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  • Hash Fellow

-A lot of thin splining happens with experimenting while I'm modeling. I don't necessarily know at the beginning where every one is going to be.

 

-After you copy-flip-attach that nose you'll probably feel you can lose the first spline to the side of the center spline. Without the CFA, it rounds out the shape but once the other side is attached, the shape is round without it.

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-A lot of thin splining happens with experimenting while I'm modeling. I don't necessarily know at the beginning where every one is going to be.

 

-After you copy-flip-attach that nose you'll probably feel you can lose the first spline to the side of the center spline. Without the CFA, it rounds out the shape but once the other side is attached, the shape is round without it.

Ahh good tip, regarding that extra spline. Yeah, I put that there to try and help keep the top of the nose from being 'pointy'.

Regarding that set of tutorials on Barry's Art Dump.. I was just watching a bit of that. His approach to head modeling is *completely* different from any other I've seen. Others seem to start with loops around eyes, mouth, etc.. He seems to kinda build a cage and then "fills it in". Very interesting approach.

 

I couldn't find the rotoscope images he uses anywhere on that page, and I think I'd like to try that appraoch at some point, to see how it "feels" for me. Are they available on the site? Or is the idea to start with your own images, and then just follow the general method he uses?

 

But either way, what a comprehensive set of tutorials. Quite a valuable resource.

 

In fact, between that new set of tutorials, the long list of videos you've put together, and all the others I've seen, it's almost overwhelming lol. I need to put together a master list of bookmarks or something, so I can easily locate these as I need them.

 

 

 

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It is overwhelming. Pick something small as an early project and do that to completion.

 

I guess you've already done the TAoA:M tutorials to get your feet wet.

Yeah, I've worked through those. I also remember working through them last time I was using A:M, about a thousand years ago, in 2005 or so. Of course, the refresher was a good thing to do anyway.

 

I'm going to start working on a short, simple-ish animation project with a ball and some simple props. Nothing elaborate, some animation, rolling, squash and stretch, anticipation, follow-through, etc. Kind of an "animation fundamentals" project. I'll likely start a new thread for that, so I can keep this one open for the character modeling.

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Might just do that! I expect to have some of it done by then. I'm just doing a primer on the process.. going from modeler, creating actions, etc. etc.

Is it recommended to have bones attached to the ball for the animations... squash/stretch, etc? I've seen videos where it looks like bones are used. Just not sure if it's something that's recommended, or optional, etc.

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  • Hash Fellow

My advice is do a bouncing ball with no squetch the first time out. There are essential issues of gravity and curve editing that can be learned there.

 

But, yes, bone scaling is a typical way of doing squetch for bouncing ball exercises.

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My advice is do a bouncing ball with no squetch the first time out. There are essential issues of gravity and curve editing that can be learned there.

 

But, yes, bone scaling is a typical way of doing squetch for bouncing ball exercises.

 

Ah okay, cool! Will keep that in mind.

 

Thank ya.

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  • Hash Fellow

Regarding that set of tutorials on Barry's Art Dump.. I was just watching a bit of that. His approach to head modeling is *completely* different from any other I've seen. Others seem to start with loops around eyes, mouth, etc.. He seems to kinda build a cage and then "fills it in". Very interesting approach.

And he was a TD at Pixar so there's wise insight to be found there.

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