a painting, posing in animation is an integral part of storytelling, every frame gets sculpted, every pose is thought out and together the sequence can become a masterpiece. 

In a snippet from a live AnimSchool class, Brendan Fagan takes viewers through the main role of an animator as a storyteller by explaining how the fundamentals of storytelling can be combined with the principles of animation to produce unparalleled animators.

The Role of an Animator

  • To help tell the story
  • To entertain the audience
  • To bring characters to life
  • Use acting skills to communicate ideas
  • Creating a variety of animation styles
  • To make adjustments according to feedback of directors or supervisors
  • Work to a deadline

Animators are actors! Understanding how to create appealing and entertaining poses to help communicate the story to the audience is a crucial part of an animator’s job.
(Animation by AnimSchool graduate Catarina Rodrigues)

Telling the Story

  • You are writing a story with pictures; goal is to entertain the audience
  • A picture is worth a thousand words – an idea can be conveyed with a single image/single pose
  • Any good story has a beginning, middle and end – your animation should, too!
  • Know where your scene fits within the wider story; know where your character is coming from and going to so you can apply the overarching theme to your process
  • Each animator, if given a story, can come up with a different visual representation to best convey it
  • Avoid cliche ideas – make things unexpected!
  • Keep it simple!

What is the main character feeling here? What might the story be? What hints from his body language, facial expressions, etc., help to convey that?
(Animation by AnimSchool graduate Piotr Jalowiecki)

Storytelling Factors

Stories generally have a three-act structure: setup, conflict/obstacle, and resolution. Even in short scenes, the three acts are still present, but may not be as noticeable or traditional with how they appear.

Reflect on some questions about the story you are trying to tell: 

  • What is the situation?
  • Who is the character?
  • What is the character trying to accomplish?
  • What is the outcome?

(Animation by AnimSchool graduate Marcus de Andrade)

Considering this information and familiarizing yourself with the overarching story can help you become a better visual storyteller through your animation. 

Watch the full snippet from an AnimSchool class 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/

Posing the Mouth in 3D Animation

Whether you are animating a complicated Lip Sync or just posing a character to look their best, there are two details that are often overlooked: the teeth and the tongue. 

When a character has their mouth closed, their teeth can be ignored. What about when they are smiling, laughing, crying, or any other open-mouthed emotion? That’s when the teeth come into play. 

The answer is simple: don’t get caught up in 3D – take it back a step and think about what looks most appealing. AnimSchool instructor Rohini Kumar explains to approach it as a 2D drawing and think about the small details as a sketch artist would. By combining that perspective with the insight of an animator, you can create more appealing asymmetrical poses that not only look right, but feel right in motion.

Teeth

  • Favor the upper teeth for a smiling or relaxed mouth, lower teeth can sometimes follow the opposite arc
  • Shape the teeth to follow the curvature of the mouth/lips
  • cheat the natural position of t he teeth
    • Seeing the back teeth breaks appeal – rotate the upper teeth to hide the back
  • Create symmetry between the shape of the teeth and the mouth corners
  • Distance between the teeth lines should be similar
  • In more subtle smiles, create appeal by converging the teeth and mouth corners

Tongue

  • Very rare to open mouth and not see the tongue except in extreme angles
  • More appealing to show the tongue than a black gap, but may depend on the shape of the sound
  • Tongue helps to hit your lip-sync, especially when talking rapidly

Rohini explains to treat the tongue like a drawing, rather than a 3D object. Keep it simple – ensure that the curvature of the tongue is clear and that the viewer does not see any extraneous geometry at the base of the tongue, behind the tongue, etc. In a more relaxed position, the tongue can be “cheated” to sit back and tilted in the direction that the character is looking.

Additionally, consider when the tongue may be distracting from the overall animation – Rohini mentions that “N” and “S” sounds can often get away with not showing the front of the tongue flashing in and out to reduce distractions.

Watch the full snippet from an AnimSchool class 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/

Follow Through and Overlap: Animation Tips

Follow through and overlap are essential principles in animation, adding depth, realism, and fluidity to movement. These techniques not only enhance the visual appeal of animations but also convey a sense of weight, mass, and physics, making the animation more believable and engaging to the audience. Mastering follow-through and overlap empowers animators to breathe life into their creations, elevating the art form to new levels of expression and immersion.

Pro Animator and AnimSchool instructor Philip Hall explains these concepts and how they are used in animation to break up movements.

Key Concepts:

  • Follow Through: Separate parts of a body or object will continue to move after the action has been completed, or after the body has come to a stop
    • Example: When throwing a ball, your arm continues to move after the ball has left your hand; swinging the arm “through” the ball
  • Drag: Parts of a character or object trail behind in an action
    • Example: Flowing fabric or hair will trail behind the body/head
  • Lead & Follow: One section of the body goes first, and another section of the body goes after until all parts of the body have arrived at the next pose
    • Example: Getting up from laying down – the head might lead the action, then the rest of the body follows in an arc
  • Successive Breaking of Joints: As one object leads an action the successive joints bend or “break” in the opposite direction; Joint 1 breaks, then Joint 2, then Joint 3…
    • Example: When raising an arm, you might lead with the upper arm, then elbow, then wrist, then fingers

Philip demonstrates the concept of follow through with a ball and “tail” rig, showing how the tail drags behind the movement of the ball as it moves forward and hits an invisible wall. Once stopped, the back-and-forth movement of the tail is likened to the repetitive motion of a door stopper when flicked.

Watch the full snippet 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/

The Key Poses of a Run Cycle

Disney Animation Supervisor and AnimSchool Instructor Angelo Sta Catalina shares his best tips on animating a run cycle.

In this snippet from an AnimShool class lecture, Angelo discusses the key poses and principles that make a run cycle come to life. Angelo breaks down key poses including the contact, down, push, and peak, providing valuable tips for naturalistic and stylized runs while preserving the core principles of body mechanics.

A run cycle shares many poses with a walk cycle, which typically consists of a contact pose, down, passing, up, and back to the contact pose. However, there are some crucial differences – in a run, the character is in the air for longer than they would be for a walk, resulting in some different key poses.

Run Cycle Key Poses

Contact > Down > Push > Peak > Contact

Contact: Front foot (typically heel) makes contact with the ground
Down: Lowest, most “squashed” pose; the leg in contact with ground is bent
Push: Starting to “push” off into the air; in some cases, this pose may already be fully in the air
Peak: Highest pose; character is fully in the air, and knees generally stay still from previous pose

Reality vs. Exaggeration

When creating your poses and observing them in your reference(s), think about how exaggerated or realistic you want the run cycle to be. 

In Angelo’s reference of a track runner, he points out a few characteristics that make the run cycle appear more true to real life: in the contact pose, the runner lands on the ball of the foot rather than the heel. The feet are closer together, and the leg that makes contact with the ground is closer to the center mass of the body.In more exaggerated runs, animators might have the character’s foot land farther away from the body; in these cases, it is the heel that makes contact with the ground to compensate for the distance of the foot. 

To achieve the feeling of a weight shift, Angelo recommends looking closely between the contact and down poses. In the contact pose, try to find a straight leg, then contrast that with a bent leg in the down pose. In a more realistic and natural run cycle, the runner may not always completely straighten their leg – animating with this in mind can result in a more realistic animation. However, keep in mind that pushing the poses to have a straight leg can help with the clarity of the overall mechanics of the run. 

Be Aware of Tangents in Your Poses!

Tangents are common occurrences in reality, and you may end up with some in your animation, especially if you are using a realistic reference – just be sure they are intentional, or make small adjustments to avoid them!

Watch the full excerpt from an AnimSchool class 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/

Crafting the Perfect Animated Pose

In animation, the significance of well-executed poses cannot be overstated. Posing is the foundation upon which character expression, emotion, and storytelling are built. A carefully crafted pose communicates the essence of a character’s personality and intentions, providing vital visual cues to the audience.

AnimSchool instructor Aleksander Kolev explains how to find appealing poses, and how they can be used effectively in your shots.

Asymmetry
Having both asymmetry in the face and body will keep your poses interesting. Depending on how realistic or unrealistic your shot is, you can push and pull exaggeration in certain places to create asymmetry. This can include subtle changes like raising an eyebrow and tilting a hip, or more extreme changes like stretching the eyes and head. 

Aleksander also mentions that he uses > and < as a guide to dictate directional poses, such as where a character is looking. For instance, if a character looks to the left, the facial features and head will be positioned so that implied angles form in a > shape to drive the character’s action. (See pink draw-over lines below)

Shapes
Shapes help to define and simplify poses. While it may seem like more of a 2D concept, thinking with shapes can be helpful to create contrast throughout different poses, in both 2D and 3D. Aleksander shows an example of a scene he worked on from Hotel Transylvania, in which a round mummy character, Murray, dances. He explains how he pushed the stretching and squashing of the character to imitate vase-like shapes, and posed the arms in such a way to create flow throughout the form. 

Line of Action
The line of action is the most general line of flow through a character’s body. It helps to focus the audience’s attention, give the character energy and flow, and clarify the character’s pose. Tom and Jerry offers some great examples of utilizing the line of action to depict how energy is transferred with clear posing and action.

Silhouettes
Silhouettes are essential in defining a clear idea of who the character is and what they are doing. When the audience can identify the character and action just from looking at the blacked out shape, it means you have a good pose. Oftentimes silhouettes can be simplified into a general shape that defines the flow and overall form, but more complex and less cartoony animations may result in more complex silhouettes as well. Watch out for tangents as poses and silhouettes get more complex with overlapping objects! Keeping readability in mind is key for crafting any pose.

Watch the full excerpt from a live AnimSchool lecture below:

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/

The Basics of Animation Smears

Smear frames bridge the gap between individual frames, contributing significantly to the illusion of smooth, lifelike movement. These subtle, elongated, or stretched frames create a sense of speed, impact, and energy, enhancing the overall visual experience. By strategically distorting shapes and lines, smear frames add finesse and character to the motion. 

AnimSchool instructor Mitchell Jao explains why smear frames are necessary in standard 24fps film animation. Oftentimes, 24 frames per second simply isn’t enough to capture quick motion, and can result in a choppy-looking animation. However, animators can find ways to use this to their advantage and exploit the frames by adding smears and multiples.

Smear Basics
Smears are used to connect shapes that are spaced far apart, mimicking the idea of a motion blur between them. The degree of motion blur occurs as a result of the shutter speed of cameras; at 24fps, the shutter speed is roughly 1/48th of a second. For something like sports photography, the shutter speed would be much faster to capture the shot clearly and with little to no blur for a “freeze frame” type of shot.

The quick action of smears can also be used to hide mechanics that don’t always logically make sense – Mitchell points out a scene from Ice Age: Collision Course, where a Dino Bird quickly shifts his arm behind his back in a seemingly impossible movement, hidden by the smearing circular movement of swinging another character around.

Multiples and Ghosts
Ghosting can be used like smears, but, when used improperly, can feel like a stuck frame. Ghosts are best used when the movement is so quick that the motion is illegible without them, such as a limb scramble.

Mitchell explains that he prefers to use multiples in a rapid repetitive movement, rather than a singular wipe.

Be careful!
While it is important to utilize squash and stretch, using too much can result in the loss of form, especially if the character or object is meant to be more solid. 

Watch the full excerpt from a live AnimSchool lecture below:

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/

Walk Cycle Animation Tips

AnimSchool instructor Janel Drewis breaks down the basic steps, and how video reference is used as an aid to achieve believable character movement.
Achieving a natural and convincing walk is deceptively simple. A successful walk cycle animation requires a keen eye for the intricacies of human movement. It involves mastering complex details such as weight distribution, timing, balance, and coordination all while ensuring the character’s movement matches their personality.

Walk cycles do not employ any one specific Principle of Animation – a good walk cycle incorporates each principle in some manner. Because walks are so familiar to the human eye, audiences are extremely aware and can easily identify when a walk looks off or is not believable.

Main Poses of a Bipedal Walk Cycle

  • Contact: front heel makes contact with the ground
  • Down: hips are at their lowest; “bottom” position
  • Passing: back leg passes the front leg
  • Up: hips are at their highest; “top” position

Walk Timing
In a standard walk cycle, the four poses above are spaced evenly throughout. Most people walk “on 12s,” which means they take one step every 12 frames, or roughly two steps every second at 24fps. Animating walk cycles on 16s or 8s was more popular in older 2D animation because animators did not have to split the drawings on thirds like they would have for animating on 12s.

Other Tips
When looking at a reference video, make note of how much the hips drop/rise and how straight/bent the legs are. Additionally, pay attention to the spacing of the feet between frames; this will affect the ease in/out between steps.
To loop your walk cycle, ensure that the pose of your final frame matches your initial frame – you can do this by copying and pasting the initial frame. This will ensure seamless looping. To play this loop continuously, select everything and activate Curves > Pre Infinity > Cycle with Offset and Curves > Post Infinity > Cycle with Offset.

Watch the full excerpt from a live AnimSchool lecture below:

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/

Animators are Actors

AnimSchool instructor Masha Juergens explores the process of getting into character from behind the camera. 

Acting for animation is a unique art form, where animators bring characters to life not just with the use of technology, but through the use of their own physical and emotional performances. With boundless creativity, they craft compelling personalities that resonate with audiences of all ages, making animated worlds come alive on your screen.

Animators vs. Actors

  • Animators focus on externals in characterization and caricature (facial expressions, body movement, emotional reaction, etc.)
  • Actors, by contrast, learn specifically notto focus on these things because they are “results” – you cannot act results.
  • As an animator, you must understand what your body is doing, what your emotional status is, etc., and translate all of that into a digital space and onto a model.
    • The challenge comes from making your audience feel like your character is alive, not because they are moving around onscreen, but because they are thinking and have a personality that makes them unique!
  • You don’t have to be a physically great actor to be a great actor in your mind, and in turn a great animator!

Becoming a Better Actor

To get better acting in your animations, you must become a better actor. Get into the head of your character – try to figure out and better understand where they are from, what their personality is, what their motivations are, etc. It’s not just about portraying a clear external (happy, sad, etc.) – try to look deeper for an internal feeling, or consciousness. 
Identify the character’s emotional state and use the thought to drive the action, not the dialogue. When there is a change in the character’s emotional state, change the character’s main pose. Be careful here: don’t change poses simply because there is a new emphasis in the dialogue!

Adding Beats in Animation – Emotional Hang Time

When a character is feeling one emotion and something happens to make the character feel something else in the same shot, the character needs to have a moment to process before the emotional change can take place. Building beats into the animation can show that the character is mentally absorbing and processing the events that are occurring in the shot. These moments can be quick, but readability is key.


Watch the full excerpt from a live AnimSchool lecture below:

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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