A lot happen once after I graduated. As this December come soon to a end I'll have more to post in 2018

@theartofmadeline
Noah Kahan
No title available

Product Placement
cherry valley forever
Keni
hello vonnie

Origami Around

#extradirty
đ
TVSTRANGERTHINGS
Mike Driver
$LAYYYTER
d e v o n

titsay
let's talk about Bridgerton tea, my ask is open
Today's Document
YOU ARE THE REASON

Kiana Khansmith

Discoholic đȘ©
seen from France

seen from Malaysia
seen from Nepal

seen from United States
seen from United States
seen from United States

seen from United States

seen from Malaysia
seen from United Kingdom
seen from United States
seen from Germany
seen from United States

seen from Colombia
seen from United States

seen from Malaysia

seen from Italy

seen from United Kingdom
seen from Vietnam
seen from United Kingdom

seen from Singapore
@sharinganuniverse
A lot happen once after I graduated. As this December come soon to a end I'll have more to post in 2018
Animated play Card
AnimateDump
test
AnimateDump
:(
How to show expression with the mouth!
This was a request and at first I wasnât sure if I had anything to provide with, but as it turn out it got a little longer than I expected because there were actually things I had to say!! Wow!!Â
Anyway, this is some guidelines I follow when I try to make the face expressfull, more specifically the mouth! It is often neglected, since itâs actually pretty hard, Iâll admit. But Iâm here to help (hopefullyâŠ)! A mouth expression tutorial as per request. Enjoy and hopefully it will help some a little. ÊâąáŽ„âąÊ
Draw the teeth at the right angle.Â
This is super important. The upper jaw follows the angle of the head, and the lower jaw will depend on how open it is. Make sure you have a rough estimate of where the teeth are, and how much of them youâre going to see!
The lips will VERY roughly follow the same angle as the teeth. It really depends on the character, but it gives you a sense at least.Â
If you DONâT do this, youâre going to lose so much volume and the mouth is going to end up looking unrelatable. I showed this example in this tutorial:
Itâs not just the lips!Â
The cheeks, chin, and tongue play a role too!Â
Try look at your own mouth or references! I have a very pliable and large mouth, so thatâs one reason why my characters have it too lmao.
ASYMMETRYYYYY (àž Í Â° ÍÙÍ ÍĄÂ°)àž
I cannot emphasize how important asymmetry is when drawing expressions. It applies not only to the eyebrows to achieve the Dreamwork Faceâą, but also the mouth. Seriously if you draw a symmetric mouth I will deliver myself to your mailbox and then shout at you until you fix it.Â
Look at the difference between these two for example: which one has more âlifeâ?Â
I think you get the idea.
Push and squish - give it flow
Hereâs an old drawing I have but it illustrates how I think when I squish the mouth, and use folding and wrinkles to my advantage.
Look at your own face and see where skin bundles up, where it creases the most and when bumps appear on your chin. Subtle details makes all the difference!Â
One VERY effective detail is illustrated in the first sketch, where I pull upwards on one side, and downwards on the other. Thatâs a good detail to use when the character is making a skewed expression, or is extremely frustrated. I encourage you to play around with that concept bc itâs ~super effective~!
EXAMPLES:
Happy: Your entire mouth is pushed upwards, not just the corners of your mouth!
I tend to draw a :3 mouth bc Iâve been drawing Lance too muchâŠ.. You donât have to but itâs basically imprinted in my motor memory by now.Â
Pouting/frowning: corners are pushed down, middle pushed slightly up. Sometimes, thereâs a slight dip in the middle too. It can give a sense that the character is biting their lips.
Showing frustration/intimidating/is intimidated: basically showing a lot of teeth. The corners are as open as possible and the middle sorta more squished. An extremely important detail here is showing some of the gums, and open space between the cheeks and teeth. That way it looks like the mouth it open to itâs full potential. Here is also where you basically MUST add folds and bumps, or else itâs not going to look relatable.Â
(Here I am again with the pulling upwards on one side and downwards on the other, as illustrated on the last sketch)
And then again, hereâs just another doodle showing how important it is to show the gums. Itâs the same face twice, but the second one looks slightly more frustrated doesnât it?
(from my other tutorial on how to draw facial expressions)
As you can see, this last one is very versatile and I draw it a lot. Play around with the basic shape and see how much subtle details makes a lot of difference!Â
Thatâs it!Â
I hope that cleared some things up and was somewhat helpful! Enjoy drawing âš
best month I ever had... now i just gotta animate them :/
May 2017 girls
drawing everyday. doing much better than last year
01/17/16
4of7
Bounce bounce
Quickest way to improvement? Practice. Itâs a simple bit of advice that rings with absolute truth. Articles, tips, mentors, and study will never get you as far as rolling up your sleeves and getting down to work, be it animation or any other skill. Today weâve compiled a list of exercises, like animation push-ups, that will get your art skills buff and toned.
Maybe you still need convinced of how important the âArt of Doingâ is? Look no further than the early days of animation, especially at the Disney studio. Here were a group of animators (before being an animator was even a thing) who HAD no books to read, or websites to visit, or even experienced animators to ask. They learned via the age old art of hands-on training, experimenting and discovering as they went. And some would argue they created some of the greatest animation to ever be seen. Masterpieces like the dwarfs dancing in Snow White or the terror of the Monstro scene in Pinocchio. So be like them! Get out there and do animation!
Some of these exercises you may have done or seen before; some maybe not. Consider doing each of them, even if you did once previously, because returning to an old exercise to see how much youâve progressed is a very valuable experience.
Level 1 Exercises
(Do not discount their simplicity! Here you have the principals of animation, which all other animation is built on. They are worth your time and effort.)
Ball Bouncing in place, no decay (loop)
Ball Bouncing across the screen
Brick falling from a shelf onto the ground
Simple character head turn
Character head turn with anticipation
Character blinking
Character thinking [tougher than it sounds!]
Flour Sack waving (loop)
Flour Sack jumping
Flour Sack falling (loop or hitting the ground)
Flour Sack kicking a ball
Level 2 Exercises
Change in Character emotion (happy to sad, sad to angry, etc.)
Character jumping over a gap
Standing up (from a chair)
Walk Cycle [oldie but goodie!]
Character on a pogo stick (loop)
Laughing
Sneezing
Reaching for an object on a shelf overhead
Quick motion smear/blur
Taking a deep breath [also tougher than it sounds!]
A tree falling
Character being hit by something simple (ball, brick, book)
Run Cycle
Level 3 Exercises
Close up of open hand closing into fist
Close up of hand picking up a small object
Character lifting a heavy object (with purpose!)
Overlapping action (puffy hair, floppy ears, tail)
Character painting
Hammering a nail
Stirring a soup pot and tasting from a spoon
Character blowing up a balloon
Character juggling (loop)
Scared character peering around a corner
Zipping up a jacket
Licking and sealing an envelope
Standing up (from the ground)
Pressing an elevator button and waiting for it
Starting to say something but unsure of how
Level 4 Exercises
Character eating a cupcake
Object falling into a body of water
Two characters playing tug-of-war
Character dealing a deck of cards out
The full process of brushing oneâs teeth
A single piece of paper dropping through the air
Run across screen with change in direction
Sleeping character startled by alarm then returning to sleepy state
Opening a cupboard and removing something inside
Putting on a pair of pants
Opening the âworldâs best giftâ and reacting
Any of the above exercises using a very heavy character/object next to a very light character/object. Enhance the differences the weight change makes!
Things to keep in mind:
Reading these exercises will do as much for you as reading about push-ups would do for your physical muscles: NOTHING. If you want the benefit, you must animate them. Take a deep breath and just do it.
Do not forget the famous words of Ollie Johnston: âYouâre not supposed to animate drawings [3D models]. Youâre supposed to animate feelings.â If a character isnât thinking, they arenât alive, and the animation has failed.
Keep it simple! There is no reason to over complicate any of these exercises. Going back to push-ups, would push-ups be harder if while doing them you also recited the Gettysburg Address? Yes. Would they be any more beneficial? No. Keep things nice and simple and clear.
Do your best. There is no reason to do these exercises poorly. Give it your all. You donât have to show anyone, these are for you. You owe it to yourself to try your very best. Something not quite right? Take the time to fix it.
As always, have fun. Push ups are not fun. Animation is supposed to be. Be joyful in your work!
Have any questions about the exercises above? Leave a comment below and weâll answer them the best we can! Someone else may be wondering the exact same thing, so youâll help them too. Likewise if someone is looking for possible exercises, why not share a link to these and give them a hand?
Article featured on AnimatorIsland.com [Source] Article composed by J.K. RIKI MARCH 18, 2013 Follow @AnimatorIsland on Twitter for more updates tips and tricks.
Phoneme Chart by TheEndIsNearUs
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 donât 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.Â
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.Â
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, itâs maybe easier for them to understand whatâs happening underneath the moving body, and what drive different parts to move differently.Â
Personally, Iâve always animated with contours because thatâs how I draw naturally. Since itâs 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.Â
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.Â
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)
1. Ah Fai was a chief animator for McDullâs animated features. Heâs super cool. Ultimate senpai.Â
2. Previous post on breakdowns right hereÂ
Some thoughts on acceleration and force
I presented this in the order of how I slowly understood the trick of delivering force -Â first an abstract concept of impact taught by Ah Fai, then a more complicated discovery on the acceleration pattern, last back to a more abstract concept of breakdowns.Â
Like Iâve previously stressed, 2D animation is everything but one single approach. Thereâs no one rule that rules them all, but interchangeable ideas with math, or physics, or music, etc. Thereâs no âperfectâ animation either, but what is perceived as organic and dynamic. E.g., using the Fibonacci numbers to animate didnât bring me a perfect animation! On the other hand, a tiny change in the pattern could already make the feeling of force so much more powerful.Â
Not so much of a tutorial than a personal experience. I hope you find this interesting hahahaÂ