Felipe Almeida on adapting illustrations and concept art for animation

Felipe Almeida is an animation supervisor currently working in Vancouver. His production credits include shows such as Apple TV's Peanuts Specials as well as The Day the Earth Blew Up and the 2D animation in Disenchanted. We invited Felipe onto our livestream to discuss his career, his approach to traditional digital animation, as well as his experience sharing resources with his online community. 

This is an excerpt adapted from our original show & tell livestream session, which originally broadcast in April. You can read the interview below or watch the full interview on YouTube which has additional detail on Felipe's animation process.

How would you describe your typical day as an animation supervisor?

Felipe: As an animation supervisor, my main role is to provide my team with everything they need to do their jobs and help them achieve their goals. Some days are filled with conversations, briefing everyone on their assignments and what they need to know to start their tasks. I follow the process, ensuring that if they have questions, I either know the answer or can find it quickly. 

I also review the shots. If I can help improve them, I make suggestions. Sometimes, it's just about stepping back and letting them do their best. Overall, it’s about dealing with people and making sure everyone feels supported.

You recently collaborated with an illustrator on Instagram, Lilly Wolters (@Liliyth), on a short clip called Pink Hair. How did this project come about?

Felipe: I try to set aside time each week to explore Instagram for different artists, whether they animate, paint backgrounds, or do any kind of design. One time, I stumbled upon Lilly's page, and her work was so beautiful and inspiring. I reached out to say I loved her stuff, which led to a conversation and eventually a friendship. 

I was struck by how her modern painting style contrasts with her old-school 80s anime character designs, which felt nostalgic to me. I excitedly suggested we collaborate on an animation, and she responded positively. I chose one of her charming pieces that I thought could be completed in a relatively short time, and she was on board. I kept her informed throughout the process, and that's how it started.

You mentioned that her work reminds you of 80s anime. What are your anime touchstones? People often say "anime style," but it's really a collection of styles. Which anime do you draw inspiration from?

Felipe: As a kid, I grew up watching Saint Seiya, which taught me how to draw. I also loved Yu Yu Hakusho, and Ranma 1/2, one of my favorite comedy-action anime series. There was a show called Bucky, which wasn't pretty, but I loved it for its fantastic characters, including a spirit that was basically a pink ball with arms and legs. That era of Japanese animation was really important for my growth as an animator. And, of course, everything from Studio Ghibli is a huge influence for many in the animation industry.

One challenge in adapting an illustration to animation is that not all illustrations translate easily due to factors like line mileage and style. What was your approach in adapting the pink-haired character for this animation scene?

Felipe: You're right; sometimes an illustration, no matter how beautiful, isn't a direct fit for animation. A lot of the process involves simplifying certain elements. For this character, she had a lovely shape but a very loose, voluminous jacket full of folds. I had to determine which important aspects of the design to retain and what could be simplified for easier animation without losing her essence.

Another consideration is context: What will the character be doing? In this case, she was laughing joyfully, which became the focal point of the animation. I thought about her environment, like maybe she's on a windy beach, looking out at the ocean, and something catches her attention, prompting her laughter. Lastly, since there was no model sheet, I examined Lilly's work to understand how she represented her characters from different angles.

How do you approach highlights and shadows in this character?

Felipe: That's a great question! It ties to a common question in the comments about my lineless approach. A key part was simplifying while retaining the character's essence. I utilize features in Toon Boom that I love. The goal is to make it simple enough so it fits within the character’s universe. When it comes to lighting, I aim to avoid a "sticker" effect; lighting should feel organic and intangible.

Mike: We've seen compositing techniques where the character's outline is used for lighting and shadows, which can feel different from hand-drawn techniques.

Felipe: Exactly! There’s no substitute for making conscious choices frame by frame. I like to keep it organic and a bit imperfect to capture that vibe. For practical application, I treated this piece like one with black lines, painting every color on separate layers. I used Toon Boom's masking options, allowing me to paint highlights and shadows without worrying about going outside the lines.

Mike: The Stencil Brush option is very powerful.

Felipe: I use it constantly! While working on the My Little Pony movie, I faced challenges with complex hair dynamics. The stencil tool allowed me to create clean lines without worrying about perfect corners. It simplifies the process a lot, especially when achieving that lineless look.

What advice do you have for artists interested in drawing flowing hair and clothing?

Felipe: Great question! I grew up with dramatic Japanese animation that featured dynamic hair. My basic approach involves layering; I’m mindful of how the sections of hair interact with each other. I like to add pieces that move in front of the character's face for more tangible volume. I also think of hair in terms of curves and S-shapes. I consider how each section flows, and I make sure to offset pieces from the main mass to create a sense of depth.

I start by bringing the volume up, creating a C-shape in one direction, then the opposite. I work to create a cycle but also customize it. I apply the same whip concept to the main mass of hair, and for smaller pieces, I offset them from the main mass to create a more dynamic look.

There’s a level of detail in animation that the audience might not consciously notice, but they definitely feel.

Felipe: Exactly! The goal is to create something that feels organic and natural. In animation, the more successful you are at making something feel natural, the less visible it becomes to the viewer. You know you’ve done a good job when nobody notices your work; if it stands out, it often indicates something went wrong. I treat my drawings as keyframes, adjusting the number of in-betweens based on the wind intensity and the shot's action level. I plan where to slow things down or speed them up, creating a sense of momentum.

If you look closely at what I’m doing, it all comes down to using a simple concept for the overall mass, and I apply that to the individual strands of hair. Timing is crucial. I offset different parts of the hair to create a natural flow. Layering is also important; for instance, if a character has a head and hair, one strand might move over the character, then blend back into the mass later. Each strand moves differently to create variety. It’s about differentiating each movement based on weight and layering.

For example, a character with long hair and a small bang won’t have those elements moving in the same way due to their differing weights. It’s important to consider the actual weight of the hair. A long ponytail and a tiny bang will behave differently in the wind, with the ponytail moving less due to its mass. I also consider the context; if there’s a strong gust of wind, I allow myself the freedom to stray from the model temporarily, which can make the animation feel more realistic and engaging. I aim to return to the model afterward.

When you focus too much on staying rigid to the model, it can feel less natural. Hair is not a solid mass; it’s a collection of thousands of thin strands, and that should reflect in the animation.

You mentioned that your Toon Boom Harmony project file is available on Gumroad. What can artists learn by exploring it?

Felip: Great question! When I was starting, especially with traditional animation, resources were scarce. I often turned to the Deja View blog by Andreas Deja, which is rich in animation content, including scans of classic animator’s works. I’d download sequences with clear time charts and import them into Harmony as vectors. This allowed me to analyze the timing and spacing directly, which taught me so much about animation principles.

Mike: You often get asked whether you need to know how to draw to be an animator, but there’s so much more involved. Like timing and spacing.

Felipe: Exactly. Understanding the time chart is crucial, even if modern productions use different systems. Planning your shot helps maintain consistency. When I have a clear time chart, my in-betweens become easier because most decisions are already made.

Access to Harmony files from industry professionals would have been invaluable for my learning. Seeing high-quality animations with clear time charts would have made my studies much more efficient.

Mike: It’s like gaining insight not just into the artwork but also into the workflow and organization of the artist.

Felipe: My Node view is meticulously organized. I treat it like my physical workspace. Cleanliness helps me maintain focus, and I hope others can learn how to organize their digital environments effectively.

What interested you in traditional animation?

Felipe: Traditional animation was always my goal. I grew up with 80s and 90s Japanese animation, and the first film I saw was The Lion King. Even when I had to work in other styles, I always practiced traditional animation in my free time. It’s where my passion lies, and I even find ways to sneak traditional elements into projects whenever possible.

Mike: Harmony Premium offers that flexibility, allowing you to animate traditionally while using rigs.

Felip: Absolutely! The ability to blend traditional and rigged animation is a significant advantage, and I always try to leverage that.

What advice do you have for artists starting personal projects?

Felipe: My first piece of advice is to share your work online. Create an Instagram account, connect with other artists, and don’t hesitate to ask questions. The moments when I learned the most were when I was actively engaging with others. Building connections is invaluable.

I’ve always enjoyed sharing my process on Instagram, and I strive to provide thoughtful responses to questions. So, don’t wait for the perfect moment; just start posting and learning from feedback.

Where can people find more of your work online?

Felipe: Instagram is my main platform for sharing both professional and personal work. I also have a Patreon, where I delve deeper into my processes, and a Gumroad for sharing Harmony files. I plan to improve both platforms with more resources like image sequences and animation lessons.

Absolutely. Animation takes time, but the emotional impact of those few seconds can change lives. I’m here today because of moments like Simba’s tears in The Lion King. The love and craftsmanship that goes into animation — whether traditional, CGI, or stop motion — deserve to be shared.

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• Interested in seeing more work from Felipe Almeida? Be sure to follow him on Instagram at @felipea.nimation and find more links on his Linktree.
• Ready to get started on your next traditional digital animation project? Artists can download a 21-day trial of Harmony Premium.