En Garde!

Today, the creativity bug bit me and I decided to write a scene for a small series idea I had a while back. I intended The Deadly Truth to be one time gag comedy short, but as time passed by, I became more interested in making it a small story, told in a few episodes. I also decided to change the tone of the story from humorous to a bit darker. Here’s a quick sketch of the direction I’m planning to take.

If anyone is interested in script writing  in a more professional way, I encourage you to take a look at Celtx. It is a pre-production all in one software that will blow your mind away. Absolutely free, and available for Mac, Linux/Unix, and Windows.

I was in a creative accident!

Post by Renato Vargas. Follow me on Twitter.

I’m fine though, don’t worry. I hope you are doing great too. I just wanted to let you know that Sbass and Monica from The Inkwell Alley were kind enough to let me share some thoughts with their readers on Feature Friday. They are creating an awesome community of artists that want to make their creative dreams come true under the motto Is not who you are, it’s who you can become. A writer and an artist, these two great women have been very busy promoting their relatively new iniciative, that I know will be a great success. Make sure to check out their blog at http://inkwellalley.blogspot.com.

If you are coming from The Inkwell Alley, welcome to I’ll tell you a story…. In this blog I share the things I learn while trying to figure out how to make drawings come to life through 2D animation. Since blogs tend to be a bit difficult to navigate, I thought I’d show you around. You might enjoy these posts:

Creativity development

How I’m fighting the animator’s block

The Importance of Staying Creative

The production process

Building Character is not the Same as Character Development

From A Forgotten Piece Of Paper To Life

Illustration tips and tricks

Creating Stunning Backgrounds with TBS!!!

Animating Effects: The Best Form of Procrastination

Backgrounds: Getting your perspective right with Google Sketchup

Backgrounds: From Google SketchUp to Toon Boom Animate

I hope you enjoy this blog as much as I love writing it, but above all, I really want you to find it useful. Any thoughts? Make sure you let me know in the comments. Have a great day!

To do list

Post by Renato Vargas. Follow me on Twitter.

Hello everyone. I have a few things that I want to share with you (although I won’t just yet). First of all, I want to show you The Deadly Truth. Its release is loooong overdue. I thought that was going to be an easy thing, but once again, having a demanding day job and (yes I know) not enough discipline has pushed that deadline endlessly. The purpose was not perfection; just mastering Toon Boom software. Shame on me. After my work trip to Holland, I came back to a lot of backed up work that just had to get done. Things are more relaxed now, so I’ll get right on it. Along with The Deadly Truth,  I want to share a series of posts regarding the various stages I went through to create it (including all the things that should have been done in another manner). In The Netherlands, I met with fellow animation enthusiast Voynitsky, so in the following days you’ll see a post about our conversation and some of his work. Great guy. In the past days I’ve been getting a lot of traffic directly from gooogle, and the search terms that keep coming up are “toon backgrounds” and “animating water”, so I decided to write detailed tutorial posts on how I go about doing those two things. Even if it’s only from my amateur experience.

My purpose is to make this blog as informative and useful as possible so that animation enthusiasts everywhere can benefit from my learning process.

So, over the next couple of weeks you can expect the following:

1) Completion and release of The Deadly Truth.

2) A series of posts about The Deadly Truth’s production.

3) My conversation with Voynitsky and  some of his work.

4) Tutorials on “toon backgrounds” (indoors and outdoors) and “animating water”.

[Update:] I don’t like posts without visuals. After all , this is a blog about visual storytelling, so I want to show you the animation that got me started with this hobby back in 2006. It was done for a challenge at animationforum.net, run by Greg Kapersky. The challenge was called Dance Off and we were given a one minute piece of audio called Lalla, from the album I Have a Small Penis by M. J. Katamajäki to which we had to draw a character dancing. Go figure. I did it in Flash MX and had a lot of fun doing it, so here it is (opens in a new window):

 

Dance Off by Renato Vargas. (Click on the image)

I want to thank everyone that has kept coming back to this blog. It’s been great having you here. Don’t be shy, leave a comment .

Things are back in track

Post written by Renato Vargas. Follow me on Twitter.

Now that things are back to normal, here’s a quick update of The Deadly Truth. This link takes you to a facebook version of the video that looks better than Youtube’s. While you are there, you can always befriend me.

Here’s the Youtube one, which for some reason is one second shorter than it should be. Just a taste:

Note: I’m thinking of releasing the Toon Boom Animate source files for this animation once it’s published so that everyone can learn from my mistakes, so stay tuned!

The Deadly Truth: first update

My little clip is coming along nicely. Backgrounds are close to done and rough keyframes are in place. Everything on schedule. Progress!!

 

“The Deadly Truth” will be released on Sunday, June 7th, 2009.

Edit: For those interested, I will post more quick updates through Sunday on Twitter. You can follow me here.

Coming to a web browser near you: The Deadly Truth

Post by Renato Vargas. Follow me on Twitter.

I decided today that it is time to become Toon Boom Animate literate, and there’s only one way to do that: animating. For that reason, I decided to make a clip, under one minute in length due next Sunday, May 31st. No excuses. I am aiming to do it as fast as possible, and to use multiplane, some symbols, couple of effects, and frame-by-frame character animation. It’s going to be called The Deadly Truth.

So far I roughed out the setting, set up the multiplane shot, and drew some poses. I hope I have some fun making it. Afterwards, I’ll write a couple of posts about the experience. For now, check out the rough BG:

 

Title: The Deadly Truth
Release date: Sunday, June 7th, 2009.

Backgrounds: From Google SketchUp to Toon Boom Animate

Post by Renato Vargas. Follow me on Twitter.

Hey there, just want to show you some stuff. In my last post I showed you an application called Google SketchUp. Since it’s an incredible tool to develop three dimensional models of whatever you want, I thought it would be a good idea to use it as an aid in the creation of two dimensional backgrounds for animated shorts. I’m still working on the outside shots I showed you before (I’ll post how those turn out in another post) but I’d like to show you how SketchUp is of great help when it comes to drawing perspective. You don’t even have to think about vanishing lines and what not.

We start off with a fairly simple Sketchup cube and with the push/pull tool we create a two wall room (or set). After that we pay a visit to the 3D Warehouse we populate our room with a suitable bed and a nightstand (although here I just modeled this “placeholder” as nightstand). Don’t forget to punch a hole in the wall for our window. We paint everything white, move our view around to get the best shot, and snap a picture (export an image). I’d like to point out that SketchUp is full featured software, so it is capable of much more than these simple things I’m doing. I want to keep the models simple because afterwards, the painting portion will take up most of our time. We end up with something like this:

 

We then import our image into our drawing software (in my case, I’m using Toon Boom Animate) and put it on it’s own layer. After that, it all becomes about “imaginative tracing”. Use your SketchUp lines as guides and make sure you keep every drawing in it’s own individual layer (you can group things afterwards). How about we start with the footboard. You can color as you go, or you can color everything when you’re done.

 

Now some courtains…

 

Now the bed and we improvise a nightstand using our SketchUp placeholder as a visual aid (don’t mind the shadows; that step comes afterwards, but I forgot to take snapshots without them ).

 

And we finish with our walls and the window. At this point you can color everything. Your aim is to accomplish a certain atmosphere. After all, we’re trying to tell a story…

Make sure you build up a nice atmosphere with every layer you paint.

 

I’m falling in love with SketchUp more and more. It’s an incredible tool that can save you a few hours. You should give it a try. How do you like our final product?

Leave a comment.

The Importance of Staying Creative

Post written by Renato Vargas. Follow me on Twitter.

Some say creativity cannot be forced; that it is something that is either there or it is not; that you either have it or you don’t. Does that mean that you have to sit around and just wait for it to strike you? Well, I say NO, because if I learned one thing is that the longer you sit around doing nothing, the further away you get from being creative. Especially for people who do not necessarily work in a field related to their creative passion. It’s hard to keep up with your daily life, and then come home and burst into a creative frenzy. It is true that you cannot will yourself to be an excellent animator, or just force yourself to have an excellent idea, but there are certain elements of the creative process that you can be intentional about that will eventually lead to a creative explosion. This is not a new idea, but I would like to share with you how I’m slowly applying it to my animation project.

An update on Rezadores’ character development.
You have to intentionally set time aside for your magic. An hour’s work can be very rewarding.

The idea behind being intentional about your creative process is that you have to make an appointment with yourself to develop your skills and to simply, well…  use them. In that time, you have to give a hundred percent, as if you were getting paid to work on your project, and the client expects nothing but greatness from you. Play with your craft, be curious about new techniques, but do it for the sake of it and not because you expect compensation. Of course, to be able to do that, you have to take in stimulus, not passively, but in an active and focused manner.

What does this mean? If you were working on an animation about Africa, for example, it would be in order to spend some time researching about the wildlife there,  maybe do an internet photo search about the place, familiarize yourself with the physical appeareance of the people that live there, or listen to some sounds that were recorded there. You probably knew that, but what you don’t know is when or what to do with all the materials you’ve researched. This is the tricky part.

You have to set time aside for three things: taking in stimulus, processing that stimulus, and putting things into practice.  In that time, the activities you do must reflect an interest in seeing how you can apply the things you perceive to your current project or problem. This is how I’m doing it:

1. One hour a day for me and my creative self. You might be asking, “hey, didn’t he say he’d only be animating three days a week?” You are right, that doesn’t mean that I’m not doing anything on the other days. The actual animation is my practice. The other days I might take in stimulus, process it, or just find another creative outlet (like writing posts about the whole thing ). I try to make a schedule, and if you want to do so at this point, I suggest you do it on a weekly basis. That way, in any given week, you are able to direct more of your attention to any of the three steps I described. At the beginning of any project you might want to spend more days a week taking in stimulus. Later, you might want to cut down on your stimulus intake, to favor the processing part, and once you are well aware of what you want, you might spend more days just creating, until your next project comes along.

2. One hour, and one hour only. Start with a little until it becomes a habit. Oftentimes, when people read posts like this one, they get enthusiastic and set their expectations too high. They think: “Hey, I have more than an hour a day, I can spend three hours doing all this”. Eventually, they get burned, and drop the whole thing altogether. Start with an hour a day. Half an hour would be better. Everyone has half an hour to spare. Refrain yourself a little in order to go on longer. At this point, I realized I was more receptive to creative thoughts at night, so I decided to have my unnecesary creating time around seven in the evening. Some days I’ll animate, others I’ll just work on some concept art or write some thoughts on the subject.

3. Taking in stimulus is an active endeavor. Things like watching youtube videos can be considered stimulus if you take an active approach when doing them. This means that you have to think about whatever project you are working on when you sit down to watch awesome animations on youtube. I will take a blank piece of paper and I’ll write down interesting things I see that can be applied to my project. Is there a cool effect they are using? Are there any interesting camera angles being used? It doesn’t matter; try to get ideas from an otherwise useless activity. Do you have to do this all the time? NO. Remember, this is something you will do in your Unnecessary Creating Time; your hour for yourself.

4. Process your stimulus. The next day, after you’ve taken in stimulus of any kind (web vids, movies, art, television, magazines, etc.) you have to sit down and let your mind generate new thoughts based on what you’ve absorbed. Remember, you don’t have to copy people styles. You are coming up with your own ideas about things. I will take the notes that I wrote when taking in stimulus and think hard about them (maybe, the following day). I then write something about my project or draw some concepts based on that stimulus, taking advantage of what inspired me.  New brain connections are created at this point, and you are able to see things under a different light.

5. Apply what you’ve learned. Hopefully, after taking in all that stimulus on purpose and processing it, you will be eager to use it on your project. That means that when your animating day comes you will be full of ideas of what to do and how to do them. This is when your body switches to auto-pilot and creative explosions happen. Put things into practice. Work your magic!

Staying creative is a crucial part of the animation process for hobbyists (and even for professionals, I think). You have to build disciplines and be intentional about some aspects of the creative process, to be able to respond creatively when the time comes. As I said before, the ideas expressed here are not original. They are just how I’m interpreting and applying them to the animation process. If you want to learn more about this subject, I suggest you visit Todd Henry’s Accidental Creative site and listen to his podcasts.

I would be delighted if you shared your thoughts on this subject in the comments.

From A Forgotten Piece Of Paper To Life

Post written by Renato Vargas. Follow me on Twitter.

Over the past week I have been discussing how hobbyists like myself tend to omit certain steps, professional studios are obligated to take in the process of creating animated stories, because they feel that everything is in their heads. I certainly followed that logic, and it brought me nowhere, since I didn’t give my characters a chance to develop correctly, which ultimately lead to very inconsistent character animation. It was so bad, that it looked as if the character that started the motion slowly transformed into a completely different one (and not on purpose). You see, the animation process became stagnated, due to the fact that characters weren’t properly taken out of the crummy piece of paper they were conceived on, and put on a nice model sheet that could serve as a reference throughout the entire project, before the actual work started.

From my Rezadores de la Recolección original concept art.
(Click on the image to see the other side of the paper.)

After reading a lot about animation, it became clear to me that I had to adhere, more or less, to the workflow that studios have used since the first half of the twentieth century if I ever wanted to finish my little project, as I stated in a previous post. It’s a proven formula that just works. It was time to put my money where my mouth was. We’ll, I’ve been doing my homework, and it is turning out nicely. I thought I showed you a bit.

Inspiration hits you in the most unusual places. I was at a conference on climate change when the idea for the look of my characters flooded my mind. Luckily for me, they handed out little note taking blocks for the event and I was able to get a couple of poses drawn before the Q&A round. This past week, in an attempt to get this project going, I pulled the little piece of paper (which you can see by clicking, either on the picture above, or here), scanned it, and decided to make a nice model sheet out of it, to be consistent with what I previously discussed about character development. It is nowhere near finished, but it’s a start. Here’s are the steps:

1. Take the character’s measurements. It’s a good practice to think about your character’s size in multiples of its head. That way, no matter where you draw it on the screen you’ll always know if it’s dimensions are right, just by counting “how many heads tall” it is. This was a good time to correct my character’s original measurements, since I wanted him to be exactly five heads tall. No matter what program you use for your animations, make sure you do every step in its individual layer. That way you have more control over the entire process. Here I just drew a couple of horizontal lines marking the head’s superior and inferior edges, copied them and pasted them down the page as reference. A couple of red lines delimit what would be an imaginary sphere embedded inside his head, which is useful for drawing him rough.

Notice how I drew lines that represent its height in “heads”.

2. Rough it out, and draw a half or a full turnaround. This is the time to start figuring out how to quickly draw your character in various views. Make any adjustments to your original sketch here. Don’t forget to use a new layer for this. Block the rest. You don’t want to mistakenly ruin something. In the following image the original bitmap layer is turned off, but you might want to keep it on while you draw on top of it. At this point, keep it simple. You just want to learn to draw your character in various poses and get its dimensions right.

Look for simple shapes that will help you draw your character faster.

3. Clean it. In a new layer, take the pencil or pen tool (something that will give you same width lines, no matter the zoom) and cleanly outline your character. You can take your time with this step. Use your software’s tools to edit the points or nodes that make up the lines. You’ll end up with something like this:

Be very careful with this step.

4. Color it. Our model sheet is starting to look good. Now it needs some color. You can copy and paste the contents of the clean lines layer onto a new one and color your character there. That way you’ll have both versions in case you need to revisit your lines (say, if you’re writing a post about them ). Document what colors you are using. If your software doesn’t have color palette management functionality, make sure you know the RGB values for all of your character’s colors. You might (and probably will) need them later. Just write them down.

This is a nice picture you can tape to your wall as reference for your project.

Our model sheets are on the right path now. A couple of expressions and some action poses would be in order, and seem like the next step. What do you think of my process; any suggestions? Tell us all about it in the comment section of this post. See you next time!

Animating Effects: The Best Form of Procrastination

Post written by Renato Vargas

If you have read some of the posts I have written here, then you already know that I have delayed the completion of my animation project for a couple of years. But during that time, I have found myself procrastinating in great ways. Yes, in not doing what I was supposed to do, I ended up learning one or two cool things, and I have to admit that I love to waste time animating effects.

Click on the image to see it in motion.
(Be patient; it takes a while to load sometimes)

Water is one of the most entertaining things to animate. It is very difficult to get right too (and I probably haven’t yet). I became interested in water animation after I first came in contact with Adam Phillips’ Brackenwood shorts. I could not believe they were done in Flash. I had to find out how he had done them. Fortunately enough, he wrote a post on his blog about ActionScript camera effects in Flash, and he posted a small waterfall scene of Prowlies At The River to illustrate his point (I tried to find the original post to give you a nice link, but I had no luck). The camera was a nice feature indeed, and I used it a lot, but I was amazed by the waterfall itself. It was in that file; all of its frames. I felt as if I had struck gold.

What drew my attention is that the final result looked wonderful and everything was accomplished with only six drawings and a hold for each of the waterfall’s elements; meaning it was done “on two’s”. He was still animating at twelve frames per second at that time (He animates at 30fps nowadays, I think). I tried to replicate the same principles with the fountain you see above these lines and I ended up with a nice result. I didn’t know I was developing a useful skill, which solely landed me all of the freelance gigs I’ve done.

There are other animated effects, besides water that never stop amazing me, like lighting effects, smoke, fire, and moving sand. The thing is that, even if they are important skills to master, they should come last in your list of things to learn, since there’s no effect that can outshine a good character animation. Character animation is the soul of your piece and it is the only thing that will say whether a story is good or not (or finished in my case). What I’m trying to say is… “stop reading and get back to those characters!! Are you done with your model sheets?” But before you go, share your thoughts about animation procrastination in the comments.