more animation please!

ben: university of dayton > scad > laika > blue sky > psyop | katie: harvard > scad > laika > blue sky > ???

[2dtraditionalanimation]

Animator: Randy Haycock Character: Moana (test) Film: Moana (2016) Studio: Walt Disney Animation Studios Video: http://randyhaycock.tumblr.com/post/153572409839/another-traditional-character-exploration-test

[moreanimationplease]

grun color palette :)

[moreanimationplease]

lighting tests!

lighting tests by Mark McKinsey (www.markmckinsey.com) and Yedan Zhu

[moreanimationplease]

more paul character textures

texturing by Ian Matta (https://ianmatta.com/)

[moreanimationplease]

ben is a superstar facial animator

Ben chose the one tiny face used in this scene from Kubo’s face library!! We’re stoked they chose it for one of their official movie posters :) One tiny face closer towards feature film fame!

[moreanimationplease]

Throwback to our graduate collaborative film “Ollie in the clouds,” a hybrid CG/stop-motion short we made with friends in 2015. Katie did the stop-motion sheep in this shot and Ben did the animation on our CG hero, Ollie!

[moreanimationplease]

father texturing progress

texturing job by Ian Matta (https://ianmatta.com/)

[moreanimationplease]

paul environment progress

work in progress by Mark McKinsey (http://www.markmckinsey.com/)

[moreanimationplease]

baby fish texture

fish texture job by Greg Mawicke (http://gregmawicke.com/) original concept by Maeve Broadbin (http://www.drawmaevedraw.com/)

[moreanimationplease]

It was extremely tough for me to break into the industry. I admit that I was a pretty terrible animator and designer, and like I said before when I graduated from CalArts in 2002, the animation industry was going through a tough spell — Disney wasn’t doing much 2D animation, and there were lots of layoffs at all studios. I couldn’t get a job even though I was aggressively submitting applications and portfolios. Out of work with nothing to do, I spent a lot of time at home listening to director commentaries on DVDs while painting and drawing things that I liked. It was a relaxing and creatively prolific time of my life, even though I felt like a huge failure since I couldn’t get a job. And a few years after graduating, my former story teacher at CalArts, Mark Walton, told me about a story internship at Disney. I applied and used a lot of the artwork I created after I graduated from school in my portfolio. Luckily, Disney liked my portfolio and gave me a story test, which I passed and I’ve been here at Disney since 2004. I believe it’s because of the many failures after school, the countless rejected applications and tests, that I got to a point where I didn’t care as much about getting a job and really focused on who I was as an artist. I felt that if I can develop my own artistic self and not give up, then eventually I would find my place in a creative field. Luckily for me, that place ended up being Disney Animation, the place I’ve always wanted to be since I was a kid.

Josie Trinidad, Head of Story, Zootopia

[moreanimationplease]

My dad first saw Chaplin do those funny little hoppy runs, where he bounces up and down a few times as he rounds a corner, and I loved that and used it a lot. It wasn’t really required, but it had the kind of exaggeration you could use in a cartoon. Chaplin used to do that all the time—exaggerated a move to show surprise, excitement, even understanding, using his body to let you know that something was funny but it had a point too.

Chuck Jones

[moreanimationplease]

paul texture process

right: first texture pass by Ian Matta (https://ianmatta.com/) left: director paintover by Benjamin for feedback

[drawmaevedraw-deactivated201901]

Hey guys! Here’s a post that I hope some will find helpful, things I have picked up along the way that I wish I had known from the start!  These are not set in stone, and only just suggestions, I’m no expert okay guys THINGS I WISH I HAD KNOWN ABOUT PHOTOSHOP: 1.  FLOW.  Flow was put in place primarily for the airbrush folks.  Now its relevance has changed slightly.  With textured brushes, try reducing the flow to “expose” texture. 2.  Ctrl+U : HUE/SATURATION/LIGHTNESS.  For people who are indecisive about color, use this to slide around the color quickly instead of repainting or replacing the color. 3.  CLIPPING/ LAYER MASKS.  Seriously, take five minutes to do this.  A good online resource is ctrlpaint.  This will be instrumental in creating hard edges, something beginner digital artists really struggle with.  Also non-destructive, you will save SO much time.  4.  With that said, ctrl+alt+g makes the current layer you are on a clipping mask.  You can layer mask a group.  5.  MULTIPLY and the surrounding layer types in its little section is like a dark glaze.  Good for shadows. 6.  OVERLAY and the surrounding layer types in its little section is like a lightening glaze.  Good for lighting. LIGHTEN and the dudes around him are also good for lighting, esp. screen.  7.  MAKE YOUR GOSH DARN BACKGROUND IN THE INTERFACE LIGHTER.  Your contrast will thank you.  Right click on the background of the interface and choose the one you like the best.  I know dark grey looks sexy, I know.  8.  TRANSFORM TOOLS ARE THE BEST (but paint over them).  If you have a tile, pattern, whatever- Image>transform> choose your weapon.  Have a tiled floor? Don’t you dare paint all those tiles. Scales?  Paint them flat in a square, then use the warp tool to push them around the form.  Then make your painterly adjustments. 9.  PAINTING SHORTCUTS:  Numbers affect the opacity. Shift+ Number affects the flow. Holding down alt gives you the eyedropper. Brackets [] change size of brush, these dudes <> cycle between your brushes. 10.  HISTOGRAM. If you have a fairly even histogram, this means your distribution of lights mids and darks is even.  If it is skewed, and you don’t mean it to be, adjust accordingly.  Just be casual about it and love your art I love you all drawmaevedraw.tumblr.com 

[2dtraditionalanimation]

Chip and Dale - artist unknown

[jbaxteranimator]

Dr. Stuart Sumida, Gabriele Pennacchioli, and myself are giving a five week lecture course on quadrupeds at Dreamworks. Anatomy, design, and locomotion. This is a lion walk cycle that I did during the lecture a few days ago.

[moreanimationplease]

house concepts for “Paul”

more wonderful work by Maeve Broadbin (http://www.drawmaevedraw.com  http://drawmaevedraw.tumblr.com/)

[moreanimationplease]

A story sketch is not geography—it is not continuity—and it is not a diagram. Nor does it merely illustrate the dialogue for the sequence. Those are all the common mistakes of the beginning story sketch man. The story sketch should show character, attitude, feelings, entertainment, expressions, type of action, as well as telling the story of what’s happening. When you look at a board, it should reflect the feeling of the sequence so the viewer starts to pick up some excitement and stimulation.

Woolie Reitherman