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@michelle-seliga
One of my favorite assignments I drew for this semester’s Character Design class! I drew myself in the style of Bojack Horseman. I’m currently re-watching the show with my boyfriend while we are stuck inside. We both came home in the midst of this insane pandemic. I’m currently finishing up my semester online, and he just started his next quarter of school online.
Hi Michelle, I noticed that last year you waited to get Sheridan's animation offer after clearing standby status. Could you please help indicate how long did you stay in the waitlist? I asked this because now I am in similar situation as an international applicant and wonder till when will got notified. Your hint is highly appreciated. BRs, Grace
Hi! When I was put on the wait list I never got off of it. Every year is different, it depends on how many accepted students don't accept their offer from the school. So it's really just luck mixed with how high you are on the list. I applied to the school again the year after I was wait listed and then got a firm offer from the school. I knew a few people that got off of the wait list my year, some of them very late in the summer. I hope you are able to get off of it, but have a backup plan for if you don't! When I didn't get off of it I just decided to spend another year working and using my free time to make art and get feedback from others. It wasn't what I wanted to do, but it did give me an extra year to be an even stronger artist when I did start the program. Best of luck!
We had to put together a demo reel for our first semester, so I figured I'd share it!
© 2019 Michelle Seliga
Hey! So for anyone who doesn't know yet, I got accepted to my dream school this year! I decided to upload my portfolio on a separate blog to keep things organized, so check it out if you feel inclined!
Just a recent life drawing I liked. Almost done with portfolios again.
My dad
A compilation of my life drawings of Mary
Carbon pencil drawing from last night.
From Wednesday! Smooth newsprint and carbon pencil.
Model: Yvette
More life drawing progress
From last night in Doylestown. Figured it's about time I post some more art. I've still been going to life drawing every week and I feel like I'm definitely seeing some improvement. But I do still need to get quicker with those 1 minute poses because they're a real challenge.
International Sheridan Animation Portfolio 2018 Score Sheet (WAIT LISTED - 86%)
We finally got results back yesterday! I’m both happy I improved from last year and sad at how close I came to being admitted. (Last year I got 61%!) There’s still a chance, but the cutoff for International applicants this year was 90%. So that puts me lower on the waiting list. Domestic cutoff was 82%, so I still think my portfolio is a good reference for those still trying to get in. Looks like I’ll be waiting around all summer to hear if a spot opens up, otherwise I’ll have apply again next year. As of now I’ll have to think of a game plan for if either scenario comes true.
PORTFOLIO
International Sheridan Animation Portfolio 2018
5. PERSONAL ARTWORK
Not much to say here aside from that what they’re looking for is a diverse range of mediums and subjects that are technically strong and interesting. If your work isn’t that diverse though, instead of submitting lesser quality work to meet that I would suggest just submitting your strongest work.
__________________________________________________
For the rest of my Portfolio:
Observational Drawing
Character Design & Animation
Storyboarding
Layout
Personal Score: 8/10
FOR FULL SCORE SHEET
© 2018 Michelle Seliga
International Sheridan Animation Portfolio 2018
4. LAYOUT
This year in addition to a room drawing, which is the norm, we were instructed to draw a park. Drawing rooms/environments was one of the hardest parts of the portfolio for me because it took me a while to fully grasp perspective (to this degree, I’m still not perfect) and that’s mostly a consequence of me neglecting to draw layouts in general. So I don’t have too much to offer on this section with my own limited knowledge. My biggest piece of advice would be to get more experience drawing in perspective before you attempt to do this. If you put a figure in your room, compare their size to the rest of the objects in your room to determine if everything is in proportion. The people grading your portfolio will be able to tell if that person you drew wouldn’t be able to sit in the dwarf-sized chair in the other corner of the room.
Line quality is also very important for layout drawings to aid in telling the viewer what is far away and what is close. I talked about line quality with my hand drawings, but I think it’s probably the most important when it comes to layout. And if an object is blocking part of an object in the background, you should still be drawing the entire shape of that object in the background so that nothing is hidden. I drew my sketches with a Ticonderoga Erasable Carmine Red pencil and then did my final lines in a regular pencil. That way I could show my understanding of where everything is and then I could use a regular pencil to make everything clear. For the park drawing I mostly used my red pencil to show forms of objects and to show my understanding of the perspective.
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For the rest of my Portfolio:
Observational Drawing
Character Design & Animation
Storyboarding
Personal
Layout Score: 14/15
FOR FULL SCORE SHEET
© 2018 Michelle Seliga
International Sheridan Animation Portfolio 2018
3. STORYBOARDING
This section of the portfolio is worth the most amount of points (25/100) and was probably one of the least stressful parts of the portfolio for me. We were given a possum and a clown this year and were instructed to make a storyboard using the theme of hunger. I came up with the concept pretty quickly and did a few rough drafts for the staging before settling on these shots. I’ve heard not to do any over-the-shoulder or extreme shots, so I didn’t bother with them. You want the story to be easily conveyed and you don’t want to hide a character’s face, so the reasoning for that is easy to understand. You know you have a strong storyboard when dialog isn’t necessary to understand what is happening. To test that it helps to show your storyboard to other people and ask them if they understand the story. If they don’t you may want to make changes.
As for this drawing, I drew my panels directly on the provided sheet. I know some people like to draw them larger and then resize the drawings to fit the storyboard template in Photoshop, but that’s not really necessary. I found it easier to just draw right on the template. I also practiced drawing the characters a few times until I got comfortable with posing/drawing them. Being able to draw the characters on model is important, so make sure you’re used to the character designs before doing the final storyboard.
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For the rest of my Portfolio:
Observational Drawing
Character Design & Animation
Layout
Personal
Storyboarding Score: 22/25
FOR FULL SCORE SHEET
© 2018 Michelle Seliga
International Sheridan Animation Portfolio 2018
2. CHARACTER DESIGN & ANIMATION
The second section of the portfolio changed a lot this year. Poses and expressions were replaced by character animation (24 - 48 drawn frames of a character doing a recognizable action). This was one of the most intimidating aspects of the portfolio to me because I had not prepared to do character animation. Luckily they’re not assessing line quality. Instead they are looking for motion, clarity of communication, and consistent character. As for the character rotation, nothing has changed. It was online submission this year and because they only gave one spot for character rotation, I have all of the poses on one image. I also included a GIF of the character rotating. It’s the most satisfying part of the process to see your character successfully rotate. I didn’t use this method when I was doing my rotation, but I think this video is extremely helpful when figuring out how to rotate your character and I wish I had seen it before I did mine. I think I would have had a lot less redrawing to do if I put that much planning into it.
I didn’t focus too much on choosing a design for my character. I don’t think the design matters as much as your ability to rotate the character, so I sort of chose one of the first designs I came up with and slightly changed things from there if my tutor recommended it. One of the biggest things to look out for when doing your character rotation is making sure your character's feet look firmly planted on the floor and in perspective. Referring to professional character rotations is helpful to see how this is done right. Some sort of light table is extremely helpful for these things. I was constantly correcting drawings: making the changes in Photoshop with my tablet, printing the fixed versions out, and tracing over them with my light table. Having your drawings traditionally drawn is preferable for line quality (and personally I find it easier). I didn’t include them in my final drawing, but guidelines are necessary if you want everything to match up, so make sure you use them.
As for my animation… I didn’t spend too much time on it. There are a lot of resources online and in books for how to animate, so I would refer to them. As long as the movement looked good and my character was mostly consistent I was satisfied. I don’t know how high their expectations are going to be for an applicant’s animation proficiency, but I can’t imagine it’s super up there. I also drew my animation out traditionally because that was faster for me. Because they’re not assessing line quality I would assume you could also do digital without risking losing points.
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For the rest of my Portfolio:
Observational Drawing
Storyboarding
Layout
Personal
Character Rotation Score: 12/15
Short Animation Score: 13/15
FOR FULL SCORE SHEET
© 2018 Michelle Seliga
International Sheridan Animation Portfolio 2018
1. OBSERVATIONAL DRAWING
Ah life drawing. This took a while to get the hang of. I started life drawing for the first time during my second semester of community college in 2016. Before that I was using sites such as Line of Action to practice drawing the figure in my sketchbook. It is definitely better to be able to work from a model with a large pad of newsprint and conté, but any practice is better than none Looking at the work and process of other artists like Glenn Vilppu also helped me a lot in learning how to approach the figure. And anatomy books like Classic Human Anatomy and Classic Human Anatomy in Motion by Valerie L. Winslow are helpful references. I also looked to resources like Proko to learn how to use my materials. I used a black conté pencil and shaved/sanded down the tip for these drawings. Those are a few of the many resources I used while learning how to draw the figure; in addition to the help of a tutor I met up with over Skype every once in a while to guide me on what I could improve upon. Having a tutor really helped me push through the portfolio.
As for these drawings, they are the product of going to life drawing at least once every week since around the end of summer. For every good life drawing there tend to be a lot of bad ones, so the more often you can go the more drawings you will have to choose from when the time comes. The earlier the better. It can be hard to produce quality work under the stress of an upcoming deadline that determines your future for the next four years.
Drawing the hand is also notoriously difficult, but not as much as the entire figure in my opinion. Definitely practice drawing your hand as many times as possible before you do your final portfolio version. You need to show that you understand the structure of the hand/wrist, which means that you should be drawing the entire hand including the parts that are not directly visible so that it does not appear you are trying to hide any part of the hand. Using shapes to block parts in is a very common approach to doing this. It helps a lot to study the bones/muscles that make up the hand and get comfortable with them. To improve your line quality make sure that the lines that are closest are thicker, and the lines that are farther away are thinner. Pay attention to darken lines that are in shaded areas/closer to you. Playing with line weight should push what is closer to you forward and what is farther away backward. This goes for any drawing.
For these hands I initially sketched my hand with a Ticonderoga Erasable Carmine Red pencil, and then drew my final lines with a regular pencil. This year the first hand is anticipating to pick up an object and the second hand is picking up that object. My object is a pencil sharpener. I drew my own hand and exaggerated some of the bones to make them protrude a bit more than they were to make the drawing more successful.
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For the rest of my Portfolio:
Character Design & Animation
Storyboarding
Layout
Personal
Figure Drawing Score: 8/10
Hand Drawing Score: 9/10
FOR FULL SCORE SHEET
© 2018 Michelle Seliga