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HelloWinter posted:Does anyone have any tips on how to improve one's sense of consistent proportion? Are you doing cleanup in order of frame hierarchy? (Keys-Extremes-Breakdowns-Inbetweens) It helps a ton. Also, the shift and trace trick is a serious protip. It can also help to have a model sheet or turnaround in your working file as a hidden layer. Look at it for reference when you tie down/clean up your keys and extremes to check against the model. The other big thing for me is to analyze the proportions and express them in some kind of verbal standard, i.e., measure your good drawings and write yourself notes like "nose is 1/3 from bottom of chin" or "head is 5 eyes wide." A lot of model sheets on studio projects have these kind of notes and it's for a reason.
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Jan 17, 2016 18:38
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I think those cleaned up drawings look pretty good. You could use a cushion into 33 and/or an overshoot and settle.
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Jan 27, 2016 21:17
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You really really need to improve your drawing fundamentals before you try to do anything else.
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Jan 28, 2016 13:10
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Unfortunately there's so much that you need to work on that it's hard for me not to be harsh here. But here goes: - Your lines are all "hairy," as if each one is made up of a bunch of tiny little strokes. This is a common feature of beginner's work. You have to learn to make decisive lines in one stroke. It's OK to make a few light practice lines before you commit to a darker line, but the overall point is that your lines should be smooth and continuous and not "petted" with a bunch of tiny little strokes. - As a result, there's practically no consistency or believable depiction of form or tone. In the example drawing you posted, the door frame behind the character doesn't look like a door frame. It's lumpy and uneven as if it were made of mud daubs. - Your perspective is completely wrong. - The overall impression of the drawing is messy and crude. Other than the presence of some vaguely-recognizable shapes, it doesn't come across as a drawing of a human figure. - To be extremely frank, it looks like a child's drawing. If you are serious about learning how to draw, please put away any graphics tablets and go back to really basic fundamentals. Really ANY "how to draw" book would help you. Practice drawing basic forms with a confident hand. This can be difficult to do on a Wacom tablet if you don't already have pretty well-developed skills with traditional media. Good line is especially hard to do on a tablet even if you're great with a pencil. Practice drawing clean circles and straight lines, then progress gradually to three-dimensional forms like spheres and cubes. There's a fairly good free online course here: http://drawabox.com/. Look very critically at your own work, then look at the level of work you'd like to be able to achieve. You have to do this continually and without flinching. I hope this helps.
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Jan 28, 2016 15:56
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This looks terrific! Very Chuck-Jones-ish.
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Feb 11, 2016 23:05
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nikochansan posted:Clip Studio Paint finally got animation tools so I've been playing around with that
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Mar 18, 2016 18:12
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 Yep, everything looks OK here... 
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Mar 26, 2016 20:27
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I'm just playing around with this here, and it seems pretty obvious to me that this is not really that useful to anyone who doesn't already have a pretty well-built studio infrastructure. This is not for beginners. It also doesn't appear to have raster brush capabilities, so no there's no doing your rough animation directly in the program. This makes sense because in Japan they still do all the roughs on paper. I suppose it's not any worse than Flash in that regard, but the interface is WAY too professional for your average person to just jump in and start animating the way you can in Flash. I'm not switching from TVPaint anytime soon...
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Mar 26, 2016 20:49
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It seems like everyone got so freaking excited because of the Ghibli connection that a lot of people assumed that this software was something other than a complex ink-and-paint and compositing system built on a traditional X-sheet workflow. It's probably similar to what Disney used in the latter days of its 2D pipeline (though Calarts trains people on TVPaint now and ToonBoom is widely used in the TV industry). I bet people were expecting something in the interface vicinity of Flash/Photoshop/TB/Manga Studio.
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Mar 26, 2016 21:59
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Here's a tip about fixing the OpenToonz interface to be a bit more humane: http://www.tvpaint.com/forum/viewtopic.php?p=91221#p91221 Oop, and some tutorial videos: https://www.youtube.com/watch?v=wMskd30Y9Js https://vimeo.com/160517233 neonnoodle fucked around with this message at 22:57 on Mar 27, 2016 |
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Mar 27, 2016 22:48
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Not really. In studio terms, it's just as expensive if not more. The advantages lie in: perfectly consistent characters without having to worry about draftsmanship; easier to make changes and move the camera or reuse assets; easier to do complex stuff like highly detailed character designs or crowd scenes.
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Mar 28, 2016 01:16
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punk rebel ecks posted:I still find it odd that 3D can cost more than 2D. Maybe that's due to the cost of rendering farms and less of the actual process? Here's Cheapo the Rabbit:  Time it took me to badly draw rabbit: <5 minutes Time it would take someone to model the character: multiple hours OK, time to animate Cheapo!  Time it took me to trace the character and raise his arm: <5 minutes Time it would take someone to rig the character so that it can raise its arm: multiple hours (The actual animation itself is roughly the same amount of hours for 2D or 3D.) Oh, wait, he needs an efficiency apartment:  Time it took to draw the room: 5 minutes Time it would take to model the lamp, set up the room, light the scene, texture the assets... you get the picture. And the stupidest thing of all is that drawings get away with murder. They are much more forgiving to the eye. You can get away with a mere suggestion of a facial expression, a room, a chair, a mouth, a hand. Drawings cause people to fill in the blanks. You can't do that with CG or it looks like poo poo. You have to invest way more with CG to get to the same level, and I'd say much of that time and money is wasted. punk rebel ecks posted:Anyway, do you guys think big budget 2D could make a comeback?
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Mar 29, 2016 12:48
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Nice atmosphere you've been able to achieve there.punk rebel ecks posted:This all makes perfect sense. Though it just goes against what I've been told about the cost of doing 2D and 3D for years. But again, that was in video games. And being that you seem to be a professional, I believe you.
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Mar 29, 2016 14:41
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punk rebel ecks posted:So I really want to practice coloring in backgrounds. Google Image Search: animation layout drawings Have a party 
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Mar 29, 2016 19:42
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An Ounce of Gold posted:E: Oh and since we aren't under the NDA for Frederator anymore is anyone interested in seeing our failed pitch board for Bubbletopia (named and worked on before Zootopia I swear)? I could upload it somewhere on Wednesday somewhere if anyone has any suggestions.
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May 1, 2016 13:19
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I guess I'm kind of... I don't know, maybe I missed a day of class or something, but how do people get in a position to pitch to these networks in the first place? Bear with me because I didn't go to art school and I have never worked in the animation industry, and I live in a city that has scanty (and now almost nonexistent) presence in the animation business. Like, if I come up with a bunch of ideas for cartoon shorts, can I seriously make unsolicited pitches to networks?! How do they control who gets access to the people who hear pitches? It just seems so... open?
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May 6, 2016 14:33
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What experience do you have with animation so far? Can you draw?
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Jul 12, 2016 03:19
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Stuff4and5 posted:Little to zero experience in animation, I've been drawing for about 40 hours a week for the last month and a half, I have proportions and perspective down to a minor extent and I'm guessing these are the real major points to animation? Like as long as you have proper steady proportions and your perspective isn't off you are set right?
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Jul 12, 2016 15:43
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Futaba Anzu posted:Not to throw doubt, but show us your stuff. I want to see the extents of someone who says they're diligent with practicing Yes, please post and show us what you have so far. When you ask for suggestions about what to work on, it's hard to give useful guidance without knowing where you're at.
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Jul 12, 2016 17:56
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yes
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Jul 12, 2016 20:41
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Yeah you need some serious work on your drawing fundamentals. In AM it doesn't matter all that much for the curriculum, but drawing is going to make you a better animator because a lot of good animation principles are based on visual design (like line of action, clear silhouette reading, and visual rhythm). Go through the Preston Blair animation book and copy the drawings. It'll be better practice than doing drawings of Nintendo characters for now (though there's nothing specifically wrong with drawing Nintendos). Like JuniperCake said, you need to improve your line quality. Starting today, never draw on lined paper again. Draw from your shoulder, not your wrist. The Andrew Loomis books will also be helpful for you to learn how to draw believable solid forms and turn them in space.
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Jul 13, 2016 15:25
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HelloWinter posted:Ahh, thank you!! I ought to buy that book someday, now might be the time for it. HelloWinter posted:Do you guys know of any good websites that studies the 12 principles more thoroughly rather than just offering a basic overview description of them? http://brianlemay.com/Pages/animationschool/animationschool.html
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Jul 15, 2016 14:01
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Re: the 12 principles again -- https://www.youtube.com/watch?v=haa7n3UGyDc This is a pretty good video series that explains each one. Also, I'm a strong believer in Mike Nguyen's mystical approach to animation. His writing on animation is somewhat opaque. Part of that is language-based (he's not a native speaker of English). But it's also because he write about the process from an intuitive perspective rather than a strictly technical one. Richard Williams was a protege of Milt Kahl, and Kahl's attitude toward everything was supposedly pretty analytical. As a result, Williams has mastered 11 of the 12 principles but has never really understood the last one: APPEAL. Appeal is probably the most important one! It's the only one that isn't a "technique." It's all emotional. It's all about empathy. You can animate with technical perfection (as Williams has many times) but if the audience doesn't give a poo poo, you've lost. You can practically stuff the other 11 principles in the trash bin if you have a handle on Appeal. /rant
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Jul 16, 2016 15:07
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Nah it's not that kind of solidity. It means having a sense of volume/heft, instead of drawing things merely as flat shapes. You can't move stuff in abstract space unless you construct them.
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Jul 16, 2016 17:32
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Yeah and most of those walks are just completely stupid and impractical. They're technical exercises. There's almost nothing in that book about dealing with camera angles!! So much material is just a flat proscenium layout, which is useless for the majority of TV and cinematic animation. The only example of a full shot in the whole book (the guy picking up chalk and writing on a chalkboard) is a 4-second fixed camera side view, not the sort of thing you'd see in any film or TV show made in the past 30 years. A large amount of TV-level animation is going to be built around medium shots and dialogue, as well as organizing the characters into a believable background environment through good layout. Cinematic-type animation skills these days involve a lot of fast cuts and camera angles. There's also a lot of complex layout challenges in action sequences where the character has to get from point A to point B through the scenery in perspective. The Animator's Survival Kit has little to no information about any of that.
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Jul 16, 2016 18:04
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WOOOOOOOOOOOAAAAAAAAAAAAAAAAAAAAAH Are those AE and C4D?
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Sep 9, 2016 14:14
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Futaba Anzu posted:and we're supposed to be doing a jump cycle next week, but I mocked one up in csp just now here: The frame right before the first impact -- get rid of it. Have a gap there. It's a dumb but effective trick to make the impact punchier. When the sack hits, you have some kind of "splash" linework. I don't think that works very well, I'm not sure what it's supposed to communicate, but it isn't consistent with the physical characteristics of the sack. I did a revision with the pre-impact frame removed and a couple differences on impact in red: 
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Sep 11, 2016 16:18
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 What did Frog and Toad do to get put in jail for life?!(by the way that's adorable as heck)
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Sep 29, 2016 14:18
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 AAAAAAAAAAA ANIMATING ON AN IPAD AAAAAAAAAA  
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Oct 6, 2016 05:24
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I dig it. Makes me want to play Animal Crossing. 
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Oct 11, 2016 20:37
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RoughAnimator is great.
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Oct 13, 2016 13:00
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nikochansan posted:
For some reason your picture didn't embed right but I looked at it on imgur. Pretty impressive to do all that on a DS!! What is the context though? Part of a larger story?
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Oct 14, 2016 19:39
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Awesome!! Congrats. 
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Oct 17, 2016 16:13
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