Chris Sauter from Mark & Angela Walley on Vimeo.
November 11, 2011
November 10, 2011
November 9, 2011
November 8, 2011
November 7, 2011
October 21, 2011
October 20, 2011
October 19, 2011
October 18, 2011
October 17, 2011
October 15, 2011
October 14, 2011
October 13, 2011
October 11, 2011
October 10, 2011
Deus Ex: The Eyeborg Documentary
WARNING !!! GRAPHIC CONTENT. (Eye surgery for a few seconds) Really cool though.
October 2, 2011
October 1, 2011
September 29, 2011
Marquese Scott's dance moves
This man's dance moves are hypnotizing and defies all laws of physics. His nickname is "NONSTOP", and is part of a dance crew called "REMOTEKONTROL".
September 28, 2011
September 27, 2011
AM Marathon
Hello dear follower.
Working full time this week does not allow me to focus properly on this animation challenge. The original idea, was to do to one "week" in a single work day rather than in a few rushed hours after working full-time while also missing-out on possible family time. The idea is to learn through this rather than exhausting myself on both a professional and personal level.
As I am working all week, there will be no further updates until monday October 3rd.
See you then!
Working full time this week does not allow me to focus properly on this animation challenge. The original idea, was to do to one "week" in a single work day rather than in a few rushed hours after working full-time while also missing-out on possible family time. The idea is to learn through this rather than exhausting myself on both a professional and personal level.
As I am working all week, there will be no further updates until monday October 3rd.
See you then!
September 26, 2011
AM Marathon: Class 01 - Week 06
Hello there dear reader,
As this week I am working full time, the assignments will be uploaded a little later than usual. As far as this assignment, there will be some revision done on the arm animation, as it still is in somewhat rough form.
As this week I am working full time, the assignments will be uploaded a little later than usual. As far as this assignment, there will be some revision done on the arm animation, as it still is in somewhat rough form.
September 25, 2011
September 24, 2011
September 23, 2011
AM Marathon: Class 01 - Week 05
Today's job was to animate a bouncing ball going through an obstacle course, and coming to a stop. We also had to create a pose that conveys devastation.
September 22, 2011
AM Marathon: Class 01 - Week 04
Today's job was to animate two balls of different weights.
UPDATE: Removed stretch and tweaked trajectory based on feedback.
UPDATE: Removed stretch and tweaked trajectory based on feedback.
September 21, 2011
AM Marathon: Class 01 - Week 03
Today's job was to animate a bouncing ball that had the weight of a Basket ball/Soccer ball, and create a pose that conveys excitement.
September 20, 2011
AM Marathon: Class 01 - Week 02
My wife and I had a fantastic day in Disneyland Paris. Lots of kids running around, and a few frustrated parents. It was fun to watch all of that!
As far as this assignment, unfortunately my scanner was giving me a hard time, but regardless, here is the pose for the day:
See you tomorrow!
As far as this assignment, unfortunately my scanner was giving me a hard time, but regardless, here is the pose for the day:
See you tomorrow!
September 19, 2011
AM Marathon: Class 01 - Week 01
As today is nothing more than setting up a profile picture, and
introducing yourself, I decided to talk a little bit about the planning
done to get through this high speed challenge.
A class is 12 "weeks" long, but the last one is always a review and no homework has to be handed in, I decided not to take it into account, which leaves me with 11 "weeks" to fit in 2. On the first week, I will go through the first 5 "weeks". On the second week, I'll go through the remaining 6 by working on Saturday (just like crunch time at the end of a production).
On a more daily basis, my goal being to never spend more than a working day per "week", each working day will go as follow:
- 8 am: Wake up
- 9 am: Ready to work, in front of the computer.
From then I work until 1 pm.
The first thing that I will do, is to read the feedback that people left on the work uploaded the day before. The feedback will be taken into account, and implemented in the upcoming work along with my notes. In a case like today, where no work has been uploaded as I am starting a new class, I will be doing a 2 week planner that will tell me what is expected to be done each day throughout the 2 weeks.
- 1 pm: Lunch break!
- 2 pm: Back to work.
Here I will just continue to work until 5 pm.
- 5 pm: Time to upload the daily work!
In case when there is a big amount of work for the day, I will allow myself to have and extra hour of work. Either or, when I'm done, it'll be time to take a small break and going away from the computer. Once Fresh air made it's way through my lungs, I'll go back to the desk or couch for a little bit, and read through the notes that I had taken for the week's lecture and Q&A when I first went through the program.
- 7 pm latest: Done!
Its is now time to relax, and enjoy the evening with my wife & friends, watch a movie, read a book or whatever I feel like doing. This part does not need planning :D
Note for tomorrow: The work will be uploaded late in the evening, as my wife and I will be going to Disneyland during the day. The sketches will be done there, and uploaded when I come back in the evening along with the pose.
See you tomorrow!
A class is 12 "weeks" long, but the last one is always a review and no homework has to be handed in, I decided not to take it into account, which leaves me with 11 "weeks" to fit in 2. On the first week, I will go through the first 5 "weeks". On the second week, I'll go through the remaining 6 by working on Saturday (just like crunch time at the end of a production).
On a more daily basis, my goal being to never spend more than a working day per "week", each working day will go as follow:
- 8 am: Wake up
- 9 am: Ready to work, in front of the computer.
From then I work until 1 pm.
The first thing that I will do, is to read the feedback that people left on the work uploaded the day before. The feedback will be taken into account, and implemented in the upcoming work along with my notes. In a case like today, where no work has been uploaded as I am starting a new class, I will be doing a 2 week planner that will tell me what is expected to be done each day throughout the 2 weeks.
- 1 pm: Lunch break!
- 2 pm: Back to work.
Here I will just continue to work until 5 pm.
- 5 pm: Time to upload the daily work!
In case when there is a big amount of work for the day, I will allow myself to have and extra hour of work. Either or, when I'm done, it'll be time to take a small break and going away from the computer. Once Fresh air made it's way through my lungs, I'll go back to the desk or couch for a little bit, and read through the notes that I had taken for the week's lecture and Q&A when I first went through the program.
- 7 pm latest: Done!
Its is now time to relax, and enjoy the evening with my wife & friends, watch a movie, read a book or whatever I feel like doing. This part does not need planning :D
Note for tomorrow: The work will be uploaded late in the evening, as my wife and I will be going to Disneyland during the day. The sketches will be done there, and uploaded when I come back in the evening along with the pose.
See you tomorrow!
September 13, 2011
Animation Mentor Marathon!
Hello everyone!
After having hibernated for a little while, it is time to get going again. Over the next 3 months, I will be doing the animation mentor curruculum again, but this time, in high speed!
For those of you who don't know how the school works, the program is spreaded over 6 classes, and each class contains 12 weeks. Over the next few weeks, I will replace theses "weeks" by "days". wich means it'll take me 12 days to get through a class. You will find my progress here on a daily basis and as always, feedback will be much appreciated! (You could use the comments for that).
Each working day, you will find a new post called "AMM - Class 1, Day 3" for example. The first day will be on Monday, September 19th.
This is nothing official, and Animation Mentor does not offer this option. This is a personnal project and goal to challenge my newly aqquired skills.
After having hibernated for a little while, it is time to get going again. Over the next 3 months, I will be doing the animation mentor curruculum again, but this time, in high speed!
For those of you who don't know how the school works, the program is spreaded over 6 classes, and each class contains 12 weeks. Over the next few weeks, I will replace theses "weeks" by "days". wich means it'll take me 12 days to get through a class. You will find my progress here on a daily basis and as always, feedback will be much appreciated! (You could use the comments for that).
Each working day, you will find a new post called "AMM - Class 1, Day 3" for example. The first day will be on Monday, September 19th.
This is nothing official, and Animation Mentor does not offer this option. This is a personnal project and goal to challenge my newly aqquired skills.
July 3, 2011
June 17, 2011
May 30, 2011
May 11, 2011
April 15, 2011
April 14, 2011
April 8, 2011
April 7, 2011
April 6, 2011
Cirkus' Animation ABC - How IT works!
A great and entertaining video showing how our industry works.
March 31, 2011
Clients from hell
Me: “Everything’s moving along great. I’m just about finished with the main elements of the code.”
Client: ”I don’t want any codes. Can you start making the actual website now?”
More here:
http://clientsfromhell.net/
Client: ”I don’t want any codes. Can you start making the actual website now?”
More here:
http://clientsfromhell.net/
March 30, 2011
How to make the Logo
One hundred posts, woohoo!
found here http://floobynooby.blogspot.com/
Ah from studio shelter on Vimeo.
found here http://floobynooby.blogspot.com/
March 23, 2011
March 7, 2011
a great story
of a freelance artist that someone tried screwing with.
nice tips in there is you work as a freelance.
http://epilogue8.blogspot.com/
nice tips in there is you work as a freelance.
http://epilogue8.blogspot.com/
March 2, 2011
Fog City Mavericks
Gary Leva’s feature documentary explores the rich cultural heritage of cinema in the San
Francisco Bay area. Through interviews with such filmmakers as George Lucas, Francis Ford Coppola, Philip Kaufman, Saul Zaentz, Clint Eastwood, John Lasseter and many others, Fog City Mavericks uncovers the independent spirit and unique vision that characterizes this extraordinary collection of cinema pioneers.
The film also examines how the DNA of San Francisco affects – and reflects – the lives and work of its artists, mirroring the culture of individuality and innovation that makes San Francisco a unique creative community.
Fog City Mavericks had its world premiere at the 50th San Francisco International Film Festival and can now be seen on the Starz Network or on DVD from Anchor Bay.
Francisco Bay area. Through interviews with such filmmakers as George Lucas, Francis Ford Coppola, Philip Kaufman, Saul Zaentz, Clint Eastwood, John Lasseter and many others, Fog City Mavericks uncovers the independent spirit and unique vision that characterizes this extraordinary collection of cinema pioneers.
The film also examines how the DNA of San Francisco affects – and reflects – the lives and work of its artists, mirroring the culture of individuality and innovation that makes San Francisco a unique creative community.
Fog City Mavericks had its world premiere at the 50th San Francisco International Film Festival and can now be seen on the Starz Network or on DVD from Anchor Bay.
Fog City Mavericks - Part 1 of 5 from Gary Leva on Vimeo.
Fog City Mavericks - Part 2 of 5 from Gary Leva on Vimeo.
Fog City Mavericks - Part 3 of 5 from Gary Leva on Vimeo.
Fog City Mavericks - Part 4 of 5 from Gary Leva on Vimeo.
Fog City Mavericks - Part 5 of 5 from Gary Leva on Vimeo.
Found @ On Animation
found here:
http://dresdencodak.tumblr.com/
Go check it out!
http://dresdencodak.tumblr.com/
Go check it out!
Figures: They Speak For Themselves (mildly NSFW)
Continued from the last article about costume design, today we’re going to talk about those wacky things you hide underneath clothing. Figure drawing is a pivotal tool to any artist, but being able to effectively render humans and creatures is only part of the equation. Even if your draftsmanship is solid, you won’t get far if your designs are uninteresting. Effective and dynamic figures are the cornerstone of having compelling characters in pretty much any comic.
The Purpose of Character Design
The focus of art in general is to generate a particular response out of your audience; the mechanics of what you literally create are often secondary to this goal. Something can be abstract or literal, but the point in both cases is the effect is has on the viewer/listener/reader; the creation itself is a means to an end. In comics, authenticity and realism are not defined by what you are actually drawing, but rather how your drawings are viewed by your reader. In the context of a visual narrative, a simplistic drawing can be “more real” than a more realistically rendered one if that simplistic drawing evokes a more authentic response. A stickman can be a more convincing character than a photorealistic painting; it all depends on how that stickman is conveyed.
When you design your characters, you have an opportunity to both communicate information about them, as well as provide a conduit through which information about other characters and even environments can be shown. Their appearances can augment the actions in the narrative, or even take the place of regular action.
Focused Caricature
When designing characters for comics, then, it’s not universally important to faithfully recreate how people look in real life or even caricature real life. This may sound contentious at first glance. After all, isn’t a big part of cartooning exaggerating elements of real life? Certainly, but that’s only half of the equation when it comes to visual narratives. A regular caricature is mostly about emphasizing what’s visually obvious, and while that’s still present in comics and animation, on top of that there’s often the need to convey information about the character. Even if you’re basing a design on a real person, what you choose to emphasize can determine how the audience views that character. Again, what part of “reality” (in this case people’s appearances) you select to share can profoundly change how those characters are perceived.
Implied Motion
While they can be very similar, a fundamental difference between the needs of comic design versus animation design is the presence of literal motion.
In animation you can give your character a nervous tick, a particular walking pattern, or any other number of facial and other motion cues to add flavor and depth to a character. However, with the static images of comics, this approach is limited. As such, more pressure is placed upon the designs themselves because they’re the primary visual resource the reader has for gaining information about the character. Luckily, there’s a plethora of tools at our disposal for doing just that. The shape, size and position of a figure can be designed in such a way that it implies motion. Upturned brows and lips can suggest someone who is frequently bemused, an exaggerated posture can give the impression of a certain type of gait, and so on. And since the reader’s eye can dwell on a comic panel indefinitely (at least in theory), there’s more freedom to employ subtler facial and body elements to add to a character’s flavor.
The Body
Shape Up
Silhouettes and overall shape are the first pieces of information to reach the reader, and because of this they will always dominate any character’s design. If your silhouette isn’t doing its job, the rest won’t matter. Starting with a simple, clear shape and working backwards is a good rule of thumb. And while this is naturally easier with monsters and other fantastical creatures, it applies just as much to regular people.
Body Types
People are not divided into skinny/fat/muscular. While these body states do obviously exist, each of these will still differ from person to person. For example, there’s not a single “athletic” body type, but dozens (as this amazing photo series shows). Don’t fall into the trap of old superhero comics where everyone looks like a bunch of clones wearing different costumes. People’s builds, postures, hands, feet and musculatures are extremely diverse, going far beyond simple factors like age, height and weight.
Body Language
Your character’s motions can inform you quite a bit on how you could design their form. If a character often stoops or shuffles, you can warp his or her spine and posture to bring attention to that sort of behavior. In general, you want the figure to emphasize and accentuate the type of body language indicative of that person. This is really important. In animation, there’s a little less of a required connection between body language and design because you can literally show motion, but with comics being a static medium, you have to imply a lot of motion without showing it. Naturally, if your character has a very wide range of motion, your design should reflect that too. Main characters aren’t usually designed around a single posture, for example, but side ones often are. In the end, this is all a tool to efficiently communicate information about a character to the audience.
The Head
Shapes Again
Even more so than with the body, you should be able to reduce each character’s head to a fairly recognizable shape. This is the foundation for developing a good head silhouette, which is vital because the focus of a page is often on peoples’ faces; recognition should be established on a subconscious level with little to no effort on the part of the reader.
If the reader can’t immediately and clearly distinguish who is who without using details, the designs are bad. Also note: using hair alone to distinguish heads is cheating. Similar to the superhero body problem, don’t fall into the crappy anime trap of having identical heads that are only distinguishable by their wacky hair. Obviously hair is a component of character design, but to rely exclusively on it is taking a shortcut that only ends in sloppy composition and no variety.
Similar to the Naked Test (which we’ll talk more about shortly), you should be able to immediately distinguish all your character’s heads without any adornments or hair. Shave ‘em down and compare.
Variety is Your Friend
Ears, eyebrows, skulls, eyes, eyelids, noses, cheekbones, nostrils, hairlines, necks- these are all elements that will vary from person to person. Don’t be afraid to go beyond normal human proportions. Exaggerating or simplifying to the point of even being a stickman is perfectly fine, so long as it suits what you’re trying to do.
Dominant Expressions
What types of facial expressions and body language do your characters exhibit? Main characters generally require more of a range than side characters, while less three-dimensional characters can be designed to fit only a handful of expressions.
A lot of character information can be shown to the audience this way. Showing rather than telling your readers means you’re playing to the medium’s strengths.
The Naked Test
Once you’ve designed your figures, we move on to the Naked Test. When developing a cast or even just a couple of characters, they should always be instantly recognizable without the aid of clothing. Even if their clothes have some key distinguishing elements to them (which they probably should), the bodies themselves are the foundation, and if the foundation is too generic, then you’re left with a flat design that can’t be corrected by adding stuff on top. All the basics should be present at this level: distinguishable silhouettes, unique body types and proportions, and unique facial shapes should all be there to tell your character’s story.
Figure drawing isn’t easy. Because we’re hard-wired to distinguish even the tiniest variance in human appearance, there’s a lot of pressure to get figures right compared to other subjects. As such, it’s easy to play it safe with conservative designs that don’t strain our draw-muscles, but it’s important to push past that. Effective and compelling character design is a skill that’s indispensable for cartooning of every kind.
February 27, 2011
February 24, 2011
February 23, 2011
Contact Sheet - The incredibles
Here is a contact sheet I put together of The Incredibles. It was made from taking screenshots every second, then assembled in photoshop.
It is really interesting to see how the color flows across sequences and throughout the whole movie.
It is really interesting to see how the color flows across sequences and throughout the whole movie.
February 22, 2011
February 18, 2011
New post by Cameron Fielding,
taken from his website... go check it out!
Quick Trick: Draw your Timing
Not too long ago I started using 'drawings' at work to figure out timing beats for certain animated shots, and it was one of those great moments when you discover something that you instantly use over and over again, so I thought it best to post the process here on Flip.
I found myself looking for a fast way to record a timing reference for certain shots, I wanted a way to quickly get an idea of the timing of certain actions or beats without having to go into blocking and actually start posing stuff out, but also without having to go to the reference room and go through the motions of recording myself, converting video to Linux and basically taking a load of time from my schedule. For me, when I'm figuring out a shot early on, I pretty much use the basic building blocks of story, posing ( with staging ) and timing to construct my blocking. I really enjoy posing characters, in fact its my favourite part of animation, but I find that having some kind of 'map' of the timing in a shot early on can be a tremendous help, because then you can really take the time to construct those poses with care.
So to cut a long story short, we have the option to draw over our shots in the camera view, and do very basic animation this way, and I found a way to mirror this specific process in maya one to one using fCheck. Instead of drawing the animation however in the traditional way with sketches, I simply move my mouse around to record the 'timing' of the shot, or particular beats or actions in the shot and it records that timing in the form of a little dot moving around on the screen. I`m not thinking about shape or anything like that here. After deleting the drawing and doing a bunch of takes, I usually get a decent feel for the timing of an action and I start using the specific frames the dot hits extremes on to time my poses in stepped blocking.
To make this clearer I made a few examples using maya and fCheck to illustrate what I mean, this is pretty much exactly what I see doing a similar thing at work:
I found myself looking for a fast way to record a timing reference for certain shots, I wanted a way to quickly get an idea of the timing of certain actions or beats without having to go into blocking and actually start posing stuff out, but also without having to go to the reference room and go through the motions of recording myself, converting video to Linux and basically taking a load of time from my schedule. For me, when I'm figuring out a shot early on, I pretty much use the basic building blocks of story, posing ( with staging ) and timing to construct my blocking. I really enjoy posing characters, in fact its my favourite part of animation, but I find that having some kind of 'map' of the timing in a shot early on can be a tremendous help, because then you can really take the time to construct those poses with care.
So to cut a long story short, we have the option to draw over our shots in the camera view, and do very basic animation this way, and I found a way to mirror this specific process in maya one to one using fCheck. Instead of drawing the animation however in the traditional way with sketches, I simply move my mouse around to record the 'timing' of the shot, or particular beats or actions in the shot and it records that timing in the form of a little dot moving around on the screen. I`m not thinking about shape or anything like that here. After deleting the drawing and doing a bunch of takes, I usually get a decent feel for the timing of an action and I start using the specific frames the dot hits extremes on to time my poses in stepped blocking.
To make this clearer I made a few examples using maya and fCheck to illustrate what I mean, this is pretty much exactly what I see doing a similar thing at work:
This shows a timing idea for the wingbeats of a large flying creature like a dragon or something similar.
In the above example, I can get an idea pretty much instantly of the timing of those wingbeats without having to do any posing in the shot at all. All I am doing is drawing with the mouse. I can make the timing as even or as varied and complex as I like. Once I have some timing that I like, I can use the movement of the dot as a guide for what frames I need to start posing my extremes, for example, the up, the down, and a very good indication of the ease-in and outs that I need to get the feel that I'm going for.
To 'record' your timing using fCheck in maya, you do this; Set your playblast output as fCheck and playblast a blank screen with as many frames as you think you'll need ( usually the exact length of your shot ). Press play when fCheck loads, and as soon as you press and hold the right mouse in windows, it will start printing a small dot or line depending on how fast you move the mouse per frame.. this results in the perceived capture of your mouse motion. Luckily enough when you choose 'save animation' from the fCheck menu, it saves these drawings into the frame renders so you have it for good.
Agreed, the application of this idea is limited to certain actions, but let your imagination help you here... I have used this for very obvious and easy things like jumping and bouncing, but its also fantastic for subtle things like eye darts and weight shifts. You will start to find that the little moving dot often makes no sense to anyone but you as you start to use it to map more abstract actions.
Basically, anything that can help us "see" our animation quicker before we labour over posing and spacing is gold.
Here are a few more examples I did quickly for different timing beats:
( a samurai style decapitation! - the timing is clear for the antic, the swing and the head drop/bounce. Of course, the beauty of this method is trying many different variations really quickly until you have one you like. There is an indication of the arc on the sword and the spacing with regards to how far the sword/head moves, but this is really not important... its the timing I'm looking for. )
( Basic up/down timing for a really proud horse as he trots along )
( Angry guy picks up his pint, necks it, and slams it down again )
( A couple of different head turns )
Its possible to visualize a variety of different timing beats using this technique, so give it a try and see if it lets you experiment a little more.
New post by Cameron Fielding,
taken from his website... go check it out!
Quick Trick: Draw your Timing
Not too long ago I started using 'drawings' at work to figure out timing beats for certain animated shots, and it was one of those great moments when you discover something that you instantly use over and over again, so I thought it best to post the process here on Flip.
I found myself looking for a fast way to record a timing reference for certain shots, I wanted a way to quickly get an idea of the timing of certain actions or beats without having to go into blocking and actually start posing stuff out, but also without having to go to the reference room and go through the motions of recording myself, converting video to Linux and basically taking a load of time from my schedule. For me, when I'm figuring out a shot early on, I pretty much use the basic building blocks of story, posing ( with staging ) and timing to construct my blocking. I really enjoy posing characters, in fact its my favourite part of animation, but I find that having some kind of 'map' of the timing in a shot early on can be a tremendous help, because then you can really take the time to construct those poses with care.
So to cut a long story short, we have the option to draw over our shots in the camera view, and do very basic animation this way, and I found a way to mirror this specific process in maya one to one using fCheck. Instead of drawing the animation however in the traditional way with sketches, I simply move my mouse around to record the 'timing' of the shot, or particular beats or actions in the shot and it records that timing in the form of a little dot moving around on the screen. I`m not thinking about shape or anything like that here. After deleting the drawing and doing a bunch of takes, I usually get a decent feel for the timing of an action and I start using the specific frames the dot hits extremes on to time my poses in stepped blocking.
To make this clearer I made a few examples using maya and fCheck to illustrate what I mean, this is pretty much exactly what I see doing a similar thing at work:
This shows a timing idea for the wingbeats of a large flying creature like a dragon or something similar.
In the above example, I can get an idea pretty much instantly of the timing of those wingbeats without having to do any posing in the shot at all. All I am doing is drawing with the mouse. I can make the timing as even or as varied and complex as I like. Once I have some timing that I like, I can use the movement of the dot as a guide for what frames I need to start posing my extremes, for example, the up, the down, and a very good indication of the ease-in and outs that I need to get the feel that I'm going for.
To 'record' your timing using fCheck in maya, you do this; Set your playblast output as fCheck and playblast a blank screen with as many frames as you think you'll need ( usually the exact length of your shot ). Press play when fCheck loads, and as soon as you press and hold the right mouse in windows, it will start printing a small dot or line depending on how fast you move the mouse per frame.. this results in the perceived capture of your mouse motion. Luckily enough when you choose 'save animation' from the fCheck menu, it saves these drawings into the frame renders so you have it for good.
Agreed, the application of this idea is limited to certain actions, but let your imagination help you here... I have used this for very obvious and easy things like jumping and bouncing, but its also fantastic for subtle things like eye darts and weight shifts. You will start to find that the little moving dot often makes no sense to anyone but you as you start to use it to map more abstract actions.
Basically, anything that can help us "see" our animation quicker before we labour over posing and spacing is gold.
Here are a few more examples I did quickly for different timing beats:
( a samurai style decapitation! - the timing is clear for the antic, the swing and the head drop/bounce. Of course, the beauty of this method is trying many different variations really quickly until you have one you like. There is an indication of the arc on the sword and the spacing with regards to how far the sword/head moves, but this is really not important... its the timing I'm looking for. )
( Basic up/down timing for a really proud horse as he trots along )
( Angry guy picks up his pint, necks it, and slams it down again )
( A couple of different head turns )
Its possible to visualize a variety of different timing beats using this technique, so give it a try and see if it lets you experiment a little more.
February 17, 2011
February 11, 2011
February 9, 2011
February 7, 2011
Make it better
This video explains really well the creative process behind the creation of a image.
Make it better from Sebastianbap on Vimeo.
February 6, 2011
The Chapel
Beautiful mixture of video and timelipse HDR photography.
It's funny how real life can look like CG sometimes.
I guess that show us that cg is often over-lit and there are no real sense of light direction and intensity.
It's funny how real life can look like CG sometimes.
I guess that show us that cg is often over-lit and there are no real sense of light direction and intensity.
TheChapel. A short film. (HDR timelapse) from Patryk Kizny on Vimeo.
February 5, 2011
A great example of variaty in posing.
While reading Akira, you will quickly notice the insane quality of art drawn in there.
Amongst them, one in particular panel caught my attention for its diversity in posing, and how this could be applied for animation.
While many artists would have draw one pose, repeated many time with maybe one or two variations, Katsuhiro Otomo offers here a single pose with 11 unique variations. Notice how none of theses soldiers have a identical position.
Amongst them, one in particular panel caught my attention for its diversity in posing, and how this could be applied for animation.
While many artists would have draw one pose, repeated many time with maybe one or two variations, Katsuhiro Otomo offers here a single pose with 11 unique variations. Notice how none of theses soldiers have a identical position.
February 4, 2011
February 3, 2011
February 1, 2011
January 31, 2011
January 30, 2011
January 27, 2011
January 25, 2011
January 21, 2011
facial ratio
SOURCE:
here
here
A German University of Regensburg conducted a study on the characteristics of beautiful faces of men and women. The study looked at a selection of people ranked as attractive and unattractive. The researchers defined common features in both groups and as a result, created the prototypes of attractive and unattractive faces of men and women.
Characteristic features of the female “sexy face” in comparison to the “unsexy face”:
- Suntanned skin
- Narrower facial shape
- Less fat
- Fuller lips
- Slightly bigger distance of eyes
- Darker, narrower eye brows
- More, longer and darker lashes
- Higher cheek bones
- Narrower nose
- No eye rings
- Thinner lids
Characteristics of the male “Sexy face” in the comparison to the “unsexy face”:
- Browner skin
- Narrower facial shape
- Less fat
- Fuller and more symmetrical lips
- Darker eye brows
- More and darker lashes
- Upper half of the face broader in relation to the lower
- Higher cheek bones
- Prominent lower jaw
- More prominent chin
- No receding brows
- Thinner lids
- No wrinkles between nose and corner of the mouth
Do you agree with the findings?
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Classic Animator Reels
Check it out!
http://www.thadkomorowski.com/classic-animator-reels/
http://www.thadkomorowski.com/classic-animator-reels/
Bobe Cannon
Clips taken from:
Hold the Lion Please (1942), Porky and Daffy (1938), The Magic Fluke (1949), Tom Turk and Daffy (1944), Rover’s Rival (1937), Out-Foxed (1949), Porky in Wackyland (1938), Hare Tonic (1945), The Dover Boys (1942), Senor Droopy (1949), The Daffy Doc (1938), Hare Conditioned (1945), Robin Hoodlum (1948), Super-Rabbit (1943), To Duck or Not to Duck (1943), Doggone Tired (1949), Odor-Able Kitty (1945), Wags to Riches (1949), Coming Home (1945)
Art Davis
Clips from (all Warner Bros. cartoons):
Baseball Bugs (1946), Acrobatty Bunny (1946), The Stupid Cupid (1944), Canary Row (1950), I Got Plenty of Mutton (1944), Golden Yeggs (1950), Robot Rabbit (1953), 14 Carrot Rabbit (1952), A Tale of Two Mice (1945), Daffy Doodles (1946), Home Tweet Home (1950), Plane Daffy (1944), Tokio Jokio (1943), Two Crows from Tacos (1956), Tweet and Sour (1956), The Unruly Hare (1945), Porky Pig’s Feat (1943), Snow Business (1953), Swooner Crooner (1944), Russian Rhapsody (1944), Catty Cornered (1953), Plane Daffy (again), Ballot Box Bunny (1951), Dog Pounded (1954), Ain’t She Tweet (1952), I Got Plenty of Mutton (again), Bugs and Thugs (1954), and A Mouse Divided (1953).
John Gentilella
Clips from (all Famous Studios cartoons):
The Anvil Chorus Girl (1944), Pop-Pie Ala Mode (1945), Moving Aweigh (1944), Klondike Casanova (1945), Philharmaniacs (1953), For Better or Nurse (1945), Pop-Pie Ala Mode (again), Rocket to Mars (1946), I’ll Be Skiing Ya (1947), Klondike Casanova (again), Sheep Shape (1946), Royal Four-Flusher (1947), Safari So Good (1947), For Better or Nurse (again), and A Lamb in a Jam (1945).
Ken Harris
Clips taken from: (all Warner cartoons)
Duck Amuck (1953), Hair-Raising Hare (1946), Bear Feat (1949), Long-Haired Hare (1949), Zipping Along (1953), A Pest in the House (1947), Rabbit Hood (1949), Scent-Imental Romeo (1951), The Ducksters (1950), Mississippi Hare (1949), Often an Orphan (1949), Whoa Be-Gone (1958), Frigid Hare (1949), A Bear for Punishment (1951), Wackiki Wabbit (1943), Daffy Dilly (1948), Hopalong Casualty (1960), and Hair-Raising Hare (again).
Emery Hawkins
Clips taken from:
Fair Weather Fiends (1946-Lantz), Wide Open Spaces (1947-Disney), What Makes Daffy Duck (1948-Warner Bros.), Jitterbug Follies (1939-MGM), Two Gophers from Texas (1948-Warner Bros.), Petunia Natural Park (1939-MGM), The Trial of Donald Duck (1948-Disney), Who’s Cookin’ Who? (1946-Lantz), Mousie Come Home (1946-Lantz), Two Gophers from Texas (again), Rabbit of Seville (1950-Warner Bros.), Woodman Spare That Tree (1942-Screen Gems), Barber of Seville (1944-Lantz), Poet and Peasant (1946-Lantz), Hillbilly Hare (1950-Warner Bros.), Hubley Maypo Spot (mid-1950s), What Makes Daffy Duck (again), Doggone Cats (1947-Warner Bros.), Woodman Spare That Tree (again), Bathing Buddies (1946-Lantz), Donald’s Dream Voice (1948-Disney), Wacky Wigwams (1942-Screen Gems), Honduras Hurricane (1938-MGM), The Reckless Driver (1946-Lantz), Eight Ball Bunny (1950-Warner Bros.), Doggone Cats (again), Bone Sweet Bone (1948-Warner Bros.), Barber of Seville (again), and, once more, Two Gophers from Texas.
Bill Melendez
Clips taken from: (all Warner cartoons)
Dough Ray-Meow (1948), Baby Bottleneck (1946), Mexican Joyride (1947), The Pest That Came to Dinner (1948), The Stupor Salesman (1948), Doggone Cats (1947), The Great Piggy Bank Robbery (1946), Bushy Hare (1950), Boobs in the Woods (1950), Odor of the Day (1948), Bowery Bugs (1949), Kitty Kornered (1946), and A Fractured Leghorn (1950)
Rod Scribner
Clips from (all Warner Bros. cartoons):
Buckaroo Bugs (1944), The Prize Pest (1951), A Tale of Two Kitties (1942), Upswept Hare (1953), Hollywood Steps Out (1941), Kitty Kornered (1946), The Great Piggy Bank Robbery (1946), Hillbilly Hare (1950), Coal Black and De Sebben Dwarfs (1943), Bugs Bunny Gets the Boid (1942), Cats Aweigh (1953), Hare Ribbin’ (1944), Russian Rhapsody (1944), Corn Plastered (1951), Baby Bottleneck (1946), Hollywood Steps Out (again), Sock a Doodle Do (1952), Tortoise Wins by a Hare (1943), Bell Hoppy (1954), Easy Peckins (1953), Heckling Hare (1941), Hep Cat (1942), A Gruesome Twosome (1945), Bacall to Arms (1946), Hare Ribbin’ (again), Hoppy Go Lucky (1952), Hollywood Steps Out (again), and The Old Grey Hare (1944).
Irv Spence
Clips from:
Daffy Duck and Egghead (1938), Yankee Doodle Mouse (1943), The Sneezing Weasel (1938), Room Runners (1932), Little Red Walking Hood (1937), Kitty Foiled (1948), Dumb Hounded (1943), Daffy Duck in Hollywood (1938), Mouse Trouble (1944), Soda Squirt (1933), Lonesome Mouse (1943), Blitz Wolf (1942), Dick Whittington’s Cat (1936), Kitty Foiled (1948), Penguin Parade (1938), The Early Bird Dood It! (1942), A Sunbonnet Blue (1937), Zoot Cat (1944), Little Runaway (1952)
Jim Tyer
Clips from (all from Terrytoon cartoons):
Steeple Jacks (1951), City Slicker (1951), Wide Open Spaces (1950), Miami Maniacs (1956), Hare-Breadth Finish (1957), Rival Romeos (1951), Dingbat Land (1949), When Mousehood Was in Flower (1953), Reformed Wolf (1954), Movie Maniacs (1952), No Sleep for Percy (1954), Baffling Bunnies (1955), Miami Maniacs (again), Police Dogged (1956), Beauty on the Beach (1950), Barnyard Actor (1955), Cat Happy (1950), Dream Walking (1950), Satisfied Customers (1954), First Flying Fish (1955), Lyin’ Lion (1949), Blind Date (1954), and Dingbat Land (again).
January 10, 2011
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