Disney's "Tangled" Character Design Development. Once "Rapunzel", then "Rapunzel Unbraided", and now "Tangled", Disney's 50th animated Feature film, set for release November 28th, has gone through many changes throughout it's years in development. One thing that hasn't changed much, though, is the artistic influence of two artists in particular. One was the French Rococo painter Jean-Honorer Fragonard, specifically one of his best known works; “The Swing” which inspired the lush fairy tale world that Rapunzel inhabits. The second is animation legend Glen Keane, who was the original driving force behind the film. Early concept art: Glen Keane's drawings: Final character: Flynn Rider (Students: keep these expression sheets in mind when doing your final projects!) Final Character: Mother Gothel: A few other character designs.
Character Design | Artist Interviews Damon Bard has posted some huge images of his Kung Fu Panda II and How to Train Your Dragon maquettes on his web site here... Pressure-sensitive freehand drawing of vector paths that are editable with the Illustrator Width tool? Reiterating a bit of what you've posted in your question..... By far the best tool I know of for Illustrator where natural drawing is concerned is DrawScribe from www.astutegraphics.com. Edit as of Jan 2014 DrawScribe has been folded into Astute's DynamicSketch plug in, same functionality shown here (plus more) but with a new name. This does everything you've outlined, as well as remaining standard AI art. (Of course it's easier if you zoom in to select those finicky width points. ;) ) I realize this is a third-party, $$$, solution. The WidthScribe Tools from Astute Graphics are indeed an easy way to apply width profiles to paths. One additional note on the plug ins above. If you must stick with the standard install of AI, there really isn't a great tool for what you are after.
Art + Environment, Landscape Futures, and a Million Reasons to Visit Reno [Image: From Modeling the Universe by Linda Fleming, courtesy of the Nevada Museum of Art]. The Nevada Museum of Art's Center for Art + Environment—which, three years after its founding, "remains the only research institute in the world devoted to the subject of creative interactions with natural, built, and virtual environments"—is hosting its second Art + Environment Conference this year. The line-up is incredible. From 29 September-1 October, at the Nevada Museum of Art in Reno, expect to hear from Edward Burtynksy (whose extraordinary Oil series will be on display at the museum in 2012), Chris Jordan, Amy Franceschini, Fritz Haeg, Jorge Pardo, Alexander Rose of the Long Now Foundation, Newton & Helen Mayer Harrison, Leo Villareal, William L. [Image: The Altered Landscape: Photographs of a Changing Environment edited by Ann M. You can then walk down the hall to see Fog Garden: The Architecture of Water. And then onward from there to see Shirin Neshat's film Passage—
The Cartoon Cave: The "Freddie Moore Girl"! In my last post I referred to the "Freddie Moore Girl" in describing the type of very cute and curvy cartoon girls that you would see in some of the Disney films of the 40's and 50's. Fred Moore was an animator who has become somewhat legendary to Disney animation aficionados over the years. He was largely self-taught, but with an innate ability to draw everything assigned to him with great visual appeal. Those who worked with him claim that he couldn't have done a bad drawing if he'd tried, so natural was his talent. I'm not going to give a whole history of Fred, suffice to say that he was the animator who really determined the final designs of the Seven Dwarfs, as well as having helped Mickey's design to constantly evolve into ever more appealing and animatable forms. This was my first acquisition, and it is somewhat unique in that he actually signed this one. This was my second purchase several years later.
November | 2010 | 8bitengine [update] check out my review on Tangled here In an earlier post I raised the 2D vs 3D debate again and questioned whether we would ever reach the lifeliness of 2D animation in 3D. I have only seen the trailers and the snippets, but I think the new Disney movie “Tangled” might be the future for 3D animation. I also noted that the Pixar movies is one of the few 3D animatiosn in the entire industry (including games) that matches the liveliness of 2D animation. I read this interview of Glenn Keane, Animation director on Tangled and general legendary animator) and from the get-go they set out to close the distance between the Classic 2D animation style and 3D. ["Oh, Glen, what I was wondering is: What is she thinking?" This is something I recognize from drawing faces and expressions myself. Now again, I cannot say for sure, because I do not have an inside view into the process that went about. Let’s see if the actual movie can bring back the feeling of Disney’s Golden age.
Jeux vidéo Gamekult : PC et consoles How to make birds fly good 10. Put some effort in Now we have gone some way to creating a realistic cycle, but what if we have to show our character flying under strain? Perhaps carrying something heavy. Click to Play Looking at the osprey's up/down humerus ratio as it struggles to get air bourne, I count a fairly constant 12 frames up to 20 frames down, (a ratio of 1/1.67). * Ospreys are medium/large bird, reaching 60cm length. for comparison an eagle owl can reach a length of 75cm ( humerus ratio1/1.7788 ), a barn owl reaches 45cm (humerus ratio 1/1.42) One would think it would make sense for a bird under strain to move it's wings faster to stay in the air. Another situation where a bird is exerting increased effort in flight is during take off. In the image above I have taken the highest and lowest points achieved by the wing tips (note: not the humerus). Firstly, let's consider the timing of the wing beats. The most significant change to the wings in this sequence is in the range of the wings.
Outside Music Disney Principles 4 - Appeal 1 - I'm not sure, but I will try to analyze it, starting with how Disney found appeal in their style. It'll take a few more posts though. Here are some "ingredients" of appeal, but knowing them doesn't guarantee that you can capture the subtleties and balance them to just the right degree to make your drawings look fun. Pleasing construction: Disney Appeal: Based on infant, baby animal and feminine traits. Big heads, big eyes, soft flesh - but wrapped around good construction and perspective. Proportions: cartoonists magnify the things we find interesting and shrink the things we find ugly or boring. Big heads, small bodies, big hands sometimes etc. A good cartoonist draws emotions rather than precise accuracy or realism. Personal style: Some artists just have naturally appealing styles. Animators who draw well but don't have strong appealing individual styles benefit from having good designs to work from. Moore can draw solid finished drawings as well, but that's harder to copy.
Model Sheets 101-Part 2 We continue with our overview of model sheets as my students head into the last few days on their final projects. Part one can be found here. Expression Model Sheets are sometimes specially created as such, but often are compiled from scene samples, both in rough form and from final line/ clean up drawings. Note how some of these sheets include full body poses. Body language can add enormously to an expression. Just check out the body language of these characters and notice how well the action line and gestures harmonize with the facial expressions: Often times when two characters appear together frequently throughout a film, a duel model sheet featuring both characters can be created. Obviously there are several formats for creating an engaging and effective expression model sheet. Instead, vary the view to correlate with the emotion you are portraying.
Jeux vidéo Flash FX Animation: #10 Energy Strikes Now for the fun part -- color and special effects. First, I changed the BG to a dark color just so we can see it better. Then with the Edit Multiple Frames button activated, I re-colored it all white. Remember, what gives these energy bolts their color is their glows, the core base is usually white, just think about what gives lightsabers their color, it's not the 'blade' itself but the glow around it. Now select all those layers and drag them over to a new layer underneath (hold ALT while dragging select frames to instantly duplicate those keys). Then find the Filters tab, usually next to the Properties window, if not, go to the Window menu at the top and click on Properties > Filters. Pick the Glow filter. Pick your color and jack up the numbers and change the quality to High. PLus a couple more drawings to dissipate the line as it trails off.All the roughs put together looks like this (shot on 1s): Add them glows the same way. Slo-mo without glows: Slo-Mo:
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