Above is the old man walk cycle I was working on for the Knockerupper project. It took me longer than I expected to get it to this stage as I’ve never done a walk cycle on an uneven and uphill surface. When animating, I constantly took in consideration the weight of the stick although my favourite part was animating the hat towards the end. It may not be the most realistic looking tophat, but based on the advice and tips from animation articles and videos, details like that can really emphasise movement. I have to say that I agree. I wanted the fragility of the old man to be very obvious but not too exaggerated, so I animated a bit of hat follow through on the exhaling and shaking of the head part. In the end I believe it achieves its goal of highlighting the movement.

I also found PoodleTime on Twitch to be extremely helpful with understanding timing, held poses and weight of characters (center of gravity).


Walking references below:


After Effects class

Below is the animation I made during the After Effects class we had before going to Dingle. The character along with the mouth poses were made in Photoshop and transfered to AE to be animated. I paid close attention to the instructions and managed to get accustomed to the workflow pretty quickly.


Below you can see the slider we were showed how to set up to make lipsyncing easy.

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Unity Class

The class James gave on Unity was super useful. Personally, it made me feel more comfortable with the workflow and even though we made a simple environment, I can see the potential. Very excited to be working with it!


Vertex painting

And colour theory applicable to any project:


The article below talks about colour palettes in Denis Villeneuve movies. The techniques described are:

  • the use of discordant colours to enhance emotion
  • transitional colours used to highlight character transformation or change in theme
  • associative colours to reflect particular states and situations (where a colour represents a character or a theme)


“When telling a story, colors:

  • Elicit psychological reactions
  • Draw focus to significant details
  • Set the tone of the movie
  • Represent character traits
  • Show changes or arcs in the story”



In an article written for the magaine “Animation”, Dominick Domingo gives some amaing tips on how to build a great portfolio and I’ve implemented most of his suggestions in my showreel. I found it challenging to keep it focused though because throughout the course I’ve tried learning as much as possible about different things.

The Art of Creating the Perfect Portfolio. By: Domingo, Dominick, Animation, 1041617X, Mar2018, Vol. 32, Issue 3

2D x2

While waiting for the finished rigs of the character I’m gonna animate, I’m using this time to practice idle atmospheric + overlapping animation.

Once again I’m using sound from Song of the Sea to bring life to this fan art snippet. When I was working on the train station project I struggled a bit with the texturing part of it, so I’m very excited to have been working with colours and textures on this piece.

I was also able to create a perfect loop and having enjoyed the work so much, I plan to create more 2D work!

2D Animation exercise

With the purpose of developing as an animator, I’ve been trying to learn about 2D animation. I found this exercise to be very useful as timing and composition are transferable skills. By completing this 2D piece, I have learned a lot about how to generally improve my other 3D projects.


Based on feedback received, I’ve changed the motion and timing of the leaves to be more realistic. I also fixed the sound delay.


I’ve been looking for ways to improve my 2D skills as I’m working on becoming better at communicating emotions and story. I found the links below to be inspiring and insightful.




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