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.
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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. In approaching Vanessa’s rig, it was really important for me to make it fit with the Toon Boom Training Courses. How did you approach Vanessa Bouchard’s design for the Punk rig?
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You can read our full discussion below, along with previews of the Punk rig from the new training courses.Ī first look at the Punk rig used in the Toon Boom Training Courses on Cut-out Animation and Rigging. We asked Matt about the care and craft that went into adapting Vanessa Bouchard’s Punk character into a cutout rig for our new training courses, 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. 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 we approached to develop assets for our 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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