ask: animation tips

Hey folks, Paul here for MOTION MONDAY! Last week I posted some bouncing balls, and this week I’ve got some do’s and don’ts for animating them.

The example above (not perfect, but good enough for government work) shows that bounces should travel in arcs. This is because:

  • Change of direction at the apex is gradual, making a curve.
  • Change of direction at the impact is sudden, making an angle.

Let’s see what happens if we use too many angles:

If every change of direction is angular, there are no arcs; it looks like the balls are hitting an invisible bumper in the air.

Now, let’s see what happens if we use too many curves:

If every change of direction is curvy, we lose the sense of impact; it looks like the balls are fish jumping in and out of water.

Arcs are a major part of Disney’s 12 Principles, but that doesn’t mean “always use an arc for every motion.” It’s important to know when to use arcs, and when to use angles instead.

For anyone learning to animate, I hope that’s helpful, and stay tuned for more!

anonymous asked:

Do you have any tips on how to animate smoothly? 😶 you are fantastic

Aaaaah, thank you so much!!! I’m by no means an expert, like, bY NO MEANS, buuut here’s some of what I learned this year in school!

When we animated in class, we were encouraged to draw each frame quickly! And by encouraged I mean our TA timed us with a stopwatch to make sure we flipped on time. It was terrifying.

But! Working fast means that you don’t get caught up in a single moment and instead think about the action as a whole. You can always go back and add more details later, but roughing should be done quickly so you don’t pour a ton of effort into something that ends up looking stiff!

Acting things out and using references makes you think about how an action looks, rather than just how you imagine it looks. Obviously there are some limits here– for example, you can’t observe someone turning into a card. However, you can look at similar motions to what you want. Observe, then work. Try not to copy too directly if you can avoid it!

And exaggerate motions when you’re framing them out.

When I started the class, I was scared that pushing the two too far would look bad. I promise you it does not. Push it as far as you think you can, then push it further– turn your characters into streaks in the air or pancakes on the pavement, then do it all over again!

Everyone has their own way of drawing it, but when something’s in motion, your eyes can’t focus on it. And that’s okay! Our eyes will follow the motion better if you have some way of ‘smearing’ the limbs or body between holds. Experiment! Find what works for you!

I have some tweens that look like this. Others are two lines, or just a dot, or something wonkier-looking. Don’t let non-animators fool you with their ‘I paused this animation and it looked bad and therefore it is all bad’ rhetoric– mid-motions look bad in everything! If someone paused you in real life, you’d be wonky too.

So embrace it! Don’t sweat things looking absolutely perfect in each frame. It will actually detract from your animation in the long run.

And of course, practice. Unfortunately, and I used to hate when people told me this, nothing can really replace good old hard work! You’ll learn some tricks yourself as you plug away at things! Everyone has their own style.

That’s by no means all I learned, but! If I went on and on about how fun that class was we’d be here for about twelve pages. So go out and animate, and have tons of fun!!!

anonymous asked:

What advice do you have for a 14 year old who's trying to learn how to animate?

There’s a LOT of things that go into animation and I definitely can’t cover everything all at once (im sure you dont want me to either) so I’ll try to keep it simple!

But for forewarning, I take animation very seriously and can’t help but info dump.

1. Your animation isnt going to work immediately. it’s going to be awful. accept that and move on.

2. Don’t give up when your animation doesn’t work!!! i swear ive seen people try to animate for their very first time with like a walk cycle and immediately after the first test shoot they played they just dropped it and i was like honey!! honey no you made half of a single step and didnt in-between it. You aren’t done, thats why it looks bad! You don’t say a drawing sucks and throw it out halfway through drawing a single eye, you draw the rest of the face and see how it looks in the end. that’s how you have to look at making animation.

3. It’s a lot more work than you think it’s going to be. animation runs at 24 frames per second, that’s 24 drawings a second. some people do it 12 drawings or even 8 drawings a second, but no matter what it’s a lot of dang drawings.

4. Rough drawing rough drawing ROUGH DRAWING! when you start animating things, don’t even THINK about detail! for example, if you want to animate someone walking, animate a circle for the head and a rectangle for their body, that’s all the detail you need to start with. once that is COMPLETELY and i mean completely entirely animated to a point where you are satisfied, THEN you can start to add detail.

5. References!!!! they’re everywhere! and you need to use them! if you want to animate a bird flying, you either look out your window, find a video on youtube, or get a diagram but don’t just try to guess or it won’t work, i promise you

6. Try as many different methods as you can! everyone animates differently. maybe my advice won’t apply to you at all, these things are just what works for me! I have friends who animate from the roughest of rough drawings and others who start every drawing completely detailed. some friends animate from major pose to major pose and others animate frame by frame.

7. HAVE FUN! if you aren’t having a fun time animating, then what are you doing? Ask yourself this question and then figure out what you need to do to MAKE it fun! It makes the work better for everyone in the end!

Now get ready for a link dump!

other animation advice from yours truly! which will be somewhat repetitive

12 principles of animation

living lines library: archive of old animation tests for many movies

really good animation books (links to amazon)

animation programs

if you have any other questions, feel free to ask! some things here might sound like nonsense to someone with no prior animation knowledge and I will GLADLY explain in better detail

Animation Tips!
  • Pay attention 2 negative space-the space AROUND your characters. Without it, U can’t build silhouettes & clarity.
  • Spend 75% planning and 25% animating.“ - advice passed to Mark Henn from Eric Larson from Ham Luske
  • Planning: ask yourself "What does this scene have to do? What is important? What is entertaining about this scene?”
  • Poses should reflect power and energy. There is LIFE and electricity inside these characters!
  • The negative shapes are like a contract between characters. Are you designing your negative shapes?
  • Two characters onscreen CAN’T think the same thing, so they CAN’T react the same way.
  • Frank Thomas would refine ONE pose that defined a scene until it was right. Then he would add more poses as needed.
  • The smaller the character (a little mouse, for example), the less detail you want to show. More detail implies more size.
  • Do your characters always stand straight up? Throw them off vertical-lean & flex the spine for attitude/interest.
  • To build the line of action through your characters use a bend or twist - ALWAYS better than a straight, stiff body.
  • “You never let ANYTHING interfere with the main thought.” - Milt Kahl
  • Three frames down, and four frames up, with brows leading the action by a frame = a nice, standard blink @ 24 fps. 
  • “You’re not supposed to animate drawings. You’re supposed to animate feelings.” – Ollie Johnston 
  • “have fun with the push/ revision calls and the evolution of your shot" 
  • “I know where the weight is coming from, and where the weight is just traveling, and where the weight is transferring to.”Milt Kahl 
  • The foundations of good weight? Balanced poses, solid arcs, controlled spacing and believable drag/overlap. Get ‘em right & win. 
  • Understand the dynamics of your character’s relationships. Any given still frame should clearly show who is driving the moment. 
  • Analyze a character in a specific pose for the best areas to show stretch and squash. Keep these areas simple. -Ollie Johnston 
  • People usually blink if they understand what is being said by another person. "know what I mean?” *blink* “yeah!" 
  • Try to communicate your scene in 5 drawings–if you can then you’ve efficiently communicated!
  • Don’t animate every word of dialog, or every phrase; animate the mental "gear shifts” of your character. They’re more meaningful. 
  • don’t be timid with your posing OR your acting! It’s often better to push too far and then pull back on the keys …
  •  Clean your anim by deleting unnecessary keyes. It will unclutter your timeline and your anim will look better.
  • Animation Process in <140: Start with storytelling poses; guess timing by spacing them out on XSheet; do breakdowns; adjust timing 
  • Keys=What yer doing; Breakdowns=How yer doing it (E. Goldberg) 
  • FLIP! Constantly flip your drawings whether you’re doing hand-drawn, 3D, Flash, whatever. Flip to check for spacing & volumes 
  • I know it’s not easy, but train your mind to “see” what you want to draw before you put it on paper. Learn to see in your mind. 

anonymous asked:

Hi there! Sorry if this seems silly, but your style is a big inspiration to me, and i've started first year in animation. I was wondering would you have any tips for it? :) we're being taught a good bit, but it's a bit overwhelming trying to figure out a way to make anatomy and perspective work. If you don't have tips thanks anyway, and again, love your work!

Ahhh thank you so much your words mean a ton seriously thank you.

ALRIGHT WELL ILL DO MY BEST

First of all. Welcome to animation. You’re gonna lose your mind. Because animation tends to do that. You’ve probably already figured that out. Most people dont end up level headed after working 40+ hours on something that stays on screen for 1-5 seconds. It’s alright. No biggie. OKAY SO

I’m not the best at teaching things. But I know resources that are.
FIND PDFS IF YOU CAN OF THE FOLLOWING BOOKS:


The pdf’s are actually pretty widely available. do a little gaggling you’ll find em trust me. AND READ THEM. i personally enjoyed all of em.

NEXT:

  • 11 Second club: list of animation exercises <—- YOU SEE THIS?
    YOU SEE THAT LIST OF THINGS TO ANIMATE? DO ALL OF THOSE THINGS. ALL OF THEM. dont just read it and scroll thru it and go “kay”, bookmark it, and move on. NO. Every week. Animate one of those things. Get feedback on each of those things. Feedback from your teachers, from your friends, from your peers, from your dog, from a rubber duck. Then make changes. THEN CONTINUE TO ANIMATE ALL THOSE THINGS.

  • PINTEREST BOARD STRAIGHT FROM THE ART GODS THEMSELVES: Character Design Reference <—-goodness where do i start with this. Everything is here. Character sheets. Color keys, Stylization, illustration, reference for animation, anatomy, the kitchen sink, VIS DEV OF THE KITCHEN SINK. This is how I check to see how far I am from being industry ready. This is how I keep myself motivated. This is how I surround my self with art that is much better than what I produce so that I keep improving. Do studies of the things here. Pick a character sheet, do a study of it, and throw that study away and burn it. Then do another. No drawing is precious. Frames, drawings, sketches, all temporary. With good reason.
  • AUTODESK MAYA, 3DS MAX AND MORE: free for students.
    You see that? Free. Like. FREE FREE. As in, this is how you get maya as a student. This is how you have access to a two thousand dollar program and learn how to use it. If you havent yet, get it. Maya animates cg stuff. Get to it kiddo.

———-

  • General tips:
  • Arcs. Many times the reason your animation isnt working is because your arcs are broken. Find them. Fix them. ARC THE CRAP OUT OF YOUR ANIMATION.
  • Nothing is precious. Animation is essentially a slaughter fest of drawings/frames that dont work. Kill all of them. Distance yourself from your drawings like a warlord hellbent on taking over the goddamn universe and embrace it. If you like a frame that much you can turn it into an illustration later. You’ll be better off for it.
  • Learn 2 storyboard. You’d be surprised how well learning how to frame a shot helps with your animation. Heck, sometimes when I storyboard I animate out my key drawings on accident but IT WORKS AND ITS GREAT. Good framing can help a shot loadsss.
  • Dont be afraid of 3D tools to help. Maya, google sketchup, heck even blender, if you cant figure out how to move something thru space chuck a sizable equivalent model into 3d and move it in space and use it to help. It’s not cheating it’s being practical.
  • DO GESTURE AND FIGURE DRAWING EARLY, OFTEN, AND WILLINGLY. Build up a library of poses and work out all the kinks of anatomy while sketching so when it comes to actually animating youve already worked out all the details. And kick fore-shortening’s butt into the next dimension.
  • Finally, for goodness sake enjoy yourself. Not many people can create life and summon a living, breathing character without giving birth first so freaking enjoy it and GET STUFF MOVING YA CHUMP I BELIEVE IN YA
A Quick PSA About Freelancing

As some of you may know, I do a lot of freelance Graphic Design, and am trying to work in animation as well.  I get a lot of crazy clients, but for every crazy one I have 5 amazing ones.

For the past two weeks I have had a client who has made my life miserable.  Because of her potential connections I went way above and beyond to help her meet a deadline, that she did not tell me about when we agreed on a contract.  In fact, her contract says that there is no deadline and that I am not responsible for helping her meet one.  Going that extra distance has been a huge mistake.

She approved her file last week saying how everything is perfect and that she is planning on hiring me for her next book.  She has since called me late at night and emailed me several times because she has changed her mind and that she needs everything to be done immediately because she still has her deadline.  I told her that our contract has been fulfilled and that I would need to charge her more and if she needs it rushed I will need to charge extra for that as well.  She balked at this and demanded I work for free.  Each time she contacts me, I give her the same answer.  

She has also tried different tactics and admitted to trying to manipulate me into dropping everything and doing extra work for free.  

  • She called and told me how perfect my work is to try and butter me up, but when I said I wasn’t available she played the angry customer so that I would feel compelled to make her happy again by giving her her way.  When I asked why the sudden change of tune, she responded that she was trying to play my emotions to get me to do the extra and rushed work for free.
  • She later called me and said that she would like me to do another task, but that there was no rush on it.  I said I would send her the new file in a couple of days and this was the cost.  She responded by telling me that even though she had told me no rush she really needed it within the hour.  She had only said no rush to seem respectful of my time, assuming that I would drop everything to assist her to be nice.
  • She has threatened to put bad reviews online and telling everyone how unprofessional I am because I won’t push back my many other clients an do her work now, for free.  I have an excellent reputation online and am often known for being professional and accommodating as well as reasonable and speedy.  Also, I feel that at this point in time, that my portfolio also speaks volumes for the quality of my work.  
  • She has since broken her file in an attempt to change things herself, which is against our contract and now it needs to be completely redone as opposed to just tweaked.  I still have the unbroken file.   She went in and deleted functions and formatting and now her file doesn’t function properly.   She is claiming that even though I had told her how to use her file and that she knowingly did things I told her not to do, that it is now my fault her file is broken.  

Originally posted by veiledcuriosity

I am holding firm in that she will either have to wait until I have time or pay me for the extra work and an added fee for the rush.  She has demanded I work through the night.  I have given her options on timing and how much the work will cost depending on her chosen timeline.  She has decided to go elsewhere because she feels “entitled to have this done for free”.

Reasons I am telling everyone about this.

  1. This lady is straight up driving me insane, and it’s nice to vent.
  2. Plus, everyone loves the schadenfreude of hearing other people’s experiences with the insane.
  3. I have things set in my contracts and in how I work that helped me in this case and this serves as a great example why I do.
  4. There are lessons in this that I’ve learned that will also change how I do business in the future and are worth sharing.

Tips for freelancers.

  • Always work with a contract.  I mean, don’t trust anyone.  Not even family or friends.  Some of my best friends in the world have tried to screw me over.  A contract helps to set up boundaries and have them treat you more seriously instead of expecting a friend to do a favor.  Also, contracts protect you and your interests in sticky situations like the one I have been going through this week.
  • Make sure your contract has a detailed scope of work.  I usually work and charge per task instead of by time.  I set up in my scope a limit on the rounds of revisions.  This forces the client to make decisions and be more concise in their feedback.  If they know they don’t have to pay to see more options they are less likely to be wishy washy.  It’s like free samples.  If you tell people they can only have three and then after that they have to pay, then they’ll only take three.  But if you don’t put a limit they’ll eat the whole tray.  
  • Have your contract address the important stuff.  Spell out things like the ownership of the work, licensing of any materials, payment, liability, and timing.  You can add other things in there are well, but those are must haves.
  • Make sure to always get a deposit.  I usually get 50% upfront and then additional work outside the scope gets paid upfront in full.  Sometimes people will still ghost you out, but at least you won’t have lost out on everything.
  • Never send final files or files without a watermark until you’ve been fully paid.  People will try to take advantage of you and steal your work.  If there is nothing there to stop it from happening there will always be someone who will steal your work.
  • Stand firm and be careful with how accommodating you are.  I made a conscious choice in this case to bend over backwards for a client who I thought would both appreciate my work and also bring me valuable connections.  She has instead started doing what is common problem with freelancing.  If you are too accommodating, they will constantly expect it.  She emailed me at 9pm and demanded I send her new work by the next morning.  She essentially asked me to work all night and forgo sleep to do this work, that she wasn’t going to pay for.  When clients start making requests this ridiculous, they stop seeing you as a person.  They start to see you and treat you like you are their personal servant.  When this happens, be firm and stand up for yourself.  You have to ask yourself is this client worth that much work and the sacrifice for your personal time.  Or ask yourself how much money would it take for you to be willing to accommodate the ridiculous request.  If the client is not willing to pay the amount or compromise on the request, stand firm.  They will either change their request or go somewhere else.  Both outcomes are good.
  • Have professional boundaries.  This client somehow found my personal number and would call me late at night.  I had to ask her to stop calling me at home because I have a family (Carl and my puppy, Mabel) and she was interrupting that time.  I keep office hours and I have an office number via Google Voice.  If someone calls my office number after hours, instead of forwarding to my phone, it goes to voicemail and I get a text of the transcript.  While I may do a lot of work at night, I make it a point to wait and email people the next day during my listed work hours.  If you respond to emails at night, clients will begin to expect you to be at their beck and call.  Then you get phonecalls and emails on Christmas from clients wondering why you aren’t available or responding.  If you act like you are a business people will respect those boundaries as if you really are a business.  And those boundaries are important for your mental health.
  • Treat yourself with value.  If you don’t treat your work and your time as valuable people will treat it the same way.  Honestly, getting people to value your work and time is one of the hardest parts of freelancing or even just art in general.  If you value yourself, your time, and your work, other people will start to follow suit.  Albeit, others are a little slow on the uptake, but it does help.  Don’t give out a lot of stuff for free, and be sure to price things out fairly for you.  Don’t sell yourself short and you’ll get clients who’ll appreciate you even more.

Originally posted by fucktheworldiamalion

To hear more freelance stories and get more tips, make sure to listen to our next episode of The Animator Life Podcast.  

spanimator  asked:

Hi! I dream of becoming an animator. Any free programs to recommend? Also, what is you favorite animated movie?

I recommend either Synfig Studio or OpenToonz. i’ve never used Synfig myself (not yet anyhow) but I’ve heard some great things about it and see it all over the place. It’s really similar to Toon Boom, which I use, and has a wide selection of tools and resources for beginners to the program.

OpenToonz is also free but much, much  harder to use. I suggest finding some tutorials on YouTube before even starting to draw on it. Once you’ve gotten the hang of it, it should be much easier. :’D

Also, FireAlpaca’s new update has an animation feature that I recommend giving a try! I’ve heard it’s pretty cool.

Good luck!!! <3

flaming-arrow-abyss  asked:

Okay so as someone who dearly wants to work in animation in the future, can you give me any tips in terms of tablets or programs? And opinions on how to fluidly move your peices?

Absolutely!  I can only talk about 2D animation because that’s mostly what I do, but I’m happy to share any tips I’ve picked up!

Tablets:  I’ve been using an Intuos Pro for awhile now & I really like it.  It has a wireless feature, which is nice (I’ve had bad luck in the past with usb ports breaking.) Eventually I’ll upgrade to a Cintiq of some kind.  I started out learning on a little Bamboo tablet that worked really well too.

2D Animation Programs:

Photoshop CS6/CC:  I would say around 90% of the things on my blog were done in PS.  If you already know the program, it’s a great place to start getting into frame-by-frame animation.  Plus you have all those beautiful brushes at your disposal!  It’s great for making short animations or looping gifs.  The timeline isn’t as intuitive as other programs, but this plugin makes it easier.  On the downside, if you are looking to work at an animation studio, knowing how to animate in PS won’t be a big help.

 Flash/Animate CC:  The nice thing about flash is that it’s so commonly used, so there are SO many great free tutorials out there on youtube.  

Toon Boom Studio: Pretty standard in the 2D animation industry.  Lots of shows & films have used it in their production.

After Effects: Another huge program you can do so much with.  From character animation to motion graphics, there’s a lot you can learn.  Sometimes I just use it to add effects to things I’ve made in PS.

Tips for Fluid Motion: 

Getting the timing right just takes a lot of practice.  If you are doing frame-by-frame, it’s usually just a matter of having your keyframes in the right place.  If it’s really jumpy, you may have to add some more frames for a smoother transition. 

I hope that helps!  I may have missed something, but if you have any other questions you can always ask!

A LESSON IN ANIMATING

As someone who has animated since eight years old, I’ve learned a few things here and there about the process. One such thing, I’m sad to say, being an only very recent revelation. 

Animating is reworking, reworking and reworking. Countless projects have never seen the light of day from waiting around for inspiration to animate, expecting to animate it perfectly first try and then ultimately giving up. It doesn’t happen that way. No first try at an animation sequence is perfect. There is always room for refinement. 

When getting started on an animation sequence, I now have the discipline to look at that blank canvas and, no matter how daunting it seems, I say “get something down, ANYTHING” and I do. I get to work blocking the sequence out because I have to; nothing will make it happen but sitting and actually doing it. It may be alright, it may be utterly terrible, it might even be pretty damn good but it will not be perfect. And I’m fine with that. I’m fine with that because I now have something in front of me, something to mould, revise, rework into something great.

Animation is a long process. You don’t go from a canvas of white pixels to a final film in one step – it’s a hundred flights of stairs! But you start with that first step. So don’t wait at the bottom for the elevator, cos there isn’t one. Get climbing. Get at least something down and rework and rework and rework. 

No longer is inspiration deciding when I animate. I decide. 

anonymous asked:

Excuse me but do you have an animation tips for beginners? Never tried animating before and I wanna try but I haven't a clue of how to start ^^;;

boy do I. Get ready for an info dump.

When I first started animation classes, I write out this list of tips that comes down to rough drawing, solid drawing, using reference, extremes, and research. All of that is important, but I’m gonna talk about some other things here too.

1. Start simple

You think something like Beauty and the Beast was drawn out in that much detail from the start? Even though the pencil tests look cleaned up, I promise you they didn’t start out that way. They were a mess of shapes and sloppy gesture then cleaned up later. Use simple shapes to start with and work off those. It’s also really worth your time to study gesture drawing.

2. Animate first, detail later

When you’ve never animated before, you don’t want to go straight to detail. In fact, you never want to use any detail at all. Detail is the biggest mistake you can make. You want to draw quick little gesture figures that get the point across and that’s it. Once that is done and working, then you can move on to adding detail one piece at a time (ie. first you add more body structure, then you go back and add eyes, then the mouth, then the nose, etc.)

3. Scrap and restart

Or as my animation teacher would say, don’t bother trying to erase your mistakes, throw the paper out and start over. It’s better to completely restart then spend hours trying to fix what you have.Each time you restart you’ll make it faster and make it better than before.

4. Reference

Don’t sit there and struggle to figure out how to do something right. Get up and do it yourself, have someone else act it out, record it, google it! If it’s something simple like a jump or a throw, there’s probably dozens of guides online waiting for you to use them. In my experience, I’ve found that just the mere act of doing something myself helps me understand how it works so I can animate it better.

5. Know your stuff

You won’t be able to animate anything convincingly if you don’t know the 12 principles of animation. These things were created by the guys at Disney who started all of this. Study them, learn them, and use them. Eventually they’ll come completely natural to you.

6. Critique

Problem with your animation that you don’t know how to fix? Ask someone. Finish your animation that you’re super proud of? Show someone else and ask what they think. Ask a ton of people what they think. The best thing you can do is learn from others’ criticism and take it into account.


Other than that, you just need some means to animate with. I prefer pencil on paper myself but that’s kind of difficult to get set up and pretty expensive and wasteful. I currently use photoshop, but its timeline and interface in general really weren’t made for animation so it doesn’t work well at all but it does the trick. Adobe Flash is ok if you can handle vectors. There’s also ToonBoom and TVPaint which are nice professional programs but they cost a ton of money for a license. I’ve also heard of a program called Pencil 2D and I think I’ve seen a paint tool sai addon? But I’ve never used either so idk how those are.

Basically when it comes to programs the best I can say is good luck… ouo;;;;;

I hope this helped??? HMU if you have other questions!!

youtube.com
Making Fluid and Powerful Animations For Skullgirls
How do you get the clearest, most fluid animation in a 2D game and make it work with responsive gameplay? This talk from GDC 2014's Animation Bootcamp featur...

She worked on a lot of games known for extremely good 2D animation; this is a fantastic animation talk.

If you’re curious about those animation fundamentals, this is also a great refresher course, with examples.

Links from the last bit:

Street Fighter III: Third Strike sprite reference
Zweifuss.ca

Sprites and animation repository from other fighting games
fightersgeneration.com

creamphilled  asked:

Hello! First of all i love your art its amazing! I have to tell you i kept thinking all night abt that dan&phil on a shibe animation you did and how amazing it is. Is there any chance you could do any type of tutorial or share the process of making the animation so smooth? Even some sources of where u learned would be great! I do some art but i cant make it look that good x(

Hello! Thank you so much! <3 Well, I went to school and majored in character animation (though it was 95% 3D; and now I’ve realized 2D is more fun). But if you want to get started, here are a few tips:

1. Study the 12 principles of animation. These are very important as they will make your animation look natural. If you watch any Disney movie, you’ll clearly be able to recognize the principles in any scene.

2. Use video-reference. If you want to animate something, look at videos of people doing that thing. If you can’t find what you’re looking for, film yourself doing that action. Video-reference doesn’t only help you with getting the right movement, it also helps you to get the right “timing” (and what do you know, “timing” is one of the 12 principles).

3. Use still reference. I have a book called How to Animate Film Cartoons which has quiet a few walk cycles with all their keyframes. Lucky for me there was one with a dog running, so I just drew all the frames into toonboom. You can also google, for example, “muybridge + dog” and you’ll be able to find photos/keyframes of a dog running. Muybrige was one the pioneers in animation, famous for his horse photos :)

4. Watch tons of cartoons! One of the best ways to learn is to watch what other people are doing, analyze it, and try to recreate it for practice.


As to weather I’d be making a tutorial… I was actually thinking about making a couple of live-streams so people could watch me animate something of their choice and ask question. Is that something anyone would be interested in? XD

Thanks for the ask. I wish you good luck in your art journey :D

24-7-testing  asked:

Hey, the animation gif you posted recently looks amazing! Would you mind sharing what program(s) and methods are you using? How did you make something that looks so clean?

Why thank you!! And the program I use is Adobe animate/flash on 24 frames a second. it looks clean because I used a LOT of key frames. the more key frames, the smoother the animation is. However using more key frames also means taking longer. 

As for the method I use I use pose to pose animation. If you want more information I suggest looking up Alan Becker’s 12 principles of animation videos as they are full of useful information and tips on animation.

Thank you!