The resource for everything entertainment art. Tips, tutorials, resources, and inspiration for every field from concept art to animation.CAE is like a blog with interesting posts including news, opinions, interviews, art galleries, and reviews of new tools & learning materials.
Building 3D models can be a time-consuming process.
To jumpstart the creation process we’ve compiled a list of free blender models and character rigs. These are all free but for the models found in Sketchfab and Turbosquid, you will be required to log-in first before downloading anything.
While most of these assets are made by and for Blender, the models can also be used in other 3D applications too. These can be exported as FBX or OBJ formats which can still be used even if you don’t work in Blender.
Also before downloading anything be sure to check the licenses on each model. Not all of them allow commercial use which can lead to copyright issues. In general if you’re using models for personal use you’re probably good but it’s always smart to double check!
League of Legends’ Darius is given a makeover as a lumberjack reminiscent of Logan in his time in the Canadian forests.
This model comes with a low poly mesh count with a single 2k texture set. And just like the original Darius in League of Legends, he sports a massive axe.
A default T-pose is not provided but you can learn a lot on how to create an appealing character despite the model and texture constraints.
Because the model is a contest entry you can find the author’s work in progress in this thread. Zbrush was used for creating the high poly design, Blender for retopology, UV unwrapping, and rigging. Then lastly 3D Coat and Photoshop for painting.
This stylized environment piece easily blends in a mobile game platform because of its low poly count.
While the interior is not modeled, the exterior makes up for it. It presents a proper silhouette that can clearly be viewed from various distances and vantage points.
The entrance has a parked carriage and a signboard that shows several written announcements. There is a bar on the top floor that features beer barrels and bottles of liquor with stables below at the rear end of the tavern that add a nice overall touch.
Also the tavern shows a mix of materials and fixtures including metal details, cloth banners, windows, ropes, bottles, and aging wood.
With a little bit of texturing you can make use of an environment that can act as a venue to numerous stories.
Baba Yaga’s Hut is set up as a location that’s VR and film friendly.
This stylized piece is well-dressed with various focal points starting with a witch and a boiling cauldron. Not far behind is a hostage trapped in a cage.
On the river we see several rescuers including a priest holding a cross and knight preparing for an attack.
The scene is surrounded by a cloudy mist, adding to its mysterious ambiance. Despite not being a part of the action the interior is also populated with several items such as potions, candles, and a broomstick.
There’s also the nice touch of another witch apprentice and an accomplice bat flying around.
One of the staples of environment prop designs are barrels.
A scene looks more organic with a pile of barrels in a corner giving the sense of a recent occupancy. With this free download you’ll have several barrel types ranging from a standard storage barrel to a beer barrel.
The models come with PBR textures that are ready for Unity and Unreal Engine. The author also conveniently provides several exchange formats such as FBX and OBJ extensions.
The author made several interesting design choices to add to the menacing nature of the goblin: nails instead of thread line the side sole of its footwear, and a shield that looks as if it was torn straight from a door.
The main leather material complements all the other elements of the design including the belt straps, armor, bandages and even on the model’s footwear.
A threatening look is achieved through a mischievous expression, piercing ears, and emissive textures.
You’ll also get a nondescript treasure box that the goblin is protecting. The model is sculpted in Zbrush, polished in Blender and painted in Substance Painter.
By far, this model is the most detailed on the list.
The model is highly realistic with the proper muscle groups for both arms and legs, as well as its torso—all displayed in its full glory.
The realism also extends to his props: a detailed helmet featuring ornaments and chips, an intricate design on the shield, a flail with a spiked morning star, all the way down to a caligae or Roman leather sandals.
While the model is made in Zbrush, the download also offers several formats such as OBJ and FBX files which you can readily import to Blender.
However you might need to decimate it first as the original model has 19 million points in its highest subdivision.
The site also offers several free models such as a teeth model and a helpful guide on how to retopo a Marvelous Designer model.
In this model you’ll find several buildings that can populate a city.
For caution’s sake the creator didn’t consider any zoning. However you can still use parts of the model to block your own scene.
The asset also does not have any textures. Maybe this is a good asset to use for brushing up on your painting skills. There are several variations in this asset from a singular home to four-story buildings.
Like Vincent, Proog is a rig made by the Blender Foundation.
As such you can expect that it made use of the latest tools Blender can offer at the time of the model’s creation. Even though Proog has been created for the previous version, he has been updated to work with the Cycles renderer for a more detailed look.
Proog also has hair material you can play around with and study. You can check on how to use Proog’s various rig features by reading more on the download page.
You might have well-shot footage or a photorealistic CGI render to start a new project. But ultimately what sells a scene is solid compositing where all the visual elements come together as if they’re one cohesive composition.
In terms of compositing software, Adobe After Effects is OK and Black Magic Design Fusion is catching up. But Foundry’s Nuke still remains the standard.
If you watch any blockbuster film with heavy visual effects, chances are you will see Nuke at work in one form or another.
For those starting out Nuke can be tough to learn and really pricey. The base version costs as much as $5000.
Fortunately Foundry offers a non-commercial version which you are free to work with and it’s perfect to learning.
To jumpstart your compositing journey we’ve compiled the best beginner tutorials that show what Nuke offers from simple green-screen keying to a complicated 3D camera projection and so much more. So let’s dive in!
In this tutorial you’ll learn about the fundamentals of Nuke’s workflow and user interface.
You’ll learn about the menus, node graph, viewer pane, and attribute panels. This video also explains why you need Nuke to composite heavy visual effects compared to just using Photoshop.
Along the way you’ll learn several hotkeys such as pressing S to bring up the project settings or pressing R to bring up the read node. In addition you can press Tab at any point to bring up the node commander to search for various nodes.
Practice lessons teach you several nodes such as merge and viewer nodes, among a few others.
This video might feel dry as it is technical and you will not be compositing quite yet. However this will serve as a solid blueprint on how Nuke works.
So this time you’ll be performing a basic green screen keying and finally dive into your first Nuke project.
Unlike in After Effects where you might need a separate plug-in, Nuke has powerful built-in nodes to perform the job. In particular, you’ll be using the keylight node.
The workflow is simple. You’ll need to color pick a shade of green on the image and this will serve as a screen matte where you will perform clean-up such as rotoscope animation.
You’ll be using the tracker node to determine the camera’s movement in 3D space and with the help of the merge, color correction, and light wrap nodes, you’ll be able to composite a character as if he is on a snowy mountain. The end result is just fantastic.
The title says it all but here you’ll learn how to remove tattoos in moving footage.
You’ll be using Photoshop to create a clean base which is a great way to start.
You’ll then use Nuke’s powerful planar tracker with the corner pin data where the tattoo exists. This allows you to retrieve the tattoo’s position and replace it with the clean base (something you may need to practice a lot to get right).
There are endless applications with this technique such as removing pimples or scars on an actor, so this is a tutorial you should practice over and over till it makes sense.
As you might know by now, Nuke is not a 3D program but it fits into a 3D workflow.
In this case you’ll be creating an asteroid belt scene with the use of the 3D cards.
As the point of view will be limited, the author runs through necessary planning on how to approach the shot as such camera movement and asteroid positions.
By the end of the session you’ll be able to use several instance workflows to populate your scene. You’ll also learn how to add atmospheric effects and color corrections to add depth to your composition.
In this tutorial you’ll learn how to use Nuke’s Tracker and Rotopaint nodes.
You’ll learn to avoid common errors that trick beginners such as choosing an improper area to track. You’ll also learn that the tracker doesn’t only retrieve position data but also rotation and scale data.
This means you need to consider various settings such as perspective shift or using an edge detection filter for more accurate recognition.
You’ll also pick up points on how roto paint will help add and remove a portion of any footage. It functions like the clone stamp in Photoshop. You can use the techniques here for the tutorial project to replace an image on a billboard.
Be sure to check out the source files with the footage and the 2D elements to follow along.
Day to night footage conversion is a bit tricky. Ideally you want to be practical and shoot night scenes in the evening.
But there is always an anomaly such as having the location booked only for specific hours. In this tutorial you’ll learn how to tackle such a task and do it right.
As usual, you’ll create a garbage matte that will serve to mask the daytime sky and replace it with the nighttime sky.
Through this lesson you’ll learn that getting a day time look is not as easy as bringing the brightness down. You’ll need a roto node and to isolate light sources and windows to create your own light source. Finally at the end you’ll create a light beam to sell the night scene.
After Effects is geared to both visual effects and motion graphics. It also has a low barrier of entry with its affordable pricing.
So why not use After Effects instead of Nuke?
The difference becomes apparent in heavy visual effects shots where you have hundreds of live action and CGI clips to composite. Without a doubt, such a task will choke After Effects but Nuke can just keep chugging along.
This demo shows how to use Nuke with existing knowledge of After Effects, a very handy teaching tool for anyone with AE experience.
You’ll learn the significant differences between a layer and node workflow. You’ll also learn what panels are similar and in both programs.
Ultimately if you have an AE background and want to move into Nuke, this is the place to start.
Moving into cameras you should check out this video tut for tips on camera projects to create a 3D scene from a 2D image.
As a caveat, you need a high-resolution image to create this effect. You’ll be using mainly the 3D object, camera, projection, scene and scanline renderer nodes.
To start you’ll use a grid texture to get the proper perspective to block out the walls, ceiling, and floor. The instructor also reassures that it’s normal to have a lot of guesswork here, especially if you don’t have exact measurements written down.
In this tutorial you’ll work on a plane chase scene where the bad guys are closing in.
You’ll present this scenario with explosions trailing behind the plane. As the plane is CGI you’ll prepare various render passes with the shuffle node.
By default, this will mess up the alpha and you’ll solve it with a really valuable trick.
Interestingly, while the plane is in CGI, the explosions you’ll be using come from 2D element footage.
This means you’ll be using 3D cards and place them properly within the scene along with all animation. You’ll finish the composition by adding interactive lighting with clouds and ultimately blending everything together.
One of the cost-savings for performing visual effects rather than practical effects is creating fire.
Not only will you save your team from a logistical nightmare, but you’ll also keep your crew safe.
So this super fun tutorial lets you set a car on fire. Not in real life, but still pretty cool!
The author discusses the importance of using references before starting the project too. The artist should have a clear idea of what shape to use and the behavior of the fire.
This will guide your decisions on what type of flames to place when compositing.
You’ll start with the fire and proceed with adding smoke and detailed effects.
Like in a usual compositing workflow, here you’ll create several mattes from backgrounds to tires using the roto node. You’ll feather out the edges to blend footages seamlessly. You’ll also learn how to add fires onto tricky areas such as under shadows by warping and retiming the footage.
This is a tricky video but worth the effort if you can get through it. Also be sure to check out the project files that you can download and work with.
Aimed at total beginners, this fundamentals course will get you up and running with Nuke in no time.
Most of the techniques discussed have been tackled in free tutorials above, but what makes this course essential is its project files.
You’ll get to perform compositing alongside a professional rather than just watching how someone else works.
This course will also serve as a refresher for seasoned veterans as it tackles every topic comprehensively. The version used is slightly old but the concept still applies as Nuke has matured a lot by now.
There are mainly two ways to create a matte for compositing footage over another: painstaking rotoscope and green screen keying.
In most cases you’ll use two. However, as much as possible, you’ll create most of the matte through green screen keying as rotoscope work is labor intensive.
In this course you’ll learn how to analyze green/blue screen footage and perform effective and efficient keying in Nuke.
You’ll discover several keying workflows and learn their respective advantages and disadvantages. You’ll also solve case-specific problems such as dealing with motion blur and transparency. By far, this is the #1 keying video series on Nuke covering more detail than anything else.
Unlike rendering CGI elements, Nuke rendering does not take as much time since it doesn’t necessarily compute all rays for every pixel.
The problem is not rendering times, but making elements fit and blend together while rendering.
In this massive video series you’ll learn professional rendering workflows for color management, look-up tables, and color spaces, among other techniques from pro Nuke users.
The task is tedious but it is a must for creative professionals. So if you’re interested in the film or game industry at all, this series is worth looking into. Especially if you already have a beginner’s understanding of Nuke and want to push it further.
Deep compositing made its appearance about a decade ago and is still relevant to complicated visual effects today.
Its application can be found on films like Planet of the Apes, Life of Pi and Pacific Rim. In essence, a deep image is still 2D footage but with 3D data.
This allows a compositor to insert shots at depth rather than creating individual mattes for every intersection.
However there’s a catch: a deep pass can be 10 times as heavy as a regular pass. But from this course you’ll learn how to optimize such data and use a deep image in a practical setting whether it’s for movies, television, or games.
Virtuvian Fine Art Studio is a Chicagoland indie art school that operates both in real life and online. For the latter, they offer five programs designed to cover all aspects of realist drawing from basic rendering to advanced facial anatomy.
This review of Drawing Basics follows their drawing 101 course that starts at the very beginning.
“Does this mean they’ll teach me how to attach a piece of paper to a drawing board,” you ask? Yes.
“How to hold a pencil?” Oh yeah.
“Draw a single line?” Absolutely.
The course is taught by co-founder David Jamieson, a New York Academy of Art MFA and former professor whose work has shown up in a litany of art mags and Prince Charles’s private collection.
This course is best described as “definitive.”
“We assume no prior knowledge in drawing.”
It provides 22 hours of content over 60 videos, each of which comes with an included article. Some of them quite long.
This might be about the simplest aspects of drawing but Jamieson covers them in astounding detail, down to the best light temperatures for your workspace.
His approach might test your patience at times, but that’s the point. And you’ll see it’s invaluable: the amount of information in this course is massive and it’s info that you’d otherwise have to get piecemeal together from dozens of live classes, websites, and videos over years.
I know this because I watched the entire thing. I didn’t have time to cover details on every single module but let’s start this review with a liveblog of the first four modules:
Module 1 – Introduction
The first video already contains one of my favorite quotes about studying art:
“Too frequently, students encounter the sheer difficulty of learning to draw while attempting something inappropriately advanced, and then prematurely decide that they simply can’t draw.”
This advice by itself might be worth the cost.
Next up is an article on drawing tools.
There’s no video attached, but none needed to cover the subject. It goes over the eternal debates of graphite versus charcoal, wood pencils versus lead holders, and what paper types are good for what functions. All this along with providing a full list of recommended supplies for the course.
As other materials go, the course uses a standardized set of worksheets all of which are downloadable and printable.
Replicas of the model sphere, cylinder, and cone that Jamieson draws from are also available from their store for $60. But he stresses that you can use any objects in those shapes as long as they’re not distractingly colored or textured.
Module 2 – Line
From here we move onto how to draw a line.
A straight line freehand with confidence, specifically. Something most beginners struggle with.
We’ll need a handle on this technique before anything else because when dealing with straight lines you only have to worry about angle and length, compared to the infinite nuance of curves.
First we go over the most efficient pencil grips for bold and quick strokes. Next is an angle judgment exercise involving printing a page of blank clock faces and drawing diametrical lines across them at various “times,” to get you thinking of angles in numerical terms.
He finally moves onto the frankly brilliant technique of using a connect-the-dots method to draw curves, starting with a series of points, drawing straight lines between them, then drawing the curve around the lines.
In the process he goes into the mechanics of curves in a way that will prove fascinating to any technical drawing nerds, explaining the differences between neutral and uneven (or “trajectory”) curves and finally Béziers—which for the first time I’ve personally seen, he actually explains in a way that makes sense.
Lead with your eyes instead of staring at your hands as you draw.
Gripping your pencil underhanded, towards the back end, facilitates smooth and straight lines.
Put a lot of practice into drawing angles so that you can draw them accurately from sight or imagination. This will help you out a lot as you practice many subjects.
Block in your drawing using only straight lines instead of curves. (Blocking in, FYI, is reducing a complex object to the simplest possible shape before drawing the full object in around it.)
Module 3 – Shape
It’s triangle time! This module starts, of course, with the simplest polygon.
This is where I have to mention the first thing I’d consider a flaw: Both drawing modules so far have had whole videos of him doing long and repetitive exercises in full and offering only sporadic commentary in the style of a livestream.
It’s most glaring in this module “On Drawing Triangles” where he devotes an hour and a half to a real-time demonstration of him… well, drawing triangles.
Some of the comments are helpful, so I can’t recommend skipping it. But some of these redundancies could’ve been cut to make the watch time shorter and the overall amount of content less daunting.
The exercise itself—spanning two parallel lines with triangles of different angles and types—is incredibly helpful and crucial to understanding the next section, but I don’t think 20-minute stretches of silent drawing were needed to hammer that home.
Added note: Later on in the course, and again in the website’s About Me, it’s explained that this process is fully intentional to show how long and difficult these exercises are even for the pros.
No matter how long you’ve been drawing, it’s normal to have difficulties and to have to redo stuff. But I chose not to delete that paragraph in order to address a thought you might have yourself while watching it. Just know you’re not alone, and it’s worth pushing through.
From here we move onto irregular polygons, a drawing exercise similar to the last, just with more construction lines and the introduction of triangulation: the process of breaking down complex polygons into triangles to more accurately measure their interior distances and angles.
The final step is curved shapes which combines everything we’ve learned so far.
First you apply all the things learned about polygon drawing, then plot the curves around them using the methods outlined in module 2.
Work from general to specific, big shapes to small shapes. (You’ve probably heard this one)
“Knocking back” is the practice of lightly brushing a large eraser over construction lines in order to lighten them before the final drawing.
“Lining in” is what follows: drawing a single, crisp final line over your rough construction lines.
Continually do this as you draw to avoid confusion as to where the actual line is supposed to be.
When drawing complex shapes(like a piece of fruit or the human head) from sight, start by identifying the outermost points of the shape and drawing a polygon around them. And then go in and start working on the curves.
Module 4 – Value
In this section we move to light and shadow, marking the beginning of what Jamieson calls the second stage of the course.
I have to stop here to commend him on what is now my favorite analogy for tones:
“Value for artists is like pitch for musicians,” he says. “Different values in our drawing are like keys on a keyboard or strings on a guitar. Each one must be precisely calibrated relative to the others in the image, or our visual music will be out of tune.”
As for contrasting values within the same drawing: “Different notes can be played together in chords, and will each have a unique sound.” He continues this metaphor throughout the module, using it as a foundation for explaining several other concepts related to value range.
This goes on for a bit until the next section on an almost universally overlooked subject of value compression—condensing the infinite range of values we see in real life into the relative few that come as grades in chalk and graphite… Or as he calls them, “literally dirt on paper.”
Diving deeper, he goes into the even more esoteric field of value notation by introducing the Munsell system—the hue-value-saturation system you might recognize from color pickers in any image editing software.
Using this he’s showing what portion of the total value scale each traditional medium can cover. Turns out it’s not as much as you’d think. Especially for graphite.
This is followed by a dive into the physical properties of each medium and different paper textures, an overview of tortillons and blending brushes, then an hour-long exercise in drawing value charts.
Finally this module concludes on the crucial note of contrast and value relationships within a drawing.
All value is relative, he concludes, and the intervals between values are more crucial to capturing likeness than the absolute values. “There’s no such thing as light or dark. There is only lighter than or darker than.”
On a scale of 0(absolute black) to 10(absolute white), normal graphite is at darkest a 3.
On a molecular level charcoal and graphite do not mix, making a smooth transition between them in a drawing harder. For the darkest blacks, he suggests using a pigmented graphite pencil like the Kimberly 9XXB, which can reach roughly a 2.
Try drawing on medium gray paper using chalk pencils for the highlights.
“Listen to your pencils.” Each grade is designed to produce a certain value at medium pressure. If you can’t get the value you want, change the pencil instead of the pressure. If you find yourself grinding it into the page to get a darker value, or barely brushing the surface to get a lighter one, you’re using the wrong grade.
Unfortunately grades aren’t standardized between manufacturers so you’ll just have to learn what each one means for each pencil set.
Don’t try to create dark values in one stroke. Instead, make multiple passes.
Keep your pencils as sharp as possible for maximum control. Re-sharpen them up to every ten minutes. (Or if you don’t want to burn through your pencils that fast invest in a lead holder and pointer.)
I’ll keep the detailed play-by-play to four modules to avoid both hammering the point home excessively and giving away all their secrets.
The next five modules are just combining the former knowledge in different ways, such as blending values and rendering the shapes and light properties of all of the major solids.
A Full Course Overview
The massive runtime in this course is daunting when you’re staring it down.
But getting through each video gets easier once you get into the flow.
Going in, I was afraid I wouldn’t be able to finish the entire thing. But once I got past the first couple modules I found myself interested enough to even stop to do some of the exercises.
Due to time limitations I wasn’t able to do all of them, and I rushed through them on a tablet…
Pretend this is in pencil
…But even in that truncated form the techniques I picked up from them taught me a lot.
At some point I’d like to return to this with unlimited time and a full set of pencils to do them all on paper.
I learned more than I thought would be possible to know about the physical properties of graphite, too.
Did you know the shine it takes on when you layer it on too thick is called burnishing?
I didn’t, and I’m a religious watcher of art tutorials. I should have learned it much earlier.
This course not only defines it, it goes into detail on how to avoid it where so many just accept it as an inherent property of graphite.
And as someone who prefers dark lines that scan well I’d never seen the appeal of any pencil harder than an H grade.
However Jamieson makes such frequent and expert use of the 4-7H pencils and lays out exactly how important they are for smooth transitions, that I might have to buy some.
All videos are hosted on Vimeo which AV geeks will know is encoded at a higher bitrate than other hosts to provide sharper images at lower resolutions. And it has the very useful side effect of letting you watch them at up to 2x speed.
The tutorials proceed at a leisurely pace so it’s still perfectly intelligible at that speed, in case you need a refresher or are not able to draw along with a particular section but would still like an overview of it.
Most videos are in 720p with the option to downgrade to 360p.
Now 1080p is available but only for select videos. People with 4k monitors might find this limiting, but the quality of the videos themselves makes up for any technical shortcomings.
They’re perfectly filmed—sharp and clear enough to capture even faint 4H pencil lines. Also fully in-focus and color-neutral to avoid giving you any wrong impressions about each drawing’s value.
Sound quality is… fine. It was recorded in a drawing studio, not a sound studio, and quiet stretches are interrupted by traffic and occasional construction noise. But it’s nothing that should disturb the average watcher too much.
You won’t get TV-quality audio but that’s also not what you’re here for.
Regarding the articles: some are one-paragraph side notes, some are transcriptions of the video, some are totally unique content, and a few modules are an article by themselves.
But one thing that truly separates this course from other professional drawing tutorials is that there’s an active comment section and Jamieson personally responds to every question.
Well, there are no date stamps to tell how old they are if he’s still keeping up with them, but there’s still gold down there in those comments.
A lot of those itching questions everyone has about drawing but are rarely sufficiently answered, I found addressed in the comments. (Q: How much of your hand should make contact with the paper? A: Ideally, the back of your pinky and ring, but not the rest of it.)
“Ultimately, you could think of patience as being the goal of this entire course. If you come away … with the patience required to develop things slowly, to give them their due consideration and time, that alone is a huge asset”
—David Jamieson Module 5.4
Anyone can learn to draw on their own. This is true.
But self-taught artists often miss the specific lessons and advice that are part of structured art courses but aren’t easily found in a ten-minute YouTube tutorial.
Courses like this redress that problem. I’d heard of all these techniques and exercises before, but it had never occurred that you should take this much time and effort to do them. And there are countless details Jamieson provided that had never even crossed my radar.
If you’re self-motivated enough to see them through to the end, these exercises can be the perfect middle ground for someone who wants a structured approach to beginning their art career but doesn’t have an atelier in your town.
Not to mention you can rewind as many times as you need.
You might balk at the $200 price tag, but any studio art course will cost more than that and probably offer much less than 22 hours of drawing time.
Personally I wouldn’t use this as my only drawing education. If you have the money and are passionate enough about learning to use it then this makes an excellent one-time purchase to use as a supplement alongside classes or another course of study like Proko’s figure course.
And no matter how many tips I mentioned here, I’ve barely scratched the surface of the amount of information he drops in these courses.
I don’t have the experience of watching this from a complete novice’s standpoint but I’m confident in saying that this course alone could teach you the building blocks of producing traditional pencil art on a professional level.
You can start on the path to representing any subject with the fundamentals from what you’d learn here. The rest will just be developing your eye and learning the process of actually drawing.
Have a look at the main course page to see what else is covered and learn more about the teaching process.
And in case you ever find yourself with five days to kill in Oak Park, Illinois you might watch their site for in-person workshops.
Picture in your mind lush forests with mossy trees and boulders that lead into a desert oasis.
Creating such a world is possible in Unity, and it begins with making terrain.
Unity’s terrain editor provides everything you need to create your own 3D worlds. In this beginner’s guide to the terrain editor by YouTuber Sykoo, you’ll get a step-by-step demonstration of the tools and processes you need to practice.
Once you learn the basics you’ll be able to create your own mountains and forests in Unity complete with textures and 3D objects.
Taking a stroll through your own 3D world is a joy unique to game development.
Unity ships with a powerful set of Animation tools and they’re worth learning.
Users can import animations from other programs, or create their own right in the Unity editor.
With the Unity Animator, game developers can create flowcharts for their animated objects and characters. In this tutorial by Single Sapling Games you’ll learn how to use an animated model and take advantage of Unity’s features to make animating easier than ever.
At some point you’ll need to write some scripts if you want to take full advantage of the Unity game engine.
This video by Raja from Charger Games takes you through the basics of scripting in Unity.
It is an hour-long introductory tutorial but well worth it. Here you’ll learn how to create scripts and use them to move objects in the game world. Raja includes detailed explanations of the process every step of the way.
This video moves slowly so beginners can take their time and understand the topics discussed. By the end you should know how to use functions and variables to create simple behaviors. But this is just the beginning of scripting so be sure to push further ahead on your own.
3D artist and game designer Darrin Lile shows you the ropes of Unity’s Animator tool.
With Animator, Unity developers have a built-in state machine that makes it easier to manage animations.
With just a few lines of code you’ll be able move characters in any way you desire. The finite-state machine will handle the animations based on player input.
Don’t miss Darrin Lile’s character animation tutorial to learn how he created the assets used in this video. Surprisingly they were not created in another pricey program but instead created with Blender, a popular open source 3D design program that plays well with Unity.
In this brief video by Jayanam you’ll learn how to make a camera orbit your player. This is simple to do in Unity but does require practice to memorize.
Third-person games often need to rotate the camera to get a better view as the player moves. This video shows how to get this feature using the mouse input to control the amount of camera rotation desired.
Jayanam is one of my favorite YouTube instructors for these topics.
His videos are always concise with lots of excellent examples. Check out the previous video in this series to learn how to make the camera-follow script used in this demonstration.
Brackeys is back, this time with an advanced coding tutorial on making interactable objects for your games.
This video is part of a larger series on making an RPG in Unity, but the concepts covered here apply to almost any game.
Brackeys does an excellent job of explaining derived classes and virtual methods. His hands-on approach will help you grasp these concepts quickly.
And it should be obvious that practicing new concepts is a great way to become efficient in them. Once you’ve tackled the tutorial, try applying this knowledge to your own projects and expand on these lessons.
In this video by N3K EN you’ll learn how to add a simple timer to your game. Lots of games make use of time in some way, like racing and fighting games with time limits or survival games for their day-and-night cycles.
Here you’ll learn how to keep track of the time and use in the update function.
By storing the current time as a variable it’s possible to use it for a variety of features.
This tutorial also shows you how to use an external trigger to stop the timer. You could also add triggers that shorten or lengthen the current time to create a time bonus mechanic.
Game developer Sharp Accent teaches you everything you need to know about Unity’s IK system.
Using Inverse Kinematics is the key to achieving smooth, believable animations.
With Unity’s animation tools you can create your own animations right in the editor too. All you need is a rigged model.
IK bones will keep the player’s joints pointed in realistic directions, among many other similar behaviors. As they move the knees will stay pointed forward no matter what. This makes moving a character more like moving a puppet.
Inverse Kinematics is an advanced topic but it’s something you’ll need to learn if you want to make solid 3D animations with transitions and realism.
For those looking to learn game development there’s no better place to start than Unity. It’s the game engine of choice for indie developers and a popular tool among major studios.
Whether you’re making a sidescroller or a top-down shooter, there are huge benefits in starting with 2D work since it’s so much simpler. And with websites like opengameart.org you can find plenty of 2D assets to use in your projects.
Unity 3D doesn’t have a dedicated 2D engine like GameMaker or Godot, but it’s perfectly capable of handling all your 2D needs.
Unity’s physics engine ships with rigidbodies and collision components designed specifically for 2D games, meaning you can get 2D behavior right out of the box.
So let’s dive into these tutorials and start learning!
One of the best things about Unity is the large community it has attracted over the years.
Lots of talented artists and game designers have shared their expertise with the engine in the form of online tutorials. With these tutorials you can learn game development free of charge.
The best part of these tutorials is that many of them are in real-time. This makes it not only easier to follow along, but you also get a real sense of how long it takes to make a game.
This brief introduction to Unity by Daniel Wood is everything you need to get started with the game engine. He’ll walk you through downloading and installing Unity to get you moving from square one.
Unity comes with everything necessary for making games and it can be intimidating when you first open the program.
After installing Unity, Wood will walk you through the complex GUI.
Before you can start making games you need to know what you’re looking at. Once you learn, for instance, the difference between the hierarchy and the scene view, you can safely move onto practicing your own 2D projects.
If you’re just starting out with Unity then you’re probably itching to make your dream game. Maybe it’s a 2D platformer like Sonic the Hedgehog or even the ultimate Metroidvania.
Unfortunately before you can run around the screen collecting golden rings, you’ll need to build a player controller.
Building a good character controller can be a challenge even for seasoned developers.
Lucky for you this tutorial by expert game instructor Brackeys will show you how to get a 2D character up and running in a matter of minutes.
Using Brackeys’ character controller will allow you to get started quickly so that you can focus on building the rest of your game. Later after you’ve spent more time in Unity you can try making your own character controller.
One of my favorites parts of game development is seeing animated characters come to life in the game world. And with Unity it’s easy to animate 2D characters.
But how do we get frames for our animations?
That’s where Sprite Sheets come in. Arranging the frames of an animation on a single image will make it far easier to animate.
Making a Sprite Sheet in Photoshop is a somewhat tricky procedure. You’ll need to create a new image with the necessary dimensions depending on the size of your sprite and then manually lay out the frames. That’s where this video comes in to help.
Once you’re done you’ll have a file that’s easy for Unity to slice and turn into animations that you can call from script. With some practice you can quickly build pixel art games without a struggle.
In this Unity tutorial by Blackthronprod you’ll learn a good method for adding melee combat to your game.
With just a few scripts you can design your character to slash enemies with a weapon.
By the end of this video you’ll have a working attack and enemy health.
Blackthronprod shows you how to easily add particle effects when the enemy is hit to create visual feedback. This technique will work for almost any weapon you can think of. With some simple tweaks you can quickly create a spear or a dagger for your player to use, or really anything you want.
After you’ve created the scripts Blackthronprod will teach you how to customize the hit box, damage, range, and attack speed from inside the Unity editor.
This freebie comes directly from the Unity team as guest host Aurore Dimopoulos explores the 2D Game Kit provided by Unity Technologies.
With the 2D Game Kit users can make games without having to write a single line of code.
The kit includes a working demo of a 2D game as well as reusable assets that beginners can use to construct their own games.
Complete with art, sound, and premade behaviors, the 2D Game Kit assets are a great way to learn level design and familiarize yourself with the Unity editor.
With these premium courses you’re able to learn Unity a bit faster and with far more detail than the free stuff on YouTube. These also give you a chance to learn from some of the best instructors in the business.
They say good habits make good work.
With the following courses you’ll be building a strong foundation of habits that will help you quickly progress in your Unity game design practice.
This course on Unity Development is everything you need to get started with C# and Unity.
You’ll learn C# and scripting while making video games in a fun and engaging environment.
Available on Udemy, this course focuses on building a strong foundation for game design and game development. You’ll learn by creating playable games that would be good enough to include in a portfolio.
You’ll start with the basics of coding in C# before moving on to making your own Brick Breaker clone. As you progress you’ll eventually learn how to make a 2D platformer using Unity’s Tilemap tool.
So here’s a very detailed 2D Unity course designed to take you from beginner to advanced as quickly as possible.
Funded by a wildly successful Kickstarter, this course teaches crucial concepts for coding in C# as they relate to game designers.
After learning about Unity and creating a simple 2D game you’ll move onto building your own path-finding algorithm. Know as A* (pronounced “A star”), this path-finding algorithm is widely used within the games industry.
You’ll get access to all the source files needed for the projects as well as some instructions on using Photoshop for game development.
GameMaker Studio is a powerful 2D engine developed by YoYo Games. With its drag-and-drop interface and a host of features, GameMaker simply makes game development easy.
Hit titles like Hotline Miami and Hyper Light Drifter have helped popularize GameMaker. It’s now supported by a sizable community of 2D game developers with new devs joining all the time.
With cross-platform support this program can deploy to every major platform, saving developers time by giving them access to several markets simultaneously. It also has its own scripting language—Game Maker Language—that can be used to create almost anything.
To get started learning this incredible program we have this list of tutorials on GameMaker so you can dive right into creating your dream game as soon as possible.
We’ve provided a variety of tutorials that cover several game genres so there’s guaranteed to be something in here for everyone.
Shaun Spalding covers everything you need to get started making your own platformer in GameMaker Studio 2.
In this series Shaun makes use of the newest methods that get beginners up to speed quickly. Aimed at beginners and intermediate users alike, this series will have you leaping over pipes and jumping on Goombas in no time.
You start by setting up your game environment and then move on to player movement. You’ll learn how to create gravity and collisions in fewer than 40 lines of code.
This two-part guide by Shaun Spalding takes an in-depth look at melee combat in GameMaker.
The example used is a 2D platformer, but these techniques will work for any game.
Part 1 covers a state-machine to create a basic attack. In part 2 you’ll learn about making combo-chains and linking multiple attacks.
This is a code-heavy tutorial that focuses on the concepts behind creating a melee system. By the end you’ll have a strong understanding of using hit boxes for melee combat along with scripting for your own games.
Most game engines provide some type of physics engine and Game Maker is no exception.
Using physics it’s possible to create a variety of realistic animations and mechanics for your games.
This video, also from Shaun Spalding, concentrates on creating bodies of water for a 2D platformer. Using his own game PokeyPoke as a reference, Shaun will teach you how to implement a complex water effect.
Just note that in the introduction Shaun mentions this video is more focused on concepts rather than implementation.
This point is to get your imagination working and gain more insight into game development.
This tutorial walks you through building an RPG farming sim game. This is aimed at beginners just starting out with GameMaker so it’s pretty easy to get into.
In the early sections you’ll learn all about objects, sprites, and how to set up your project in GameMaker.
FriendlyCosmonaut will first walk you through the fundamentals of using GameMaker Studio before introducing you to opengameart.org, a website where you can find free assets for your games and prototypes.
By the end of this video you’ll learn to code your own animated characters, create a night and day cycle, and grow crops in your game.
Spine is a 2D animation package that aims to make the animation workflow easier.
It pairs nicely with GameMaker and can greatly boost your productivity when it comes to animation.
Spine packs a variety of tools and you’ll learn many of them here. When you’re done, you can export your work it and use it in GameMaker.
This video by developer Tainted Lost will show you how to use Spine and GameMaker to build a basic equipment system. Using Spine with GameMaker will make building new, exciting features far less painful.
This video from Benjamin is a gentle introduction to networking with GameMaker. Use it to explore the fundamentals of developing online multiplayer games.
You won’t actually be making a game in this tutorial; you’ll just be setting up a connection between two computers and sending some data back and forth.
This is, however, the bare minimum needed to build an online game. Once you understand the basics of sending data over this connection, you can expand to more advanced topics like shooting a gun or sending an instant message.
The Legend of Zelda is still one of the most popular games of all time.
In this video by Synthetic Pixel Games you’ll learn how to implement a Zelda-style health system all on your own.
Using only three sprites you’ll follow the process of how to add and remove hearts using increments in half-hearts. The graphics are implemented as part of the UI so they’ll follow the player around the map.
Add some style to your 2D adventure game with these Zelda-style hearts, or create some basic pixel graphics to change those hearts into anything of your choosing.
With the dynamic and competitive 3D industry that says a lot. Starting in the niche for architectural visualization, this versatile photorealistic renderer has extended its use for projects such as product visualization and video game character development.
In this list you’ll learn all about the comprehensive V-Ray toolset from the original plug-in for 3ds Max to the ported plug-ins for various programs such as Maya, Rhino, and Sketch Up. There’s bound to be something here for everyone so dig in and start learning!
In this beginner tutorial you’ll learn about dedicated V-Ray objects that are provided after the installation of the plug-in.
You’ll also get a brief introduction on how to navigate inside 3ds Max. This comes alongside handy shortcuts such as pressing F10 to easily change the default renderer from scanline to V-Ray or pressing F9 to quickly render images.
As V-ray comes with its own set of materials, you’ll be learning many different V-Ray shaders.
In the process you’ll create diffuse and reflective material. Finally you’ll render an image using image-based lighting(IBL) to achieve realistic reflections by making materials from angular to spherical.
In this tutorial you’ll create several materials such as bronze, chrome, gold, steel, copper, aluminum, metal, glass and tinted glass. Yes, it’s a lot!
This just shows how flexible V-Ray can be.
For every material the author provides a handy parameter list on-screen for what to change to achieve the desired look such as glossiness and fresnel.
Materials and lighting go hand in hand. A realistic texture can easily be ruined by poor lighting. As such, you will be using an HDRI image that will serve as an image-based lighting to simulate a real-world scenario.
There are several methods of creating realistic 3D grass. One is to use the 3ds Max hair and fur modifier, another is using V-Ray’s fur object and lastly by using textures and displacement maps.
In this tutorial you’ll learn all about the latter option.
While the method does not hold up for close-up shots, it saves on memory and is easy to setup.
You’ll solve several problems along the way such as tiling issues for the textures and preventing the obvious repetition of seamless textures. You’ll also modify bump textures in Photoshop using levels and curves for a more varied look.
In this tutorial you learn all about how to model glass with juice and render it.
This seems like an easy task but many unsuspecting newcomers fail to account for the refractive parameters.
You’ll start with by creating a spline profile from a vertex interpolation and later converting it to bezier.
You’ll then add the lathe modifier to mold the glass. Afterwards you’ll use the shell modifier to give depth to the glass which is basically required for refractive objects. For rendering, you’ll be using HDRI for realistic reflections and several area lights too.
For more details on general glass material rendering you can check the author’s other video here.
V-Ray was mainly made for 3ds Max to meet visualization demands.
Features are first implemented in 3ds Max and then ported over to other applications. So it should be no surprise that this massive video series is quite comprehensive.
You will learn everything that V-Ray can offer.
You’ll start with lighting objects such as area lights and spotlights. Later you’ll deal with lightning environments such as atmospheric fog. You’ll also discover V-Ray’s flexible material system from its general purpose uber materials to its specialized dirt shader.
Finally you’ll tinker with the render settings such as sampling for anti-aliasing and subdivisions. This leads into global illumination with its various algorithms to optimize your render time.
For beginners it may seem like an easy task to illuminate a studio set-up since you have total control over your light.
However, you’d be surprised that it can be quote complicated and not so easy to just rehash a 3-point lighting set-up.
For one, every light has to be spot on especially for objects that require delicate reflections such as a phone or a car.
This video series teaches you how to deal with such challenges. You’ll be decoding photos and renders to understand how light works. You’ll learn how to manipulate lights to direct a specific mood as well.
By the end of this series you’ll be able to light several case studies such as a chocolate dessert, a character portrait, and a beautiful car model.
To add details you’ll add displacement material to the geometry.
Then to optimize your render time you’ll increase subdivision samples for specific passes such as reflection samples, rather than adjusting the universal anti-aliasing system. Very complex but an invaluable video for anyone learning this type of work.
From the official Chaosgroup YouTube channel, here you’ll explore Rhino and render a product visualization: specifically an earbud.
You’ll be introduced to the asset editor where you will handle most of your V-Ray tasks from materials to lights.
You’ll also be using an interactive render to see your adjustments instantly while making several materials such as plastic and silver. This leads into exploring advanced materials such as Sub-Surface Scattering(SSS) which can be a rabbit hole in itself.
For a more detailed write-up and to grab a copy of the scene file download you can check Chaosgroup documentation page.
In the real world most natural objects do not have sharp edges. Definitely not as sharp as a CG-rendered object.
To simulate reality an artist might bevel every possible edge, but this makes revisions a bit tricky.
As a solution V-Ray provides an edge softening setup where bevels are made during render and determined parametrically.
With this video you’ll be exploring different settings such as whether to use convex, concave, or both in your scene. In addition, this feature is flexible enough to determine if there are any intersecting geometries that have the same materials.
Here’s one more great video from the official Chaosgroup YouTube channel. This one covers lighting techniques for a nighttime architectural interior scene using IES lights, sphere lights, and emissive lights which give off a realistic glare when rendering.
You don’t need to build it from scratch as the scene is provided in the video description(link below).
You’ll learn handy tricks such as avoiding overlapping of lights and model objects. This is really handy to avoid weird artifacts in your final scene.
You’ll also learn how to group lights so you can adjust them with a universal parameter rather than individually. Other fun tips include how to snap lights to bulb housing for true accuracy.
Note: the topic discussed here is not character animation, but rather a simple object transformation.
Rhino is mainly a modeling program and does not have a complete animation toolset with it.
Now with that said, camera animation in Rhino with V-Ray is easy to set-up.
You’ll first create an arc spline for the camera to follow. The main thing about animation is it will take a ridiculous amount of time to render.
Fortunately V-ray provides an option to save caches of global illumination calculation to speed up render times without drastically reducing the quality. All of these things are covered in pretty good detail here.
Linear workflow is a type of color management where the set-up properly defines gamma for proper display and calculation. In recent versions of V-ray and Maya, most of the processes have been handled automatically.
However, imported images for shading must still be modified. In this tutorial you learn how to maximize the linear workflow using V-Ray inside Maya.
In the first section you’ll learn why linear workflow is important and how it affects not only Maya, but every 3D program out there today.
You’ll tackle different elements that require a linear workflow such as basic lights, sun, sky objects, and especially shaders. You’ll also discuss global settings such as render sampling and global illumination.
Every external render engine comes with its own set of materials.
V-Ray ships with its uber material where it can accommodate the majority of your needs, with the exception of specific shaders such as a skin shader.
This means you’ll only need to learn a few parameters to get started with texturing.
So in this series you’ll learn about fresnel and index of refraction(IOR) and how to use them to achieve a realistic render, such as having a high IOR value for metallic objects and lower IOR value for non-metallic objects.
You’ll also learn several tips such as avoiding pure black and pure white in any color as it does not produce any value-adding result. These aggressive colors can also cause excessive render times.
In addition, V-Ray also has strong integration with Maya. It can utilize Maya’s built-in nodes for shading networks which is super handy.
This means all your prior knowledge of Maya texturing can be applied to the V-Ray material system.
If you have already created hundreds of interior and exterior renders then you might be tempted to skip this one. But if you really want to practice V-Ray with Maya I suggest following it through to the end.
Designing 3D characters comes with its own set of challenges: mainly rendering skin and hair.
But in this detailed video tutorial you’ll learn how to handle V-Ray’s Sub-Surface Scattering shader to bring out the fleshiness of skin.
You’ll also explore V-Ray’s physically based hair material. Other topics include adjusting various displacement settings to match your details with a ZBrush sculpt, a very handy process for artists who constantly import designs between programs.
Digital art used to be something you could only do on a desktop with expensive software and equipment(read: drawing tablets). But with so many awesome art apps out there you can create incredible artwork on your smartphone, tablet, or even in your web browser.
Actually one of the best ways to do this is with free browser-based apps.
Most of these work best with a Wacom tablet and stylus, but you can also go a long way with a mouse or trackpad if you have patience.
Play around with a few of these and see which ones may fit best for your workflow. You’ll be surprised how much artwork you can actually make with these!
Sketchpad is fairly intuitive and simple to use, even if you’ve never used an app to create art before.
You’ll get a basic set of tools and brushes like adjustable pencils, stamps, text tools, clipart, and lines with snapping capabilities and layers. You can keep things really basic, or use the tools to their fullest potential to create some seriously cool stuff.
Mostly anyone would love the clean, intuitive layout because it’s super quick and easy to access with all your tools, no matter what type of tech you’re using.
Sketchpad might not be the tool for creating highly detailed finished pieces. In fact I’m almost sure it’s not.
Pixlr is kind of like old-school Photoshop because it has a similar setup, so it’s a decent alternative if you don’t want to invest any money on art software(yet!)
With Pixlr you can also draw or modify images just like you would with Photoshop.
Start with a fresh canvas to draw or paint on, or upload an image from your computer if you’d rather start that way.
You’ll find a lot of tools similar to what you’d get in Photoshop with many of the same capabilities. So this is great if you just don’t want to shell out for Photoshop. Still, this isn’t a real replacement for desktop drawing software.
And this might not be the best for total beginners learning digital art, but those with some experience can jump right in easy peasy.
Vectr is an intuitive graphic design tool created to shorten the learning curve and help designers create some amazing stuff fast.
This app isn’t really meant for painting and drawing, but rather for creating graphic designs like logos, icons, slideshows, or maybe small vector graphics.
Given the name you can probably guess this webapp only creates vector files. So if you do create some artwork here you can scale it out to massive sizes while still maintaining image quality.
If you’re interested in graphic design definitely try this out! With this one app you can easily create professional quality images or icons while still feeling like an artist.
One of the cool things about Vectr(besides being free) is that you can collaborate with others in real time.
Other designers can watch you draw live(and you can watch them) which is great for teaching and learning. It also comes with tons of free tutorials right on the site so you can start learning immediately.
This app is actually a bunch of drawing games like Pictionary, as well as drawing contests and challenges all rolled into one thing.
If you just feel like drawing you can open a blank canvas and get started here. But the interactive stuff adds another layer on the site.
Games can actually improve your drawing skills if you practice the right ones.
Some of them require you to draw quickly instead of overthinking things. And the “it’s just a game” mindset can remove a lot of the mental pressure we put on ourselves when we’re creating art, opening us up to more freedom to express creative ideas.
LetsDraw.it is a lot of fun and a great way to get used to drawing on a computer. It’s simple to get started and intuitive to pick up.
This is actually a drawing game and AI experiment, and it’s lots of fun!
You’re basically playing Pictionary with a machine. You draw and it guesses what you’re drawing, and it learns as you go because it remembers not only your drawings, but those of everyone else who uses it.
This game is crazy smart and it’s always getting smarter.
Not only will you get to play a fun game and hone your drawing skills, your drawings will also go into the program’s database where they’ll contribute to further AI research.
Google Quick Draw is perfect for doodlers, Pictionary enthusiasts, AI nerds, and anyone who wants to kill a little time playing with a really brainy art machine.
Animation takes a lot of practice to master. So it’s just magical to watch other artists solve creative problems and craft brilliant stories, all for entertainment.
If you’re into this kinda stuff as an artist, or just a fan of entertainment, take a look at this list featuring our favorite animators on YouTube.
Some of these artists post their own animations or tutorials, or even a combination of the two with other goofy animated videos thrown in. You’ll find everything from autobiographical shorts to parodies, music videos, film and game reviews, and hilarious satire.
Not only are these animators just amazing artists, they’re also great writers. I guarantee there’s a lot in here to keep you entertained for hours.
This channel is run by Brendan Blaber who’s not only an animator, but also a writer, voice actor, and cartoonist.
There’s a lot to look at here!
Check out his Tip of the Tongue series for tips on writing and drawing for cartoons and the film business.
He also posts funny reviews of games and movies along with his own animations in a fun hodgepodge that will lead you down a highly entertaining rabbit hole. His voice acting skills always keep things interesting.
This account, run by an artist named Matt, is a collection of short cartoons with lots of sarcasm and over-the-top ridiculousness.
His cartoons are often strange and mildly disturbing, in a good way. Much like his Pokemon series with some over-the-top humor.
If that’s your thing, check him out!
Matt creates funny and honest videos about topics like the perils of Youtube-dom, kind of like Sara Scribbles meets South Park with some fantasy thrown in, along with the occasional review videos that are just as fun as his cartoons.
You’ll also notice a few recurring characters and storylines throughout his animations.
This channel is kind of a blog/vlog as told by the artists’ animated doppelganger. It’s really fun.
In this semi-autobiographical cartoon topics range from fluffy and fun to serious, real, and relatable.
You’ll find short and engaging animations about being an artist, an animator, and an adult. It’s also worth checking out her earlier videos to see how her animation style has changed and grown more refined over time.
RicePirate has a bunch of made-up of parodies, original animated shorts, and voice acting demos from this voice actor and animator.
The parodies are hilarious (exactly what a parody should be) as they poke fun at the content and cartoon style of so many pop-culture topics.
He even sometimes gets on camera himself to provide life updates and interesting peeks at upcoming projects, as well as behind the scenes workflows of his animations.
Mick also includes some animation and voice acting tutorials to help other aspiring artists. All in all, his channel is full of lots of random stuff that’s worth checking out. He’s also got quite a following on Twitter if you’re into that kinda thing.
Domics creates self-described anecdotal animations about situations we’ve all been in and some original short stories as well. This is all with a minimalist palette and simple art style.
He really has a gift for turning the most mundane situations into something engaging and entertaining.
He mostly sticks to a limited palette(I mean, you can’t get much more limited than black and white) but sometimes includes color. And every once in a while he’ll hop on camera himself to answer questions or teach a tutorial.
This channel has been around for years so there’s lots to explore. You’ll also notice how his style of art and storytelling evolves over time while still maintaining a consistent look and feel to the artwork.
So this channel starts as a bit of a mishmash by featuring original shorts starring talking animals.
Yet if you scroll through the archives over time it evolves into an ongoing autobiographical cartoon of a college student with some other stuff thrown in.
It’s a lot of fun because she originally started this account as a way to learn animation, with no real direction for her content. You’ll find lots of different stuff like Q&As, animations set to music, parodies, and original shorts that show off her quirky sense of humor as an artist.
Erold’s channel is full of relatable stories from his own life and funny observations about things like weird baby names, all featuring voiceovers from Erold himself.
These videos feature some fun animation styles ranging from somewhat realistic proportions to highly exaggerated caricatures.
Erold is not only an accomplished animator, but a great storyteller with a natural means of grabbing your attention. It’s easy to get sucked into the ongoing saga of his life because his storytelling coupled with this amazing art is an engaging combo.
If you’re interested in creating autobiographical cartoons or telling any kind of story with your animations, this is a great artist to subscribe to and learn from.
You can also follow their newest sketches and life updates on Instagram.