Character Design 2: Primer
What makes good character designs for animation? This is a difficult subject. The real answer is a talented character designer who understands character. No amount of abstract ingredients can make an artist into a designer if he doesn't have the gift. You can learn technical skills in art, but some talents are so rare that you just either have them or you don't. Not every great animator is a good designer. If, however you do have the rare gift of design, and you are an animator who understands character then you might be aided in having a discussion started. Design itself - in any medium requires purely an aesthetic sense of balance of pleasing shapes or forms. An architect doesn't set out to make a building that has a distinct funny personality. 1 Functional Form - construction:An animated cartoon character benefits the animator greatly if it has an understandable, mostly logical form. This giant is not really a design. Simplicity Can Be Moved Easily 2 Aesthetic Pleasing Balance Of Shapes
Micehell Ferri on Pinterest
Log in Home Categories There’s more to see... Come take a look at what else is here! He used Pinterest to explore new campsites Join Pinterest to find all the things that inspire you. Oops! Sign Up or Creating an account means you’re okay with Pinterest's Terms of Service and Privacy Policy. Tell us about yourself Back Customize my signup experience using info from sites I’ve visited.Learn more Continue as a business billion Pins to explore seconds to sign up (free!) About Pinterest Blog Businesses Terms & Privacy Help iPhone App Android App Discover Pinterest: Gardening Travel Kids Weddings Humor Quotes DIY Design Animals Sitemap International Micehell Ferri Claire Hummel Micehell Ferri Johannes Helgeson Kekei Kotaki Jason Chan Christopher Stevens Joe Madureira/LeRoy Strauss character design digital paintings Animation resources resourceful environment inspiration Tribal Character Design Inspiration (HB) Illustration material studies Figure Drawing drawing Art Ceramics Children's books/illustrations pixel Masters
paint richard paint
Sketching Out 'Psycho': Production Storyboards From 15 Beloved Films
The blueprints of some visionary directors' most iconic scenes New biopic subject Alfred Hitchcock was one of the first studio directors to rely heavily on storyboards in production of his films. He would map out his distinctive set pieces using drawings that show exactly what will be in the frame and any movements the camera might make, and would then create them on set, often shot for shot. The filmmakers who followed with an eye for sharp camerawork (from Scorsese and Spielberg to the Coens and Nolan) frequently do the same. With storyboards on my mind lately thanks to their use in both the opening sequence and the climax of Argo, I decided to put together a gallery of some storyboards from iconic movies. Gone With the Wind (1939) Director: Victor Fleming Storyboard Artist: William Cameron Menzies Psycho (1960) Director: Alfred Hitchcock Storyboard Artist: Saul Bass Spartacus (1960) Director: Stanley Kubrick Storyboard Artist: Saul Bass
The BASICS : Using References by Shattered-Earth on deviantART
SimplicityCam 5e
The Recordex Simplicity 5e HD Doc Cam sets a new standard in compact shooting performance. Weighing in at just 2.25 pounds and constructed of aluminum alloy the SimplicityCam 5e shoots images and video in stunning HD quality. 5MP HD Camera. Big Shooting Area. The SimplicityCam 5e takes very little space and still offers an amazing 12.75" x 17.25" shooting area. LED Lights. With fully adjustable LED lighting you can adjust the lighting to whatever level you choose. Compact, Light Design. Amazingly portable. Zoom & Full Screen View. With the included SimplicityCam Viewer software you can digitally zoom in the document and switch to full screen presentation mode. Fine Image Adjustment. With both automatic and manual control over white balance and exposure your images will appear exactly as you wish. Capture It! Like what you see? Two-Year Replacement Warranty. If something goes wrong we’ll ship you a replacement camera!
Deja View: 11/09/13
Storyman Bill Peet drew these sketches of The Colonel, an Old English sheepdog, from the 1961 movie 101 Dalmatians. Most of the animation for this character was done by John Lounsbery, who must have been relieved to have gotten this assignment. After animating mostly serious and dramatic scenes for the previous film epic Sleeping Beauty, he again was given the opportunity to handle comic animation. When you look at Lounsbery's career, it's his eccentric characters who are the most memorable. The alligators in Dance of the Hours, some of the Mice in Cinderella, the crocodile in Peter Pan and Tony & Joe in Lady and the Tramp are just a few highlights. Below are a few of his oversized thumbnail drawings for the scene when the Colonel, after realizing that Pongo and Perdita are close by, tries to meet them half way. Over the years John didn't get to develop his "own" characters very often in the way Frank & Ollie or Milt did. So much life in these drawings.
Hints and Hacks For Doing Conceptual Art in the Video Game Industry
Hints and Hacks For Doing Conceptual Art in the Video Game Industry Updated 11/09/09 Disclaimer I should preface this by saying that, despite the gratuitous mugshots on this website, I don't consider myself anyone special. Loads of people out there make a living doing what I do, and many of them do it better. But it's been a little over twelve years since I started, so I feel at least somewhat justified in taking inventory of the philosophies and techniques I've gleaned thus far. I consider this a "living document", to be edited and expanded not only for the inquisitive beginner, but for myself, as I tend to forget what little I've learned. ~Paul Richards Concept Art Vs. "Concept art" takes a nebulous idea, for which there could be infinite looks, and narrows the choices, placing one aesthetically "in the ballpark." Even when you've arrived at a strong piece of concept art, some further fleshing may be required. My weapons of choice... Additional sustenance (optional, but they help)...
Persona! The Art Of Shigenori Soejima
I really hate to be that guy, but I think it's worth noting that though Mr. Soejima's work is very good, Atlus employs several other artists of repute who's work has been (arguably) more distinctive than what's showcased here. Of course, the games most widely played have been the ones drawn by Mr. Soejima, so maybe the market has spoken and these other guys really aren't as good (/elitist). But seriously. Take a look at this picture from Digital Devil Saga: SExpand Beyond the obvious grey with a splash of orange color scheme every character shares, notice the distinctive deadness to the eyes. Also, there could totally be a followup article just on the bestiary of the SMT franchise.
Videos tutorias e dicas de Aaron Blaise
É realmente sensacional como nos dias atuais a informação e o conhecimento podem ser livremente compartilhados. É o que o artista Aaron Blaise está fazendo com a ótima série de videos tutoriais e de dicas de desenho, pintura e animação. Aaron Blaise se formou em ilustração no Ringling College of Art. Trabalhou por 21 anos nos estúdios Disney, onde atuou como animador e supervisor de animação em produções como “The Rescuers Down Under”, “Beauty and the Beast”, “Aladdin”, “The Lion King”, “Pocahontas” e “Mulan”. Em 2003 foi co-director do filme “Brother Bear”, indicado ao Oscar na categoria melhor filme de animação. Com o site CreatureArtTeacher.com Blaise está se propondo a transmitir um pouco do que aprendeu nesses mais de 20 anos. Ah, os videos são todos em inglês. (More Time Lapse Drawing…Animation Expressions) (Aaron’s Art tips 12 – The Secret to Creating Clear Expressions) (Aaron’s Art Tips 5 – Finding the Gesture and Line of Action)
