Art Pancake

I make art, but I don't post things here often, if not at all. Everything here is severely aged. 🥲

[artpancake]

What have I done

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Freestyle audio by Chip Da Ripper

Original video audio came from: https://www.youtube.com/watch?v=ZIfSaDNVjXI

[artpancake]

I haven't posted any art in quite some time. I painted this while I was super sad and overwhelmed, and I like the way it came out.

[loish]

ahh!! I haven’t been posting my #inktober sketches here so now I need to play catch-up. Brace yourself for lots of inky stuff in the coming days! here’s some of the sketches I’ve made so far. 

If you want daily updates on my inktober stuff, plus process shots, follow me on instagram!! instagram.com/loisvb

[artpancake]

Beautiful

[artpancake]

This is an environment image I made last semester in art class. The project was to take a pre-existing fairy tale and twist it to make it interesting. I chose to make Beauty and the Beast in Edo Japan.

[theartofanimation]

Khius          -          https://www.artstation.com/khius

[theartofanimation]

Tatsuro Kiuchi  -  http://kiuchitatsuro.tumblr.com  -  https://www.flickr.com/photos/tatsurokiuchi  -  https://twitter.com/tatsurokiuchi  -  https://www.facebook.com/kiuchitatsuro  -  https://vimeo.com/user9335310  -  http://tatsurokiuchi.com  -  http://www.pixiv.net/member.php?id=2627713

[theartofanimation]

lothlenan  -  https://www.achubbyunicorn.com  -  https://www.redbubble.com/es/people/chubbyunicorn  -  https://twitter.com/lothlenan?lang=es  -   https://society6.com/chubbyunicorn  -  https://www.instagram.com/lothlenan

[artpancake]

Some rough concepts for an animation I’m working on. I’m really happy with how it looks! I’ll definitely have to simplify it later...

[artpancake]

Another Usopp doodle! Definitely need to start watching One Piece again.

[artpancake]

A wild Uraraka appears!

[artpancake]

Pretty much my first day at Cartoon Network. I just love everything. I can’t wait to start the real work tomorrow. (My tablet and laptop are in the car, so notebook paper will do for now)

[joethejohnston]

Building a Scene: It’s over isn’t it?

For Pearl’s song “It’s Over isn’t it?” the scene is about Pearl accepting a loss. As the series has progressed, she’s learned that she isn’t always right, and that there are things about herself that she’s has to reevaluate. This all comes to a sort of climax in this scene where she accepts and admits out loud that her relationship with Rose was never as deep and complete as she wanted it to be or told herself it was. This is where she’s left at the end of the scene, feeling lost and out of place.

In the outline written by Ben Levine and Matt Burnett, this is how the scene looked:

You’ll notice a lot of things ended up changing compared to the final version. Most of that was due to time constraints. When we started storyboarding the episode, all of the rough demos of the songs were recorded so that we had an idea of the amount of time we had between each song (which ended up not being very much). The result was that we had to basically be transitioning constantly between songs, but doing it in a way that felt natural and as gentle as possible.

In addition, Rebecca remembered a part from the 1982 movie “Victor Victoria” starring Julie Andrews that she wanted to use as reference for the feeling of the scene:

Right away we latched onto this spinning 360 degree camera move. I loved the energy and focus it gave to the character and I immediately roughed out a version with Pearl.

If you’re ever stuck during a scene this is what you do: Don’t start from the beginning, find the moment you see clearest in your mind and build out from there. From these rough thumbnails I built the rest of the scene outward. I brought back motifs like her sword skills and her dance style to help evoke the past events of the series, and I tried to give as much time as I could to each shot and make her acting as expressive a possible.

Below are my rough boards set to Rebecca’s demo. At the end, i added a pause for when she throws the Rose into the air. It felt like a good spot for things to crescendo ring out. Deedee Magno Hall’s rendering of this blew us all away when we heard it.

From there clean up was pretty much straight forward. The scene didn’t change much except for tweaking her acting here and there. I’m super proud of how this scene turned out, hats off to Nick DeMayo our animation director and to the team at Sunimin in Korea where they draw the entire episode on paper:

[rebeccasugar]

So overwhelmed with Joe’s beautiful work for this episode and this number, thank you so so much Joe!!!

And so much love to Director Bae and Director Park and my Sun Min animation team for their amazing animation for this episode and sequence! 💕💖

[artpancake]

This is so wonderful! I love the emotion that was portrayed in this song.

[artpancake]

Tomorrow morning I start my first day at Cartoon Network. It doesn't feel real yet. I don't know if I can even register the magnitude of it. The only thing I know right now, is that it's not over. I still need to get better at drawing. I still need to create better storyboards. I need to practice animation. I can do all of this, and still put my heart and soul into this job, this company, my dream job. I have a long way to go. I will never give up on this. I'm going to keep going.

[mattforsythe]

Notes for a young character designer

Dear E. 

Thanks for your email.

I don’t work at Cartoon Network any more. But I’m going to give you a very quick portfolio review in hopes that you find it helpful! Here are some things I noticed when looking at your stuff - lessons I learned from brilliant people while working on AT for two years: 

 1) AVOID SYMMETRY. Humans are organic, randomly shaped animals. Perfect symmetry rarely exists in nature and if it does, it’s conspicuous - it’s the exception rather than the rule. Find interesting ways to throw your characters off-balance. 

Don’t repeat objects in twos - (buttons or rips or whatever) - it feels prescribed - cluster things in threes or fives if necessary. 

 2) AVOID CONCAVITY - I don’t know what else to call this. But it’s those lines that go “in” rather than “out”. You are using inward sloping lines to describe many of your characters. As an exercise, try using outward, rounded, voluminous lines to draw EVERYTHING. Humans are fleshy lumps connected together by other fleshy lumps. Each mass is either in front of or behind other masses and as a designer, it’s your job to tell the animator where it is. As a designer, you are providing a technical blueprint for the location of masses. 

Only occasionally allow a concavity to connect two convexities. Look at the work of Robert Ryan Cory (spongebob), Tom Herpich (Adventure Time) or Phil Rynda (AT / Gravity Falls) - master character designers - for examples of this. If you need to, trace a couple of their drawings and you will see what I mean. 

 3) AVOID GRAPHIC DETAILS - Some shows use a graphic style; it’s very appealing and looks clever when done right. But in animation, everything needs to move in space - so if you use a graphic element - it needs to correspond with an actual 3D thing that can move. Therefore it is better to start with a voluminous style and then revert to graphic elements where appropriate. Art directors will look for this. Do not jump straight to graphic representation if you do not yet know what you are representing.

Look at the work of Tiffany Ford and Jasmin Lai for amazing examples of volume expressed graphically.

 4) STUDY JAMES MCMULLEN - To truly understand volume, and fully respect your subject, you should read very carefully High Focus Figure Drawing by James McMullen. Slow down and think about drawing “around” your subjects. It’s a truly meditative experience when you get there. Think about the weight and mass that your characters, props and effects are experiencing. Many students from SVA - Tomer Hanuka, Becky Cloonan, Rebecca Sugar, James Jean - studied under McMullen’s philosophy and you can see this common richness in their work. 

Jeffrey Smith, a top student of McMullen’s now teaches life drawing at Art Center. These are two of the best illustration schools in North America - anyone who is interested in drawing living things, should probably read his book. Also look at the work of Andy Ristaino or Danny Hynes - two other character designers’ whose work is seething with volume. 

I hope this is useful and I hope you have a wonderful career. 

Warmest,

Matt

[jakewyattonline]

this is really good advice

[artpancake]

I feel so much fire in my bones now. I was going to sleep, but now I have to draw.

[artpancake]

Made a couple of sketches last week. Forgot to post them, whoops!

[lerevedesam]

[nolwenn-roberts]

I opened a tumblr for my short-movie “Sam’s Dream”, there isn’t much on it right now but it is coming :)

[artpancake]

This is really inspiring. Thank you nolwenn-roberts! <3

[lerevedesam]

It seems that in animation, everything is a lot of work… But. It’s worth it :) On dirait qu’en anim, tout demande beaucoup de travail…. Mais. Ça vaut le coup :)