Wednesday, December 12, 2012

Interview with Eric Farrar


Recently I have had the opportunity to interview another accomplished artist, Eric Farrar. Eric Farrar is currently an assistant professor of Arts and Technology at The University of Texas at Dallas. He has completed a degree in musical performance at Ohio University and an MFA in Computer Animation and Visualization at The Ohio State University. He has worked as a freelance drummer, and as a character rigger at Rhythm & Hughes, where he worked on films such as Night at the Museum and The Chronicles of Narnia: The Lion, the Witch, and the Wardrobe. 

Here he shares with us his knowledge and experience about animation and learning on your own.


1. What made you decide to go into 3D animation?


"I started my professional career as a musician, but always had an interest in cartoons and animation in general.  After 10 years or so, I went back to school to study graphic design and computer programming. It was then that I discovered 3D animation and was intrigued by the possibilities for combining my music background with this specific visual art form."

2. What do you like about animation?


"My favorite aspect of 3D animation is Rigging...creating underlying structures and control systems to make 3D models animatable.  My favorite part of rigging is the problem solving that's involved."

3. As you are learning things on your own, what techniques have helped you the most?


"Knowing a little bit about programming has been very beneficial in furthering my understanding of how 3D software does what it does.  The more that I'm able to really try to figure out how certain tools and operations work within a software package, like Maya for example, the easier it becomes for me to use those tools in creative and innovative ways.  When I figure out what's going on behind the scenes from a programming perspective, I retain that information for a much longer time than if I just read about it in a manual or through a tutorial and as a result I'm much more likely to make use of it."

4. What mistakes do you see people make when they are learning animation in general (inside or outside of the classroom).


"Probably the biggest misconception that students make when learning about all the ins and outs of animation is that it's going to be easy, and that after 2 classes or watching a series of videos, etc., they'll know everything they need to know.  Animation is an extremely complex and laborious art form and it takes years and years of practice to perfect.  Students need to be prepared to put in a ton of time and energy just to get the basics and then understand that even when they get their first (and second and third) job they will constantly be learning and honing their craft."

I would like to thank Eric Farrar once more for his time and for the valuable information he has shared. 


Friday, December 7, 2012

Solid Drawing


Would you build a house without laying down foundation? Of course not, that would not make sense. The same idea applies to animation. No matter how cartoonish or stylized your art is, you need to have a firm understanding of reality.


What is Solid Drawing?


Solid drawing means understanding the basics of anatomy and 3D shapes. Basically, you must understand how the real world works to keep your drawings believable and consistent.Once you understand how life works, you can incorporate it into your animation to make it more authentic.[1]
Edmond and one of his friend from Peru will explain.


Edmond is showing you all the things he has in common with his real life counterpart. Even though he wears a sweater and glasses, he is still recognizable as llama.

Please watch this behind the scenes look at animation in progress:

What am I Looking at?


  • For most of the video, the animators are studying the clothes and hair as she moves. As they draw, they simplify and stylize the movements, but the drawings still hold true to life.
  • At (0:17) the animators take in the more detailed movements of the hands, giving them emotion and life, but keeping them anatomically accurate.

How Can I Use This in my Work?


The more you draw from life, the more believable your art is.
  • If you know how things move in real life, you can make more informed choices, such as:
    • Exaggerate more
    • Be more subtle
    • Convincingly break reality

This has been a guest post by Ashley Poenisch. I would like to give thanks for all of her hard work and time in creating this post. Please visit her blog to learn about comic lessons!
Sources:
[1]”Animation Notes #5 Principles of Animation” http://minyos.its.rmit.edu.au/aim/a_notes/anim_principles.html 
[2]Yeagle, Deb. “Llama”. http://www.ansi.okstate.edu. December 16, 1998, http://www.ansi.okstate.edu/breeds/other/llama/
[3]freedogshampoo. “Disney’s Sleeping Beauty Model”. YouTube.com. Web. August 4, 2007 http://www.youtube.com/watch?v=nj3hLSP1vFo 





Sunday, December 2, 2012

Straight Ahead Action and Pose to Pose

Today we are going to change things up again. I have provided a podcast explaining Straight Ahead Action and Pose to Pose Animation. In the podcast you learn what these two animation techniques are and how they are used.

What is Straight Ahead Action and Pose to Pose animation?



As I have explained in the video, Straight Ahead Action is a technique in which you animate as it happens. Pose to Pose animation involves setting up key drawings throughout the scene, and then filling in the poses in between. 

How can I use this in my work?


This is an important principle to know when you are animating. It is a good idea to start with the Pose to Pose technique when animating. By blocking out what you are going to do, it will help you:
  • Get your point across
  • Stay consistent throughout the shot
  • Keep your scene from becoming too long
  • Learn to animate one step at a time
Sources:


[1] Atkinson, David. Animation Notes #5 Principles of Animation.  Retrieved from http://minyos.its.rmit.edu.au/aim/a_notes/anim_principles.html.