(Source: moosekleenex)
I also use this same method for painting fur like this
EDIT: I also usually use the 4th nib but accidentally used the 3rd for this
(via morefuntime)
Q & A time!
I’ve been getting a lot of emails from young artists lately about getting into art schools (highschools and colleges). I’m answering this one publicly to hopefully help the folk with similar questions:
Q:”I have my heart set on getting into this fantastic art school, specializing in various art medias. (ie. digital art, etc.) I am not very confident in my work, and would like to strengthen certain aspects of my art. My problem areas are basically anatomy, perspective, expression, a lot of key elements. My ultimate goal and dream in life is to be an artist. I just really want to be better! I know that you should never compare your work to other artists’, but I can’t help it! I see all my favorite artist’s work, including yours, and I just feel so envious of the talent levels! So, my question being this: Do you have any tips, good things to study, things I should do to better my art; anything at all? Also, do you have any ideas as to what I should put in my portfolio? Was there anything you studied that helped you out when you were just beginning? That would really help, and I would really appreciate it, but (of course) only if you can. Thank you so much!”
Full size here.
Some quick notes about poses in response to a question from my ask box.
I don’t think I’m consistently successful at drawing human poses that aren’t stiff or unnatural, but maybe there’s something here that will be helpful to someone anyway.
(via adrianalikestea)
Some spectacular Key Animation featuring scenes from Nickelodeon’s “THE LEGEND OF KORRA” Book 1 from series animator, Choi inSeung. © 2013 Viacom International Inc. All Rights Reserved.
"
The strategy is to have a practice, and what it means to have a practice is to regularly and reliably do the work in a habitual way.
[…]
The notion that I do my work here, now, like this, even when I do not feel like it, and especially when I do not feel like it, is very important. Because lots and lots of people are creative when they feel like it, but you are only going to become a professional if you do it when you don’t feel like it. And that emotional waiver is why this is your work and not your hobby.
"— Seth Godin on the daily habits of creative practice. (via explore-blog)
(Source: , via explore-blog)
What are studios looking for? How can I get into a good animation school? What should I be studying?
I get a lot of these types of questions now and again, and I never know how to answer them. I can’t be sure of what studios are looking for, I don’t control admissions policies to schools, and I have little idea what makes for a current and relevant curriculum. There are a lot of variables in your bid for a career in animation, and it’s kind of impossible to control most of them. You must be crazy to want this job!
I find it helpful to focus on the things I can control. Among those things are your study habits and how you spend your personal time. It’s good to work hard and have goals—without them we would get nowhere. Study hard and make decisive strides towards achieving your art goals. But in the heat of that pursuit, don’t forget to go out and live your life!
If you spend any amount of time looking at artists online, you’ve probably figured out by now that there are about a million dudes and dudettes in internetville who draw better than you (I relive this realization daily). Once your have done your best to rise to their level, the only tool you have to compete with these crazy talents is your background, your personal character—is you!
Consider developing your whole self with the same raw focus and intensity that you develop a particular skill set. Get focused. Go out, have adventures. Run, jump, skin your knee, fall in love, root loudly for the away team at a baseball game, barely escape a crash of stampeding rhinos, live to see another day. Experience things big and small. Go for a walk. The world is full of wonders.
I know this advice is not particularly animation-specific, but maybe that’s for the best. At any rate, it is something I feel strongly about. Animation is great, and there are few things that I enjoy doing more than drawing and storytelling. But in order to have stories to tell, first you have to live them.
Be good, and see you soon!
PS, if you were looking for advice on draftsmanship you should probably be reading this.
Not sure if this is interesting for you guys.
Around 6 years ago (gasp) I did a bunch of lectures on animation theory. One subject was how textures of movement have evolved over the years, alongside the more obvious progression of design.
I made these videos to illustrate more clearly how contrast in timing was something that has a clear progression from the 30s to the 90s. The timechart below each clip represents relative change in space between drawings - from the ultra linear early animation - to the soft bouncing of Classic era Disney - to the exaggerated Warner Bros style - brought to it’s peak by John K (in my opinion).
Sorry about the quality on these gifs. I’ll post more stuff like this if theres any interest.
love all these cartoons so much also
Neat neat neat neat.
(via miss-azura)
