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Beginner Animation Tip - Make the Eyes Look Alive!
The last one got a pretty good reception, so what the heck, have another! I'm working on the June monthly painting, got it drawn and inked and plan to have it finished either tomorrow or the next day. But I had some time left to play with today and this idea was bouncing around in my brain so here ya go. It's a bit more "wall of text"-y than I'd like, but there was more to cover here than I expected, heh. Honestly I probably should have started with this one, this might be the most common problem area I see in beginner animations. Unless there's a damn good reason to do otherwise, eyes don't drift, they dart!
I know I'm supposed to be resting my arm, but there was actually so little animation required to get this idea across that I just straight up did it entirely with my left hand, so I -did- rest my arm! Ha ha! Take that nature!
If you've got any other eye-related animation tips, toss 'em in the comments below!
I know I'm supposed to be resting my arm, but there was actually so little animation required to get this idea across that I just straight up did it entirely with my left hand, so I -did- rest my arm! Ha ha! Take that nature!
If you've got any other eye-related animation tips, toss 'em in the comments below!
Category Artwork (Digital) / All
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File Size 8.39 MB
Eye lids how do they work lol, they blink so fast so there not really noticeable, but more wondering from a modeling perspective. Are they a separate object? if there the same object as the main mesh, I imagine there pretty squished up to start, do stretching them out cause issues? is there fur on them? Is modeling them form with them closed and easier task then open.
I have so many questions but I feel like eye lids are my biggest brain fart at the moment.
I have so many questions but I feel like eye lids are my biggest brain fart at the moment.
They're a part of the main mesh, in my case. Nothing fancy, just a few edge loops, they are indeed quite compressed when all the way open and quite stretched when all the way closed. It doesn't cause a ton of problems, but you will want to texture paint the lids while the eyes are closed because that stretching will magnify any slight imperfections, but if they're painted to look right while closed they should also look more or less fine while open. There is a bit of fur on them, but not a ton. Probably the best bet is to model the eyes half open, but I usually model them all the way open just 'cause that's how I started. :P
These tutorials are incredibly helpful! Im still learning Blender but once I feel more confident at trying animations I will look back at these. Thx u very much! I hope to see more tutorials!
(Would it be ok at some point you could make a tutorial about how you do fluids for cum and squirting? I feel my attempts at this always feel off somehow.)
(Would it be ok at some point you could make a tutorial about how you do fluids for cum and squirting? I feel my attempts at this always feel off somehow.)
AADFGHJKAY!&@ YES! FUCKING YES!!!!
WHY CAN HOLLYWOOD NOT GRASP THIS CONCEPT!?!? WHY DOES IT TAKE A FURRY ARTIST TO TAKE HOLLYWOOD TO SCHOOL ON HOW TO MAKE CGI CHARACTERS THAT DON'T LOOK AND ACT LIKE AUTOMATONS!?!?!
FFS Ru, you are light years ahead of 90 percent of the movies out there, just for this one tiny detail!
WHY CAN HOLLYWOOD NOT GRASP THIS CONCEPT!?!? WHY DOES IT TAKE A FURRY ARTIST TO TAKE HOLLYWOOD TO SCHOOL ON HOW TO MAKE CGI CHARACTERS THAT DON'T LOOK AND ACT LIKE AUTOMATONS!?!?!
FFS Ru, you are light years ahead of 90 percent of the movies out there, just for this one tiny detail!
I do find the characters in your animations look very lively and expressive, due to many of such little details and motions that are doubtless very hard to put in. It's very amazing and makes it all so much nicer to look at than animations that only animate the body parts that are required to move for a scene. So all that effort is definitely worth it and noticed.
(On this one, I think the white of the eye goes a bit fare from the iris, but it's of course for demonstration purposes only, I get it. Lovely face, too.)
(On this one, I think the white of the eye goes a bit fare from the iris, but it's of course for demonstration purposes only, I get it. Lovely face, too.)
Counterpoint- unless you intentionally want your owl character to look uncanny, just let their eyes move. See: Legend of the Guardians. I haven't seen the movie, for all I know it's utter shit, but even these fairly realistic normal owls have eyes that move in their sockets 'cause it looks too weird if they don't. :P
Beautiful, terse, readable demo.
One thing you can use to speed up the little random darts is to procedurally generate some of them. Could randomly pick small angle displacements from the baseline and then use sync/ease curves on the rotation channels to make eye darts have natural quickness-and-pause feel. It’s imperfect but it’s a very quick first draft. Easier in practice than it sounds.
One thing you can use to speed up the little random darts is to procedurally generate some of them. Could randomly pick small angle displacements from the baseline and then use sync/ease curves on the rotation channels to make eye darts have natural quickness-and-pause feel. It’s imperfect but it’s a very quick first draft. Easier in practice than it sounds.
Really enjoying these videos you are putting out! Just curious if your used more armature/bones or shape keys for something like this? Would love to see you do a video of some tips for armature design that you have on your characters, I keep jumping back and forth between using both and really don't have a guide for myself when to use one or the other.
Great stuff though, thank you again for sharing!
Great stuff though, thank you again for sharing!
I have a tip idea that has been bugging me for sometime.
When it comes to fur tufts for example longer fur on the cheeks, shoulders, center of chest, etc.. What is a good way of making it look more natural. Using interpolation for children helps but a lot of times you can see the change in length... It's not as seamless of a transition changing from one height to the other. If you make a second curve or particle instance to achieve the longer fur, tips to blend the two different layers could be a neat too.
I'd take it the longer fur is separate so you can apply the hair physics.
When it comes to fur tufts for example longer fur on the cheeks, shoulders, center of chest, etc.. What is a good way of making it look more natural. Using interpolation for children helps but a lot of times you can see the change in length... It's not as seamless of a transition changing from one height to the other. If you make a second curve or particle instance to achieve the longer fur, tips to blend the two different layers could be a neat too.
I'd take it the longer fur is separate so you can apply the hair physics.
Such a fun tip!
I noticed it myself when I played Xenoblade Chronicles 3 last year - I paid close attention to the eye animations and it immediately struck me what I've been doing wrong before all the time.
Thank you for sharing your animation tips with the world. A lot of animators can improve their animation quality by following relatively simple tricks. Bless your soul for sharing your knowledge!
A lot of times it's not even the complexity, but it's some detail observations that can take years of experience to notice. Having talented animators share their wisdom will help newcomers to reach new heights quicker.
I noticed it myself when I played Xenoblade Chronicles 3 last year - I paid close attention to the eye animations and it immediately struck me what I've been doing wrong before all the time.
Thank you for sharing your animation tips with the world. A lot of animators can improve their animation quality by following relatively simple tricks. Bless your soul for sharing your knowledge!
A lot of times it's not even the complexity, but it's some detail observations that can take years of experience to notice. Having talented animators share their wisdom will help newcomers to reach new heights quicker.
I'm not an artist but i do like seeing behind the curtain as it were. Being able to see where art comes from always makes me appreciated it even more as opposed to art that just pops out of nowhere with no background or explanation. I feel like I can get a better understanding of the lengths an artist went through as well as seeing what shortcuts, hacks, and workarounds were used to get the desired effect is always really interesting too.
Love these posts, I really appreciate them and hope you do more.
Love these posts, I really appreciate them and hope you do more.
These are awesome.
In fact, assuming you ever have time, you should consider doing a tutorial series for doing a character from start to finish through the entire pipline / build process. I'm dead certain anyone interested in doing this sort of work in Blender would not hesitate to purchase such a thing. I know I wouldn't.
I have an entire LIBRARY of tutorials and exactly zero of them have such a useful tip as the one you have provided here on a whim :P
In fact, assuming you ever have time, you should consider doing a tutorial series for doing a character from start to finish through the entire pipline / build process. I'm dead certain anyone interested in doing this sort of work in Blender would not hesitate to purchase such a thing. I know I wouldn't.
I have an entire LIBRARY of tutorials and exactly zero of them have such a useful tip as the one you have provided here on a whim :P
Small details like this really have a huge impact imo, it's definitely something I love seeing in video game cutscenes or CGI movies/animations. The only common exception to this that I could think of is people who wear glasses. It's something I never really noticed consciously since I've been wearing glasses for most of my life. But because of how the vision with glasses is really restricted to a small area, apparently it influences the way people track things with their head more than their eyes, while the eyes remain staring mostly fixed straight ahead.
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