Animation Tidbits

Creating a Chinese Firewatch logoLove the logo? Buy the shirt here!I first considered a Chinese localized name for Firewatch when I gave a talk at GDC China 2015, and they had translated the session title as <看火人> (word for word, this is “Watch Fire Man”). I grew up in Hong Kong reading Chinese, and I thought the localized name was well chosen—because while it mostly suggests “fire lookout” (which doesn’t specifically imply “firefighting”), it also allows a more ominous interpretation of “person watching the fire burn.” So damn proud of how this logo turned out, and I owe so so much to Jane’s pointed direction and tutelage. …also I will never get over “looks slightly like a kid wrote it,” arguably the best critique I’ve ever gotten in my career 👌🏼

The Official Animation Mentor Blog Animation Backgrounds Story Shots Questions Answered OK: how to get in touch with me, things about storyboarding, internships, and drawing style Read More My linkedin - because tumblr is terrible with correspondence and facebook is creeping me out. Some samples of basic basic basic character exploration. Next-five-shots exercise based off this photo. Obviously this photo is from a film about fantastically tragic sadness. Other takes: @lbtreiman - Fish whisperer @jtbozz - Beanstalk @khfr - Mermaids @santiagocasares - Starfish Drawing from films Drawing from films is a ridiculously useful exercise. The way this works: you draw tons of tiny little panels, tiny enough that you won’t be tempted to fuss about drawing details. Hit play. Note on movies: Spielberg is great for this because he’s both evocative and efficient. What to look for: Foreground, middle ground, background: where is the character? This seems like a lot to keep in mind, and honestly, don’t worry about any of that. Don’t worry about the drawings, either.

Art of Araya - SKETCHBLOG angry animator | animation, tutorials, & assorted topics. Storyboarding Tips & Advice | Storyboard Templates | Karen J Lloyd's Storyboard Blog And we’re back! Here’s Part 2 of the interview I did with Pixar Story Artist Matthew Luhn. You can find Part 1 of Matthew’s interview here. Enjoy. So I animated a couple of the army men shots on Toy Story and it was very difficult. That was the very first time I saw people actually drawing and creating story at a studio. Even at The Simpsons, they have a script first and then the storyboard artists (like most TV shows) just go directly from the script to drawing the storyboards. But what I was seeing at PIXAR was that there was no script. I totally remember the very first pitch I saw which was the opening for Toy Story in storyboards with Joe Ranft pitching it. At the same time when I’m doing animation and learning how to animate on the computer, the Head of Animation was Pete Doctor. Then John Lasseter was the other guy teaching us how to animate Luxo, because you had to do a Luxo the Lamp jumping animation test. This was a different time. click to continue reading>>

Academy of Art Animation Notes ... Animation.insomnio Robin Davey Петрик Это адаптация статьи о линиях действия Рона Дюсэи. Положение и поза персонажей в сцене, влияет на постановку и композицию всей сцены, помогает поместить персонажей в ситуацию, сделать их частью окружающей среды и истории в целом. В основном для сильной позы и композиции персонажа нужен сильный силуэт — который говорит об общем пятне позы. Используйте негативное пространство и перекрывающие слои для создания четких силуэтов, посмотрите на пустоты между рук и ног и на перекрывающие формы в этих рисунках: Другой метод заключается в создании сильной линии действия вашего персонажа. Линия действия — это ключевой элемент, добавляющий динамику в позы вашего персонажа, это невидимые (воображаемые или подсознательные) линии подразумевающие действие, динамику и направление движения. Смотрите: зеленая и оранжевая линии показывают нам состояние героев в отдельности, но есть и третья линия — красная, она показывает взаимодействия персонажей. Хорошая линия действия важна в любом рисунке. Ну вы поняли.