My September Project (6) - Tweening

Hello HypefroActive fans and welcome to another edition of animations hosted here on Hypefroactive. Today  continues the sequels to My september Animation Project highlighting and revealing whatever it is i'm working on every fresh month. Well, i must say it has been wonderful animating as i learnt a whole bunch of stuffs and experimented on my theories and guess what? They all passed. Yeah, animating has never felt any better than where i am right now for me. All the talks about squash and stretch, moving holds, establishing contacts etc has never really meant plenty until now.

At this stage after setting most of the key positions, i am faced with the in-betweens. And so, animating continues and for once i just let me go without bothering my head about the principles. And what really put me on this project is facial animations, a stage that i've not yet reached on this project but learning how to place squash and stretch any where you want "that of course makes sense" is something i've always marveled about. And its just so fantastic when you understand the flow and other of things. Now, Animators that specialize in 2D Animations are mostly animating on one or two's or both. And i used to think that it was because they drew and had to do that for at least every frame for the most part. And sometimes watching or listening to other 3D Animators lecture, they'll tell you that because the programme interpolates the in-betweens you can go ahead animating on threes or fours. And again this works on 3D Animating programmes but might not turn out well for it's 2D counterpart unless of course you don't want to be taken seriously. Well, contrary to what they've talked about

"how to animate in frames in the 3D world", i've come to realize that whether 2D or 3D, the methods for frame to frame animations are the same and this holds truest if it has to do with arcs within four to eight frames or sometimes rubber-hold animations. Animating on ones just makes the characters want to pop out the screen and grab something. There's plenty of life, it's funny and you get to do what ever stupid stuff as much as you want that can be realistically possibly overlooked.

When you understand stuffs in this manner, knowing how thing work in real life and testing them out with it's accorded principle, then your problems become a lot lesser and all you look ahead and see in this stead is the frames and ideas for a story-line. There was a time when i accidentally animated stuffs like the way i'm animating now but couldn't replicate it because i didn't really understand what i moved or rotated that made the animation turn out like that. And for a very long time, i tried re-inventing it but never really got a hold of that Mangekyo Sharingan technique until some weeks back. And now, it is even better because i understand that it is all in the flow. That is basically what

you have to work on, "The flow". It dictates the order of things and how events unfold. Being aware and understanding this just puts the square pegs in the square holes. And alot of questions are answered like, what kind of animation do you hope to embark on? Is it a realistic or cartoony character type of Animation or a blend of both. For me, i think i'll love to do a blend of both but with more emphasis towards the cartoony type and don't blame me because i love funny stuffs.

Ok, as usual and somehow to keep you abreast of my progress so far, i've uploaded some images of a character i've animated on here that happens tobe the main character in this shot and funny thing is, i still i'm not done with the animations. Next in line is the facial expressions and some two hundred or a little more frames of animations and i'm done. The curve editor once again proved to be a very useful tool in this exercise, way to go curve editor.