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
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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.
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)
Sculpting a Maquette with Tony Cipriano: Part One
I met Tony Cipriano in 1991 when we worked together on "Beauty and the Beast" at Walt Disney Feature Animation's studio in Florida. Tony had a most unusual path to WDFAF, which you can learn about in the videos below. Since then he's also earned credits on Disney's "Aladdin" , "Pocahontas" "The Hunchback of Notre Dame", Tarzan", Mulan", and "Brother Bear".Since 1997, Tony has been a freelance sculptor for the animation industry as well as for many toy, action figure and collectible figurine companies, including McFarlane Toys, Dark Horse Comics, Funko, Enesco, Mezco Toys, Sideshow Collectibles, Bowen Designs, DC Comics, Walt Disney Classics Collection, Toy Biz, Dreamworks Animation, Comedy Central, Hasbro, Cartoon Network, Warner Brothers Studio Stores, Scholastic, Matell, and Madison Square Garden. Tony's studio is in Long Island, N.Y., where he lives with his wife, three children, and three dogs. Sculpting Alfred E. Newman: from soup...to nut! This is the Chavant clay. Part Two:
REALITY PROJECT
