Wednesday, November 18, 2009


Here is the latest and greatest 3D animation I've been working on for the past two weeks...

It is still a work in progress, and there are a few fixes that need to happen with his head and the bat, but I have to say that I have been pleased with the results thus far. I started this animation with video reference of myself doing a couple different swings. Anyone who has watched at least one baseball game in their life knows that there are seemingly infinite variations on how a batter can stand in the batters box and take a hack. For this particular animation I decided to start off right away with reference.

It was fun to take imaginary batting practice in the parking lot, but after reviewing my results I realized that the swing I was using was too "normal" and didn't have enough character (or caricature) in it to make it entertaining. It also began to take into consideration the rig I was going to use. Since "Gus" is a big, hulking, cartoony guy I felt that maybe he would be a bit more exaggerated. Back to the camera I went.

The second time around I tried to push the action a little farther. Frequently in animation one must "over act" in the video reference in order to get a feel for the physics of the action. Also, "over acting" in live-action often translates really well to animation. When I filmed the clip above, I was trying to make the swing a little more ridiculous, but not in such a way that made if feel like I couldn't actually hit the ball hard if I were to make real contact in a batting cage. In animation, BELIEVABILITY is far more desirable than REALISM.

The next step was to pin down the key poses from the live action reference. I try to stick to quick gesture drawings to make sure that I understand the line of action and where the weight of the figure is coming from and going to. The tendency at this step of the process can be to follow too closely to the reference and not truly internalize the action or the character. Thumbnails are CRITICAL, and Pixar animator Victor Navone has an excellent gallery of his rough sketches on his website. This is one of the most important steps in my 3D animation process because this is when you begin to actually UNDERSTAND what you wish to portray.

I also consulted photo references at this time. By perusing examples of other (more accomplished) hitters than myself, I can also make sure that I'm gathering my visual information from more than just my own reference and imagination. It also occurred to me that the 3D character that I had chosen to animate with, although a cartoon, didn't look that different than some of the muscular power hitters that have inspired a variety of headlines over the past couple years... interesting.

After many pages of thumbnails (the ones above are merely a sampling) I begin to take the key poses that feel the best and I start animating them in DigiCel Flipbook to get the timing down right. Once I began implementing this important step into my 3D workflow my animation improved almost immediately. Essentially, by animating in 2D first, I am able to test out the animation in my mind via a few quick gesture drawings first, to see if I like the timing and spacing. If I don't, I rework the drawings or the timing until I get a the desired result.

The rewarding thing about roughing out the animation in Flipbook first is that it provides instant feedback and gratification. It literally can take as little as 10 minutes to get something that feels like your animation up and running on the screen, whereas solving your animation in 3D can be a long, frustrating, and fruitless process - especially when you're a rookie! In Maya it can take at least double that to get one pose right.


Play to your strengths! Perhaps the most important thing I have been learning by doing this animation is that you need to do things that interest you! If you are genuinely interested in what you're doing, you will do it better and more often than if it feels like a chore. I played baseball for 18 years and have watched at least 1 million swings in my lifetime - many of them in slow-mo in order to study hitters (and learn how to get them out). This has been a great example of animation body mechanics for myself because I can focus on animation because I already have almost 2 decades of first-hand experience to pull from.

I also don't mean you should avoid your weaknesses, because that will eventually lead to problems too, but don't shy away from the things that you do well and interest you!

Monday, November 2, 2009

The incredible thing about caricature artwork is that the exaggerated version of the person, place, or thing depicted often looks more "like" it than a photograph. Two of my favorite caricature artists, Al Hirschfeld and Court Jones, do this masterfully.

This past spring, talented SCAD illustration major and friend of mine Lyle Nagy, showed me some concept drawings for a caricatured version of a Citroen 2CV. I was immediately taken by the appealing distortions and proportions that Lyle applied to the original design of the vehicle. I have been a longtime fan of caricature artwork and have tried for years to implement my own style of caricature into my own cartoon artwork (see my previous post on Forsyth Park).

It didn't take long for me to begin to fantasize about animating this car - it just oozes character and personality! So I set about getting these drawings into the hands of a talented modeler and fellow SCAD graduate student David Riddle. David did an excellent job of translating the 2D drawings into a 3D model using Maya 2009. I met last week with another SCAD graduate student Derek Superville to discuss rigging it for animation. He offered a lot of great suggestions and insight and looks forward to the challenge.

I have taken on somewhat of a "project coordinator" role in the process, so look forward to future posts regarding the tweaking and development of the 2CV. It's been a lot of fun so far to get four friends and classmates together to combine our areas of interest and expertise on a project outside of class. I can hardly wait to animate it!

Sunday, November 1, 2009

I spent some time this afternoon at Forsyth Park here in Savannah sketching passers-by with a friend of mine. I had not drawn from life in longer than I care to admit, but I never regret it when I do. It always takes a little while for the pencil to feel good in your hand and for your brain to get in the right mode, but once you find that place its like no other. After awhile every single person that walks by is a source of inspiration. We are all characters, but we seldom stop and observe long enough to truly appreciate and absorb the simple beauty and amazing variety found in the people around us.

Tuesday, October 27, 2009

On October 15th I was a featured speaker for the Contemporary Animation Society. The opportunity to do this grew out of a conversation I had with Zelda Vinciguerra, the club's secretary, one evening this past summer in Montgomery Hall. The theme of the conversation was the good and bad habits that we have noticed in ourselves as animators. It's hard not to develop a personal workflow when you're animating as much as we do, and you eventually begin to notice patterns in how you go about your work. Animators, just like anyone else, fall into a routine. I'm not suggesting that I am perfect or that my ways are "the best" by any means, but there are some variables I like to try to control when I go about getting a scene finished.

The presentation was a lot of fun and it seemed to be very well received. About 60 students from the graduate and undergraduate programs attended. The best part about the whole experience was the conversations it generated among everyone. Sometimes when you're under a lot of stress trying to get work done, it is easy to not stop and think about how you're going about your business. After all, nobody goes into animation because they don't genuinely enjoy it - so any way you can help make the time you spend more enjoyable and productive, the better!

Monday, October 26, 2009

I love graphic designs from the 1960's. There is a flatness in the graphics and a warmth in the color palette that seems so simple and inviting. It is interesting to observe some of the trends in logo designs. Some iconic logos have undergone redesigns recently, and the new versions become increasingly three dimensional (the new Pepsi and AT&T logos, for example). I wonder how long it will be until the "new" designs begin to look more flat. The pendulum always swings back eventually...

Before one begins a traditional, hand-drawn animation it is important to develop a model sheet for the characters that will be used. I animated a simple footstep this summer for my Action Analysis class with former Disney supervising effects animator Troy Gustafson and as part of the assignment we had to develop a model sheet for a realistic human foot and hand. The basic shapes used construct the foot and hand are critical for maintaining continuity and volume from frame to frame. I must have made a good impression because from now on Troy hands out these very model sheets to every student who takes this class.


Savannah has a dog park!

Greyhounds are born runners and are a beautiful thing to behold when they reach full stride. I love how they powerfully and gracefully stretch and compress. They seem to spend as much time off the ground as they do touching it. Having my sketchbook with me I roughed out the extremes of this motion. It is amazing how severely the line of action on the spine curls and extends with each stride.


Thank you for visiting my blog. This is my first foray into the web so putting up a post is still a big deal for me! I look forward to being able to use this platform to allow friends, family, and anyone who may be interested to keep up on my work. Please keep checking back periodically as I will be adding more and more work in the coming months.