Animation Mentor: week 11

Durante dos semanas hemos estado trabajando en el ciclo de andar con personalidad. El mío fue este:

For two weeks we were working on a walk cycle with character. This was mine:

Hemos estado intentando comprender cómo lograr la ilusión de peso y de vida, y cómo expresar un sentimiento a través del modo de caminar de una persona. Yo creo que al mío le falta trabajo. No tuve tanto tiempo como me habría gustado, porque aunque mi primera aproximación fue buena, mi mentora me indujo a exagerarla más para darle más fuerza. Así que esta semana tuve que rehacer todo lo que había hecho la semana pasada y, además, hacer lo de esta. Creo que con más tiempo podría quedar mucho mejor, pero de todos modos tampoco se ve horroroso, o eso espero. :)

En cuanto a poses, tuvimos que pensar poses en las que Stu tuviese más peso en una pierna que en otra y aún así estuviese en equilibrio, por lo que hemos tenido que prestar especial atención a las caderas y también al considerable cabezón de Stu. :D

We have been learning how to get the illusion of weight and life, and how to express a feeling only through the way a person walks. I think mine needs more work. I didn´t have so much time as I would like, because even when my first approach was nice, my mentor wanted me to push it more to make it more powerful. So this week I had to redo all I had done last week and, also, do what I was supposed to do this week. I think with more time the result would have been much better, but it doesn´t look horrible anyway, or I hope so. :)

Regarding poses, we had to think about poses where Stu had more weight over one leg than over the other and was still balanced, so we had to pay especial attention to the hips and to Stu's huge head. :D

Animation Mentor: weeks 8 and 9

Y por fin me pongo al día mostrándoos el último ejercicio, que es un ciclo de andar estándar, sin personalidad ni nada de eso, y visto de lado para simplificar el movimiento de las caderas y ponérnoslo un poco más fácil. La primera semana hicimos la planificación y las poses principales y en esta última semana lo pulimos un poco para que quedara un movimiento suave. Este es el resultado y aún no me lo han corregido, así que espero que a mi mentora le guste. :)

And finally I am updated by showing you my last exercise, a standard walk cycle, without any personality at all or anything like that, from the side view only to simplify the movement of the hips and make it easier for us. The first week we did the planning and the main poses and this last week we polished it a bit to get a smooth movement. This is the result and it hasn´t been checked yet, so I hope my mentor likes it. :)

Y también tuvimos que hacer una pose para Stu. Me encanta hacer poses para Stu. :) En la octava semana tuvimos que mostrarle haciendo algún esfuerzo físico:

And we also had to do a Stu pose. I love Stu poses. :) In the 8th week we had to show him using physical strength:

(El paraguas lo modeló Emilio en dos minutos, que si lo tengo que hacer yo, en dos horas igual consigo algo remotamente parecido a un paraguas...) XD

Y en la novena semana, preocupado. Finalmente, elegí la segunda de las dos que hice:

(The umbrella was modeled by Emilio in two minutes, because if i had done that in two hours, I probably would have done something that would hardly look like an umbrella...) XD

And in the 9th week, concerned. Finally, I chose the second one of the two I made:

Animation Mentor: week 5

Durante la quinta semana de Animation Mentor tuvimos que hacer una nueva pose de Stu que mostrara devastación, es decir, una gran tristeza. Por otra parte, tuvimos que hacer un circuito con una pelota, practicando por primera vez en el curso el principio de squash and stretch, que consiste en encoger la pelota cuando golpea contra algo para dar mayor impresión de impacto, y en estirarla cuando coge velocidad para dar mayor sensación de velocidad. Son recursos muy usados en animación, aunque recomiendan no abusar demasiado y usarlos con precaución, sobre todo en animación realista.

Aquí está la animación:

During the 5th week in Animation Mentor we had to make a new Stu pose that expressed devastation, I mean, great sadness. On the other hand, we needed to do an obstacle course with a ball, practising for the first time squash and stretch, that consists of squashing the ball when it hits something to create a bigger impression on the impact, and of stretching it when it goes fast to increase the sensation of speed. It is a very common tool in animation, but it is recommended to use it in moderation, especially in realistic animation.

Here is the animation:

A mi mentora no le gustó demasiado, porque se suponía que la pelota tenía que comportarse como un balón de fútbol y la mía se comporta más bien como una pelota pequeña. Como corregir este problema conllevaba cambiar todo el circuito, no hice revisión del ejercicio.

Aquí mis bocetos para Stu:

My mentor didn´t like it too much, because it was supposed to behave as a soccer ball, and mine was behaving more as a small light ball. As making a review would have meant to change the whole circuit, I didn´t do any review.

Here are my Stu sketches:

Y aquí las tres poses que más me gustaron. Finalmente elegí la primera de ellas. Esta sí le gustó a mi mentora.

And here the three poses I liked best. Finally I chose the first one. My mentor liked this one.

Animation Mentor: week 4

La cuarta semana de Animation Mentor nos tocó profundizar en el tema del timing y el spacing que ya habíamos visto con la primera pelota botando. En esta nueva actividad, comparamos cómo se mueve una bola ligera y una bola pesada, en mi caso una bola de playa de estas que no pesan nada y una bola de bolos. Es muy interesante intentar averiguar cómo funciona el timing para cada una de ellas: los botes de la pelota pesada son muy rápidos mientras que los de la ligera son leeentos (esto significa que tienen timing diferente), y la distancia entre los "dibujos" (o frames) de la ligera es casi siempre la misma con pequeñas variaciones, mientras que para la pesada la diferencia es considerable.

Aquí os pongo mi planificación:

The fourth week in Animation Mentor we had to go deeper into timing and spacing, which we had already studied when we did the bouncing ball. In this new assignment, we compared how a light ball and a heavy one move, in my case a beach ball and a bowling ball. It is very interesting try to figure out how timing works for both of them: the bounces of the heavy ball are very fast while the bounces of the light ball are slooow (which means they have different timing), and the distance between "drawings" (or frames) in the light one is very even, while for the heavy one is quite big.

Here is my planning:

Y aquí mi animación:

And here is my animation:

Y aquí la revisión que hice cuando mi mentora, Ruth Daly, me dijo que la pelota ligera se veía aún muy pesada al final de cada bote. Aquel día no lo veía claro, pero ahora, cuatro semanas después, me parece evidentísimo.

And here is the revision I did when my mentor, Ruth Daly, told me that my light ball was looking too heavy at the end of each bounce. That day I couldn´t see it properly, but now, four weeks later, it is so evident!

La revisión tampoco me convence, ahora veo la pelota demasiaaado ligera. Supongo que un término medio estaría mejor, pero bueno, seguiremos trabajando. Al menos sí que ahora parece más ligera, ¿o no? :)

Por cierto, no os cortéis de comentar y criticar lo que queráis. Es posible que no sepáis de animación (o sí), pero de pelotas que botan sabéis lo mismo que yo, y eso es lo que cuenta. El sólo hecho de decir: "yo esa pelota no me la creo" es probablemente una de las mejores críticas que se pueden recibir. Así que ánimo con vuestras aportaciones y a ver si aprendo algo nuevo gracias a vosotros también. ;)

The revision doesn´t look very convincing to me either, now I see the light ball tooooo light. I guess something inbetween the original and the revision would be better, so we will keep on working. At least, now it looks lighter, doesn´t it?

By the way, do not hesitate to comment and critique as much as you like. It is possible that you don´t know anything about animation (or maybe yes), but about bouncing balls you know the same as me, and that is the main thing. The comment: "That movement is not believable" is probably one of the best critiques I as an animator can receive. So feel free to comment and let's see if I learn something new with you. ;)

Animation Mentor: Poses

Animation Mentor es un curso de animación. Sin embargo, nuestra primera tarea no es animación. Nuestra primera tarea es esta:

Animation Mentor is an animation course. However, our first assignment is not animation. Our first assignment is this:

Nuestro primer personaje se llama Stu y es el que podéis ver en las imágenes. La primera tarea consiste en crear poses con él. Las de la imagen superior eran poses casuales, de un día en el parque; las de la segunda imagen, son poses de alegría y entusiasmo. Para ello, tenemos que hacer (y mostrar) bocetos como estos. Perdón por la calidad de las imágenes, no tengo escáner y tengo que vérmelas con la cámara del móvil:

Our first character is called Stu and he is the one you can see in the images above. The first assignment is about creating poses for him. The poses in the first image were casual poses, people sitting in the park or similar; in the second image you can find excitement poses. To do them, we need to do (and show) several sketches like these ones below. Sorry about the quality of the images, I don´t have a scanner and I have to deal with my mobile phone camera:



¿Por qué hacer poses? Porque nosotros, como animadores, hemos de ser creadores de emociones. Hemos de lograr expresar emociones con el cuerpo. Por eso es tan importante que Stu no tenga rasgos faciales. Cuando no entendemos el lenguaje del cuerpo tendemos a apoyarnos mucho en la expresión de la cara para entender cómo se siente una persona. Ahora estamos aprendiendo también a interpretar la posición del cuerpo: si el personaje está muy contento, casi todo el cuerpo estará tenso; si está muy triste, casi todo el cuerpo estará relajado... Cosas así. Nos inducen a exagerar mucho las poses, no tanto para animar en plan cartoon como para entender hasta dónde podemos llegar con ellas. Y es que animar se trata de transmitir emociones al espectador, hacer que sienta lo que siente el personaje. Para ello la pose ha de ser clara, legible y atractiva... Cosas no siempre fáciles de conseguir.

Why poses? Because we, as animators, have to create emotions. We have to express the emotions with the whole body. That is why it is so important that Stu doesn´t have any facial features. When we don´t understand body language, we tend to lean on the facial expression to understand what a person is feeling. Now we are learning as well how to read the body pose: if the character is very excited, the whole body will be tense; if he is devastated, the whole body will be relaxed... Things like that. They lead us to exaggerate the poses, not for us to animate cartoon, but to understand how much we can push them. Animation is about conveying emotions to the audience, make him feel what the character is feeling. To get that, the pose needs to be clear, readable and appealing... Things not always easy to achieve.

Life drawing classes

The other day I was told that there were life drawing classes not far from the company. Some colleagues were going to take them, so I immediately decided I would go as well.

I only took life drawing classes once in my life. It was for a period of 15 days in Gijón, in a summer course that I enjoyed a lot. In that case, the model was a quite handsome man who posed for us for one and a half hours every time. It must have been terrible for him to keep the same pose for such a long time (with little breaks inbetween).

This time the model was a young woman, quite thin and with very english facial features.

It is nice to go to life drawing classes. When you see the model naked, you don´t see a person naked; you see a potencial piece of art in your empty paper. It is a very nice feeling. I don´t know about the rest of the people, but when I saw her, all I could see was light, shadows and shapes. The room was in complete silence while everybody was drawing her. The concentration was amazing, I loved that. You could hear the sound of pencil, the more agressive sound of charcoal, an esporadic rubber somewhere, a chair changing place to get a better point of view... I loved those little sounds. I loved silence. I loved the concentration. It was like being for two hours in another world. The cost of this trip was 5 pounds.

In this occasion, the poses changed. At the beginning, they changed every three minutes. There was a man there, drawing as well, who told the woman "ok, it is fine" when the time had past. Probably it was this man who decided to practise life drawing and decided to let other people participate to help with the payment due to the model. That is not a bad idea at all.

As I said, the poses changed every three minutes at the beginning, every ten or so later, and the final pose lasted for twenty minutes. So you could practise everything: with the shortest ones, capturing the pose and line of action; with the longest, pose, light and shadows and even the relationship with the environment.

I would upload the drawings I did, but I don´t have any scanner. So that will be another time.

The bad news is that these classes will last only for another week more. Then, they will be interrupted because they have to look for another place: the big room they were using is going to be engaged for something else. What a pity!

Draw, draw, draw

As I said, I don´t know anything about animation, but I read that to keep drawing is very important, so I try to do it as much as I can. I have even tried to do it while I am watching TV, but I confess that it is impossible for me. I get absorbed by whatever I am watching and completely forget about the pad and the pencil. That´s bad. :S

The ideal is to draw from life, but I find it really anoying, because I am very shy and hate people looking at me, and I am even afraid that they get upset or something because I am drawing them. So, to keep practising fast drawings, I use Posemaniacs, a really great page to train the right side of your brain. However, I will keep on trying to draw from life, because animation is life and the only way to learn it is to observe real people, animals and whatever.

So, here are some thirty-second drawings, done this last two days. They are suppose to help! Next to them, The Animator's Survival Kit, one of the greatest books about animation.