Archive for the ‘education’ Category

Monday, April 9th, 2018

FREE Online Animation Drawing Course!

Instruction

FREE Online Animation Drawing Course!

Animation Resources is pleased to announce a FREE online drawing course teaching the fundamental principles of drawing for animation. The course is led by Animation Resources’ Director of Education, JoJo Baptista and it’s based on Preston Blair’s classic book, “Advanced Animation”. Over the next year or so, we’ll be working over the internet with a group of students who want to sharpen their skills and learn to draw more solidly. The course will include online lessons followed by video critique with draw-overs of students’ submitted work. The first lesson is online now- plus you can download a PDF of the entire rare first edition of the Preston Blair book!

Preston Blair’s Advanced Animation Lesson 00
https://animationresources.org/instruction-preston-blairs-advanced-animation/

If you would like to participate, follow our lessons as they are posted and send in your work for critique. As the group of students following this online course progresses, we’ll be introducing more advanced lessons. If you are a student studying animation in school, this is the perfect self-study program to supplement your formal education. If you are a professional animator, it never hurts to brush up on the fundamentals. It can shake off the cobwebs and break you of bad habits. You don’t even have to be an animator to benefit from this… illustrators and cartoonists will get a lot out of these lessons as well.

There is no charge for participating in this course, but we ask that students who benefit from this valuable information consider becoming members of Animation Resources. From time to time, we will be referring to materials on the Members Only download page, so to get the most out of this course, you should join our organization. Support the people that are helping you grow as an artist.

JOIN NOW!
https://animationresources.org/membership/levels/

FacebooktwitterredditpinterestlinkedinmailFacebooktwitterredditpinterestlinkedinmailby feather

Sunday, July 17th, 2016

Art Education: Warming Up

An often overlooked aspect to your daily drawing exercise is the warm-up period. Athletes and musician both have standard warm-up activities which they engage in before each performance or practice session, but for some reason this type of thinking isn’t widely circulated among artists. If you struggle to begin a drawing session, don’t like the initial quality of your drawings, or are trying to establish a new Drawing Habit, then warming up is for you!

Choose Simple Drills

When deciding what sort of warm-up to do, make sure you don’t pick an activity which will take a great deal of effort and time. The point of warming up is to get your body and mind into gear so that you can effectively spend your efforts on a more important piece of work. Make sure that each drawing for your warm-up takes only as much as 2 minutes to complete before moving on to the next. In my suggestions below, several of my activities take under 10 seconds to perform.

Fill an entire page with 1 type of drill before moving on to another activity. If you spend your warm-up time rapidly jumping to different exercises, you’ll never truly get the benefit that repetition can give you. Instead, focus on doing 1 drill correctly and resist the temptation to let boredom drive you off too soon. While you certainly don’t have to do that same type of warm-up every day, you should have a small rotation of activities that you come back to frequently which represent your weaknesses.

Winsor McCay Little Nemo 1911

Practice Good Technique

There’s little point in practice if you don’t draw correctly. Very often students fall into the trap of repeatedly drawing the same things over and over in exactly the same way. This is the trap which produces the bulk fan-art websites’ content, and explains how someone can draw voraciously for years without ever improving. As a rule of thumb, you should be slightly uncomfortable when you practice good drawing technique unless you’ve already mastered it. After all, if you’re not comfortable, then you’re not changing the way you draw, in other words, you aren’t learning!

Set a Hard Limit

Make sure that your warm-up doesn’t take up all of your drawing time. The point is to get yourself going and to motivate you to begin your drawing session, but the longer your warm-up lasts, the less it functions as a warm-up. You can set a limit by using a timer, or setting yourself a goal of a certain number of drawings, or as I do, set the goal to be filling the page. Any finite limit will keep the warm-up short enough to do its job, while still forcing you to move on to your real drawing session once completed.

chuckjones_police_doodle

Suggested Warm-Ups

Remember that these are only suggestions, and that your skill level will vary from my own, and that of other artists. Ideally the activity you choose should be some minor but important aspect of your primary focus, and allow you to strengthen your understanding without becoming overly taxing.

warmups_st_line

Straight Lines

Being able to comfortably free-hand straight lines consistently is a core skill for any artist, but it’s particularly useful if you want to make quick perspective grids for storyboarding.

warmups_cu_lines

Curved Lines

This exercise will help build your confidence while drawing or inking. Make sure that the line is put down only one time, and with a clear, clean stroke.

warmups_circles

Circles

Circles are one of the most fundamental shapes which is used in the construction of characters, scenes and objects. Although you might think you can draw circles already, try to carefully control their size, position, and relationship to other elements on the page.

warmups_ellipses

Ellipses

By adding dimension to the circle, we can draw discs in 3D or play with the squash and stretch of a ball while trying to maintain its volume. Be precise and don’t settle for misshapen or crooked ellipses.

warmups_cylinders

Cylinders

By adding two ellipses together, you can create a 3D volume. Cylinders are a great way to practice some easy perspective drawing and also to play around with more exaggerated effects like fish-eye distortion.

warmups_form_tubes

Form Tubes

A great way to get a better handle on how ellipses move in space is to make some snake or slinky shaped tubes. This can be a big challenge depending on how you want to manipulate the appearance of depth.

warmups_3D_forms

3D Volumes

If you’re already comfortable with vanishing points and linear perspective, you could construct some cubic solids on your page in various positions within the same space. For added challenge try combining complicated volumes like spheres, wedges, cones, etc.

warmups_tumble

Tumbling Objects

Take any object which you can comfortably draw and rotate it slightly each time you draw it. Make sure that the sequence of your drawings can be viewed almost like a flip-book, or you could always animate the object as your warm-up.

warmups_gesture

Gesture Drawing

For those who are already fairly accomplished at drawing the human figure, doing simple fast gesture drawings can be a great way to get your arm moving and re-familiarize yourself with the body before you begin a drawing session. In the absence of a live model, there are online resources such as stock photography which you can use. If you want to try random gesture poses at your computer, I recommend quickposes.com.

warmups_draw25

Draw 25

If you aspire to be a concept artist, you may want to try this simple warm-up of drawing 20 variation of any object. This can help you to engage your imagination and test your knowledge of a given subject. For beginners I recommend having an image search handy for reference.

FacebooktwitterredditpinterestlinkedinmailFacebooktwitterredditpinterestlinkedinmailby feather

Thursday, June 2nd, 2016

DESIGN: Specific Design for Animation Characters

Today, I would like to introduce you to JoJo Baptista, Animation Resources’ Director of Education. Over the next year, JoJo will be assembling articles for this website as well as hands on online courses in drawing and design for the membership of Animation Resources. -Stephen Worth

Jim Smith Applies Specific Expressions
By JoJo Baptista

Jim Smith Specific Design
In these sketches Jim Smith demonstrated a perfect example of viewing observation from reality, in this case the acting of Robert Ryan, and he applied it to a generic cartoon dog. In order to gain an understanding of how the design of the character worked, Jim did studies of a dog character from a Dan Gordon comic.
Jim Smith Specific Design
He then researched Robert Ryan’s performance in the 1951 film, “The Racket”, and sketched several facial studies.
Jim Smith Specific Design
He applied his knowledge of the dog design, then overlaid specific expressions based on his Ryan studies. These expressions breathed new life into the character, giving his acting entirely new levels of distinctiveness.
Jim Smith Specific Design
Take a look at how the features which make up Robert Ryan’s face match the dog’s exactly (ie. The jaw, cheeks, eyebrows, etc). He was able to create new eye and mouth shapes based on his findings. Beautiful execution! This is an incredibly sophisticated process, which takes a complete understanding of not only cartoon construction but a mastery of the human figure as well. Jim’s knowledge of both is what allows him to execute such a complex amalgam of unique cartooning.

A specific expression isn’t simply eyebrows up or down to convey an emotion on a characters face. It isn’t just a generic happy or sad character. In fact, based on these drawings one can make the observation that it uses the entirety of the face, even when shapes are at rest, to put forth an expression that is totally unique and functions within the context of a scene.
Jim Smith Specific Design
Jim Smith Specific Design
The drawing on the bottom left looks as though it’s a combination of a cartoon shape and anatomical elements.
Jim Smith Specific Design
To those studying these drawings: Don’t just redraw these poses! The lesson to take away from this article is how to get to the point of an expression. Experience drawing both cartoon characters and real human beings is important. Once you have an understanding of how a fundamental principle works, apply it to another. Try taking an existing actor with wild expressions and apply them to a generic classic cartoon character (ie. Jerry Mouse, Tom Cat, Elmer Fudd, etc.). You’ll learn a lot about acting and design this way, especially what a character needs in order to emote.

I invite you to share your studies in the Animation Creative League Facebook group. That way, we can all learn something from each other.

JoJo Baptista
Director of Education
Animation Resources

FacebooktwitterredditpinterestlinkedinmailFacebooktwitterredditpinterestlinkedinmailby feather