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tweaked this clip a bit to be a tad more atmospheric
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How I Animate
The Technique:
I draw the frames and then I use the liquify tool to push the lines into the next frame and redraw them where I need to. This allows me to keep the lines consistent, but gives me the control of frame by frame animation bc I am still making each frame manually! I also use 3d models as reference to help me with the angles! Super important to use reference while you animate (and with art in general), if youre no good handling 3d models then act it out and record yourself!
The Theory:
i think most people are at least loosely familiar with the 12 principles of animation (if youre not, heres a 2.5 minute video showcasing them!), but may not necessarily know how to employ them. the main 3 i tend to focus on when I animate is rhythm, telegraphing, and inertia so ill cover those there 👍
1. Timing & Rhythm
Timing is how you space out your frames both in how long an individual frame is held for, and also when you drawn an inbetween of two frames you can favour one frame slightly more than the other instead of drawing the exact average of the cels, giving the favoured cel more timing weight.
Left line has the cels evenly spaced out on the timeline, right holds the first cel for longer and the second cel slightly favours the last frame. It creates a more interesting rhythm to the animation! Rhythm is how I think of animation timing. Theres a beat like a song to every animation I make, and creating an interesting beat is what makes an animation fun to watch (for me, anyway):
2. Anticipation / Telegraphing
Before I animate a big change in movement, I like to telegraph that its coming. Usually this is doing a little counter movement in the opposite direction, but thats not the only way to telegraph a motion, e.g. eye movement can telegraph a head turn!
3. Follow-through / Overshoot / Inertia
Unless the movement is mechanical, it wont come to a hard stop and will have some level of bounce or easing out to it. How much "bounce" you add will have a big impact on how the animation feels, but a very subtle bounce will add a natural feeling to the end of a motion.
Secondary animations will use a lot of this, note that the head and the hand have a small amount of continuous motion (primary animation), and then the hair has a lot of bounce and inertia (secondary animation which reacts to the primary animation). Note the different amounts applied to the braid vs the sideburn vs the bangs
anyway! I hope this was insightful ❤️ if you like my art you can commission me by the by :)
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One thing I didn’t realize before doing this drop, is how much living with a few images for a longer period of time allows me to travel just as much as when I create them.
The more I look at them, the more I want to recreate the story that led to each of them.
Time to go reminds me of days when the kids were little and we couldn’t get them away from the beach. It made me want to relive those moments.
To those that have been following me for a long time, thank you for supporting me through all my evolutions! The underlying motivation and love for all my art I share is to tell a story and leave you with an emotion. After all this time, I am left with gratitude for the opportunity to keep sharing my stories. So thank you, always. P.
All the torso animated studies.
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HOT TO GO (rarijack edition) // full pmv
tysm for the incredible support on this animation, i’m blown away by all the kind words :) as a last little tidbit heres the ref sheets i made for the vid!!
also do consider checking out the vid on youtube! it helps out a ton!
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Felt like doing something picture book like.
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Whoever conceived and animated this moment, I hope they're doing well and thriving. This is S-rank romance stuff here.
Oh, this? This is the 2000 masterpiece Titan A.E., the master animator Don Bluth's bold venture into the world of Science Fiction. Boasting script treatments by the increasingly-famous Joss Whedon and the voice talents of Matt Damon, Drew Barrymore, Bill Pullman, and Nathan Lane (among others), it was also one of the first ventures of a fresh new sub-studio at Fox called Blue Sky Studios!
It boasted a terrifying premise of a future where alien invaders not only overwhelmed, but physically destroyed the entire Planet Earth--dramatically depicted in a trailer that ran before every single screening of 1999's Star Wars: The Phantom Menace. Boldly fusing 2D animation with 3D ships, environments, aliens, and camerawork, it was a tremendous fresh step in the world of animated cinema. Creed's "Higher" was the theme song for the trailers and TV spots.
It made negative seventy million dollars at the box office, bankrupted Fox Animation, and killed animated films forever
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It is my pleasure to finally be able to share with you the project that I've been working on for the past 2 years!
For my final project for my masters degree, I decided to create a visual development artbook for an animated movie adaptation of the Leviathan trilogy by Scott Westerfeld. This 100+ page long book contains all the research that I put into this project, from sketches and concept art to final designs and illustrations, as well of explanations of my creative process.
I am aware that the timing is not ideal, but I promise that this has absolutely nothing to do with the upcoming Netflix adaptation! That adaptation wasn't announced until after I'd completed my project, and I had absolutely no idea that it was happening. This is a fully fan-made project, and has no affiliation with Scott Westerfeld whatsoever.
All that being said: I hope you enjoy! This was a very long labour of love, and I am so so happy to finally share it with you all. These books hold a very special place in my heart, and it is my sincerest hope that my work manages to do them justice.
hey all! this is the project i've been working on for the past 2 years, and i'm so excited to finally share it with you. there's tons more work hidden in the pdf itself, so i encourage you to go take a look! :)
if u guys have been wondering why i haven't been as pumped about the leviathan adaptation as i should be...well, here's your explanation 😅
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Chartreuse is not off the hook. He is still in his Babygirlification Era. I'm not done with him yet
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My animation process (in a GIF!)
So you've learned the 12 principles of animation but don't know where to actually apply them? Fear not!! For here is my step-by-step process, very very condensed, into one singular giant GIF.
Hope it helps!
(You may need to open it in a new tab to read the text)
This is truly phenomenal @elviraaxen! Thank you for creating this!
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happily ever after by @sarakipin put to motion. from our honeymoon
It’s moving! 😳
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Turnaround of my monster huntress 🥰
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:) 🐸🐟
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I’m running an Introductory Animation Workshop with creative arts students this Saturday (August 20, 2016) for The School of Creative Arts Open Day at Melbourne Polytechnic’s Prahran Campus. I’ve rotoscoped and broken down some of the greatest dance gifs to their basic poses and we’re going to collaboratively design characters then MAKE THEM DANCE!!
Come down, check out the campus and say HI!
I can’t wait to see the weird animated goofs that result from this workshop, I’ll post them in a couple of days so we can all be in awe of their hilarious spontaneity!
This was such a fun thing to make and do! YOU SHOULD MAKE ONE!!
I was literally just talking about the time I did My hero Academia animations to these and was going to find the references and lo and behold
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Okay I decided to fill empty scenes witch Glinda's signature items. Wooden sword that Charlie ordered for her, with a robin bird, and golden chalice, symbol of her connection with the old spirit.
I really do need to learn how to draw monsters or collaborate with someone for better spirit design x.x
Im scared of amount of work and my own ambitions of bringing more OCs to life, so Im posting sketches all the time to become more confident haha
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A combination of barrier mesh animation and anamorphic projection on elegant porcelain.
I don't care what it's called, Trebek, that's the tightest shit I ever did seen!
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