sometimes you just can’t take any more @ ace community you are amazing and don’t deserve this assholery
Game of Thrones Daily
Color Me Curious
No title available

Kiana Khansmith
noise dept.

gracie abrams
🪼
h
No title available
KIROKAZE
sheepfilms

blake kathryn
Sade Olutola
Monterey Bay Aquarium
Not today Justin
NASA
YOU ARE THE REASON
Xuebing Du
tumblr dot com

izzy's playlists!

seen from France
seen from United States
seen from United States

seen from United States

seen from Canada

seen from United States
seen from United States
seen from Türkiye
seen from United States
seen from United States
seen from Mexico
seen from United States
seen from United States
seen from United States

seen from United States

seen from Malaysia
seen from United States
seen from United States
seen from United States
seen from United States
@celescribe-blog
sometimes you just can’t take any more @ ace community you are amazing and don’t deserve this assholery
tumblr is probably gonna destroy the quality, but here’s a quick little comic i came up with last night! an asexual child of aphrodite asks for some guidance from her mom.
(small edit: after a couple of comments, i want to add that i wrote this as a reflection of my own experiences of being on the asexual spectrum and dealing with the self-doubt of growing up in a highly sexualized society - it’s not meant to be a generalization of all aro/ace people or me trying to speak for anyone)
(ACE EXCLUSIONISTS DO NOT INTERACT, THIS IS NOT FOR YOU)
my writing is a little bit illegible, so there’s a visual description with text under the cut:
Keep reading
So, this is part of an old animation exercise we had to do in class. It basically consisted of grabbing three shots of any piece of animation we liked (6 to 10 seconds) and basically breaking it down to the basics: highlight keyframes, character construction, action lines, arcs, timing charts, frame rate, etc. (Animation that was drawn “on ones” = “de a uno”, “on twos” = “de a dos”) And then we had to do an oral presentation about all that we had learned about it, the way it’s animated, and it’s relation to the context and the scene.
It was actually really fun and useful!! I recommend it for anyone who wants to try it!! I chose steven universe, the princess and the frog, and rise of the guardians.
I still really appreciate how fuckign elaborate rebecca was with ruby’s temper tantrum and I want the entire sequence tattooed on my forehead
Shoutout to @crackmccraigen for making some dang good cartoons!
Exercise 50: Subsurface Scattering by CGCookie
whats the process of pitching a show-details please
Ok, you want details… You’ll get details!!
Before you pitch, decide if it’s a good fit for the place you’re pitching it to. Don’t just pitch it to every studio in town. Each studio has a brand that they want to represent with their work. If you’re not sure what that brand is, ask the development person what kind of shows they’re looking for before you meet with them. That way you don’t waste anyone’s time. Brands evolve and change depending on who is in charge. Animation development and production has a HUGE lead time. What’s currently on the air may not reflect what they’re looking for now.
Think of it this way: McDonald’s isn’t going to put something on the menu that doesn’t fit with who they are, even if it’s delicious and people like to eat it. Maybe it’s more of a Taco Bell thing. Or a Panda Express item. Do your research and find the right match for your idea. That’s step one.
Your first meeting will usually be with what we’ll call the first “gatekeeper.” This means that person doesn’t make decisions on which shows get picked up. This person weeds out the deluge of pitches that come to the studio and tries to find ones that fit the criteria of what their bosses are looking for. If they say no to your pitch, that doesn’t necessarily mean it’s bad. They may have a few things in development already like it or they may not be looking for something like that right now. It’s like dating.
What should you bring to the pitch? Well I’m a fan of not overdoing it with too much pomp and circumstance. The important thing is to get this person interested in the idea and how you would execute it. I would recommend a lean pitch bible. Bring an example of your work to leave with them so they can see your sensibility (an online link or DVD.)
So this “pitch bible”… what’s in it? Remember, none of this is a rule, I’m just telling you what’s worked for me. I usually try to keep mine around 10 pages. First and foremost, put in lots of art. Animation is a visual medium and they’ll respond better to the art over a giant block of text. It doesn’t have to be fully colored or too slick. But images of the characters doing things and interacting gives a sense of what to expect from the show.
Make it easy to skim visually. Avoid large blocks of text. Don’t make the person work for it. The pitch bible should get them excited. All of the information should be digestible and memorable. Just put the most important stuff in there. It’s a lot to take in all at once if you’re not familiar with it, and these people see TONS of pitches, so they all start to blend.
Here is the most important thing about your pitch… EACH PERSON YOU PITCH IT TO NEEDS JUST ENOUGH INFORMATION TO BE ABLE TO PITCH IT AGAIN TO THEIR BOSS. It’s a selling tool for a product. Think of it like a commercial on TV. You want the person to want to learn more, but you really just want that jingle to stick in their head first.
The first page is the overview of the show. It’s not the backstory! It’s not a long, convoluted set-up. It’s succinct and sums up the show and why people would watch it. Here’s what I wrote in my Chowder pitch:
“Chowder chronicles the magical misadventures of a young chef’s apprentice in the fantastic city of Marzipan.
Have you ever baked a flying pie or stewed up a pot of singing beans? Or shaved mushrooms of the back of a forest troll? Or had to put together a fruit that came as a 500 piece puzzle?
These are the kind of amazing and surreal chores Chowder deals with on a daily basis. And since he’s inclined to eat everything in sight, his days will be filled trying to avoid one disaster after another. Episode after episode, Chowder deals with funny, eccentric characters and fantastical situations. It won’t be easy for him, but it’s all part of learning to be a master chef!”
Now honestly, I could have mentioned that most of the stories revolve around his surrogate family at the company since those are the key relationships of the show. But it was just enough to give you an idea of what the show would be and why it’s different from other shows.
The next few pages show off the characters. I like to give each character their own page. Again, avoid giant blocks of text. Tell the reader who this character is, their role in show, what that character wants in life, how other characters think of that person, their traits, etc.
Where does the show take place? Is the setting important to describe?
Then have some sample story ideas. Keep them very short. But give a sense of what a viewer could expect. Five story ideas is fine. Add more if you want, but don’t go crazy. Maybe illustrate a few of them with a simple drawing.
Lastly put your contact info in there. And again, have art all throughout!
Now when you have the meeting and you talk about the idea, hopefully you will have practiced a little. Just enough so that you can explain it clearly without rambling and getting into too much minutiae. One important thing the development person will want to know is why this project has meaning to you. Is there a personal connection you have to this character and this world? Don’t be afraid to tell the story of how this idea came about. They want to know there’s a point of view behind it.
Just remember, the networks want your pitch to be good! They need good ideas. But they’re looking for very specific things. So don’t get discouraged if they pass. Think about alternate paths for your work. Produce it yourself! Even if you make a comic of it, you’ll have full control and the time to really figure it all out.
Oh my gosh I’ve rambled on for way too long. I’m done! Good luck!
My mantra today: stay loose, stay nimble, stay free - ⛅️// #sketchbook #drawing #journal #dailycomic #cartoonconniedaily #conniewonnie #dearconnie #cartoonconnie #instaart #artwork #comicstrip #creativity #cartooning #writing #journaling
Your Character’s Personality
Personality is the most important thing about your character.
So, whenever I see character sheets, most people just put a little paragraph for that section. If you’re struggling and don’t know what your character should say or do, what decisions they should make, I guarantee you that this is the problem.
You know your character’s name, age, race, sexuality, height, weight, eye color, hair color, their parents’ and siblings’ names. But these are not the things that truly matter about them.
Traits:
pick traits that don’t necessarily go together. For example, someone who is controlling, aggressive and vain can also be generous, sensitive and soft-spoken. Characters need to have at least one flaw that really impacts how they interact with others. Positive traits can work as flaws, too. It is advised that you pick at least ten traits
people are complex, full of contradictions, and please forgive me if this makes anyone uncomfortable, but even bullies can be “nice” people. Anyone can be a “bad” person, even someone who is polite, kind, helpful or timid can also be narcissistic, annoying, inconsiderate and a liar. People are not just “evil” or “good”
Beliefs:
ideas or thoughts that your character has or thinks about the world, society, others or themselves, even without proof or evidence, or which may or may not be true. Beliefs can contradict their values, motives, self-image, etc. For example, the belief that they are an awesome and responsible person when their traits are lazy, irresponsible and shallow. Their self-image and any beliefs they have about themselves may or may not be similar/the same. They might have a poor self-image, but still believe they’re better than everybody else
Values:
what your character thinks is important. Usually influenced by beliefs, their self-image, their history, etc. Some values may contradict their beliefs, wants, traits, or even other values. For example, your character may value being respect, but one of their traits is disrespectful. It is advised you list at least two values, and know which one they value more. For example, your character values justice and family. Their sister tells them she just stole $200 from her teacher’s wallet. Do they tell on her, or do they let her keep the money: justice, or family? Either way, your character probably has some negative feelings, guilt, anger, etc., over betraying their other value
Motives:
what your character wants. It can be abstract or something tangible. For example, wanting to be adored or wanting that job to pay for their father’s medication. Motives can contradict their beliefs, traits, values, behavior, or even other motives. For example, your character may want to be a good person, but their traits are selfish, manipulative, and narcissistic. Motives can be long term or short term. Everyone has wants, whether they realize it or not. You can write “they don’t know what they want,” but you should know. It is advised that you list at least one abstract want
Recurring Feelings:
feelings that they have throughout most of their life. If you put them down as a trait, it is likely they are also recurring feelings. For example, depressed, lonely, happy, etc.
Self Image:
what the character thinks of themselves: their self-esteem. Some character are proud of themselves, others are ashamed of themselves, etc. They may think they are not good enough, or think they are the smartest person in the world. Their self-image can contradict their beliefs, traits, values, behavior, motives, etc. For example, if their self-image is poor, they can still be a cheerful or optimistic person. If they have a positive self-image, they can still be a depressed or negative person. How they picture themselves may or may not be true: maybe they think they’re a horrible person, when they are, in fact, very considerate, helpful, kind, generous, patient, etc. They still have flaws, but flaws don’t necessarily make you a terrible person
Behavior:
how the character’s traits, values, beliefs, self-image, etc., are outwardly displayed: how they act. For example, two characters may have the trait “angry” but they all probably express it differently. One character may be quiet and want to be left alone when they are angry, the other could become verbally aggressive. If your character is a liar, do they pause before lying, or do they suddenly speak very carefully when they normally don’t? Someone who is inconsiderate may have issues with boundaries or eat the last piece of pizza in the fridge when they knew it wasn’t theirs. Behavior is extremely important and it is advised you think long and hard about your character’s actions and what exactly it shows about them
Demeanor:
their general mood and disposition. Maybe they’re usually quiet, cheerful, moody, or irritable, etc.
Posture:
a secondary part of your character’s personality: not as important as everything else. It is advised you fill this out after. Posture is how the character carries themselves. For example, perhaps they swing their arms and keep their shoulders back while they walk, which seems to be the posture of a confident person, so when they sit, their legs are probably open. Another character may slump and have their arms folded when they’re sitting, and when they’re walking, perhaps they drag their feet and look at the ground
Speech Pattern:
a secondary part of your character’s personality: not as important as everything else. It is advised you fill this out after. Speech patterns can be words that your character uses frequently, if they speak clearly, what sort of grammar they use, if they have a wide vocabulary, a small vocabulary, if it’s sophisticated, crude, stammering, repeating themselves, etc. I personally don’t have a very wide vocabulary, if you could tell
Hobbies:
a secondary part of your character’s personality: not as important as everything else. It is advised you fill this out after. Hobbies can include things like drawing, writing, playing an instrument, collecting rocks, collecting tea cups, etc.
Quirks:
a secondary part of your character’s personality, not as important as everything else. It is advised you fill this out after. Quirks are behaviors that are unique to your character. For example, I personally always put my socks on inside out and check the ceiling for spiders a few times a day
Likes:
a secondary part of your character’s personality, not as important as everything else. It is advised you fill this out after. Likes and dislikes are usually connected to the rest of their personality, but not necessarily. For example, if your character likes to do other people’s homework, maybe it’s because they want to be appreciated
Dislikes:
a secondary part of your character’s personality, not as important as everything else. It is advised you fill this out after. Likes and dislikes can also contradict the rest of their personality. For example, maybe one of your character’s traits is dishonest, but they dislike liars
History:
your character’s past that has key events that influence and shape their beliefs, values, behavior, wants, self-image, etc. Events written down should imply or explain why they are the way they are. For example, if your character is distrustful, maybe they were lied to a lot by their parents when they were a child. Maybe they were in a relationship for twenty years and found out their partner was cheating on them the whole time. If their motive/want is to have positive attention, maybe their parents just didn’t praise them enough and focused too much on the negative
On Mental and Physical Disabilities or Illnesses
if your character experienced a trauma, it needs to have an affect on your character. Maybe they became more angry or impatient or critical of others. Maybe their beliefs on people changed to become “even bullies can be ‘nice’ people: anyone can be a ‘bad’ person”
people are not their illness or disability: it should not be their defining trait. I have health anxiety, but I’m still idealistic, lazy, considerate, impatient and occasionally spiteful; I still want to become an author; I still believe that people are generally good; I still value doing what make me feel comfortable; I still have a positive self-image; I’m still a person. You should fill out your character’s personality at least half-way before you even touch on the possibility of your character having a disability or illness
Generally everything about your character should connect, but hey, even twins that grew up in the same exact household have different personalities; they value different things, have different beliefs. Maybe one of them watched a movie that had a huge impact on them.
Not everything needs to be explained. Someone can be picky or fussy ever since they were little for no reason at all. Someone can be a negative person even if they grew up in a happy home.
I believe this is a thought out layout for making well-rounded OCs, antagonists and protagonists, whether they’re being created for a roleplay or for a book. This layout is also helpful for studying Canon Characters if you’re looking to accurately roleplay as them or write them in fanfiction or whatever.
I’m really excited to post this, so hopefully I didn’t miss anything important…
If you have any questions, feel free to send a message.
- Chick
do you ever just
“no that’s not dramatic and cheesy enough”
“getting warmer”
“t HERE IT IS”
i love this but i dont know how to do this
hoW
For those wondering about HOW to do this, here’s a short explanation according to me:
Drawing A to Drawing B: -the most obvious change is the exaggeration of the line of motion in the character.
In Drawing B the line of motion is much more pronounced, creating more drama and movement to the whole composition
-The arms are open wider, showing more confidence and exuberance in the character, exaggerating their emotions so they can be more clearly read without having to look to the face for emotional cues.
-the legs are wider apart, adding to the aforementioned confidence but also giving the character a solid foundation, visually speaking.
-The head is tilted back and overlapped by the chest, adding a touch of dynamic perspective to the drawing.
Drawing B to Drawing C: -Most obvious change is to zoom in on the character. Character framing is just as important as what the character is doing. Zooming in can help infensify emotions. this shot is ALL about this character and what they’re feeling. -Because of the zooming in, the arms/hands would have gotten lost, so instead of making the canvas wider, the artist has elected to rotate the character slightly, bringing a dynamic angle to things and more intensity to the close shot. -While the character is more upright in this shot compared to Drawing B, in Drawing C the chest still slightly overlaps the neck, preserving the feeling of being slightly below the character (putting them in a position of power relative to the viewer), which helps maintain confidence and power in the character. -the chest is exaggerated to carry the majority of the body’s line of action so even though you cannot see the legs, our brains are able to fill in the gap and envision that line of action. -The cropping/framing of the character allows for a more interesting composition/negative shapes created by the positive (character) on the negative (background), creating more visual interest as well as a circular motion to the composition through the arms, across the face to the negative space for the eyes to rest in before dropping to the hand in the background and back through the composition again.
DID YOU DISSECT MY DRAWING TO FIND OUT WHY IT WORKS?? I LOVE YOU. I LOVE YOU. THANK YOU SO MUCH
This is the Fairy of Finality. She has a fairy blessing for you. It is: the ability to finish all the creative projects you start. She has the magical glyphs of Save, Print, Send, and Close above her head. Even if it turns out a bit crap, you have the power to finish the things you start and at least be able to say it’s done.
Share as you like ~*º*`
Can you make a tutorial of that wonderful lineart 3D effects? I'm sorry if I bother
Feel that your drawings are stagnating? Maybe there’s something missing? For those struggling with their styles and finding inspiration, this might be the thing for you!
_________
The “How to Make Your Art Look Nice” Series
Lighting | Flow and Rhythm | Thumbnailing | Mindsets | Reference and Style | Color Harmony | Contrast
a lil comment about being enough
To friends who fill in the gaps. Thank you.
Steward Animation
99% of the 2D TV animation you see coming out of big studios is drawn overseas, often in Korea. The storyboarding, editing, sound, design work, and things like that are done in the US, but the actual physical drawings are done by a bunch of talented and hardworking people in Korea. It’s probably not actually 99%, but I don’t feel like that’s too far off, so that should give you a good idea of how prevalent it is.
Occasionally, not very often but occasionally, when you’re working in TV animation you have a moment where you need a lot of control over the movement in a particular shot. In these cases you might end up either animating something yourself or hiring someone local to do it because it’s so specific.
I did this for one shot in Infinity Train. I hired Rick Farmiloe, who’s credits include Rescuers Down Under, Aladdin, How to Train Your Dragon, and Boxtrolls, to animate the Steward as she overtakes Tulip. This shot was very hard, and her movement was so specific, I thought it would be quicker and easier to just do it ourselves. We have a less of a time constraint than they do in Korea, so we could spent more time on this one shot.
Here are my original storyboards for the shot:
I wanted the steward to really move with force and weight. I wanted her to push her legs forward first, and then move her head along with it after. I wanted her to move like all of her legs are a giant confusing swarm, but still each one moves with a very specific purpose. Every moment that you see the Steward, she should make you feel scared and uncomfortable.
Wanna see a reason I wanted to do this animation here? Because the first time I told Rick what I wanted, I didn’t tell him it was a panning shot. Just neglected to mention this extremely important detail. This is one of the reasons we make pilots: to give completely inexperienced people like me practice before we’re given more responsibility and it costs the company tons of extra money:
When I apologized a million and a half times for making him do all that work, he redid it much closer to what I wanted. The steward walks across, trips Tulip, then gets all up in her face.
There were things I liked about this version and things I wanted to change a little bit. I liked the movement of the head, the timing, and some of the poses were all good, but I felt like I wanted the legs to be more of a constantly moving mass instead of sort of taking two massive steps. I also wanted the legs to sort of snake through the air, claw first, and then pound into the ground with every step.
I decided I would animate some of this myself, so I scanned in Rick’s drawings:
This is a layout guide that animators use when figuring out the sizing and movement of characters:
The problem is, it’s REALLY hard to keep track of all those legs! So over the course of a weekend, I took all the legs and drew over the top of them, each one getting its own color so it was be easier to follow. This showed me how many legs there were total, if there were any missing in any frames, and made them easier to watch and predict in general. I even ran out of colors and had to start using dotted lines. I then started adding legs, taking away others, and changing poses here and there, and generally finicking with what Rick had already done. I eventually ended up with this:
After I had that all figured out, I started drawing in the thicknesses of various legs and changing their timing here or there. That was a whole other bit of difficulty because I had to make sure legs were overlapping each other correctly and weren’t interacting with in weird ways. For example, I had to make sure that in one frame if a leg was snaking by, in the next frame another leg didn’t go to where that first leg was, which would make it look like a leg was sort of standing still for a frame or two. Since I wanted each leg to have purpose wherever it was placed, I guess it kinda makes sense that I spent so much time on each individual leg? At least, that’s what I tell myself so I feel better about spending all my waking ours working on this one shot.
I went over it a couple more times, changing things here and there with my supervising producer (Mike Roth, of Regular Show, Rugrats, and Spongebob). Eventually we sent the animation off to Korea and they gave us this final shot!
So there it is!
This is just all part of the process. I wanted you to see this because often people have this idea that “cartoons are made with computers right?” which kind of flippantly negates the tons of man hours and people that have to craft all this stuff themselves, by hand.
Another thing to know is that no matter how much time you spend on something, nothing will ever be perfect, because while I was making this post I just saw that the handle on the door in the background is SUPER low. What’s it doing down there? It’s like a foot off the ground!
Here’s a link to the pilot if you haven’t seen Infinity Train yet: https://www.youtube.com/watch?v=oY6kfVWv01k
’What is hair and how i can render it?’
I got this question and I really wanted to show on very simple examples how to render hair. Because it really is… simple! Following this guide you will be able to paint hair in few minutes.
This is called the ribbon technique.
It is used by many artists out there. I just wanted to show you a couple of examples. As you can see I picked Adam Hughes and J. C. Leyendecker. Look at it and see how they paint the hair. It doesn’t look like a mop. It looks more like big, overlapping shapes organized in some fashion.
Try to imagine a string of hair like a ribbon. Ribbon symbolize a large portion of hair. Don’t focus on every single hair string, instead of this imagine it as bigger shape. It will catch light in highest point and it will have core shadows.
Establish where light is hitting the hair and where it turns dark. Start with big shapes. big brushes to get the lights and volumes right. Then You can go into details and paint small brush strokes to add details like single hair strings.
I attached two examples. First is very simple where you can clearly see and understand the similarity between hair and ribbon. Second example is theory put into practice. But it’s basically doing the same things as shown in simple example.
Let me know what you think about this?
I based my knowledge on James Gurney blog (author of Dinotopia and Light and Color book)
And for the example I used Faestock (from deviantart) photo.