This put lines going through the joint of the foot. On the Punk, the original shoe design looked more like a pair of boots with lines running 90 degrees down from the shin to the toe. Those kinds of rigging choices can make a rig significantly more difficult for an animator to use and heavy for the computer to process. One time I built a character with tattoos running through the joint at the elbow - Harmony can totally handle it, but rigging it all involves a lot of cutters and deformers. It’s a good idea to avoid putting any patterns or designs through an elbow or knee joint. It made it tricky to determine whether the sleeve would move with the upper arm or the forearm. Something I specifically pointed out on the Punk design was that there was originally a sleeve that came down just below the elbow, very near the joint.
What was an example of the feedback that you provided while working on this rig? I was grateful to be included in the character design reviews before everything was finalized so I could give feedback to help make the rig easier to create and animate.
#HOW TO USE TOON BOOM HARMONY HOW TO#
I was writing the training material for how to teach people to build something like this rig, and we did not want to get overly complex. You can hit R and the arm will reset everything to 0 rotation, scale of 1 and it will go back to a usable starting position. This is especially useful when you want z-depth layering and you are having a tough time figuring out which layers have z-depth info and which don’t - or if you’ve stretched and squashed the arms like crazy.
The benefit of having the character built this way is that you can select all the pegs and nodes in Harmony and then press R to reset them all and have them all return to the starting position. Those kinds of turnaround can be great for traditional or paperless animation workflows, but for cut-out animation, it helps to have a default position to start from. Some character designers draw dynamic turnarounds with torso tilts and arms folded etc. It can also be okay to work from a T-pose with the arms straight out, but I prefer the arms in a more relaxed position. It’s important to make sure the character has their arms in a default position in the turnaround. As I went through the turnaround I would number the pieces to help me keep track of each piece of hair as it rotates through the 180. The Punk character has a few tufts of hair, and I always find it nice to make each tuft its own piece. You can look at many Nickelodeon shows to see examples, like on The Loud House, Dexter’s Lab, Fairly Odd Parents, and Kim Possible. Some shows have more of a graphic style where you’ll use cheats on the hair to where it keeps the same shape through much of the turnaround. Perspective may change that a little bit, but not much. For the most part, the nose, eyes, chin, chest, arms, and legs should line up across all the views. One of the most important aspects for this reference image is for the views to make the character look as if it is turning in 3d. In order to build a good rig, you need to have a good turnaround reference image to build from, and Vanessa did a great job.
The goal was to make something we could use to teach people how to rig in an introductory lesson, so that informed some of my decisions. Matt Watts: In approaching Vanessa’s rig, it was really important for me to make it fit with the Toon Boom Training Courses. Mike Schnier: How did you approach Vanessa Bouchard’s design for the Punk rig? Read their discussion below, along with previews of the Punk rig from the new training courses.
#HOW TO USE TOON BOOM HARMONY TV#
Watts also discusses his day-to-day experience working as a rigging artist in tv animation, as well as his advice for aspiring creators who want to work in the industry. He recently joined the team at Digital Gravy.Ĭartoon Brew is pleased to present the following conversation between Mike Schnier and Matt Watts about the care and craft that went into adapting Vanessa Bouchard’s Punk character into a cutout rig for the company’s new training courses. Matt is an accomplished self-taught animator and rigging artist based out of Utah, who not only has a decade of freelance work under his belt but also came recommended by his colleagues from his tv production work in Canada. Remote training is now also available for Cut-Out Animation, Paperless Animation, Compositing, and Storyboard Art.Īmong the professionals Toon Boom approached to develop assets for its new courses is Matt Watts. Interested in building your career in animation? The new Toon Boom Training Courses on Rigging are intended for artists who are new to the craft and want to learn the fundamentals of constructing character rigs for studio productions, under the guidance of a remote instructor.
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