Today we have a look at some very important terms that you should keep in mind while writing a story – namely the premise and theme, the central image and central question as well as the controlling idea. These are valuable tools to make sure that you are creating an engaging and meaningful plot.
Whether you’re a 3D animator, stop motion, traditional 2D, or anything in between, having a certain comfort level with a pencil in hand is extremely valuable as an artist. Here are five opportunities to raise that skill level and vanquish the fear of an overwhelming blank white page!
This week marks the Thanksgiving holiday in the US, and to celebrate we’re going to dive further into the “life” end of tips and tricks. But it still relates to animation so read on!
Recently I’ve seen a lot of discussion between animators regarding how fast you should be animating. How many seconds per day need to be complete? What’s “normal” in the industry? Are you going too slow? Let’s step back and take a look to see if we can set the record straight.
During my research for the big posing series I found the following pictures that illustrate perfectly how close a good pose is to a great pose. It’s amazing how much more energetic and powerful they are when you actually manage to find that little extra tweak that conveys dynamic, experience and attitude.
A lot of people think that the best style for an animation film is the style that Disney and Pixar have established and mastered over the years. And true, their films often come close to perfection and are an example of excellent craftsmanship, but animation has so much more to offer… or shall I say, less to offer… Reduction is a powerful tool to make your animation stronger. Not every film needs the fluid motions of a Disney masterpiece, not every CG picture needs realistic light bounces and waxy skin shaders of a Pixar blockbuster.
It’s time for the grand finale of our posing series. So far we had a very microscopic look on how to improve one single pose, but we should never forget that we always have a whole bunch of poses in a row that make one continuous animation and often times more than one character. This article is about how you connect poses in time, use impulses to get from one position to another and make sure the whole sequence is readable and interesting to look at. -CONTINUE READING-
Kevan Shorey was kind enough to send along a terrific tip regarding pupil movements during blinks. By allowing the pupil to drop and resolve along WITH the lid, you can add a subtle bit of animation that instantly injects life and soul without much extra work!
The are no shortage of websites for an aspiring (or experienced) animator to become lost in. Unfortunately more does not equal better. Since you should be spending as much time as possible actually doing animation, you want to get right to the good stuff online and avoid any places that eat up your time and give nothing back!
Since nearly its inception, animation has been used to entertain but also for profit. In more recent days, the commercial aspect seems to have overwhelmed the artistic side, with cash-ins and sequels galore. Today Charles Kenny takes a look inside this juxtaposition to see if the two can play nicely together.