Talking about the workspace this is the first time it had ever hit me: You have an infinite canvas to draw on Blender. Since everything is vertex based your strokes will always have antialiasing adjustment for the better quality. We reviewed that on part 1 of these free series of tutorials. And once you realize you are not limited only to the 2D space or Layer system, but you rather have the entire viewport for 3D compositing layers, then it´s a mind blowing thought it will hit you, since you can finally escape space construction for the layout (camera layout) like traditional animation does.
Grease Pencil as a tool is bringing a new mindset to the table, since the workflow process for a studio (usually) will start with the Character concept design, Visual script follows (thumbnails), and a whole other workload until shot finally gets approved and then it goes to the animator. But now the animator can draw the entire figure, to later be staged in camera. The camera movement is free in space, thus bringing emotions and a natural eye flow for the story in production. That in itself and the fact Blender and Natron are free. Forever.
For now, rigging has not been possible for this Blender 2.8.5 Grease Pencil branch, since bones and armatures are not available *yet* as of the time of this tutorial. But Bones can very much be converted to additional controllers for drivers (triggering / hiding / jumping to animation keyframed properties) like packages like ToonBoom. Consider the aditional advantage of using stretchy bones for hair and tails.
Next week follows the final part for these series on Blender Stylized look with Grease Pencil. For now, don´t forget that if you´d like to get the project files, you can follow this link >>
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