“You have a little bit more flexibility to change things around,” Hoegee said. One of the benefits of that is the ability to add new characters and details in a matter of hours, versus CG, where artists have to design and model each new element. Then those rigs are manipulated, but what’s different than, say, another CG platform, is you’re able to maintain linework and texture in a way that looks hand-drawn,” Hoegee explains. “It’s sort of a hybrid CG, so the characters are created with rigs and built within a computer program. The result is a similar style to the broken line illustrations originally featured in Lobel’s books. That’s why the animation team of roughly 30 (plus another 60 or so from animation studio Titmouse in Vancouver) hand-drew and painted the series before animating it through a program called Toon Boom Harmony. ‘Star Wars: Visions’: Volume 2 Expands Beyond Anime
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