The companion website includes complete scene files for exercises and techniques, extra rigs, Quicktime movies of full projects, and video tutorials.
Step by step approach to drawing the human body in a simplified, structural way. Designed for animators and extremely beneficial for comic artists, illustrators, classical and interpretive artists.
Following the exercises can help to greatly improve structural and gestural drawing skills. Action Analysis is one of the fundamental princples of animation that underpins all types of animation: 2d, 3d, computer animation, stop motion, etc.
This is a fundamental skill that all animators need to create polished, believable animation. An example of Action Analysis would be Shrek's swagger in the film, Shrek. The animators clearly understood through action analysis the type of walk achieved by a large and heavy individual the real and then applied their observations to the animated character of an ogre the fantastic. It is action analysis that enabled the animation team to visually translate a real life situation into an ogre's walk, achieving such fantastic results.
Key animation skills are demonstrated with in-depth illustrations, photographs and live action footage filmed with high speed cameras. Detailed Case Studies and practical assignments ground action analysis methodology with real life examples. Action Analysis for Animators is a essential guide for students, amateurs and professionals. Apply the practices of action analysis to any animaton process. Follow master animator and Disney legend Andreas Deja as he takes you through the minds and works of these notable animators.
An apprentice to the Nine Old Men himself, Deja gives special attention to each animator and provides a thoughtful analysis on their techniques that include figure drawing, acting, story structure, and execution. Rare sequential drawings from the Disney archives also give you unprecedented access and insight into the most creative minds that changed the course of animation.
For the New Exam! We cover only the information tested on the exam, so you can make the most of your valuable study time. Expert Test-taking Strategies and Advice. By following his advice, you can boost your score. Practice questions — a mini-test in the book, a full-length exam online. Are you ready for your exam? Try our focused practice set inside the book.
Then go online to take our full-length practice exam. About the Author Larry Krieger earned a B. In a career spanning more that 40 years, Mr.
All of Mr. Save time and be assured you have all the core information you need in one place to excel on your course and achieve exam success. A winning formula now for over 15 years, each series volume has been fine tuned and fully updated, with an improved layout tailored to make your life easier.
Especially written by junior doctors - those who understand what is essential for exam success - with all information thoroughly checked and quality assured by expert Faculty Advisers, the result is a series of books which exactly meets your needs and you know you can trust. Psychiatry can present a unique and sometimes daunting set of challenges to those approaching the specialty for the first time.
This substantially revised fourth edition provides an accessible yet comprehensive introduction to this fascinating field. Complete coverage of vital animation techniques, whatever area you work in! Animated Performance shows how a character can seemingly 'come to life' when their movements reflect the emotional or narrative context of their situation: when they start to 'perform'. The many tips, examples and exercises from a veteran of the animation industry will help readers harness the flexibility of animation to portray a limitless variety of characters and ensure that no two performances are ever alike.
More than color illustrations demonstrate how animal and fantasy characters can live and move without losing their non-human qualities and interviews with Disney animators Art Babbitt, Frank Thomas, Ollie Johnston and Ellen Woodbury make this a unique insight into bringing a whole world of characters to life.
New to the second edition: A new chapter with introductory exercises to introduce beginner animators to the the world of animated acting; dozens of new assignments and examples focusing on designing and animating fantasy and animal characters. The new series of Crash Course continues to provide readers with complete coverage of the MBBS curriculum in an easy-to-read, user-friendly manner. If anything, exaggerate the feeling of looseness by taking the tie-downs even farther than your roughs.
These tie-downs flatten the animation- the single line is a tracing, not a line that defines form. The line weight is perfectly even, and the hair is too repetitive in its separate shapes. These are better: The varied weight of the line gives mass to nose and jowls; tapered eyelashes give personality. A feeling of flesh growing out of flesh is betterdefined lip into jowl, jowl into cranium, etc. Hair is not tied down into regular, even patterns. Shapes are defined for their uniqueness - one round pupil, one elongated pupil, etc.
Emphasize them even more, bearing in mind direction of thrust- again, easier to do over light roughs! A thicker line on the underside of jowls, noses, lower lips, etc. Thicker eyelids and lashes can give character and personality. The hair in the first series of tie-downs is too similar in repeated shapes to be interesting.
The hair in the second series has a more varied - and, thus, interesting- pattern. However, these variations must follow through properly in the animation whenever possible, instead of just boiling around randomly. Another valuable tip for further loosening up is in timing: if your broader actions are on ones even just a short burst of them and you r cushions, moving holds, or tracebacks are left on twos, it gives the work texture in timing- and also means that not everything needs to be put on ones to appear loose!
With the advent of more CG animation, Flash, and pa perless systems, the traditional X-sheet is frequently an afterthought, if it is indeed used at all. In the current scenario, the best I can do is map out for you how a traditional X-sheet works, and hope for the future that it continues to be incorporated into the animation process. It is normally 6 feet long 96 frames - not an actual foot, but the representation of an actual 12 inches of 35mm film that would measure out to 16 frames.
It is su bdivided horizontally, with each horizontal row representing one frame of picture, with darker horizontal lines every 8 frames for easy reference. The X-sheet is subdivided vertically into several th in columns, and they are read right to left, with the right side devoted to camera instructions, the middle for the BG, underlay, overlay, and animation levels, and the far left for the dialogue breakdown, music indications, and directorial and timing information.
Camera Instructions On the right side of the sheet, all of the information needed for fielding, camera movement, and exposures fades, dissolves is exposed. You want the truck-in to cushion out smoothly from your start. Also, you would like a frame fade-in at the head of the scene, and a frame dissolve to Scene 2 at the end of the scene.
The right column of your X-sheet would look like this: -7 The cut points start and end of the scene are marked in red horizontally. The opening field is shown on the sheets and held, with a straight vertical line, to the point where the truck-in starts. The wiggly line indicates the cushion out, then a constant trucking rate, finished off with the opposite wiggly line to indicate the cushion to a stop for the final fielding, over the desired frame range.
The frame dissolve at the end is shown as a fade-out V superimposed over a fade-in V to show the overlap between Scenes 1 and 2. You should understand when animating that the following scene also requires the same degree of overlap at the head, and that you must provide animation for the entire length of the dissolve in both scenes. However, the usual readability of images through a dissolve is up to the center of the dissolve for the outgoing scene, and from the center of the dissolve for the incoming scene.
On the far left side of the X-sheet are the Dialogue and Action indications. In the dialogue column, the. The Animation Levels Between the left and right sides are the animation columns, read from right to left, with the bottommost level on the right, and the topmost level on the left.
On top of that are cast shadows, then the character Finky on top. The sheets are numbered on twos with odd numbers 1, 3, 5, etc. An excellent working method is to number the sheets on twos all the way down, usually in the major character level. This is regardless of whether you will eventually need ones or not. This way, you can see exactly which frame number corresponds to dialogue, beats, and.
There are even more variations and notations to be made on the X-sheet, especially once it is converted to a digital format. Here, panning and trucking increments can be notated, as can exposures for certain levels say, a translucency on the cast shadows and tone mattes , and further stuff too technical for me to understand or mention here.
In any event, you will continue to see references to the humble traditional X-sheet throughout the rest of the chapters. Layout and Staging Ani mators need to have a good working knowledge of the mechanics of film and film com position to understand how these tools of communication can best support their performances and how the performances can be engineered to complement the film ic concepts. Film Grammar: Types of Shots Establishing Shot - shows the overall setting and perhaps characters involved to define for the audience the place, the time of day, and the atmosphere of the sequence.
Medium Shot M. Long Shot L. Close-Up C. Cra ne Shot - shot with shifting composition height of camera, distance from subject matter, turning around a character or stationary object , so called because of the hydraulic crane required to execute such a shot in live-action. Cutaway - cut to a reaction shot of a second character other than the one performing or speaking.
Dolly Shot - like a truck-in or -out, but executed with the camera on tracks to get closer to or farther away from the subject as opposed to doing it solely with the lenses , giving more depth and changing background perspective.
Cut - most often-used way of changing scenes: one scene finishes, and the next follows, butted up against it. Fade - establishes a passage of time. Dissolves can also be used to compress time when two scenes are too short to convey an idea, the dissolve lengthens both of them. Layout The layout artists in animation are truly the cinematographers. They determine the best ways to convey a story point, mood, or action piece, through the use of camera movement and placement, lighting, composition, and cutti ng from scene to scene.
Also, there will probably be many times when you need to create your own layouts fo r a variety of reasons, so what follows is a run-down of things to consider, both when animating and when conceiving your own layo uts. Regardless of the numbers, however, the principles of indicating fielding are the same. From the exposure sheet, you can see that this move takes 6 feet 96 frames, or 4 seconds. From this, you can make the judgment call that your animation can stay primarily on twos.
The reason for the curve is that it will result in a much more natural, fluid move than if there were merely two straight lines between the points. After the scene is roughed-in, you can even plot the points yourself to ensure that the move works precisely with your animation :.
These plotted points are the centers of each new fielding for every frame of the move. In other words, to find out how your character appears on a specific frame number, line up a plotted point with the corresponding animation drawing and put the 9 Field around it, with the point as 9 Field Center. Further embellishments you might plan would be for the animation at the beginning to slightly precede the move imitating a liveaction cameraman attempting to catch up with the action , and then at the other end.
You will encounter many more situations like these as you animate; the more wellversed you are in these mechanics, the more you can ensure that your animation communicates your intentions for the scene. Not everything that is important must be center-screen; ofte. Also, the length of screen time has direct bearing on the amount of detail you can include -the longer the scene, the more chance the audience has to see interesting details; the shorter the scene, the simpler the composition should be.
This is the simplest form of camera placement. Even if your camera placement differs radically from scene to scene, screen direction can be the cohesive element.
By keeping the screen direction generally left to right, these scenes cut together fluidly even though the camera placement shifts radically. But imagine audience confusion if the second scene were flopped :. If your sequence deals with speed a typical Road Runner chase, for example , you may want a succession of scenes with characters center-screen and BGs rushing past rather than interrupting the flow with, say, one scene in the middle of the action with a stationary camera and the characters whizzing past the lens.
Or, as with the runner, you may want to make a series of interestingly composed shots with the movement of the character as the logical thread that holds the sequence together. Do you want a moving or a stationary shot? A large part of staging is layout and film grammar: knowing when to use a close-up, when to pan, when to truck in or out, when to cut from one scene to another. Much of this can be learned from watching live-action editing and seeing how the camera is placed and why!
Knowing how screen geography works is also a necessary tool. If it is a group scene, is the major character in a clear enough area to do his acting? Does the scene require a close-up for him to punch his point home? Are the poses well-delineated? Is it composed to account for this shift in importance?
Can the secondary characters add, through movement, importance to this shift through head turns, changes of posture, reactions to what is being said, etc.? Is there continuity from scene.
If a character is standing in front of a door in the medium shot, is a piece of the door and its relationship to the character shown in the close-up? Gopher rears back and kicks.
Cut back out as Gopher Norman sh ifts in reaction. Norman is in mid-air. The cat is our friend! Contrast tall and short, near and far, lit and shaded, etc. Example: Hero is sad, Sidekick is sympathetic. Hero has the dialogue. Better, because it emphasizes Hero, and helps you feel more about what he is feeling. Also, by making Sidekick even smaller, he looks even more helpless. Also better because Gal no longer is facing Slimeball her physical refusal to listen makes him have to work harder and get closer!
The occasional off-screen reaction someone listening to the main speaker is nice, too, but remember to keep them facing in the right direction to the established relationship:. A little air on the left of screen is best: in the event you cut to a CU. He can still be doing an underplayed movement to show he is paying attention! Perhaps you want to start with one character walking through a scene amongst a crowd of people and you then want to pick up another character trying to follow him.
Shot 1: Starts as dog walks toward screen right. Camera drifts in to pick up little puppy coming toward us. Perhaps a gentle drift, if not an out-and-out truck-in, toward where you want the audience to look would be enough. Maybe your scene starts as an establishing shot with many characters as the camera moves toward the hero. Perhaps a character turns quickly and you whip-pan to what he sees.
If the impression you want to convey is one of general hubbub, you can plan the scene for fairly contained movement without accents that are too strong, for two reasons: - No two viewers will necessarily settle on the same crowd character. Have a few minor accents to chew on but nothing too outrageous. Establish the situation, then use close-ups to focus in. Can you tell the story effectively with simple cutting and composition?
In other words, use the camera movement for specific storytel ling reasons, not just for the sake of moving it. Optional exercise: A little boy is wandering in a crowded city. Here is a rough guide for types of actions whose accents occur once every 2 frames, 4 frames, etc. The shortest amount of screen time for a hold or a moving hold to register is 6 frames. Anything less tends to look like a camera error or the interruption of an action.
Certain actions look best with a slight pause in the middle, such as picking up a pencil, closing a book, knocking something over, etc. Sometimes the amount of screen time needed to show a particular movement can be very short, if what precedes and follows the movement is elaborated well enough and for long enough :.
As well as varying the timing throughout a scene building and altering rhythms, letting pacing within a scene reveal character-type , varied timing within a character can also be effective if handled properly. Basically, if you have two strong, resolved poses, you can advance and delay various body parts as they arrive at the final position, so long as these pa rts work organically and logically.
Head goes down and contacts left hand slight squash. Wrist breaks on right arm as it heads towa rds hip. A word about quick timingA fast-paced cartoon like an Avery or a Clampett does not mean that everything occurs at breakneck speed.
Most of the transitions between major poses or attitudes are very fast, but what comes before and after is still timed to be readable. All the poses are on just long enough to perceived, with those quick transitions on ones between them! Two sets of drawings above, timed the same way.
Note, too, that the second set could use single inbetweens, so the drawings will be overlapping. The charts should be written on the key drawings in the scene.
A typical inbetween chart, with the keys circled and the breakdown underlined, for an action that cushions-out from 1 and cushionsin to 17, exposed on twos, would look like this:.
From this, you can see that the two keys are and , and that the breakdown is to be drawn first between the two keys. It should be noted, however, that a lot of variation and eccentricity can be utilized on the breakdowns and inbetweens, so that the animation has some life and personality to it, instead of just a mechanical parsing of phases out of or into a pose.
Thus, the horizontal chart was drawn between the pegs, outside of camera range. Ah, memories My recommendation is to use these as little as possible, as it is more difficult for clean-up artists or inbetweeners to interpret. At the very least, do one of the thirds say, 3 ; then the remaining drawing, 5, becomes a halfway between 3 and j. You can also space your drawings for added fluidity, by conceiving your charts for both ones and twos simultaneously:.
If you decided to put ones in the middle of the move for smoother action, it would help, but your spacing would then wind up equidistant, and there would be an unnatural speed-up of the singles on screen. To give your work some snap, you can work the gap between drawings so that the movement has more impact. Particularly useful for:. A nice variant on the preceding is to go from a hold or a moving hold with no anticipation or cushion-out, and then cushion-in to the following pose.
If used constantly, your work wi ll klunk around jerkily and give your audience a headache. Having a Breakdown! After establishing your pose drawings for a scene, roughly time them on the X-sheets. Number the sheets all the way down on odd numbers on twos: 1, 3, 5, 7, etc.
Then work out the charts for your breakdowns 80s and inbetweens. The thing to bear in mind is that the breakdown drawing you make can contain practically all the necessary information for overlap, delay of different parts, personality, etc. At 80 years old, he could turn out 30 feet a week of gorgeous animation.
I was astounded, and asked Ken how he did it. So I did the next best thing and asked Dick how he did it. It is the single-most important lesson I ever learned in this medium, and it opened my eyes to how animation could be planned for ease of execution and maximum effectiveness. The breakdown drawing is what can add interest to a basic movement: whatever arcs, delays, paths of action are in the BD are reflected in the entire move.
By working the BD, your movement can have snap, overlap, and heretofore unseen shades of personality. Here are a few examples that show how a different BD between identical keys can thoroughly change the behavior and movement of the character:. In short, if the key poses are what the character is doing, then the breakdowns are how the character does it. Remember, this stuff is all in pursuit of the performance, not just to make it interesting!
If you key your down positions and , and your passing position is your major breakdown I. On 5, the head goes down, the right arm straightens as it passes through, the left elbow goes out and down, while the fist rotates slightly. The left foot favors the key, while the right foot has snapped down.
On 9, the nose continues to follow through, while the cranium favoring the passing position starts down. The torso continues its upward move as the right foot is at its most stretched. When the rest of the inbetweens go in, they can be practically dead-middle types, as all the drag and follow-through has already been taken care of on the BDs.
One time at Richard Williams we were single-framing some Charlie Chaplin, in a sequence where he was drunkenly attempting to cope with a swinging clock pendulum. We were surprised to discover that Chaplin was such a good mime that he could throw his head forward for one frame before throwing it backward to register taking it on the chin from the pendulum, in order to heighten the impact. Squash and Stretch One of the most basic patterns of movement used to show squash and stretch in animation is that of the ubiquitous bouncing ball.
The drawings are still fairly close together. The spacing gets progressively farther apart. Note that on 6, the ball, elongated, is touching the ground. Drawing 7 - The ball continues making contact with the ground and squashes.
The drawings are spaced closer together as they progress back to 1. However, unlike an accordion, when an organic character squashes and stretches, his parts should maintain the same volume as they would in normal actions.
This can be applied broadly or subtly, but ignoring it altogether will probably give you stiffer animation than you would want in all but the most subtle and slow of actions. This second group will do the same thing, but with much more life and feeling of plasticity in the forms. Wh en the stick changes direction, the flag catches up and overlaps before it too goes in the same direction. Drapery and clothing - How much drag and also how much the material goes past and recoils depends on how thick and heavy the material is.
The thinner the material, the broader the overlap:. Although your animation should work correctly, occasionally body parts, faces, and clothing can benefit from a distorted drawing that looks odd in hand but not in movement.
When on twos, people can perceive the gloopy movement instead of a quick blur effect. More of this stuff later. So, they should have a certain solidity on the ground, which gives them physical readability to the audience.
A lot of this can come from thorough understanding of character construction, but should also come from indications in the animation that the character has weight.
How much to show is a matter of personal taste and adaptation to suit the particular character, but, basically, the faster the move, the more extreme the overlap can be. The above sequence of overlap and recoil would look about right if timed as the numbering indicates, and shot on twos. The same ideas apply to recoil as well as drag: enough to show natural settling, depending on the speed of the move, but not too much to make your character look jelly-like!
In other words, the recoil shou ld take less time than the drag and the settling to register heaviness. This is particularly useful in a heavy-footed walk, or a stomp.
Obviously, anticipation is also of prime importance when a character is shifting an external weight. Balance The above examples show too that a shift in emphasis in weight must maintain balance. Balance is important in movement, too, because the pull of gravity dictates that an awkward passing position cannot take too much screen time or the character will look like he should fall over before his weight is adequately supported again.
Look at the design of your character and note his salient physical features. Then devise ways that show these features to best advantage when the character moves. Does the character have a long nose, pointy ears, flat feet, potbelly, etc.?
Example: A long-nosed character turns his head :. Foreshortening is quite important in every area of body movement, even on small features:.
When animating distortions a stretch or a squash on a character , make sure that they retain the same amount of volume:. Not this! Body just contracts or lengthens without regard to the amount of space it takes up when not distorted. Body squashes out or elongates without shrinking or growing. Properties of Matter Throughout your animating careers, you will be required to animate objects and matter in relation to your characters.
It will be necessary to convey weights, volumes, textures, densities, and recognizable behaviors for this matter, especially in contrast to the behavior of your character. Although much of this type of work is often handled by expert effects animators, character animators should know the principles too, especially for productions that may not have the luxury of time and a big budget.
A few guidelines:. How light or heavy is the matter? Is it being dropped, carried, hurled, placed? Is it heavier on one end than another like a shovel, or a baseball bat? How densely packed are its molecules? Is it like an iron anvil, a piece of wood, some styrofoam? Is it something flexible that contains other matter, like a partially filled bean bag, or something hard that contains something flexible, like a bucket of water?
Besides good solid draftsmanship, timing and spacing will say as much about the matter or more. Does it accelerate or decelerate in movement? Does it 1]6. Does the major move happen quickly while the secondary or follow-through movement occurs more slowly? Is the matter made of stronger or weaker material than that which it contacts? Example: A heavy barbell dropped through a wooden floor could break through; dropped on a concrete floor it could bounce!
Does the matter alter the matter it contacts? Water spilled on a gray suit will darken it and maybe make it sag or stick to the character. Water spilled on a polished desk will just lie on top. Basically, the heavier and more densely packed an object is, the less you will be able to distort in your animation and have it look convincing. You can also convey flexibility without distortion in a solid object by animating an interesting pattern of movement and turning the object around three-dimensionally in the process.
For example, if a character is getting beaned with a brick, the hit can be registered without distorting the brick although you might want some distortion in the victim, thus making the brick appear even harder. After the brick makes contact, it can flip around three-dimensionally and land on the ground with a bounce, no distortion required.
Water animation is a bit tricky; the thing to remember is irregularity. Very rarely will something hit the water at such a perfect vertical angle, and the water be so still, as to make an even pattern of a splash. Often handled best as straight-ahead animation or every other drawing straight-ahead, with inbetweens going in for the second pass.
A splash looks more convincing if it starts fast and dissipates slowly. Aside from the arcing and shrinking of the water droplets, the break-up should be uneven, and the falling droplets should start making ringlets of their own, animating outwards as the droplets hit.
The same principles apply to mud, although it is drawn more thickly and timed more slowly, so as to look heavier. When animating gooey, gloppy, or sticky substances, slow timing and close inbetweens are essential!
A lump of mashed potatoes:. Paper, and other thin objects, like leaves, meet a lot of air resistance in movement, because they are so light. Paper would never fall in an even, straight line, and when it hits the ground, it would slide a bit while settling. This is because it is used almost always as a secondary action in a fireplace, on the end of a stick, etc. Smoke and steam are best animated with a lot of inbetweens.
If you animate. Think varied patterns, rising upward and gently dissipating. As in water, break-up should be uneven to look more natural, and it also looks better in animation for it to move more slowly like fire than it would in real life.
Drapery can be animated with flowing overlap and recoil, following the action of the character or object making the major movement. Thicker drapery like a blanket, or heavy coat material is animated in the same way, but timed slower, drawn with rounded edges, and conceived with more of a gravitational pull to show heaviness.
Facial Expressions Usually, a common mistake in starting to draw facial expressions is to show the facial features as simple lines on the head:. Other parts would probably be less flexible ears, nose, cranium :. As in animating dialogue, many animators like to use a mirror to act out their own facial expressions. Others prefer to invent expressions based on observation, memory, and caricature.
Utilize elements on the head aside from facial muscles to make your expressions stronger - hair, glasses, hats, bowties, etc. Now, note how much stronger the expression is when we push the hat down on the brow, raise the cheeks, and flare out his side whiskers. As the young animators were trying to figure out which lip shapes corresponded with what sounds, they articulated each nuance with exacting detail and intensity.
Unfortunately, this resulted in dialogue animation that gave every sound, whether quiet or loud, broad or subtle, equal visual importance on screen. The prime example of this is Marvin the Martian, who certainly convinces us that he is speaking, with nuance yet, but has no actual mouth! This is why the idea of phrasing was, and is, so important.
When you start animating some dialogue, first listen to the track over and over, to find and memorize the proper accents and dips. Dips are just as important, because the corresponding animation can reflect an anticipation prior to hitting a hard accent. Give you r animation light and shade in posing, but bear in mind that not every word or thought should have a separate pose.
Often one pose with an accent or two hit hard will suffice per sentence or thought. Obviously, it takes a certain bravura to be this punchy with dialogue, and it works better for more boisterous characters and situations than, say, Princess Aurora in. Sleeping Beauty. Although, now that I think about it, it would be kinda fun to see her animated like that just once!
Teeth or no teeth? In TV commercials, the graphic style utilized can frequently dictate what conventions to adopt for mouth shapes, and inclusion or exclusion of detail. Most cartoon characters with convincing lip-sync use mouth and tongue, but not teeth. As her assista nt animator, I learned for the first time how to manipulate mouth shapes alone for convincing lip-sync thanks, Tissa!
In most cases, hard consonant sounds can be reduced to simpler shapes based on representations of what the mouth should be doing at the time:. Whether you use broad or subtle accents depends on how naturalistically you want to portray the sounds and can also depend on the type of character: is he bombastic, larger than life, timid, quiet tall, short nervous, cool? Instead the lip-sync is achieved through perfectly assured shape-manipulation of the mouth itself, aligned with equally assured head accents.
Also, by using slight head turns and changes of angle, Kahl keeps the head and facial gestures in three dimensions i. Even if the consonant is only on for 1 frame on the X-sheets, eat backwards into the preceding vowel for 1 frame extra to give 2 frames total. Atlanta, GA: Academic Press, Goldberg, Eric. CharacterAnimation Crash Course! He blogs at mayersononanimation. John Alton, Painting with Light. The Disney character named Goofy is a perfect example; among video games, Crash Bandicoot is a goofy character.
Animations for a goofy character in a game sometimes include the goofiness, as long as it doesn't affect the player's For the past decade, he's been the Lead Artist at FableVision Studios, working on a full range of things from character design and animation layout, to interactives and design. When he's not doodling monsters, goblins, and other silly Machinima Machinima is the use of a 3D rendering engine to produce a cinematic production.
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