![]() We could have re-drawn them, but as we were just working for some tutorials, we did not have that time to do it. In the process, we lost some subtleties of the illustrations, this rough aspect I like, and some textures. These are the layers we actually used in the animation. That was the first step in this work, a lot of organization and drawing in Photoshop. With Léa, we had to separate each part which had to move in the animation: cut the hands, the toes, the legs in two parts, separate the eyes from the face to be able to move them, etc. Justine was kind enough to give me here Adobe Photoshop source files – where she had kept different parts of the characters in separated layers – but as they were never meant to be animated, the layers could not be used as they were… Imagine you have to print this character, and articulate the different parts… Angry Girl, a little girl a bit more expressive… Adapting the characters for animation ![]() ![]() To state this in a simpler way: although I was going to animate this digitally, I needed characters which could be printed and animated as real paper cut characters.Īs I truly loved those designs, I could not resist to pick a third one, to animate a more expressive walk cycle than what I was going to do with Goyle. Because Adobe After Effects is not a traditional, hand-drawn animation software (actually, it was not made for animation at all, but for compositing), I had to pick characters in this particular pose, where the body can be oriented three quarters from the camera (which is visually nicer than profile or front), but the legs and arms had to be on the side, able to translate in 2 dimensions only without breaking the perspective. ![]() I had my two characters, both were ideal for 2D animation, and I saw that they could “ easily” be adapted for my cut-out technique in After Effects. Whome, who’s very expressive, was gonna be ideal for animating a dialogue. Goyle was my first choice, he’s ideal to animate a walk cycle. And do have a look at them, they’re gorgeous). Justine did not have enough time to create characters specially for this course, so I had to pick in her past illustrations (click on the images to have a better look at them. I needed two types of characters: one standing, to be able to animate a walk cycle and all sorts of actions, and a close-up to animate a dialogue and do some more precise acting. Thanks to the help of Léa Saint-Raymond, we could achieve this quite quickly, this is our process. I’m glad she said yes, but I still had a lot of work to be able to animate her characters. I wanted to work and share original characters, so I asked my friend Justine if I could use some of her illustrations. This means they can be very detailed, with textures, shadows and small details, which would be impossible if you had to draw each frame by hand like with more traditional 2D animation.Ī few months ago, I’ve decided with Rainbox to create a comprehensive animation course on video (in French for now, but an English version is on its way), to be released on the internet. What’s great with animation in After Effects, is that you work on the actual illustrations, you don’t have to re-draw them. The technique I used, Duik in After Effects, seems to be one of the easiest way to do this, animate illustrations, without having to adapt the style. They were not meant to be animated at all, so it could be a bit tricky to adapt them. What’s interesting is that those characters were… Well, illustrations. I’ve been very happy to work on Justine Cunha‘s wonderful illustrations recently, and I’m going to share my process with you.
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