Konge

3D animator based in San Francisco, CA

[kongegallery]

[kongegallery]

[fucktonofanatomyreferences]

A glorious fuck-ton of horse references.

[From various sources]

[romanholidae-deactivated2019051]

“Cruella De Vil is a very bold modern statement in her graphic presentation as well as character acting.”

-Andreas Deja on Marc Davis’ stunning designs.

[onion-ring-93]

[skunkandburningtires]

[thecroods-deactivated20210825]

“Spirit was probably the film I learned the most on. Spirit was a big learning experience for me. I’d done a few four-legged animals here and there, but I really didn’t get into the real heart of it until Spirit. That’s really why I wanted to do it. It’s like, I need to get to the heart of this matter if I’m going to be a complete animator.

“I’d done a few little horses pulling carts in Beauty and the Beast and some lions walking around in The Lion King, but to do the horse and really take it apart, to figure out the gates and get it enough into your system that you could then just animate it and have the horses do things that horses really can’t do, but make it look like they could do…you know? To just have the freedom to be able to animate an animal without having to rely on any live action for it, or to have it enough in your system that you could do it — that was the challenge and the joy of doing that film.”

— Animator James Baxter on Spirit: Stallion of the Cimarron, via The Animation Podcast

Gorgeous GIFs via worksofadream and I’m not your handler

[marionlouw]

“La Grande Ourse” Scénario de  Pog : http://leblogdepog.blogspot.fr/ Illustration de Marion Louw Premières illustrations pour ce premier projet d’album jeunesse d’après un texte écrit par Pog. 

[cosmoanimato]

Te Fiti concept art

[togekinoko]

dash out 飛び出すルパン三世

[grizandnorm]

Tuesday Tips - Pelvis Tilt Whenever I approach a standing pose (drawing from life or from imagination), I’m always on the lookout for weight distribution. It may be very hard to notice, but most standing poses apply most of the body weight on one leg, and using the other one mostly for balance. It creates a slight “pelvis tilt” that informs the rest of the posing. It usually means that the shoulders are tilted as well in the opposite way. Same with the eye line. It forms a rhythm of angles that brings appeal and movement to the pose. On top of it, it showcases the iliac crest ( part of the pelvis sticking out close to the skin). Use this to bring structure and appeal to the simplest standing pose. #tuesdaytips #100tuesdaytips #grizandnorm #pelvistilt #drawingtips #arttutorial

[thecroods-deactivated20210825]

Chris Sanders sketches: Mulan

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Gustaf Tenggren / Pinocchio

[otatart]

Some drawings from the past week .

[kongegallery]

[africant]

[kasiaslupecka]

’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.

[gingercatsneeze]

Contour vs Structural Animation

A friend asked recently: how do I start animating? So here I have a quick example of happy running squirrel.

Start simple, I recommend, that is, to simplify your animation so you don’t get caught up in the details in the beginning. I observe there are two basic ways you can make a rough animation - by Contour and Structural animations. 

Animating is basically to draw a lot and link these drawings together. Some of us draw naturally with contours, the best way for them to begin animating is perhaps simply by animating the contour! So here we link all the drawings by animating the outline and silhouette that are represented by curves, straight lines, and angles. 

Some other of us draw more comfortably with the structures, because that how most of us are taught to understand forms in school. With balls and springs, it’s maybe easier for them to understand what’s happening underneath the moving body, and what drive different parts to move differently. 

Personally, I’ve always animated with contours because that’s how I draw naturally. Since it’s convenient for me, I could then focus on delivering a more dynamic action. But there are occasions where the character design is based heavily on forms which requires me to animate structurally. 

So you could consider trying either of these two by first understand how you draw - do you draw better by jumping straight to the outlines, or by first representing the body with a skeleton. Contour and structure are like the two ends of a spectrum, once you master one method, you could try the other way to improve your animation! I believe good animations are based on the knowledge of both. 

I hope this helps!

Extended ref: I made a contour animation of a squirrel using the sine curve, and you can see how linking the curves could help to bring out the flow. (x)