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When asked to draw an animal of his or her choice, a character designer would choose a raccoon, or a penguin, maybe a squirrel, or a cross-eyed pug.
I don’t really have this option.

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A handful of quick studies, 2 and 3 minute poses.

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Character design for an (imaginary) animated version of Tim Burton’s Big Fish.
No, I’m not going to animate it!

Click on the image to enlarge it.

This tutorial will teach you how to batch clean up a sequence of scanned frames. We are going to use the GIMP (it’s free software, download it from gimp.org) and GAP, the GIMP Animation Package.

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These are two pencil tests I recently did for the class Traditional Animation 1, at AAU.
The first one is an evil cat sneaking into a kitchen. I have a soft spot for evil characters, I can tell…
The second clip is a lipsync pencil test. The character says “Did I say sugar?”
They are both animated on two’s, with some holds on the second one.

A couple of portraits I did in the last months. It takes about three hours to complete one, but this full figure with clothes took much longer.

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These are some of the drawings that I made during the last four months. I’ve been dealing with the human figure like I never did before. So all my animal characters, critters and monsters are very jealous now!

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Check out this video. It sums up the steps to animate a sneaky walk cycle.

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Character animation is done using GIMP and GAP. (Yeah, nothing is GIMPossible!)
I first roughly sketched the basic lines, just to have an idea of how the masses will move. I then inked the outline.
I did my pencil test “on twos”, which means 12 frames per second, on 24 frames per second playback. After cleanup I added inbetweens, making it run smoothly at 24 frames per second, or “on ones”.
Finally, I colored the character and added a transparent shadow.

Final compositing is done with Blender.
This image shows the different layers that make up the background.

When it comes to panning backgrounds, it’s like the view from a train window: objects closer to you move faster; far away ones are almost motionless.
The images have to be larger than the width of your composition, so that you can pan them horizontally.
I used this combination of Blender nodes to perform the panning:

Each background layer is on a separate scene, and has its own nodes applied to it.
You may want to add a scene to itself in the VSE to have a live preview of what you’re doing.

So, input is an Image node, and it’s passed to the Composite node through a Translate node.
We first have to place the image in its starting position on the X axis.
Create a Math node, insert the amount of pixels you wish to shift the image and plug its output to X value of Translate node.
To interpolate the animation you have to create a Time node and plug it to a new Math node. Be sure that both Start and End time on Time node match your scene. On the Math node, insert the amount of movement you want and multiply it by the value from the Time node.
You only need to plug this last Math node to the first Math node created, choosing to sum their values.
To make the layers move at different speeds, use different values on the multiplying Math node. Positive values will translate the image left to right, negative values will make it move the opposite way.

That’s all, I hope sharing my experience helps!

My cartoon is still at an early stage. This is a rough cut of what I’ve animated so far.

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This screenshot shows the use of Blender for 2D compositing. I used keyframed animation to move ants along a path. Their walk cycle is made by six frames only.

Unfortunately, I’m not sure that I will be able to spend my time on this animation project during the next months…

(This post is in Italian)
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