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1. Ah Fai was a chief animator for McDull’s animated features. He’s super cool. Ultimate senpai. 

2. Previous post on breakdowns right here 

Some thoughts on acceleration and force

I presented this in the order of how I slowly understood the trick of delivering force - 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. 

Like I’ve previously stressed, 2D animation is everything but one single approach. There’s no one rule that rules them all, but interchangeable ideas with math, or physics, or music, etc. There’s no “perfect” animation either, but what is perceived as organic and dynamic. E.g., using the Fibonacci numbers to animate didn’t 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. 

Not so much of a tutorial than a personal experience. I hope you find this interesting hahaha 

#animation

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have fun w/ this

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Art advice 👀🎨

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hey shoomlah i have a question thats been bothering me for a while.

i see lots of people do art studies, and i do them too, or try to in between other stuff. but i look at how others studies wind up and then mine... am i doing an art study 'wrong'? is there a 'right' way you're supposed to do a study? is it weird to feel like i was never taught how to do an art study in the first place

So I don't think there's a wrong way to be doing a study, so long as you always keep in mind that you should be consciously trying to learn while working on a study! 

Like when I'm doing plein air work I'm often focused on studying and representing the specific construction/”anatomy” of the ruins or rock forms, when someone else drawing the same subject might be focused on color, or lighting, or stylization, or anything else. You can have very different goals when doing studies and end up with very different (but equally valid) results.

But then I’ve also done studies where I’m focusing entirely on color and lighting:

...and then back in college I was doing studies which were entirely about medium and uncovering/emphasizing the color in a piece:

And all of these are successful in my opinion! I used a different process each time, and focused on/learned different things, but I did go into each one generally knowing what my goal was and how I wanted to pull it off: if you’re studying color, maybe avoid eye-dropping colors for your first pass! If you’re studying proportion, maybe eyeball it at first! And then you can dig back in and see where your instincts were off, what you can improve, etc.

Art studies/master studies are occasionally about painstakingly exacting recreation, down to the brush stroke, but that’s hardly the only way to go about doing it. 👍🏼

#art advice #ask #a-for-effort-f-for-execution

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WIP’s of a new illustration I’m working on! BP characters in a DnD Au setting 👀

#love love the process ur style is so clean <33 #art ref

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Oh my gosh. I just found this website that walks you though creating a believable society. It breaks each facet down into individual questions and makes it so simple! It seems really helpful for worldbuilding!

#world building #dnd ref #maps

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[points] OLD. OLD

#im hurting im hrutjng hurting hurtibgbdhshhf #2012 crying and shaking anf screamjng #shitting myself that this show is a decade old this yr

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Part 2 of cino art tips is some basic tips on shape and silhouette design which are also principles I think about a lot :)

(also i'm so sorry i chose comic sans to write this in idk what i was thinking but i already flattened the layers)

i don't have any other obvious tips off the top of my head rn but feel free to ask anything you are curious about! i love getting asks uwu

#art ref #character design #art tutorial

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tips for people who wanna compliment artists on their drawings from things i learned in class critiques

pick a part from their drawing and say why you like it even the most obscure or tiny thing

describe an emotion you feel when you see their art

talk about the elements of their drawing; colours, lines, forms, etc. and why you think they work

connect things you enjoy about the art to things that it reminds you of

ask the artist why they did what they did on a piece and let them talk about it

ask the artist how they executed their piece

talk about the compositions, and your overall impressions when you look at it

artists always enjoy when their work connects with others!

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Some SHOULDER references today! I’m creating the world’s first true ENCYCLOPEDIA of drawing tutorials under the hashtag #howtoTHINKwhenyouDRAW, all of which is FREE for EVERYONE, FOREVER - you can see EVERY TUTORIAL on  OUR MASSIVE INSTAGRAM HERE and OUR GIANT TWITTER HERE! PLUS! CLICK HERE for 300 EXTRA FREE TUTORIALS! Lorenzo!

#ref

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Hewwo! Can you give a tutorial on how to draw side profiles? Thank you 💖

I'm admittedly not the best at keeping a page layout clean, but this hopefully didn't end up being too confusing, haha

I hope this answered your question sufficiently? :'D

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I LOVE it when you finally figure out how your oc world works and have your story click together like a beautiful and ornate puzzle finally being completed and you feel the gears in your brain shift from realization to sheer power like

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Final post on digitigrade humanoids, and then I have a couple other projects in progress to get to. (Here is the breakdown on common problems with drawing digitigrade legs and how to correct them)

First up: a basic comparison of some animal and human leg bones and simplified muscle structures.

(Description: five simple skeleton drawings with a red outline to show the full body shape. Muscle groups in the legs are marked with translucent colors. There is a human, a dog, a house cat, a goat, and a horse.)

As seen here, human legs have long leg bones, almost entirely straight in their alignment. The muscle groups are also long and closer to the bone, with only some overlap at the knee so it can bend. Our feet are also short and the entire foot is on the ground because we are plantigrade animals.

In contrast, though all these animals have different proportions and structure from each other, the digitigrade animals all have distinctly shorter leg bones relative to body size compared to the human. Their pelvic bones are also much thinner in side profile, while the human pelvis is very round and large.

All the digitigrade animals have their kneecaps very small, almost nonexistent, and some kind of bend at the knee which is helped by the way the pelvis tilts down before the tail. The horse has the least bent knee and the cat has the longest leg bones with the most bent knee.

But all of them have leg muscles that attach in a much wider area at the top and taper down with lots of overlap to the ankle in a smooth manner. The foot bones are long and mostly surrounded by tendons and ligaments instead of muscle.

It helps to see the full skeletons instead of just the leg, because it shows just how much the digitigrade leg shape is tied to these quadrupedal skeletons and muscle structures.

So next question is, how do you make the distinctly quadrupedal digitigrade leg work on a bipedal form?

(Description: close up drawing of a regular goat leg showing the bones next to a sketch of a satyr that also shows he simplified skeleton with more detailed leg bones. The arm is missing so it wouldn't get in the way of the leg.)

The way I have worked out the digitigrade problem is by reshaping the pelvis and shortening the leg bones, while also adding a slight bend at the knee and smoothing out the muscle structure. The pelvis now is a little narrower, tilting forward slightly. It also has a longer tailbone because the satyr has a short tail. All of this results in a bigger curve at the lower back to counter the differently shaped leg. I kept a human-like kneecap to facilitate the straighter bipedal structure of the leg, and the lower leg is still shorter than the femur like a human, instead of having the lower leg longer like most digitigrade animals. Otherwise the leg would get a bit too long on top and start to have the z shape problem.

I also tried to animate a walk cycle

(Description: a looping gif of a very sketchy wall cycle comparing a normal human and a digitigrade human. To fill space I added a simplified bird flying behind them. The normal human lifts their knees a little too much, but it's clear to see that the normal human has a lengthier stride than the digitigrade human which does have to lift their knees more to keep up with the normal human stride. The digitigrade human also appears to have more motion in their hips, head, and shoulders as they walk.)

Not perfect but I did my best haha. I wanted to add a quadrupedal walk cycle but I somehow got mixed up on which legs were moving when and got a weird limp that I couldn't figure out how to correct. So I erased that part and added the bird to take up the extra space.

And that concludes my thoughts on digitigrade humanoids! It can look different based on the animal you're using as a reference of course, but I think I figured out a decent way to blend the bipedal figure and the digitigrade leg form.

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mel doodles

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me walking to the white house to kill everyone inside

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Summary of the Venom 2 trailer

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More little background items for The Mitchells vs. The Machines. Some ideas for things laying around Katie’s room. This was my first assignment on my first day—started off easy on some cups and books to clue me in on the style. Our production designer, Lindsey Olivares, pushed me to go looser and less polished to give the 3D artists room to interpret. A note that I still think about today. Lots of references here.