yall already know who it is with the cringy title here; today we analyze the topic of timing in animation!!! so cool, right!! the social construct we made up to make ourselves feel extra organized can most definitely be applied to animation! Hey, here's a joke. Scientists got so tired of looking at the moon revolving around the earth, so after 24 hours, they called it a day. Getting back on track, this will be a brief analysis of Dave Burgess' blog on Timing in relation to animation.
Burgess, being a Disney and Pixar veteran, actually finds that timing is the most fun of his animation routine. He's been through the wringer, being an animator back in the 2d period up to now, working on computers. He then explains that timing can be broken down into 2 basic sets of knowledge; how fast something moves and how long it stays still on the screen. He also warns to make every frame count, or else you're running the risk of failure. After learning of what the goal of the scene is, he uses references, recordings of people, scenes from other shows, and live-action sets to get a feel for the overall setting and endgame. Once Burgess is complete sorting out the content in his mind, he takes to his computer; animating keyframes as so to determine the entire main action to ensure the movement is clear and readable. This is another principle known as Pose-to-Pose animation.
Burgess offers his breakdown wisdom, saying that the key to perfecting this technique is to utilize ones we've already learned. Some examples employed are Slow in, Slow out, Anticipation and Squash and Stretch. These used in harmony can truly spring life into your work. What comes next is a semi-rigorous course of double-checking and determining readability and continuity among scenes.
This article offers a wonderful insight into the animation process, given that it comes from a pro animator at both Disney and Pixar. I think this is a great perspective choice, as it shows us that no matter how hard you think it is, you'll overcome and you may just find yourself enjoying that work. The crispy-clear examples provided alongside a well-typed blog make it appear fun to read, which just may have been Burgess' goal with this.
My thoughts on timing are that no matter who you ask, it's crucial to any form of media. Readability goes along hand in hand with this; if something happens too fast, you wouldn't understand the main action, while if something is slower than you'd like, it feels dragged out, almost as if to pad for time, which is never a great thing. What did you think of this article?
Sunday, January 6, 2019
tea party #6 feat. ari j
-insert long sip of tea here-
it's been a few weeks.
how are you doing? (i wish you well if you're feeling down, seasonal depression comes and goes with time. stand strong and free-willed. i'm here for you.)
lessons of the last few days consisted of modeling and tutorials, and we were introduced to the soon-to-be bane of our existence; the rabbit. did you see those eyes? that eerie smile? not ones of mercy, last time i checked. going with that is a fresh serving of modeling, also known as spending 3 days making a tree when you've got nothing else actually planned. hilarious idea to set yourself up for failure, right? the thing is, i can't even be mad. i keep doing this to myself.
i'd love to learn character modeling, but that would probably constitute as my independent study, which i planned on saving for something special, and i keep that as a promise, not only to myself but to you all, as well. i've been gearing up for college more recently (simultaneously neglecting any reference of a portfolio, however) and i'm stricken between SCAD and SVA, as i intend on double-majoring in comic making and animation, and the sequential art program at SCAD is revered as one of the best meanwhile the animation program at SVA proves to bring about great strides in storytelling from young artists. i'll apply to both and see what happens.
frustrations arose around last week or two, the day after christmas, when drama between a transphobic "friend" of mine made a godawful post condemning trans people and gwen and i tried reasoning, trying to tell the guy that this was a bad thing to do, and in came 65 more comments; a fountain of them, you could say, plaguing my mind for hours after and lingering for days. in the aftermath, it was decided that we were to be laugh-reacted off the face of the planet and then i took to the guidance department. the director of my class's one acts just so happens to be a guidance counselor, and he told me that sometimes you'll have to cut off toxic people whom of which you believed were friends. he spoke of surrounding yourself with positive influences and making the days go by shining instead of constantly attacking the opposition and working yourself to the mental bone that you picked between yourself and that nasty crowd. he's completely right, and i thank him humbly for his explanation and light. of course, i still had to see these two people (the original poster and the one who unplugged the sea of comments) within not even a week, and i felt awkward and disconnected, throwing an occasional silent glance at this guy in rehearsal. tensions were eased with time, however, and we won "best play" for the second consecutive year. go us!
mini-tangent aside. another thing that always comes this fun time of year is that someone gets me sick with a sore throat the week of both my chorus concert and the musical auditions. i've grown a lot since last year in maturity and can handle myself sick in an audition, and i can't let it stop me but it's so inconvenient. especially given the fact that i have to down tea every five seconds and shove lozenges in my mouth, i fully believe i'm desensitized to the gross, sticky feeling.
it's been some time since i considered this again, but not that i've had not only my gender therapist tell me this, but also my ap english teacher joined in, saying that i'd be a great politician. i couldn't fathom it the first time i was presented the theoretical, but now i see the connection. a strong-willed kid prepared to take on the negativity in the world with an accepting fist, deadset on bringing equal rights for those oppressed. my apologies for sounding "above" here; i'm trying to visualize what those two saw in me. sure, i brought identity politics into the light with our new principal and was dared to present it to the board of education (which i may as well do once i gather a team,) so i do believe there is a chance, but i never intended of majoring in political science. perhaps a minor may do, but there are better things to focus on. the junior class did win "best play" of the year, just as we did last year, and i was nominated for the "super trooper" award for accidentally coming into a rehearsal of which i wasn't required. it's funny to think that someone can perceive a lack of focus on the schedule as a determined action to do more. i swear it wasn't intentional. the cast party at the aforementioned hole-sprouter's house proved to be 3 consecutive hours of me awkwardly sitting around eating doughnuts and drawing with the other hour spent actually playing a card game that requires interaction. it was an okay-ish night. i was extremely fatigued throughout the course of the day, but once i took handle of the situation with honey tea, lozenges and throat spray, i felt like how you do after you fully heal an rpg character's hp. a protein shake would've definitely helped, however they've got dairy and nothing screams "my throat is killing itself" more than chugging dairy at 88 mph.
this was fun, but i feel that more stress will be coming. i'll be resuming my gender therapy sessions with mrs. gervase soon, and hopefully get on hrt before the summer ends. i need to find my grounding in the schoolwork topic and grab hold and control instead of riding it out as i'm known to do. thank you for your time.
the link of the week for this blog goes to a site in which you can generate art prompts when you're feeling drained of ideas. Hopefully, this will help you on your artistic journey, if that is the path you intend on walking.
Sunday, December 16, 2018
Weeklong Workload, Burnout, Teenage Angst, the works.
heya, it's ari. thanks for dropping by, even if it's obligatorily for a comment. i don't mind; a contributor is a contributor, regardless of intention.
the last week or two consisted of the wild beginnings of 3d animation in maya, also known as "falling asleep during demos; the sleep-in-ing". i have a firm belief that turning the lights off doesn't help. didn't licata herself along with the safety manual suggest keeping lights on when working with screens to avoid straining your eyes? do we avoid safety precautions more than we should here? along with the occasional backward-chair-sit and pencil fights between dwonnathan and me, i don't see why turning the lights off is a good idea. i honest-to-god thought the helmet tutorial was fairly simple but i didn't know what i was in for with what was to come. dumb egg faces and apples and imaginary lines created from extruding more than needed. what is this, homestuck? are we going to be extruding cruxite dowels to create the ultimate blue apple artifact to enter the medium? will a countdown initiate before our eyes forcing us to toss our nanna's ashes into a ghostly kernelsprite along with whatever crap you've got on hand, perchance similar to a jester plush? although my rambling intensifies, my points remain. may the darkness of the demos have mercy on my spirit in the few coming weeks.
i'd love learning how to at least model our characters, even if we can't do anything aside from that due to brevity and time. maya has proven to be the most disengaging platform thus far, but i can manage for the class competition, whatever it is. let us pray i'm not sacrificed to any gods in the process. it's likely i'm overexaggerating here.
some things that made me happy during the week; getting a chance to bond more with my teachers through a quid-pro-quo situation relating to art along with the upcoming auditions for my school's production of "grease!" i've come to terms with the fact that i'd have to play a male role to get a lead or secondary, and that's okay. transitioning takes time and i have to trust in myself that i'll become an alto given the due time. i've also gotten into "hamilton" more and i'm enamored by the story and characters! the soundtrack is godly and i have lin manuel miranda to thank for the glorious ear-gold. i was also informed recently that i'd be getting actual chest molds to help my transition, along with my parents and me starting the search for an endocrinologist, which made me quite the happy fellow. my mom also informed me of how some of her coworkers saw me as "her daughter" when shown our family's christmas cards. i'm glad that the shreds of femininity i have shone bright. hopefully, they'll be more prominent in the upcoming years in both my physicality and character.
some things that frustrated me were the ramifications of my late-night endeavors. my mom explained that since i go into rem sleep after 40 minutes, my body takes a loooooong time to wake up, persay. i usually get cranky getting woken up after an hour, but the same circumstance after pulling a hefty all-nighter was disastrous. imagine a 16 year old ball of rage trying to reason with their parents to let them rest. once i got into my room it was game over, y'all.
thanks for coming back, i appreciate you <3
the link of interest this week is about the development of kingdom hearts iii and leaks from the community. someone got a hold of a physical copy illegally and distributed them, and now nomura responds asking that you stray from spoilers and remain on watch. some people just can't wait a month and a half, huh?
the last week or two consisted of the wild beginnings of 3d animation in maya, also known as "falling asleep during demos; the sleep-in-ing". i have a firm belief that turning the lights off doesn't help. didn't licata herself along with the safety manual suggest keeping lights on when working with screens to avoid straining your eyes? do we avoid safety precautions more than we should here? along with the occasional backward-chair-sit and pencil fights between dwonnathan and me, i don't see why turning the lights off is a good idea. i honest-to-god thought the helmet tutorial was fairly simple but i didn't know what i was in for with what was to come. dumb egg faces and apples and imaginary lines created from extruding more than needed. what is this, homestuck? are we going to be extruding cruxite dowels to create the ultimate blue apple artifact to enter the medium? will a countdown initiate before our eyes forcing us to toss our nanna's ashes into a ghostly kernelsprite along with whatever crap you've got on hand, perchance similar to a jester plush? although my rambling intensifies, my points remain. may the darkness of the demos have mercy on my spirit in the few coming weeks.
i'd love learning how to at least model our characters, even if we can't do anything aside from that due to brevity and time. maya has proven to be the most disengaging platform thus far, but i can manage for the class competition, whatever it is. let us pray i'm not sacrificed to any gods in the process. it's likely i'm overexaggerating here.
some things that made me happy during the week; getting a chance to bond more with my teachers through a quid-pro-quo situation relating to art along with the upcoming auditions for my school's production of "grease!" i've come to terms with the fact that i'd have to play a male role to get a lead or secondary, and that's okay. transitioning takes time and i have to trust in myself that i'll become an alto given the due time. i've also gotten into "hamilton" more and i'm enamored by the story and characters! the soundtrack is godly and i have lin manuel miranda to thank for the glorious ear-gold. i was also informed recently that i'd be getting actual chest molds to help my transition, along with my parents and me starting the search for an endocrinologist, which made me quite the happy fellow. my mom also informed me of how some of her coworkers saw me as "her daughter" when shown our family's christmas cards. i'm glad that the shreds of femininity i have shone bright. hopefully, they'll be more prominent in the upcoming years in both my physicality and character.
some things that frustrated me were the ramifications of my late-night endeavors. my mom explained that since i go into rem sleep after 40 minutes, my body takes a loooooong time to wake up, persay. i usually get cranky getting woken up after an hour, but the same circumstance after pulling a hefty all-nighter was disastrous. imagine a 16 year old ball of rage trying to reason with their parents to let them rest. once i got into my room it was game over, y'all.
thanks for coming back, i appreciate you <3
the link of interest this week is about the development of kingdom hearts iii and leaks from the community. someone got a hold of a physical copy illegally and distributed them, and now nomura responds asking that you stray from spoilers and remain on watch. some people just can't wait a month and a half, huh?
Blogscape Smackdown; Secondary Action!
After hours of useless procrastination and expert level time-wasting, I return at the latest possible time to give you the low-down for the next principle of animation! As always, these principles are designed to aid you in the journey to better work, and this one is no joke. Secondary action is the hot tea of today, so strap in and enjoy!
Kevin Koch, the writer of the reference article, says that if there are any one of the principles to hone in on, it's this one. Koch states "good secondary action energizes your shots and marks the difference between being a competent animator and an entertaining visual storyteller." The level of character that including this can add to your animation is very telling. By Koch's definition, secondary animation is a movement dependent on a primary action. This means principles of drag and follow-through are used alongside it. Now we can start to cohesively piece together why these 12 need to work harmoniously to produce good results. Adding to his original claim, Koch delves into the intricacies of this. Secondary action isn't just a second motion following a first, it harnesses the ability to be something different all together. For example, take the scene of an artist sketching using a pencil. Anything aside from their eyes on the paper with their arm moving the pencil is a secondary action. This can range from them shaking their arm from fatigue, looking around quickly for spectators, mumbling to themself while nibbling on the pencil's end, anything is possible with the grasp of secondary action.
An important little note to keep in mind is that the main action can't and shouldn't be overcast by anything else. Having a drunk character stumbling around is the main action, while the swinging of their arm holding a wine glass, for instance, paired with a crazy few expressions ties in as a few secondary actions. Examples from past students/mentors is presented to showcase how little things such as moving a pair of chopsticks, a teacup, or a wine glass can influence the way your character is viewed in the scene according to the context provided. An easy way to help you notice where to adjust your work is to play the animation with no sound. If it works fluidly and you can gauge the shot, it's a great fit!
My opinions on this one in particular are of course going to be positive. I love how much you can do with secondary action in animation and the amount of livelihood and character you can develop here! This principle offers expansive worlds of creative flow and I hope you can use it to your advantage.
Kevin Koch does a masterful job at explaining the topic, and left me with no stone left unturned on the subject. This was one of the few so far I actually enjoyed picking apart. He avoids using complicated terminology and provides a myriad of simple details that crescendo into the climax of the article and let it down easily. Thanks, Kevin.
Kevin Koch, the writer of the reference article, says that if there are any one of the principles to hone in on, it's this one. Koch states "good secondary action energizes your shots and marks the difference between being a competent animator and an entertaining visual storyteller." The level of character that including this can add to your animation is very telling. By Koch's definition, secondary animation is a movement dependent on a primary action. This means principles of drag and follow-through are used alongside it. Now we can start to cohesively piece together why these 12 need to work harmoniously to produce good results. Adding to his original claim, Koch delves into the intricacies of this. Secondary action isn't just a second motion following a first, it harnesses the ability to be something different all together. For example, take the scene of an artist sketching using a pencil. Anything aside from their eyes on the paper with their arm moving the pencil is a secondary action. This can range from them shaking their arm from fatigue, looking around quickly for spectators, mumbling to themself while nibbling on the pencil's end, anything is possible with the grasp of secondary action.
An important little note to keep in mind is that the main action can't and shouldn't be overcast by anything else. Having a drunk character stumbling around is the main action, while the swinging of their arm holding a wine glass, for instance, paired with a crazy few expressions ties in as a few secondary actions. Examples from past students/mentors is presented to showcase how little things such as moving a pair of chopsticks, a teacup, or a wine glass can influence the way your character is viewed in the scene according to the context provided. An easy way to help you notice where to adjust your work is to play the animation with no sound. If it works fluidly and you can gauge the shot, it's a great fit!
My opinions on this one in particular are of course going to be positive. I love how much you can do with secondary action in animation and the amount of livelihood and character you can develop here! This principle offers expansive worlds of creative flow and I hope you can use it to your advantage.
Kevin Koch does a masterful job at explaining the topic, and left me with no stone left unturned on the subject. This was one of the few so far I actually enjoyed picking apart. He avoids using complicated terminology and provides a myriad of simple details that crescendo into the climax of the article and let it down easily. Thanks, Kevin.
Sunday, December 2, 2018
sleepy kid tells u abt their week
The last week was masked as a boring trash can fire, but sneakily morphed into a raging inferno of interest. Recently, I got into the hobby of Perler Beads, which are beads that you can iron to fuse together into a single solid form. They've proven to rule my life in recent time.
The perler bead conundrum comes from a rampant need to expand my horizons and I guess my introduction to pixel art led me to naturally stray to these hot circles of stress. I mistakenly got the 22000 BUCKET of TINY BEADS and now that I know how tough they are to use when they aren't sorted, I regret setting myself up for disaster. The finished projects aren't bad, but they cause havoc on my eyes and arm due to having to sort through the colorful mess presented before me. Picking individual beads one at a time and placing them on a pegboard is only part of the process. Breaking down the pixel art into a chart to use for pegging is the initial and most boring step in the process. The end result is great, though, especially since they're versatile enough to make 3d forms, keychains, boxes and more.
-------------
Aside from my tangent rant on beads, the class has reminded me of 3d form in math from 2nd grade, counting cubes and such. We worked on our 11-second club animations, and I fear for a certain clown's completion. I love how collectively as a class we get exponentially more hard-working until it's too late to get the time you need and we end up in a spot where we only did half a whole scene in a week. That's okay too. We all make mistakes and we learn from them. Good luck tomorrow, everyone.
I'm semi-excited for Maya tutorials, especially since I will hopefully be able to make a T-pose of my characters. Haha, right? Funny meme? I was wondering what it'd be like ever since I saw the 2016 class make memes of the squirrel T-pose (thanks, Maddox) and comment on how they "made memes illegal in Licata's class."
I wonder.
Frustrations blossomed solely from how I spent my weekend- sleeping, lazing around and tossing beads on pegs, slowly losing my mind every longing instant, but then i slept and now i'm okay
are we truly ever okay?
is safety just a construct designed to make you vulnerable?
...
The nice things of the weeks past come from my bettering attitude, the perler bead payoff and also the love of my friends. Yea, this means you too. Thanks for being there for me, even if we don't talk in class much. I appreciate it. <3
are we truly ever okay?
is safety just a construct designed to make you vulnerable?
...
The nice things of the weeks past come from my bettering attitude, the perler bead payoff and also the love of my friends. Yea, this means you too. Thanks for being there for me, even if we don't talk in class much. I appreciate it. <3
Tick-Tock-Timing! (BSSD)
Slow in and slow out is paramount to any animation, and in this analysis of Kevin Koch's take on this subject, we'll be discussing this principle of animation and the effects it has on your work. The definitions of this principle vary, but the common meaning is taken as the effect in which when an action takes place the movement needs to gradually increase until it's up to speed, and then slow down upon reaching the climax action. Having no SI+SO in an animation leaves it mechanically unstable, so try adding some support in there!
Koch explains how SI+SO works in correlation to the real world and its properties, revealing that
"objects accelerate when they start to move and therefore they needed more drawings there." This became known as "Slow in." The gradual increase in speed up to the top velocity indicates the further along the action you go, the fewer frames you'll need to succeed. The opposite happens when an action is ending. The subject loses energy and slows down. There need to be more frames towards the end; hereby dubbed "slow out." Koch then shows a few timeline examples of frame spacing that can be used to demonstrate this process. The more inbetweens there are, the more gradual the animation will appear.
The concept of Physics is easily applied here, with the 4 main components being "Position: where something is in space Translation: movement from one position to another Velocity: the rate of change of position over time (speed with directional information) and Acceleration: the rate of change of velocity over time" Koch explains why early stop-motion looks so jittery by revealing how they worked with Straight Ahead animation instead of the more reliable Pose-to-Pose. The animators had no way to monitor their actions and spacing throughout the animation, leading to spacial and timing errors. Use these pieces to your advantage to study points to avoid in your work.
The points provided here apply to any part of the body, and applying these principles to your work takes a bit of time in the beginning. You won't begin to notice much of a problem here until far along in your animation, and that's okay. The implementation of this into the real world has its effects and reasons- some of them being to build force, to provide safety for your limbs while swinging them, and to show power in your work. If someone were to punch, without SI+SO, they'd be full force on the dot, sending all gravity laws into wack, possibly breaking their arm and whatever is in its way. Kind of reminds me of Deku from BHNA. These laws are applied in both real life and animation to provide safety and also direction in your work.
My personal opinions on this are as usual; they're imperative to the survival of both your animation and your own being. Imagine a world where any forces can just pop outta nowhere and knock your socks off and then the force instantly stops. It seems like something the Flash can pull off but not without repercussions. Koch's analysis was very informative and I thank him for providing us with this information.
Koch explains how SI+SO works in correlation to the real world and its properties, revealing that
"objects accelerate when they start to move and therefore they needed more drawings there." This became known as "Slow in." The gradual increase in speed up to the top velocity indicates the further along the action you go, the fewer frames you'll need to succeed. The opposite happens when an action is ending. The subject loses energy and slows down. There need to be more frames towards the end; hereby dubbed "slow out." Koch then shows a few timeline examples of frame spacing that can be used to demonstrate this process. The more inbetweens there are, the more gradual the animation will appear.
The concept of Physics is easily applied here, with the 4 main components being "Position: where something is in space Translation: movement from one position to another Velocity: the rate of change of position over time (speed with directional information) and Acceleration: the rate of change of velocity over time" Koch explains why early stop-motion looks so jittery by revealing how they worked with Straight Ahead animation instead of the more reliable Pose-to-Pose. The animators had no way to monitor their actions and spacing throughout the animation, leading to spacial and timing errors. Use these pieces to your advantage to study points to avoid in your work.
The points provided here apply to any part of the body, and applying these principles to your work takes a bit of time in the beginning. You won't begin to notice much of a problem here until far along in your animation, and that's okay. The implementation of this into the real world has its effects and reasons- some of them being to build force, to provide safety for your limbs while swinging them, and to show power in your work. If someone were to punch, without SI+SO, they'd be full force on the dot, sending all gravity laws into wack, possibly breaking their arm and whatever is in its way. Kind of reminds me of Deku from BHNA. These laws are applied in both real life and animation to provide safety and also direction in your work.
My personal opinions on this are as usual; they're imperative to the survival of both your animation and your own being. Imagine a world where any forces can just pop outta nowhere and knock your socks off and then the force instantly stops. It seems like something the Flash can pull off but not without repercussions. Koch's analysis was very informative and I thank him for providing us with this information.
Sunday, November 18, 2018
the culmination of the chaos to ensue!
If you found yourself back here yet again this week, i applaud you.
The fortuitous results of the last two weeks have resulted in my turning 16, punching holes in my face, a rethinking of my past and what is to come in the future. A detailed examination is to follow.
The main premise the BOCES class has followed for the last few days were those of a more technical nature, fishing into the mechanics of Harmony's cameras and utilizing the "node view" (i don't know why, but i have a distaste for the word "node") and playing around with the technicalities of effects and puppetry. Nothing too schmancy, but it was a worthwhile learning endeavor. We reviewed FPS math, and i was reminded how alike Sam Carter and any other cats are. I didn't know Dwonathan Daniels and i were only 6 hours apart in terms of birthdays, with me being older, and how Sam is a fine craftswoman who can whip up a sketchbook with ease.
I'd enjoy learning about efficiency in animation, how to take shortcuts without cutting corners or lowering the quality. That may sound just like laziness, coming from me especially, but i've noticed that these things take tons of time to do. Usually, on bigger projects, there are teams of animators, and i'm assuming they have all mastered using the same style of animation and so they're compatible together. i still don't know which direction i plan to go for my story, but it directly involves both an RPG and a comic. i have yet to propose at what time to formulate my escapade, however. i barely know what medium to do it in! watercolors are messy, lineart can go bad, i get too tedious with digital, everything's too saturated with digital or markers, and prismacolor pencils take too long.
Frustrations blooming from the week mostly pinpoint my discrepancies within myself, nothing really related to school is involved here. The only education-related thing i can think of would be that i ca barely participate in any afterschool clubs due to BOCES, but i did sign up for this and it's proving to be well worth it already.
The fountain of happiness is blessed by the relationships i have with all my friends, and reminds me that no matter how small you think you are, you're making an impact on someone's life. Whether or not it's a positive or negative one is up to you.
This week's link of interest is brought to us from Peter Draws on Youtube. He's a man tumbling through life at his own pace, and his voiceovers for his illustrations are relaxing and inspiring. It's somewhat like audiovisual ASMR, but also with a tinge of originality. He explores a wide range of mediums, from papers, inks, skin drawings, woodburning and more! This is one of his most popular videos, one spoken from legends of grinding ink and crafting something abstractly amazing with it.
The fortuitous results of the last two weeks have resulted in my turning 16, punching holes in my face, a rethinking of my past and what is to come in the future. A detailed examination is to follow.
The main premise the BOCES class has followed for the last few days were those of a more technical nature, fishing into the mechanics of Harmony's cameras and utilizing the "node view" (i don't know why, but i have a distaste for the word "node") and playing around with the technicalities of effects and puppetry. Nothing too schmancy, but it was a worthwhile learning endeavor. We reviewed FPS math, and i was reminded how alike Sam Carter and any other cats are. I didn't know Dwonathan Daniels and i were only 6 hours apart in terms of birthdays, with me being older, and how Sam is a fine craftswoman who can whip up a sketchbook with ease.
I'd enjoy learning about efficiency in animation, how to take shortcuts without cutting corners or lowering the quality. That may sound just like laziness, coming from me especially, but i've noticed that these things take tons of time to do. Usually, on bigger projects, there are teams of animators, and i'm assuming they have all mastered using the same style of animation and so they're compatible together. i still don't know which direction i plan to go for my story, but it directly involves both an RPG and a comic. i have yet to propose at what time to formulate my escapade, however. i barely know what medium to do it in! watercolors are messy, lineart can go bad, i get too tedious with digital, everything's too saturated with digital or markers, and prismacolor pencils take too long.
Frustrations blooming from the week mostly pinpoint my discrepancies within myself, nothing really related to school is involved here. The only education-related thing i can think of would be that i ca barely participate in any afterschool clubs due to BOCES, but i did sign up for this and it's proving to be well worth it already.
The fountain of happiness is blessed by the relationships i have with all my friends, and reminds me that no matter how small you think you are, you're making an impact on someone's life. Whether or not it's a positive or negative one is up to you.
This week's link of interest is brought to us from Peter Draws on Youtube. He's a man tumbling through life at his own pace, and his voiceovers for his illustrations are relaxing and inspiring. It's somewhat like audiovisual ASMR, but also with a tinge of originality. He explores a wide range of mediums, from papers, inks, skin drawings, woodburning and more! This is one of his most popular videos, one spoken from legends of grinding ink and crafting something abstractly amazing with it.
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