Friday, November 9, 2018

Graduate Spotlight: Nagu Moreno

Nagu Moreno is one of our very talented graduates from animation program. Throughout his time at AnimSchool, he won the hearts of his instructors through sheer dedication and hard work. We recently got a chance to interview him for our blog and learn more about him, and his workflow.

Tell us about yourself and your background.

Nagu imitating the work of Quirino Cristiani: a local animator
I was born in Buenos Aires, Argentina, I work and live here. For as long as I can remember I was passionate about animation. It may be not a very original story but the truth is that as a child I always said, I wanted to make cartoons when I grew up. I was fascinated by all cartoons, but my favorite was The Pink Panther Show. I spent hours drawing the characters so much that my mom enrolled me in a drawing class. I also enjoyed acting and everyone knew me for making impressions of imaginary characters or our school teachers. Later I studied acting, theater and performance for a couple of years. After I finished high school, I was a bit shy and somewhat confused and ended up studying Marine Biology for some time - I love animals, especially the weird ones, but I’m not so good at STEM subjects. Later because of my interest in movies I studied towards a degree in Sound and Image Design in University of Buenos Aires (UBA), getting closer to animation although I didn’t realize it then. I love all kinds of animation, all techniques and styles.
In my free time, besides animation, I enjoy playing football and traveling when possible.

So what motivated you to become an animator?

I first discovered 3D as an animation technique when I was in college. I remember leaving the cinema after watching Monsters, Inc. absolutely fascinated. I realized that this was what I wanted to do, so I quit my job at the supermarket and with just enough money enrolled in a intensive course at a private university which focused on all areas of the 3D world, all the while studying in college. I saw it as a self-investment and a chance to work on something I enjoy. Although in my country animation schools are few and far between and the industry has a long way to go, the course served as a great introduction to the industry, and I soon started working as a 3D generalist for movies and advertising companies in various local production studios.

From the beginning, I was most of all interested in animating characters – to make each gesture and expression come alive to me means everything I love about this world, which is why I decided to focus on Character Animation.

What made you choose AnimSchool?

AnimSchool's Marina Character design
I learned a lot about the production workflow of a full-length animated movie while working in Underdogs, a movie which was partly made in my country, but not so much about character animation due to the position I was working in.

I remember stumbling upon AnimSchool showcases and loving the students’ work and the rigs; the characters looked very expressive and versatile, but enrolling seemed impossible because of time and cost. I learned more about AnimSchool from my coworker Maximiliano, who was a student here. It made me happy to know that my wish to become a better animator and learn from the best animators in the industry had a name and a place and was something real and approachable.

Tell us about your workflow.

While choosing an audio I try to visualize possible camera angles and framing. I believe that although my dialogue shot begins and ends in a specific time frame, the story must continue before and after the shot. So it should not be a stand-alone but rather part of a bigger story arc and my shot is able to convey that feeling. Therefore it is very important for me to choose those settings and elements that would help the viewer to quickly figure out what is happening and where the shot is leading to.

My pre-planning involves drawing thumbnails. I like acting the scenes out in front of the mirror. After getting a general idea of the acting, I film a reference, trying to identify the key moments and poses which are crucial for telling the story.

Click for bigger view
With several video references filmed, I piece parts of them together to make a final version. As I tend to exaggerate the acting or the number of poses, which may have something to do with me being a Latin American with Italian roots, I always watch out for it and try to tone down and simplify the final version.
Then I draw some quick frames with key poses and extremes and turn them into a sequence with a timeline in an editing program. Now I have an animatic which helps me to check quickly if the timing of my animation is right and to make the poses clearer.

Time to start working in 3D – I first work on the key poses, mainly the body - I don’t touch the face, just some quick expressions so it doesn’t look too neutral. I try to get as many body mechanics references from my video as I can and adapt them to the character’s weight and physical aptitudes. I start working with curves in step mode as I feel more comfortable with pure blocking. The master poses finished, I work on the extremes and add breakdowns, going from bigger to smaller and trying to make the pose to pose changes look natural, so I work on the ease-ins and ease-outs, movement arcs and adding facial expressions little by little.
When I’m happy with my body/facial blocking and I feel that it flows naturally without spacing jumps and the timing is right, I start animating the lip sync and blinking with spline curves. After that I add little details I see in my references I may have not noticed before, which may be help the character come to life, like a sigh or an eye dart. I like to consult others’ opinion while working, not necessarily someone who knows about animation. It helps me see if my idea is clear to others, or work out a gesture or in general have a new and different perspective. Then I pass the animation to spline and start polishing the curves and retouching everything to recover the beats I had in my blocking which now may look a bit too smooth. While in blocking I work mainly on the timeline from start to end, here I polish the curves in chunks, dividing the animation in about three parts. I work on general controls hierarchy first, moving on to the details, generally hips, then torso,  neck and head and the limbs, etc.

Were you working before joining AnimSchool? And now that you have graduated from the animation program, what are your plans?

I have mainly worked in audiovisual studios here in Argentina and although I have worked in full length films, mostly locally, the bulk of my experience is as a 3D generalist in commercials. As a generalist I realized I cannot improve my skills if I have to work on every step of the project (modelling, lighting, etc.), especially with timing and resources available when making a commercial. My first step was to focus on character animation and make a leap in quality I felt I badly needed. At the moment my end plan is to be able to work on high quality fully animated movies, while continuing with my studies, learning and improving my skills.

What is the animation industry like in Argentina? Do you think it has the potential to grow?

Argentina’s animation industry is mainly dedicated to advertising. There are a number of studios that specialize in commercials that produce a decent quality content.
Argentina has a humble but significant place in the history of world animation since the beginning of the 20th century. However, attempts in animation here have always been isolated and independent, often without a definite idea of a long-term project.
That said, in my opinion it’s witnessing a rise, there is a new generation of professional animators, who can learn quickly thanks to how easily you can access information and technology these days. The only thing needed is more options in professional education and most of all structured degrees in animation as a separate discipline, independent of a degree in cinema.

What would your advice be for the aspiring animators?

Use everything AnimSchool has to offer - general reviews, art classes, etc. For me personally it was very useful asking for feedback and even having reviews with my classmates who could offer a fresher outside perspective. At the same time, all my instructors were very open to communication and questioning, and were always ready to share their workflow, which was extremely helpful.
In my opinion the result is worth the effort, the same way a shot may look vague in the beginning and then takes form with every key pose until eventually coming to life. This is what happens at the end of the program: you realize how much you have learned, and although you can always improve, the knowledge you have is already yours and stays with you forever.

Thank you Nagu for your time and the interview.

Thursday, November 8, 2018

New AnimSchool Character Rig: Marina

AnimSchool Student Dayanna Rodriguez
Marina is AnimSchool's charming new character rig.

Marina's 2nd set of clothes are in development. She'll have two complete outfit changes and two hairstyles to choose from. Students can mix and match the shirts, pants, shoes, jacket, as well as hair to get a unique look.

AnimSchool's new character Marina is already a favorite among our animation students. Our students use Marina in our feature animation classes 5-7.

AnimSchool Student James Blackmer
Check out these images from AnimSchool students using Marina already this term: Dayanna Rodriguez, James Blackmer, Tushar Bharti, and Marion Duvert.

You can see some of their works-in-progress on our Facebook page here:

AnimSchool Student Tushar Bharti
Marina was crafted over months to ensure appeal and versatility, with greater support for hard deformations. Marina continues a new initiative at AnimSchool, using detailed texturing, like our new Marco rig.

Marina looks great in Maya's viewport too, taking advantage of Maya's Viewport 2.0 stingray materials display.

Marina was designed by Borja Montoro at Sergio Pablos Animation and modeled by Nina Tarasova and Dave Gallagher, textured by Nina Tarasova, and rigged by AnimSchool founder Dave Gallagher.

AnimSchool student Marion Duvert
The designer for this character is Borja Montoro at Sergio Pablos Animation Studios. Sergio previously allowed AnimSchool to use the design for his Giacomo character in 2015. Now AnimSchool is authorized to use the Marina design for our animation students.

Last CTN Expo, Sergio Pablos saw AnimSchool's animation Showcase and said AnimSchool is pushing the boundaries and he loves our students' work!

Come join all the students learning online at AnimSchool:

Friday, October 26, 2018

AnimSchool Partner: designed for Teens
Live Animation Classes for Teens 14-18

AnimSchool partner AnimationWorkshops started this month!

AnimationWorkshops offers 11-week live online classes for teenagers 14-18 or older. There teens can explore 3D animation for fun or to see if it might be a good career option.

For those wanting to attend AnimSchool but too young for a post-secondary school, contact
AnimationWorkshops to see if it's right for you.

Take a look at the website, call 435 239-5160 or chat today!

AnimationWorkshops is a separate site so to get updates, sign up to get more information here! offers 11 week courses. You meet live online with the instructors two times per week (for most classes), one session for instruction and one for reviewing each students work in turn.

If you can't be there live for a class, you can watch the recordings of the classes.

AnimationWorkshops licenses AnimSchool's famous rigs and web technology so you know it will be a quality experience.

If you want to explore future career possibilities in animation, this might be the opportunity. Are you excited about animated movies or shows?

Do you want to find out if you'd like to help make them?

Do you like games and want to see if you'd enjoy MAKING them instead of just playing them?

The first term begins this month. Register for a class! Come see the instructors and the times the classes are offered here. Visit

Wednesday, October 10, 2018

Everything is a Bouncing Ball

    Ever heard of the saying, “Everything is a bouncing ball”? This is a well-known concept in animation, and it essentially means that just about everything relies on the same animation principles of timing, spacing, arc, etc. that are applied to something as simple as a bouncing ball. There’s a reason why just about every animation curriculum starts out with a bouncing ball exercise - through it, you can learn the foundations of all animation. Animating characters or creatures can be quite a daunting task, so it could help to take a step back and approach each part of a complex rig as just a bouncing ball. (Instructor Tony Mecca did just this in his VFX demo here)

    It can be difficult to visualize how a character with multiple limbs and joints could amount to a collection of bouncing balls, so our instructor Yuri Lementy did an analysis of a few shots to help visualize the bouncing balls hidden in some of our favorite animations. You can use the concept of bouncing balls to plan out the overall hip movement of a shot, or even to dictate the bouncy motion of a character’s hands and feet. The possibilities are endless! Check out the magic in play here:

Looking for the best 3D Animation schools? For more information about AnimSchool and our online animation programs, visit us at

Thursday, September 20, 2018

The Basics of Bangin' Brows

    The eye mask is an immensely important part of any kind of acting animation, and it’s an area which requires much time and attention to detail. Principles of animation apply not just to the body, but to the eyelids and eyebrows as well. Utilizing these animation principles well will allow you to shape your way to more expressive and appealing brows. A few of these ideas include:  

Arcs - Track the motion path of the brows to make sure that they travel in arcs rather than linears
Offset - Offsetting the movement of one brow can make it look as though the other one is pulling it up/down and add variety to the brow motion
Lead/Drag - Offset the brows from the eyelids to make the brows either lead the eyelids or be pushed/dragged by the eyelids. One or the other could look better depending on the context of the action or beat.
Overshoot - Especially in the case with large, exaggerated motions, the brows can overshoot their final positions and then take a few frames to settle to give the illusion that the muscles underneath are settling into place.
Connectivity - Everything in the face is connected, so when the eyelids move, so do the brows, and vice versa. This applies to blinks, eye darts, expression changes, etc.
Framing the Face - Good posing in the brows will help direct the attention and frame the face. Brows are often used to help open up the face to one side or the other, and tend to support the direction of the eye gaze.

    To help drive these points home, instructor Greg Rizzi animated some quick examples on AnimSchool’s Marnie rig. See the principles of animation for brows in play in this super informative and helpful video:

Looking for the best 3D Animation schools? For more information about AnimSchool and our online animation programs, visit us at

Monday, August 27, 2018

Parenting? Constraints? Choose Wisely.

    If you've ever animated a shot with props in it, chances are you’ve had some difficult encounters with constraints. Just creating a parent constraint often doesn’t meet the needs of a shot, and it can be confusing to try to figure out how to animate the prop correctly. Parenting is another way of creating a relationship between two objects, and can be quite effective if done properly. So, should you use parenting? Constraints? One of the best ways to deal with props is actually to use both.  

Parenting: Parenting refers to putting an object (the “child”) directly under the hierarchy of another object (the “parent”). The child follows the parent, but can also be moved independently of the parent. This hierarchy cannot be toggled on and off.

Parent Constraint : A relationship between a parent object and child object. The parent object dictates the movement of the child object, and the child object cannot be moved independently of the parent. The relationship can be toggled on and off.

   By parenting a child object to a locator, then parent constraining that locator to the parent object, you can create a degree of separation between the parent object and the child object. This way, you have a parent constraint which you can toggle on and off as needed, and the child object can still be moved and animated independently of the parent object.

    If you're new to parenting and constraints or just need a refresher, check out this clip from our Body Mechanics class, where instructor Charles Larrieu covers parenting, parent constraints, and using locators to gain more control over the constrained object.

Looking for the best 3D Animation schools? For more information about AnimSchool and our online animation programs, visit us at 

Wednesday, August 8, 2018

New Character Rig: Marco 2.0!

Marco is AnimSchool's new pretty-boy character rig. He has two complete outfit changes and two hairstyles to choose from. Students can mix and match the shirt, pants, shoes, as well as hair to get a unique look.

AnimSchool's new character Marco is a new favorite among our animation students. Our students use Marco in our feature animation classes 5-7.

Marco was carefully crafted over a long period to ensure appeal and versatility.

Marco represents a new initiative at AnimSchool, using detailed texturing, while still maintaining a simple look. Marco looks great in Maya's viewport too, taking advantage of Maya's Viewport 2.0 stingray materials display.

Marco was designed by artist David Lojaya and modeled by Dave Gallagher, Jacob Van Valkenburg and Paul Bellozas, rigged by Dave Gallagher, and textured by and Paul Bellozas.

See when the class is offered here:

To apply to be a student at AnimSchool go to
Come join our animation classes to learn with AnimSchool rigs!