Keane Art

It’s weird, it seems that when you run up against a problem, you always think it’s because “oh I’m not good enough”. But- it’s not that, it’s just that you’ve kind of hit the limit of your knowledge, and you’ve got to go out and observe and get and find and discover and nothing more. Those are really great, those are the best times- when you feel like you stink and you can’t get it- that’s like, man, now the world is open and you’re ready to learn something new and you gotta go, you gotta take advantage of that. I have been Inspired by your art for years. But my question is this what is it that you believe makes your art stand out the most compared to the men who came before you and really paved the way for this wonderful art form. I’m not affiliated with Glen Keane, Claire Keane, or Disney in anyway. However here’s an interview from the 2012 Dallas Film Festival where Glen talks about some things related to your question: Related: BLOGS

Rigging « circe-characterWorks In this article I will talk about a really common procedure that can be found in today character rig: space switching or dynamic parenting. All the following story started after reading a post on maulik blog. His attempt at writing a group Constraint made me want to see if I would be able to came up with a stable implementation in order to use less nodes and provide a more streamlined workflow . 1) Once upon a rig…: At its core , space switching or dynamic parenting is rooted on animation constraint: the basic idea is to link an object to several “parent” and to be able to transfer this child between parent over time. This system is usually build to keep track over which driver takes precedence in controlling an object by: My first encounter with this concept was from maya meister Alex Alvarez’s gnomon legacy DVD, and Chris Landreth’s no Sensei material( maya techniques: Ryan making off). In Maya a joint hierarchy can be split by function: (image from Javier Solsona tutorial) ee e

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