ANgiE tAYLoR 🧷

Tag: designers

  • Training via Subscription Promo

    Training via Subscription Promo

    My Top 10 Reasons to take advantage of this introductory pricing offer.

    Access the entire library of video2brain training via this amazing Training via Subscription Promo and you can have all the video training you’ll ever need for as little as 35 cents a day – that’s even cheaper than a bottle of water!

    Before now if you wanted to access my training, you could buy individual workshops from my store or the video2brain store. You can still do that but if you prefer you can subscribe to video2brain for as little as $10.75 per month (Annual Subscription).

    As you may know I create all my video training workshops with video2brain. In my previous post I talked a bit about why I work with them, here I’d like to explain a bit about the brand new subscription options for accessing the training.

    With a video2brain training subscription, not only will you get access to all of my workshops but also all the other titles, by other authors that video2brain has to offer. Here are a few more compelling reasons:

    1. Get complete access to an extensive training library: video2brain training subscriptions give you easy, affordable, unrestricted access to the full range of video2brain courses – a library with more than 130 courses, and nearly 500 hours of training, and over 5,600 lessons. With access to the entire library, you can watch lessons from dozens of trainers and get a wide variety of perspectives and approaches to rich topics.
    2. Stay up to date: Today’s knowledge may be outdated tomorrow. The video2brain library will be updated several times a month, and all new courses will be included in our subscriptions as they’re released. In addition to covering current technologies,the video2brain library will offer courses on some upcoming software releases and technologies, helping you stay ahead of the curve.
    3. Enjoy an exceptional value: As individual products, the courses in the video2brain training library have a value of well over $4,000. With a video2brain training subscription, you get unlimited access to all the videos in the library for the duration of your subscription at a fraction of the cost.
    4. Benefit from introductory pricing: We’re launching the library with low, introductory pricing, and we’re thanking early adopters with a three-year price guarantee, to ensure that you can enjoy that benefit in the years ahead.
    5. Experience world-class training: video2brain has been creating video training for nearly 10 years. Our library offers world-class training from a team of some of the best trainers in the business. Our authors are not only top experts in their fields and working artists, photographers, designers, and programmers, but just as importantly, they’re skilled and passionate instructors. All video2brain courses undergo rigorous quality assurance, and are presented in our easy-to-use, feature-rich interface. And we’re committed to continuously improving your learning experience by adding new features throughout the year.
    6. Learn anywhere, anytime you want: Your video2brain subscription lets you access the library anytime you’re online, and even from different computers. Our unique Platinum subscription includes the option to download courses for offline use. It makes no difference whether you’re at work, at home, or traveling. And all titles in our library work equally well on your Mac, Windows, or even Linux computer, as well as on popular tablets, including the iPad and iPad 2.
    7. Go at your own pace: One of the fundamental advantages of video training over other approaches to learning is its flexibility. You can watch a whole course or just the lessons that interest you. And when you need a break, just click Pause and come back when you’re ready.
    8. Scale our training to suit your needs: video2brain subscriptions are available in multiuser licenses too, making it easy for your organization to find the solution that fits your needs and budget.
    9. Invest your technology budget wisely: The comprehensive video2brain training library lets you learn about new applications and new releases before you invest in expensive software. Our authors give you concrete advice on what these programs can and can’t do and how they might fit into your workflow, so you can make informed decisions and invest where it counts.
    10. Explore new areas: Even if you sign up to enjoy our courses on topics like digital imaging, design and video editing, your learning doesn’t have to stop there. The video2brain library includes workshops on making eBooks, mastering green screen techniques, the art of craft photography, kinetic typography, and Facebook, iOS, and Android application development, and more! And your subscription gives you the freedom to explore any areas that interest you, grow in new directions, and reap the benefits of new and upgraded skills – without spending another penny!

    Learning is a lifelong adventure. I and the team at video2brain would love to help you make the most of it.

  • Something’s happening in Europe!

    Something’s happening in Europe!

    Me with Gerhard & some of the team at video2brain

    I’m very excited, something’s happening in Europe that’s going to be fantastic for all of us – I think you’re going to love it! First of all, let me set the scene for why I’m telling you this.

    Once in a while, if you’re lucky, you end up working with a bunch of really special people – I’m so lucky it’s happened to me. I create video training workshops with the fantastic team at video2brain which is led by one of the nicest men I have I ever met, Gerhard Koren.

    Gerhard and I used to be demo artists for Adobe, traveling to trade shows and events, speaking about how we used Adobe software in our work. We clicked right away, Gerhard was so knowledgeable and talented, and as with most truly gifted people – humble and genuine with it. He always took time to help people to really understand the software and went out of his way to be friendly and kind.

    Gerhard set up video2brain in 2002 and it quickly became established as Europe’s premiere go to place for video training. They gained a reputation for quality and innovation that has never been matched.

    In 2009 they started creating English Language titles and were joined by Dan Brodnitz who came in to head up the amazing English language team. Dan has an extensive experience in the publishing industry having worked at Lynda.com, O’Reilly and IDG. As well as bringing his publishing expertise to the table, he also brings a passion for creativity, ideas and people. Like Gerhard, he’s what we call in the UK “a top bloke”. Friendly, full of ideas and he cares about quality and integrity.

    I’ve worked with video2brain since 2009 when I created my first After Effects Learn by Video product with Adobe’s Todd Kopriva. Since then I’ve created lots more titles and made many more friends at video2brain who I’d love to mention by name but are too numerous to list (you know who you are and how much I love working with you!) We have gradually built a fantastic team of English language trainers who you can find out more about here.

    2011 marks another great landmark for video2brain which will be announced this week. I wish I could tell you now but my lips are sealed. All I can say is please keep an eye on the countdown on our video2brain website. And if you want to get an idea about the kind of video training we offer, take a look at some of the 600 plus free tutorials we offer online as a taster of what’s to come.

  • Basics on Solids in Adobe After Effects

    Basics on Solids in Adobe After Effects

    When designing motion graphics in Adobe After Effects there are times you just need to create a plain old layer to apply effects to. Solids are just right for this purpose, and for lots of other uses in After Effects.

    This video is aimed at a basic level. It shows you how to create solid-color layers and walks you through some of their uses.

    You can find more free videos like these from our After Effects CS5 Learn by Video product on the video2brain website. Please enjoy them – happy keyframing!

  • Animated Character Design in Adobe Illustrator

    Animated Character Design in Adobe Illustrator

    I’m very pleased to offer my readers a couple of free tutorials from my very first video2brain workshop on Adobe Illustrator. This workshop will teach you how to use Illustrator’s tools and features to prepare 2D files for animation in Adobe After Effects.

    You’ll learn how to make the most of Illustrator’s drawing tools and Autotrace feature, and to how use Live Paint and Kuler to recolor artwork. You’ll also get tons of tips and tricks for giving artwork a hand-drawn look and find out how to set up layers, aspect ratios, and transparency options for importing into After Effects.

    I’ll share many of my techniques for using Illutrator’s extensive drawing capabilities to create characters for animation. Topics covered include:

    • Setting up your workspace for video and animation
    • Working with Autotrace, Live Paint, and Kuler
    • Using multiple artboards for creating storyboards
    • Taking advantage of views and workspaces
    • Drawing freehand in Illustrator using a variety of tools including the new improved Eraser tool and the Blob Brush tool

    Whether you’re a motion graphic designer, animators, storyboard artists, video editors or illustrators, if you want to create 2D animation from flat, vector-based artwork, this workshop will be an invaluable resource.

    The lessons are wrapped in a feature-rich interface that lets you jump to any topic and bookmark individual sections for later review. Full-Screen mode provides a hi-def, immersive experience, and Watch-and-Work mode shrinks the video into a small window so you can play the videos alongside your application. Also included are exercise files that give you an easy way to try out the techniques you learn.

    Click here to get an overview of the workshop and download free tutorials using the following links;

    Working with Live Paint

    Working with the Brush Tool

  • Lip Sync in After Effects

    Lip Sync in After Effects

    Lip-syncing is something that all animators will be asked to do at some point in their career. The following technique automates the process of lip sync in After Effects and uses only built-in features of Adobe After Effects – no extra software is required! This video tutorial is an updated version for Adobe CS5. Tutorial files and a text-based version of the tutorial for older versions of After Effects are available here if you want to follow along.


    This project     was a test project for a job for the BBC. They contacted me and asked if it was possible to create a minute of lip-synced animation on a cartoon character. The budget was really tight, as was the deadline, so I had only one day to create a character that lip-synced to a provided sound track for a full minute.

    Of course it was the BBC so I could hardly say no! So I said “Yes, no problem, I’ll take the job!” The minute I put the phone down I thought, “Oh Blimey! What have I got myself into?” I went to bed that night worrying about how I’d manage to get the job done. I tossed and turned, having nightmares about failing in my first job with the BBC. Then suddenly I sat bolt upright in bed and thought, “hang on a minute, what if I use Time Remapping with the Convert Audio To Keyframes Assistant, I’m sure that’ll work!” (That’s the kind of sad geek I really am!) 😉

    Anyway, I leapt out of bed, ran over to my computer and put together a test project to see if it would work. This is the very project I put together as a test to see if the technique would work. Luckily, it did and I got the job done on time!

    The audio used in this tutorial is contributed with kind permission. “Memories Of Your Own” – Words and Music by Jason A. Levine © Jason Levine 2007

  • Reviews for Design Essentials for the Motion Media Artist

    Reviews for Design Essentials for the Motion Media Artist

    I found this to be a really great book and is suitable for anyone who works or has an interest in motion graphics or animation. It would help someone who is studying at college, but is also very useful for those that have been in the industry a long time. I fall into the later category and was formally trained at art school in the early 80’s but I found it very useful to revisit many of the fundamental ideas that I was taught in those days which give me a solid grounding. It also gave me many new ideas and covered areas that did not exist or were in their infancy when I was a student.

    I really liked the sections on colour, typography and especially the section on composition which everyone in the industry should be familiar with but clearly are not. I’m sure this would fill in the gaps for people such as avid editors who have a purely technical background and would also inspire those who are creative technophobes to get stuck in with the computer packages today which frighten many with their complexity.

    I have shown the book to my manager at Sky and he will be buying some copies for the post production dept to read. He was was also very impressed.

    5.0 out of 5 stars on Amazon
    Paul Mark Provencher “ppro” reviewed Design Essentials for the Motion Media Artist: A Practical Guide to Principles & Techniques,

    I live in the corporate world of information technology. For the most part, this existence for me is based in an engineering mindset – plan, design, build, test, deliver.

    In my IT world, artists are thought to be undisciplined in these areas. Angie Taylor’s book makes it clear that successful artists clearly execute in much the same way as the best scientists. While they bring a creative streak that may not appear in engineering and science, they owe their success in business to their ability to plan, execute and deliver a satisfactory product on time, on budget.

    The author takes the reader through a series of concepts, starting with sketching. At first I didn’t understand what this had to do with Motion Media. But it very quickly became obvious why this was important. The book gives a great primer and cites numerous references (including current online resources) that may be used to dig in deeper.

    From there the book explores a number of concepts familiar to practicing artists – composition, story-boards, software packages (again with numerous references to some terrific resources), and all while developing the concepts in a way that follows the workflow of projects.

    I am reading this book (and several others) to gain a better command of the concepts I hope to apply to the use of my HD-movie capability of my DSLR. I believe that making movies, even if they end up being glorified home movies of my family, will benefit from a basic understanding of what goes into good motion media.

    This book has something to offer beginners like me as well as practicing professionals who need to update their understanding of motion media. I will probably read this book twice – the illustrations are wonderful, and perfectly on point, the explanations are very understandable, even for someone with little experience in this field (though I have been a photographer for a long time).

    The many resources cited as places to dig deeper are all quality products and have clearly been vetted thoroughly by the author.

    This is a solid book with much to offer. If you’re just getting into motion media like me, or perhaps you’d like to step into the latest tools and concepts, don’t hesitate to buy and read this book.

    View this book’s reviews on Amazon.com

  • Creating a Cityscape in 3D

    I want to share an example of one of my tutorials that I’m very proud to say inspired a great piece of work, “Black Day to Freedom” by the amazing Rob Chiu. I met Rob after watching a very inspiring talk he gave at the Flash on the Beach conference a few years back. I approached him after the talk to tell him how much I enjoyed it and was blown away when he told me that the movie he had shown was partly inspired by my own tutorials. We have since kept in touch and Rob has contributed to my latest book, Design Essentials for the Motion Media Artist.

    I’ve recently recorded the tutorial on video and want to share it with you. I’m in the process of updating some of my most popular demos and tutorials for my video2brain Adobe After Effects CS5 Learn by Video DVD.I’m featuring one FREE tutorial per week for the next five weeks here in my blog. If you like these free tutorials you can also buy the DVD here.

    My 3D Cityscape tutorial is one that I’ve had great feedback on and it really was one of the biggest compliments when an artist I admire told me that this demo had inspired some of his own work. Rob Chiu (AKA The Ronin) is a well respected live action commercial director and photographer. Black Day to Freedom was one of his first films, an animation entirely built in After Effects. This was actually inspired at least technically by this tutorial where a very basic city is built with skyscrapers and lights. Rob took this as a starting point and created his own world to help anchor the story. You can find out more about Rob on his website or you can read the foreword he wrote and see exmples of his work in my latest book, Design Essentials for the Motion Media Artist.

    The tutorial was developed co-written with myself and my good friend, Paul Tuersley, visual effects artist and After Effects guru of the highest order. Paul has worked on various feature films including Kick Ass, Angels and Demons and 10,000 BC. Paul came up with the initial idea to build a real 3D environment from basic flat layers within After Effects. This technique has now been used widely in a variety of different ways both in Motion Graphic designs and animation projects. Paul is also the moderator at AE Enhancers, a fabulous resource for After Effects artists that you should also check out.

    In this updated tutorial you’ll see how easy it is to create graphics from absolutely nothing, directly within After Effects. You’ll also see how to create 3D environments and build scenes for your animations. I’ve also included the project file you’ll need to go through the tutorial here 3D_City.aep. After going through the tutorial I’d love to see examples of what you’ve done with it so please post links in the comments section.
  • Adobe After Effects Training DVD and book

    Adobe After Effects Training DVD and book

    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.

  • Creative Constipation:

    Creative Constipation:

    I was describing a friend ofWaiting for ideas mine as suffering from creative constipation recently. It’s a common complaint, many designers suffer from it and it can be the result of multifarious causes; tight deadlines, the distractions of every-day life, worrying about friends and families, an untidy desk. All of these have been my obstructions at one time or another, preventing my creative juices from running freely.

    Fear of failure is the main culprit though, not just failure in the eyes of others but more importantly, failure to oneself. As a creative I’m cursed by the desire to create, it’s a necessary ablution – required to purge my brain of the incessant busy-ness it experiences on a daily basis. I have important things to say, I need to communicate!

    But it’s not just a simple case of drawing, designing or writing just any-old-thing, it has to be good, to mean something, to make sense and, most importantly, to inspire and evoke reaction. This pressure I place upon myself is enormous, it’s enough to make me seize up into a foetal ball – like a anally-retentive hedgehog.

    Luckily I’ve discovered ways of dealing with this potentially crippling condition. When  a bad case of CC kicks in, the natural response is to sit in front of a computer screen in a frozen state of panic, waiting for that elusive “idea” to formulate. This will never happen. OK, I lied, it might happen but chances are that, if it does, it will be a crappy idea.

    In order to free your mind and to come up with the best ideas you just need to get working. If you are a writer, just start writing! Any old rubbish that comes to your mind will do, whether it’s related to the subject or not. The exercise of writing will free you up and you’ll find that eventually you will start to incorporate the subject at hand and little gems will appear amongst the sentences. Once this happens, go over it again, delete the rubbish, elaborate on the good stuff and craft it into something positive.

    If you’re a designer or artist, get away from the computer! Pick up  a sketchbook and start drawing. If you can’t draw then go out and take some photographs or even Google images for inspiration by typing in key words. Drag what you find into a a document to create a mood board (I use Curio for this as it maintains links to the original files).

    If you’re working on a design think about the individual components separately as this can be less intimidating than thinking about the job as one, huge, insurmountable project. Spend an hour playing with fonts, not just fonts on your computer but looking around at shop signs, magazines, anywhere you see type. Tracing letter-forms from magazines can be a great way of “feeling” a font instead of just liking it. Spend another hour with some paint, playing with it, experimenting to find color combinations that please you or convey the feeling you want to get across.

    From these experiments your ideas will grow, some will be awful but elements will shine through that you can use in the current, or future projects. The ideal is find time to do creative exercises like these on a regular basis, even when there’s no deadline. Modern life and work pressures make this very difficult but a good employer knows that to get the best out of creative talent, employees need inspiration and time for experimentation. Most creative agencies make sure their staff are looked after fairly well with generous time off (compared to other industries) and a good working environment. (Why do you think most production companies have fridges full of wholesome food, drinks and the odd bit of alcohol?) 🙂

    If you’re a freelancer, remember that you are your own employer so don’t be too hard on yourself. Allow time for experimentation and inspiration. Avoid stress, look after yourself and don’t forget to have the odd bit of fun. Finally, once the ideas start coming, enjoy it but don’t get too cocky or over-confident. You want to be freed up by these exercises but not to the extent where you’re producing nothing but a vast quantity of digital diarrhea!

    Angie’s track of the day – Free Your Mind – En Vogue

  • Decoupling Production

    I’m interested in the trend of decoupling going on in the world of TV and film production companies. It’s the world that I used to live in so it’s close to my heart. Decoupling refers to the process of reducing costs to the client by outsourcing some of the work to freelancers or external services, rather than providing them in house. Decoupling offers big opportunities to everyone in our industry from company directors to freelancers and runners, if we can be brave enough to embrace it.

    Increasingly, over the past 20 years, production companies have been expected to be flexible, pressurised to increase their skills, enabling them to deliver every possible service and format to their clients. This entails increasing staff to cover all areas of production, extending the capabilities of the company so they can also generate content for new and emerging mediums (web, mobile devices, games etc). The result is increased costs due to wages and also investment in bigger studio spaces.

    The inevitable has happened, the work that was plentiful during these times of development has somewhat dried up. Production companies are competing even harder for the same jobs and clients find it harder to differentiate between companies as they all offer essentially the same services. Frustrated freelancers who weren’t finding the right amount of work (or satisfaction from it) started to create their own collectives which for a while injected some new life into the industry but they too have suffered from what I call the “jack of all trades syndrome”. Feeling that they must offer all services in-house, often stretching the capabilities of their employees and making the work suffer as a result.

    Of course there are pros and cons with everything in life, this is no exception. On a positive note, decoupling could provide the opportunity to return to an industry where craft specialization matters. Instead of all production companies offering essentially the same services and competing for every scrap of work, each could become king of a particular area, passing work onto other companies when the work is more suited to their specific skill-field. A certain amount of this already goes on within Soho but I really believe this could be extended. It would improve the quality of work, employee morale and confidence within individual companies.

    By letting some of their in house designers go and instead using freelancers, companies could open up to diversity, calling on different specialist skills appropriate for each job. It could create healthy competition between freelance creatives but also opportunity to create alliances and a network for swapping skills. In house designers can sometimes find it hard to maintain focus and motivation, so those more suited to a freelance lifestyle could benefit greatly here.

    However, I worked as a freelancer in the industry for over 12 years so I know, only too well the challenges that can be faced. Remote working is not easy, you need to be motivated, focused, pro-active and willing to network. Ideas can be harder to develop on your own, it’s amazing how much creative development goes on during breaks around the coffee machine or meetings in the pub after work for production companies. Get rid of your in house team and you risk losing the teamwork that’s so valuable for the development of ideas and a sense of company identity. It can also be hard to find the right people at the right time to work on a production, they may be busy with another company.

    On the whole though I see decoupling as an exciting prospect. It increases the unknown to the equation. Risk and uncertainty can be scary but embrace them and you often find new exciting challenges that, combined with a bit of initiative, can be the impetus to creativity in it’s truest sense. I’d love to hear the thoughts of other design professionals about the whole debate associated with decoupling, and also any stories about the challenges associated with remote working. What are these difficulties and how can we find ways of making it work?