Many students from SVA - Tomer Hanuka, Becky Cloonan, Rebecca Sugar, James Jean - studied under McMullen’s philosophy and you can see this common richness in their work. Think about the weight and mass that your characters, props and effects are experiencing. It’s a truly meditative experience when you get there. Slow down and think about drawing “around” your subjects. Look at the work of Tiffany Ford and Jasmin Lai for amazing examples of volume expressed graphically.Ĥ) STUDY JAMES MCMULLEN - To truly understand volume, and fully respect your subject, you should read very carefully High Focus Figure Drawing by James McMullen. Do not jump straight to graphic representation if you do not yet know what you are representing. Therefore it is better to start with a voluminous style and then revert to graphic elements where appropriate. But in animation, everything needs to move in space - so if you use a graphic element - it needs to correspond with an actual 3D thing that can move. If you need to, trace a couple of their drawings and you will see what I mean.ģ) AVOID GRAPHIC DETAILS - Some shows use a graphic style it’s very appealing and looks clever when done right. Look at the work of Robert Ryan Cory (spongebob), Tom Herpich (Adventure Time) or Phil Rynda (AT / Gravity Falls) - master character designers - for examples of this. Only occasionally allow a concavity to connect two convexities. As a designer, you are providing a technical blueprint for the location of masses. Each mass is either in front of or behind other masses and as a designer, it’s your job to tell the animator where it is.
Humans are fleshy lumps connected together by other fleshy lumps. As an exercise, try using outward, rounded, voluminous lines to draw EVERYTHING. You are using inward sloping lines to describe many of your characters. But it’s those lines that go “in” rather than “out”. Find interesting ways to throw your characters off-balance.ĭon’t repeat objects in twos - (buttons or rips or whatever) - it feels prescribed - cluster things in threes or fives if necessary.Ģ) AVOID CONCAVITY - I don’t know what else to call this. Perfect symmetry rarely exists in nature and if it does, it’s conspicuous - it’s the exception rather than the rule. Humans are organic, randomly shaped animals. Here are some things I noticed when looking at your stuff - lessons I learned from brilliant people while working on AT for two years:ġ) AVOID SYMMETRY. But I’m going to give you a very quick portfolio review in hopes that you find it helpful! I don’t work at Cartoon Network any more. I used my custom brush as the texture for it, but I can give you the marker blending settings and you can mess around with which brush type you want to use with it!
Galaxy brush firealpaca skin#
I used a mix of the aforementioned skin brush on the pen tool to blot colors/shadows and the marker tool to blend. You can find similar brushes to it in SAI, but for right now I’m gonna hang on to it as my own I used to do all my black and white stuff with the flat brush prior, so it’s not a bad option at all!Īs for like, actual actual painting – I suppose i have to pick my examples here carefully haha You can find a flat brush elemap in the link above, but the one I made, in comparison, looks like this It’s hard to see here bc the resolution is small, but it gives it a nice crayon/gritty texture that I really likeįor stuff like this, and almost all of my black and white work, I actually use a custom brush I made for SAI. Stuff like this is all drawn with the pen tool using the skin-texture brush from the link above. Let me seeee if i can grab some examples. In truth, my brushes don’t change really from the line art brushesI posted.
This question caught me a little off guard actually, because I sat here for a good while trying to remember the last time I painted (besides the Executioner faces!) I do a lot of one-layer drawing but it doesn’t register as painting to me because I don’t blend it.
he snarled/his lips drew back in a snarl.he drew his lower lip between his teeth.