Angie Taylor is a traditionally-trained sculptor who has worked as a digital artist since the 1980’s.
Her work explores themes of identity, isolation & otherness – often championing life’s misfits and highlighting the struggles faced by them.
Her highly-distinctive style is hard to pin down but has been described by some as Punk-Expressionism – a unique mix of punk art, naive art, pop art & expressionistic aesthetics and themes.
Her work juxtaposes the DIY ethic of punk, fresh immediacy of naïve art & complexity of VR & 3D technology.
These Creative After Effects Bonus Tutorials are ones created specifically for readers of my “Creative After Effects”books but are also freely available to everyone who visits my website.They were designed for previous versions of After Effects but still contain useful tips, tricks and techniques. These books contain many more in depth tutorials on Adobe After Effects and related topics. It also includes a free CD full of goodies and training materials for your delectation!I welcome feedback from readers as it is essential to the growth and development of the book and website. If you have any comments or feedback please feel free to leave comments.
Keylight Training movie This is a sample movie from my book “Creative After Effects 7″. The tutorial focusses on how to use The Foundry’s Keylight in After Effects to key out really badly shot DV footage. Angie shares tips and tricks on how to avoid problems and to fix them once they occur.
Character Animation tutorial I’ve done a fair bit of character animation using After Effects, mainly cut-out animation, similar to the style Terry Gilliam used in the Monty Python animations and not too dissimilar to South Park’s style of animation.Till Parenting was introduced, I always used complex nesting procedures to link the individual parts of my characters together. I would draw them in Illustrator with each part on a separate layer, bring it in as a Comp and then Pre-comp the body parts together as needed.Parenting gets rid of the need for complex nesting hierarchies, I can now link the body parts together in one composition. This tutorial simplifies and demystifies the processes, making them less intimidating to those who have never used Parenting.
The Talking Dog Lip syncing Tutorial for After Effects 6 is based on the After Effects 5.5 Production Bundle but can also be followed using the version 5.0 PB. If you want to get hold of an updated After Effects CS5 version of this tutorial, complete with new footage, it’s available as part of my After Effects CS5 Learn by Video DVD in association with Adobe’s Todd Kopriva.
This tutorial shows you how to use Motion Math scripts and Time Remapping on a 3D – rendered character to automate the process of lip-synching. I used this technique in an animated program which was broadcast on a major UK TV network.
Multipass for After Effects 5.5 and Cinema 4DXL These comprehensive tutorials cover techniques for creating multipass renders as well as importing and manipulating the multiple passes in After Effects 5.5.Using a whole host of old and new features to bring your 3D scene to life you will learn the basic principles and discover the power and flexibility that can be achieved by rendering out your 3D scene in passes.
Well, another year comes to an end and the holidays are about to begin. What better way to spend your time off than sitting back comfortably and allowing me to entertain you with some of my latest After Effects CS5 tutorials?
Here’s a free tutorial movie for you, taken from the “Jumpstarts” section of the video2brainAfter Effects CS5 Learn by Video DVD that I created this year in collaboration with Todd Kopriva from Adobe. You’ll also find lots of other free tutorials alongside this one so please enjoy them and let us know what you think. You can read what Eran Stern said about our DVD training here in his blog.
After Effects has great tools for character animation called the Puppet tools. The Puppet Pin tool places a mesh over your footage using the alpha channel. You can add points to this mesh that allow to distort it and animate it, providing some really natural movement for your animations and motion graphics projects.
The Puppet tool is as fun to use as a kids toy so get stuck in, have some fun and learn how to use this great set of tools to create your own fun animations.
This complete training program offers an extraordinary value, combining 14 hours of video instruction with a 120-page full-color guide to teach you the fundamentals of Adobe After Effects CS5, as well as the basic principles of motion graphics and visual effects. You’ll get in-depth coverage of the After Effects interface and the latest features in CS5, as well as rich tutorials on importing assets, creating opening titles, manipulating movies, designing 3D graphics and character animation, and much more. Interactive quizzes throughout the course reinforce what you’ve learned.You can also read more about this product on my blog.
It’s a hot debate, as a designer, is it important to have drawing skills? I mean, you don’t need to draw anymore really? Surely computers can do it all for you now, download a few images, treat them with filters, composite them together in Adobe Photoshop – Bob’s yer uncle (as we say in the UK!)
But drawing is not only a process used to create finished aesthetic imagery to include in a finished design, it’s much more than that. It’s a learning process that is an important stage in the development of a confident visual language. When you draw something you learn to see with a different, more focused awareness. You start to question why things appear in a certain way, as a result you can understand how things are constructed, how light interacts with surfaces and how colors affect each other. Things that may not occur to you by just simply looking at an object. you need to truly understand these things to make your drawings work. Even if you don’t like your finished drawings, that really doesn’t matter, it’s the process of losing yourself in the craft of drawing that matters.
And it’s never too late to learn, in the Drawing chapter of my book, Design Essentials for the Motion Media Artist I talk about my mother who didn’t start drawing till she was in her 70’s. It has made a huge difference to her life and now she can draw and paint like she would never have thought. You can check out excerpts from this chapter using Amazon’s “Search Inside” feature now. The chapter also contains some of the exercises that helped me learn to draw during my time at Art College. There’s also a resources section on this website that contains some tips, tricks and links to useful tutorials, websites and a complete reading list.
Drawing Exercise from Design Essentials book – draw 6 circular objects with the same drawing implement achieving different textures for each
Writing this book inspired me to include more about drawing in my software tutorial too. I recently recorded a new video training workshop for video2brain on Animation Character Design in Adobe Illustrator which will be available soon. In this tutorial I showed that you don’t need to limit yourself to using traditional drawing materials. In one of the tutorials I show how to create body shapes from primitive shapes and then use Illustrators fabulous drawing tools to sculpt these into more organic shapes, it’s an addictive and very creative process.
So, I hope that you’ll give drawing a chance, pick up whichever implement inspires you to make marks and get sketching! don’t worry about the outcome, just enjoy the process!
Last month I made a life-changing decision to resign from my post as Creative Director of GridIron Software and return to self-employment. This was not an easy decision to make, particularly at this time of economic uncertainty but sometimes you have to take a leap of faith and do what you feel is right, deep down in your heart, despite the difficulties that it may create for you along the way.
I’ve been with GridIron Software for two years, working with a fantastic team on some truly ground-breaking products. It all started at IBC 2008 when I worked with the GridIron gang for the first time. They were a great bunch of folks – a really creative and inspiring team. I was doing some freelance work for them when Steve Forde (The CEO at the time) offered me the opportunity to see if a full-time role in the software industry was something that I’d like to pursue. I couldn’t imagine a better team to test the waters with. The GridIron gang were not a typical corporate software company, they were a bunch of engineers, stars of creative media business and designers who got together to try to break the mould and create something truly unique, which they did.
Before GridIron I’d worked as a freelance designer and animator for sixteen years and before that worked at various jobs including deejay, cartoonist and modelmaker. But self-employment can be exhausting and can take its toll. You end up diversifying to make a living and I had somehow become sidetracked into spending over 50% of my time working in the software industry for folks like Adobe and Apple as a demo artist. I felt divided at the time, as if I was being a jack of all trades, trying to split my time between two related but fundamentally different careers. Neither career was getting the full attention that it needed to make it blossom and I was literally exhausted from trying to make it work. So I decided to grab the opportunity with both hands in order to find out if working full-time was really something I wanted to do. I gave up self-employment after about twenty years of being my own boss and began working as Creative Director at GrdiIron.
I have learned so much during my time at GridIron and have made some life-long friendships so I don’t regret joining one bit. I learned about marketing and was amazed to find that it was something I actually enjoyed. I did some visual UI design which was something I’d always wanted to do but never thought I could – and I loved it. I learned more about software development and how the whole process works. I wrote user guides, web content, marketing copy and collateral. I learned the importance of creating good working structures, using statistics and listening to other people’s opinions.
But I’ve also learned a lot by looking back at my previous periods self-employment from a different perspective and recognizing both the aspects that I missed, and the ones that I didn’t. I learned that I really do need to have a creative aspect to my work. I need to work with lots of inspiring people from different walks of life and from different creative industries. I want to help other creative people to succeed in what they do. But most of all I want to feel truly independent and be able to say what I want, when I want. I have so much that I want to communicate with people and I need to do it my own way. I also learned that I want these things so much that I’m prepared to take a risk. Things have certainly changed since my last period of self-employment – it’s not as easy to find work now as it was back then. But the other thing I love is a challenge. I’m going to take a bit of time out to recuperate from a very busy year, get my thoughts together and then put everything I’ve learned into action. So watch this space – here goes! Head first into the deep unknown! Wish me luck I’m going in!
I’ve just watched a great After Effects tutorial, made by my good friend, the great Peder Norby of Trapcode fame. He’s dome a wonderful job of teaching you how to get the best volumetric smoke effects using Particular.
I love this tutorial as it was totally improvised so it shows how he had to experiment to get the settings right. Check out his tutorial and if you don’t already own Particular, you can also download a free trial of Trapcode Particular from the Red Giant website so you can try it out.
I also stumbled upon a very kind and generous offer from Andrew Kramer at Video Copilot. Andrew is giving away 100 MB of stock footage free this month to say a big thanks to his followers. Nice one Andrew! 🙂
My dear friend and esteemed and talented After Effects aficionado, Aharon Rabinowitz has posted my 1960’s retro “Pop-art” tutorial up on Red Giant TV. I actually recorded it in the 1960’s but it’s taken this long for technology to catch up to a stage where it can broadcast a whole hour (almost) of FREE After Effects video training online! Download and enjoy, it’s all free and includes tutorial files! You’ll love Aharon’s “authentic” Scottish accent at the end!
The Last picture I took of Ari on Brighton Beack earlier this year.
It was with a huge amount of sadness and shock that I heard about the death of my friend, Ari Up this week. I first met Ari in Aberdeen in 1978 when I was 14 and she was 16, fronting my all-time favorite band, the Slits. She was my hero back then, I totally looked up to her. I’m honored to say that she also became my friend, and what a caring, compassionate and life-enhancing friend she really was! She made me feel OK about who I was – a strange, bespectacled, gay, noisy, ugly-duckling with frizzy hair – not your typical girl!
I had become immersed in the punk movement because it initially represented originality, individuality, anarchy, creativity, chaos, inventiveness but had become disillusioned when it all started to change into conformity to it’s own set of established rules. The Slits were a proud exception, they never conformed to the male-dominated, tribe-like constructs of punk. Instead they truly stuck to it’s core principles, ignoring it’s prescribed fashions and making it up themselves as they went along their merry, musical way.
Ari and the other Slits had immense musical talent and originality which was sadly never fully recognized by the mainstream industry while Ari was alive. Their seminal album “Cut” is listed in many high-profile lists of all time top albums, and it received well-deserved critical acclaim. But their music was often too challenging, uncomfortable or simply unfashionable (a term often used to describe art that is ground-breaking). But they produced so much more that remains largely ignored, including the amazing Earthbeat with it’s wonderful tribal meanderings. Give their music another listen – I dare you!
Ari at the last Slits gig in Brighton
Throughout the last few years I got to know Ari better. We worked together on some filming I did for The Slits and Ari’s other band, the True Warriors. I still have footage that we always planned to get out there but I never had time to edit. So, keep your eyes peeled and watch this space. My next project will be to edit the interviews I did with Ari and cut some of the concert footage, as a tribute to my friend.
A still from the videos I shot at the Underworld gig in Camden
Ari was never afraid to stand up for what she believed in. She always stuck up for the down-trodden in society and accepted people whoever they were. She was always gracious and kind-hearted to her “fans” and made everyone around her feel special. She was truly on-in-a-million and I will miss her so much.
Well, it’s all happening this week! My new book, “Design Essentials for the Motion Media Artist” finally went on sale. I’m so excited and can’t wait to hear what people think of it – waiting for the first reviews is always an anxious time!
As well as the book, I also have a new training DVD on the way which I worked on with the amazing Todd Kopriva from Adobe. “Adobe After Effects CS5 – Learn by Video” was produced by the brilliant team at video2brain and is available to pre-order now.
As a little taster of what’s to come is available to view completely free now. Adobe After Effects CS5: Frequently Asked Questions – Zip Past Common Hurdles
In this free course, Todd Kopriva, co-author of Adobe After Effects CS5 Learn by Video, helps you avoid common After Effects hiccups with a collection of answers to Frequently Asked Questions. Whether you´re having audio hiccups, getting pixelated vector graphics, or getting oversized files or jerky playback, Todd equips you to zip past these common hurdles and get back to creating great effects. I hope you enjoy these free tutorials and look forward to hearing your feedback.
Angie Taylor takes you through the steps to build an opening title sequence for a TV show using Artbeats footage to create 3D flowers growing within After Effects 3D world. This lesson also provides you with the experience of using scripts within After Effects.
Shatter and Card Dance are two of After Effects CS4’s most underrated particle effects. Both were created by Brain Maffitt’s Atomic Power Corporation, before being bought by Adobe to include in After Effects. Both Card Dance and Shatter allow you to divide your layer into particles determined by layer map. They also allow you to animate pieces in 3D space, and interact with After Effects’ cameras and lights. This tutorial will help you understand how layers can be used as displacement maps or control layers for other layers in your compositions. This process is just as useful when controlling VFX as it is for motion graphics.
Make diagrams easier to understand – by animating them, with tips from motion-graphics and animation expert Angie Taylor. Infographics are hugely useful for explaining a complex or technical subject visually. A quick and easy way to create compelling animated infographics is to break down and reconstruct technical drawings or plans – we see them all the time on the TV news, where they’re popular for explaining abstract or tricky subjects to a broad audience. In this tutorial, Angie Taylor shows that going back to the basics of animating simple shapes and 2D graphics can be just what you need to provide you with a clean and simple design.
If your budget doesn’t stretch to pricey plug-in particle filters, use After Effects’ internal tools. After Effects CS3 includes built-in particle filters you can use in your projects. Although they are not as powerful as some of the specialist 3D particle filters (like Trapcode’s amazing Particular plug-in), you can use them to achieve fairly convincing animations of natural phenomena such as fire, smoke, rain and dust. All you need is patience and a natural affinity for tweaking sliders. In this tutorial, Angie Taylor shows you how to create fire, smoke effects and 3D rocks, all using After Effects’ built-in 3D particle filters, to create part of the title sequence for Taylor’s forthcoming animation Hellwoman, a spoof of the movie Hellboy.
Make your message stand out by transforming text with 3D extrusions in After Effects. After Effects CS3 includes fabulous 3D, per-character text animators, but the ability to actually extrude text into solid 3D objects usually requires third-party plug-ins. Unless, of course, you use the trick shared here by animator, designer and After Effects expert Angie Taylor, which permits you to extrude the text with no extra software. There are other ways of creating true 3D text in After Effects, using filters like the Shatter filter. However, the trouble with Shatter is that it’s quite difficult to get the edges of the text looking decent and crisp. The following technique is great as it’s fairly straightforward and quick to carry out. It also allows you to use 3D animators with your extruded text.
Creating multi-dimensional, interactive menus from pen-and-paper sketches is simple – we show you how. In this tutorial, Angie Taylor shows how to put Adobe After Effects and Photoshop to work to create a DVD menu design. The example she uses here was originally created for a DVD of the pioneering all-girl punk bank The Slits, who are currently touring the US. Tessa Pollitt, the band’s bassist, drew the sketch that the menu is based on, and the band felt that it represented The Slits’ overall aesthetic so neatly that they asked Taylor to use it in the menu. This is a particularly good tutorial if you’re already familiar with the basics of After Effects but need a little practice. You’ll learn how to add motion to static images without animating the images themselves – a neat trick to master – by separating different elements or layers of the drawing into a multi-dimensional format, and then guiding the camera through them.
Well, what a busy old month I’ve had! I’ve crossed several time zones and been on more flights than I care to mention. But all for good reason.
Earlier this month I went to Graz, Austria to record an After Effects training DVD for the amazing folks at Video2Brain. It was really good to be back providing training for After Effects again. I’ve been looking for a new method of delivery since I stopped updating my “Creative After Effects” books and Video2Brain provide the perfect vehicle for it.
I’ll also be recording some more Video2Brain titles very soon and will keep you posted on those too. The DVD is available for pre-order now. 10 hours of me and Adobe’s own Todd Kopriva teaching you all we know about our favorite motion graphics application, Adobe After Effects CS5! Order it today and save 37% off!
GridIron Software have been very supportive too. It’s so refreshing to work for a company that actively encourages employees to keep real contact with the creative industry it services. I must say it’s too rare. There are so many occasions where I’ve seen creative people join software companies, only to be consumed totally by the business aspect of their job till eventually they struggle to use the products in a creative way or even understand the customers requirements. I’m very grateful to GridIron Software for having the foresight to avoid these problems and for allowing me to remain in touch with the creative aspects of my role.
I’m also happy to report that Adobe have also adopted a similar approach. I shared the training delivery with the amazing Todd Kopriva from Adobe. Together we recorded almost 18 hours of video based training in just over a week. It was intense but very rewarding. I really enjoyed working with Todd so thanks to Adobe too for allowing him to be involved in such a great project.
So I left Gratz, via Frankfurt, got home to Brighton and slept for a few hours and was then whisked off to Ottawa (via Halifax) the next day to meet with my new colleagues at GridIron Software. It was really great to meet the new team and have some face to face time with colleagues that I usually only meet remotely with.
On my way to the airport after four days of meetings I was then kidnapped by my friends and taken to a lovely cottage in the Canadian wilderness for a perfect wind-down weekend of swimming, fishing, eating and campfire singing. It felt very good to finally have some time off after four consecutive weeks of work.
I finally got home last Tuesday and it’s taken me a whole week to unpack and settle back into home life. It’s good to be home and be able to focus on my work again.
