Just some naked people I drew...

So here are some of the things I draw in life drawing. The majority of that class is spent drawing my figures so caricatured that my teacher probably hates me. It's not my fault though, it's a disorder. 

Expression Model Sheet

Here is the latest assignment in my character design course here at Sheridan. I'm actually having so much more fun in this class than I am in animation class, interestingly enough.

Anyway the assignment was to create a model sheet exploring the expressions of your character, based on their personality.

My character is meant to be an over the top, spoiled, fun loving pretty girl.
 

This is also my first time really diving deep in exploring how to draw an appealing female character. It's a very difficult, yet rewarding process.

Character Posing

So this right here is my final copy of my Character Design assignment. The task was to design a character, and then draw him/her/it in eight different poses that illustrate his/her/it's character.

I'm pretty pleased, I think I'm definitely improving at least, which is something to be proud of in itself. The drawings on the top left of the page leave me rather disappointed, I'd like to think I could do better.
With that said, I'm fairly pleased with several of the other poses, in particular the one on the top right, bottom right, center, and center left. So it seems I'm 50% happy with this assignment.

Cool beans.

I'm still struggling with balancing appeal and structure, which is constantly in my head. I'm also having a lot of trouble with pushing facial expressions to extremes, I find it causes a breaking in structure as well as appeal. I.e. having someone letting out a scream of pure terror. Something like that is a very intense challenge for me.

Even more beans of the cool variety.


I shall update again with interesting things soon, dear reader.
Until we meet again.

#I'mReallyTired
#WhyAmIHashtagging

Hands and Feet Portfolio

Well here is my portfolio for Life Drawing class. The assignment was to draw 8 hands and 8 feet, as well as 6 short hand drawings a piece. Finally we're also marked on our title page.

I'm fairly pleased, although I think I should have gone for more dynamic posing. My drawings are rather bland.

Marine Animal

Penguin Swim Cycle from Omar Elhindi on Vimeo.

So here is my marine animal cycle. It's not due for three more weeks, however I have many pressing things due in two days. You can tell I managed my time accordingly.

Back on topic.

I'm fairly pleased with this to be honest, although theirs a few spacing issues that were the result of poor planning. Otherwise I think it has a nice bit of character, which is something I've noticed many Sheridan students don't think about until second or even third year. Which is quite unfortunate considering the importance of it.

Oh yeah, his name is Pedro. Pedro the penguin. Pedro the penguin who actually looks a lot like a hummingbird...

Cool things to come

That title is fairly misleading. I only really have like one cool upcoming thing to show, and that's my latest CG test I'm working on ontop of what I have to do for Sheridan.

Until then, here's a book in a room with a very odd wind current.

Character Design Class

Here's my final character design for my class. Overall I'm pretty pleased. 

I'm Baaaack

I've had a bit of an absence from my blog latey. I hope I can be forgiven.

Anyway, here are some character designs for my (shocker) character design class. These are the rough drawings I made, I'll post the final line soon!

Summer 2012 Demo Reel *sticky post*

Summer2012Reel from omar elhindi on Vimeo.

Something I've Been Thinking About Lately

Here's a post on Matt Williames' blog about acting and performance. He talks about the need to create perfect arcs and technically appealing spacing over focusing on the performance.

This is something I've been thinking about with my own work quite a bit, so I thought I'd share.

"This is something I feel that within the last year I've really had to come to grips with myself as an animator. If you're like me and known you wanted to be an animator since you were 9 you've been hearing for most of your life "animators are actors". You would have heard that if you could focus on one thing it should be performance. You've been hearing that animators are actors with pencils and all the other cliche things to be said. WHY then do so few of us really understand or impliment this? No doubt I include myself in this list.
We all have to come to a point in our artistic lives where we sit down with ourselves and have a very brutally honest heart to heart. We have to ask ourselves "Am I REALLY an actor/artist, or am I just a good technician?"
It's painful... growth, however necessary can be extremely painful at times. Growth shows us where we were/are weak, and sometimes it's embarrasing that we didn't see how weak we really were/are at the time. I bring this up because i feel like being vulnerable is a key elemant to personal growth but also the growth of others around you. We have to be honest with ourselves: are we really good actors, or can we just convincingly move stuff around. Understanding good weight, spacing, drawing things well or even convincingly ISN'T ENOUGH. It's something i feel like exists a lot today unfortunately (animation that is merely technically pleasing)... I wish i could say i have not contributed to it. There are so many animators out there (and I am talking specifically hand drawn although this does not solely apply to the hand drawn animation) that are very technically sound animators who blow you away with there tech. prowess. They understand drawing, and spacing, control their volumes well, blah blah blah. But they don't tell you jack squat about the characters they are performing. They don't THINK about their characters, instead they overindulge in squash and stretch, through in fancy smear drawings, flaunt their beautiful arcs... all at the price of a better pose that could have told you something important.
I think this can be partially attributed to the fact that we as a generation stand on a lot of brilliant work from the past guys to look at and be inspired by. And if you're like me you could sit around all day staring at Milt or Frank drawings/animation. It's our blessing and our curse-- we subconciously revert to what we know will work, we play it safe. That's how acting patterns begin, and cold sterile art is born. Ironically the old guys had NOTHING to look at (animation wise) and found their inspiration from life or other areas of art.
This is a tough thing to do (not copy the past)-- I am not just talking to students, I am talking to every animator: Pro, amateur, retired vet, whoever... no once escapes this question. But here's the GOOD news, no one has to create only technically pleasing art. You absolutely can create a moving performance. YOU have something special to say in a way that only YOU can say it. That is what will set you apart... the challenge is can you call a spade a spade and realize that maybe you've just been a good technician all these years/months/whatever! I know I had too and still daily ask myself why i am doing what i am doing.

The real turning point or inspiration for me was actually being rejected. I applied and was rejected from Pixar. No pity party here man, it's what woke me up! It hurt my pride a little, but that isn't necessarily bad. More importantly it showed me that I wasn't focusing on what really makes animation work, I was a technician who was fascinated with charts, solid drawing, interesting design, fun timing... so what man. So what... if none of that has something personal behind it, it's just mechanical. It set me straight--
I share all these thoughts not to discourage and get down on anyone, but to encourage everyone that they can be amazing! The trick is are you willing to look at yourself in the harsh light of day and really ask yourself this horribly honest question? I know if i want to do something special with my art, I have to every single day. NOW GO KICK SOME BUTT!"

Here's the original post.

More 2D Prep Work For Sheridan

Ralph Test from omar elhindi on Vimeo.

Here's another test pretty much devoid of character. It was done more to test out a design and my mechanics.

CG animation happens to have the advantage of a consistent character to work with. Of course you have to still make efforts to keep the character on model, but your model is still always within the lines of your original design. With 2D work, you need to be able to draw your character from all angles, understand the design and keep it appealing.

Considering my poor draftsmanship, I took an existing character (Wreck it Ralph) and attempted to draw him instead of trying to design an appealing character myself, and learning to draw him from every angle.

I think one more mechanic test and I'll be ready to give a 2D test with acting a try.

Advice from Bobby Pontillas

Here's an email response from the very talented Bobby Pontillas.

Hey Omar!  


Thanks so much for the message dude! Sorry for the late response, we're pretty crazed around here and I wanted to set aside some good time, so pardon my stream of consciousness answers =).


Yeah so, As much highly as I think of online courses like Animation Mentor, IAnimate, etc, and lord knows its done so much for me,  I would always recommend having the experiences of an actual brick-and-mortar school, and obviously Sheridan is in the top-tier of animation schools, But man, there's just something about the energy, and the esprit-de-corps you get with the other students, on campus, pullin all nighters in the lab, stressin to make deadlines, that sort of thing yknow?!  You learn so much from each other, and it really brings everyone together.  I only had about 2 years of that at the Art Institute of Seattle, but I wouldn't trade it for anything.  So , the Sheridan route, can bring nothing but good things for you, especially since you already seem to have a firm grasp of the fundamentals of animation.  Sheridan can push you to be an artist!


It was tough transitioning from games to film actually, really tough.  You spend all day animating for your day job, but at the end of the day, none of that work is really applicable for a reel you might submit for a film job.  So you're animating around the clock, doing new work after hours, taking courses like AM or I-Animate.  It didn't happen right away for me either,  it took years and years and a lot of rejection letters!  So at times it's discouraging.  But you know what they say, if you really want it , you'll keep trying and eventually you'll get it.  


For me specifically, what happened was, a fellow student from AM, Rich Fournier, landed a temp gig at Blue Sky on Ice Age 3.  He got that temp gig because he made a good impression on one of his mentors from AM.  He busted his ass and performed well on that movie , so they eventually called him back for a full-time gig !  We had always kept in touch, he asked me how I was doing one day, and I remember that time in 2009, I had just been turned down for the Disney Animation internship, so I was feeling pretty down.  He mentioned that Blue Sky was hiring full-timers, I thought I had no chance but he encouraged me to send him my reel anyway, and he would put in a good word because he knew my work and work ethic from AM.  At the same time,  I met Jamaal Bradley back in Seattle,  Jamaal had worked at Sony for a few years and was then doing a stint in games at Valve, but was going back to Disney for Tangled.  I had never worked with him before, but he came across my blog , saw some passion and potential, and knew I was trying to break into feature films.  He took it upon himself to contact me, impart advice, take me to lunch, all to just help me get my foot in the door.  It was amazing!  So when I told him I was applying to Blue Sky, he was like, "Oh?  Well I know supes over there, let me shot them your demo reel, they'll have some influence."  And he did that, so I was attacking Blue Sky from several angles really.  So that's really how I got their attention.  It was all people that did me favors, and went out of their way for me.


When they actually watched my reel, they said, "Well, you need to work on your polish.... but we like your ideas."  I had a bit of my short film, and assignments from AM.  But I think the ideas in my short film got me hired.  So one thing I like to tell students now is to push for the best ideas, and specific characters.  You'll spend your whole life refining your craft, but the things that will help you stand out are your ideas.


Breaking in is the hardest thing to do, but once you get in, don't half-step.  You'll start to meet tons and tons of amazing animators, and your reputation and work are your biggest assets.  You have to hit the ground running.  Come in, do your best on your first shots,  you'll get cast better shots, the better shots you get cast, the more opportunities you have to shine.  


One thing I would always always recommend too is to get to know as many people as you can.  Not to say you have to be schmoozy and talkin up everyone.  But most of the opportunities that came my way, came because someone put in a good word for me,  and that only happened because I made great relationships with people.  Back at Blue Sky, and even here at Disney, my favorite animators are always hard-working, extremely humble, talented, and won't ever hesitate to help other people.  And there aren't a lot like those people.  Start that work ethic even now, in school.  Be that guy.  And as karma works it's magic, you'll find others are more than willing to help you out with things.  There's no room for arrogance.  Because what starts to happen when you think you know everything, besides being known as an a-hole, is that you stop learning.  One of my supes here at Disney, Tony Smeed, asks anyone, even trainees, for feedback on his work.  He's very talented, but one of the reasons he's so good is because he's humble enough to learn from anywhere or anyone.  Those are the kinds of guys that succeed in this business, they are constantly students and people want to work with them/ hire them.


Anyway I think I've rambled on enough!  Again I appreciate the message, best of luck and remember to stay humble!


-Bobby P

Hand Drawn Warm Up

Here's a crappy piece of hand drawn animation that I did to get myself back into the 2D game again. No character, and a bunch of it is on 4's, some even 6's.
Hopefully soon I'll give a whirl at a 2D test with character.


Quick and Dirty Sidestepping from omar elhindi on Vimeo.

My Temporarily Final iAnimate Shot

Rendering across multiple shots is a bitch. I found that the best option is to light each shot individually as opposed to trying to light the world of your shot. Even then it creates continuity problems. So I decided to post the shot in it's playblasted form as I chug through the rendering process.


FINAL WS6 from omar elhindi on Vimeo.


There she is.

I'm proud of it as it's by far my longest animation, and I think I gave it some semblance of quality as well.
My main concern in this sequence, as well as all of my shots is that I feel they lack life. To me, my work moves. While I want it to live. 

The difference to me is all in the performance choices and acting. You need to have your character move for a reason, not just because it will look cool. Here are just a few examples of student work and otherwise that inspire me to create real performances, to create life.


Tony Chau Nov 2011 Demo Reel from Tony Chau on Vimeo.



Animation from Viki L. Amores on Vimeo.



Progression of an Animated Shot: Gothel & Rapunzel Disney's Tangled from Jamaal Bradley on Vimeo.

So many things are happening!

Well not really. But some are.

Anyhow my final shot at iAnimate for a while is nearly done! I've been tweaking and sitting through a depressingly long render time, but it's almost complete.

In the mean time, here's a turtle walk I did to keep me animating while I enjoy summer, preparing for Sheridan and general laziness.



The character was designed by Boris Maras, a Sheridan grad. Although I forget who modelled and rigged it, either way it's beyond appealing.

I took a trip to Sheridan

So, I had my orientation/program tour of Sheridans Animation program over the weekend. It definitely got me excited for next year. The people are great, the teachers seem great, and holy crap can people draw there.
I am very confident in my skills as an animator, I have so much to learn, but I also know that I know what I'm doing. I think.
Anyhow, I'm certain I'll at the very least be one of the more advanced first year animators. However, I'm surely going to be swallowed in an ocean of brilliant draftsmen. The animation wing walls are lined with art, and it's pretty damned intimidating. I think I can hold my own in animation, but how I'll compete when it comes to pure drawing baffles me.

I think I'm in for a very humbling experience.

Also, I was lucky enough to get a Pete Emslie caricature!!! He's a second year character design teacher at Sheridan, and man can he draw. I found out about him a few years back, and ever since I saw his caricatures I've been yearning for one of my own. I can very happily say that I finally got one!

Check out that nose! You could land a plane on it, poke an eye out with it, and many other hilarious nose jokes as well, I imagine.

Sneak peak

For those anxiously awaiting my next animation - I know you don't exist.

Anyhow, here's a sneak peak render of my 30 second, iAnimate workshop 6, Stupendously taxing, Steve Carell filled sequence.

I was lucky enough to have Ken Fountains tutelage for 14 weeks! I've learned so much under him.

Accepted!

Damn, I had hoped to have had this post out last year. Oh well, I'm in now :)

My portfolio last year scored me a 2.66. Unfortunate considering a 3 was required.
I''ll get my letter informing me of my score for this year soon, hopefully. When I do I can compare my improvement in the last year.

Either way, I'm off to study animation at Sheridan!! Not just any animation, HAND DRAWN ANIMATION. Apparently that old thing still exists! Go figure.

Sheridan Portfolio 2012

So here is my 2012 portfolio. I'm fairly happy with it I think. I feel my expression sheet is probably the weakest piece. Even still, this portfolio is leagues better than last years. Thanks to Amanda and Matt and my cousin, Joe for all the help! :)

My next blog update will probably be regarding the state of my application, considering applicants are usually notified by the end of March. Crossing my fingers for the acceptance letter that eluded me last year :) 

Animation and Character Design

Life Drawing

Personal Art

Layout

Storyboard

Feel free to criticise my work, as usual :)

Cuba Sketches

Here are some sketches I did while in the airport and during my time in Cuba over the Holidays!
It's always fun when someone notices you rapidly glancing back and forth between your sketchbook and their face.

A Load of Stress Lifted

So I'm finished my 2012 Sheridan Portfolio. Sort of.

It's ready to send in, but I have the next two weeks to tweak some of the weaker bits. One thing I'm really pleased with are the improvements in this years layout work, largely thanks to Amanda's help. The score system is out of 4. The majority of my portfolio of last year pulled in 3's and 4's. My layout section pulled in 1's and 2's.

So I'm feeling confident!
Anyway here are 2 layout drawings from each year. I'd hope you can figure out which is the newer work.

Still Thinking of The Old Days

In light of my recent post showcasing some dreadful animation, I've been thinking about my progression over the years. That statement gives me chills, haha. I find it ridiculous that I've been trying (I say trying for a reason) to be an animator since I was 15! Hell that's 3 years of animation before I've even gone to college for it.

The crazy part is that I've improved drastically. I mean, my schooling has been books, blogs, trial and error, and iAnimate (the last one is much more substantial of course). But in my opinion it just shows that hard work gives you things that blindly going to school for won't.
Of course I say this in a much more reflective way than a self promoting way. I know I have so much left to learn, and I'm quite excited for it. Right now I'm under Ken Fountains tutelage in iA. I feel as though he really knows how to dig deep inside a character and understand the all important "why" behind the acting choices one has to make. Since his class started I've put so much more thought into my characters acting. Not just looking for "what looks cool" but instead searching for a believable, and relatable performance.

Anyway, I really don't know why I made this post. Probably because its late and I want an excuse to keep listening to some killer songs before crashing.

And so I don't just leave with a wall of text, here's a drawing that will probably be in my portfolio.





















Good night my faithful readers. (I'm going to pretend I have faithful readers)

p.s. I was accepted into Art Fundamentals at Sheridan! So now my back up is set. AKA I'm off to Sheridan for sure this year :)

Working on my Portfolio

Here's the character I've designed for the character design section (go figure) of my Sheridan portfolio. I'm trying as hard as I can to keep this blog updated!!

The old days

I'm currently dividing my time between my 2nd crack at an accepted Sheridan portfolio, and iAnimate. I really can't complain about the fact that my days are spent animating and drawing. However it's definitely tough work! Right now I have the fantastic Ken Fountain as my instructor.
It's unreal how much I've learned from him in such a short time.

Anyway, here's something that moves! I did this as one of my very first animation attempts. Note the word, "attempt".




And yes, the dialogue is from the simpsons. I'm not going to even explain how bad this test is...

Workshop 4 - Assignment 1

Well, my first post of the new year has arrived. Here is a shot I did for iAnimate when in WS4 - full body acting. Thanks to David Hubert for mentoring me, and teaching me so much.



I was really happy with it, then I stopped being happy with it, then I was happy again, and now I'm unhappy with it. Now you know how odd I am.