#theres way better methods to drawing a pose

[corpsoir]

hi! do you have any tips with digital art? & if I may ask do you use procreate, please & thank you

hellooo yes so this answer might be super boring but oh well!!

oh and i use clip studio paint and a wacom intuos pro medium 🎤🦍

my best tip for digital art and art in general is to keep practicing and trying out new things as often as you can. practice shape and form and change the way you think about art. instead of drawing something the way you KNOW it looks, draw it the way you SEE it. this is like one of the basic boring first lessons you will have when you study art, it challenges you to use your eyes more than the knowledge you already have about the world while drawing. try keeping a sketchbook or something where you just draw objects without looking at the paper. draw things without the pressure of them having to look "good", draw to just draw you know! its really good practice and the only way to get better at drawing is to practice like crazy and try out new things and letting go of that fear of stuff not looking perfect.

i try out new brushes with different textures and shapes all the time because i always grow bored of the ones i use regularly, and so to get the creativity flowing again i always change things up a little. plus, a differently shaped brush will add interesting textures and shape to your art. one of my favourite brushes i use for both lineart and colouring because its so versatile since it adds just the right texture for me, i think its called SU cream pencil or something like that in clip studio assets

and when it comes to colours i always work with a limited palette because i find it helps bring the piece together?? if you stare at my art for long enough youll see i use the same colours over and over again in both the same pieces but also in different drawings and thats because i have a limited palette in clip studio, with colours ive picked before and just saved because i like them! i really like warm purples and dark muted reds because i really like how they feel warm and kinda autumny sjdjjdjsja

and use references! whether it be a photo from a fashion magazine or a video where you pause to get a good pose or a photo or real life, use references!! take photos of yourself and trace them, i promise its actually good practice!

pick up a book about drawing at the library or watch videos of professional artists breaking down how they work! theres a lot of really good artists online who are way better at teaching than i am HAJFHSJDJD

a book i would really recommend any artist is called art fundamentals! its about colour theory and perspective and shape and form and you name it, its really good and inspiring. filled with lots of cool art 🐙

i have a lot of things to say about practicing art but the question is kinda vague so sorry if this is all over the place hjsjdhakfjfj but yeah at the end of the day my only tip is practice and dont be afraid to try out new things and play around 🪱

#oh and also. the thing with posing a figure with sticks and balls for joints? sucks. dont do it #use soft round shapes and action lines instead and LOOK AT REFERENCES #the sticks and balls method seriously only makes a figure look stiff and unnatural #im literally baffled that people still teach that lmao in my opinion it doesnt help any artist getting better!! #theres way better methods to drawing a pose #figure drawing classes will seriously help SO MUCH i know it can be expensive though but you know #sometimes theres cheaper ones or free workshops at some schools and whatnot #hope this rambling mess offers some insight and help though fjwnfjwkwkd #ask

[skyllion-uwu]

I need to draw on paper NOW I know I've got some basics down for some of the batrogues but I can't get proportions right when drawing digitally but also grabbing a sketchbook and drawing feels hard and I'm not sure why

#my preferred method is 'draw sketch on paper. line and color digitally' #but after sketching i tend to get tired and forget to do the rest later #but i want to start doing it more so i have more completed full body stuff #maybe even *gasp* scenes and poses #GOD theres one drawing idea i have of nova doing the same pose as gumi in copycat by circusp #and then variations of them dressed as different henchmen with the corresponding rogue in the mirror #and i tried using the pic itself as a reference and drew the building blocks directly over the pic #but the head was WAY too small for my style so it looks weird and i cant fix it now #but anyways if i do the sketch and line in digital then itll look better #anyways maybe while im traveling ill be able to make myself draw #sky screams into the void

[sonic-adventure-3]

I accidentally drew the same goddamn pose 3 times lmao. Why is posing legs so hard i always fall back on posing them in the shape of a 4. Also, new freak!! Her name is Jerryjack. More about her + individual images + couple other things below the cut vvv

I don’t think I’ve posted any drawings of her other than her first, but i’ve been drawing rig a lot more like this rather than that first one. More graphic head shape, more upright ears, one eye hidden, mouth hidden by scarf, what have you. I think she looks cooler and is way easier to draw like this, but is a little less sonicy, im sure I’ll find a balance sometime. Rare carrion non-blep, this pose is cool but i did not even try cleaning this up lol.

And jerryjack!! She sucks so bad i love her. They’re Rig’s best friend, known each other since they were kids and learned the trade (killing) under the same mentor. She’s 11 months older than Rig, so she’s about 25ish. She hates consistency, commitment, seriousness, kids, stagnation, compassion, anything boring, and many many other things. She loves anything fun, stirring shit, lying, inflicting blunt force trauma, herself, lockpicking, and money. She’s purely self-interested and does everything she does for funsies. She’s not a part of the postal crew cause she thinks it’s boring and is allergic to commitment but hangs around and ‘helps out’ sometimes. She’s a hitman on her own, and has way more connections through that than rig, occasionally floats jobs her way. Also sometimes places bounties on her when shes mad. Or just cause.

Unlike Jerry, Rig is a very routine and organized person. She wakes up every morning at 6 sharp despite not being a morning person. Miraculously, she and jerry lived together for 2 years and during that time rig ate microwaved oatmeal every single morning and got groceries on tuesdays. All this is to say Rig is very methodical and likes routing and things that are expected. So Jerry lost their shit when rig called them randomly and casually told them that she’s starting a non-euphemistic postal service and also spontaneously took in a couple kids. Naturally, she’s very wary of squabble and carrion, especially the latter. Assassin recognizes assassin, silly recognizes silly, they try to kill each other and then become besties (who still periodically attempt to kill each other). As for squabble, she’s surprisingly fun to interact with, so jerry warms up fairly quick and becomes a truly awful influence on her.

Here’s the first drafts and base. She’s obviously a jackalope but calls herself a hare for some reason. Is part of that reason because i couldn’t think of a pun name other than jack like jackrabbit and ‘jack the jackalope’ sounded a little too stupid for my taste (as if ‘jerryjack’ isn’t stupider)? Ummmmmmm.

Anyway, i decided to nix the asymmetrical antlers cause theres a limit to how much asymmetry i should stuff into a set of characters, carrion’s already got the lopped off ear and etc. the back and tail marking is supposed to emulate ribs

I’m still super duper undecided on jerry’s outfit and colour scheme. Every outfit ive thought up so far feels way too simple or untethered to reality in comparison to the postal crew’s, however i think the postal crew is a bit too complicated (or way too complicated in squabble’s case) and too grounded for sonic, so. Idk what to do abt that. And as for their colour scheme, as seen above her first drafts have the same red and green of the postal crew, but seeing as she doesn’t work with them it’s definitely the better choice to diverge from that. Saturated orange is the most tense and unsettling colour to me so i think it suits her off putting nature, but the white and orange combo reminds me intensely of like. 1960s egg chairs. WAIT and ulala space channel 5. And various stupid tech startup kitchen gadgets. Just generally a combo with a lot of nonthreatening and safe associations rather than the warning sign i want. Idk man i’ll workshop it eventually.

Also, cloak rig. Her previous red coat was stupid. Not sure how much smarter this is but it looks cooler. Still doesn’t usually wear it other than in towns to hide her wings or when it’s cold. Also also this is the same fucking pose again

#Sooooooo sleepy rn #so if anything is incoherent it’s cause i’m so sleepy always and forever #doodles #ocs #oc posting #sonic oc #rig the fox-bat #carrion the cat #jerryjack the hare #super awful at getting stuff out of my head so idk how well i explained them or got across their vibe #i like my ocs so much man. so much #i need to post about them more #my art

[lord-shitbox]

part 2 of this ask

📝Process for hurt mezu drawing 

here are the steps i dug out of an art server's wips channel lol

1. initial sketch

2. refine sketch. thats lines now babey. (omitted "the sleeves are KILLING ME WAHHH" stage that led to this)

3. grayscale, to use with gradient map (this is a more polished grayscale than I started with, i dug the working file out to get better images)

4. find nice gradient map (ended up being the same one I'd used for the piece i made right before. the goal is to make what's essentially an underpainting, not to color the whole thing with one map)

5. tweak and add colors that arent in the map with hard light layers & also sneak in a layer for special effect and atmospheric/ scenic perspective while you're at it

6. shading & more finishing effects. pretty much all of the shading was done with hard light layers! the only non-hard light layers I used for the shading were the particle effect layers & like one faint glow layer to fix some values. blood was done with linear burn

✨Inspiration for hurt mezu drawing 

the coloring method (grayscale -> saturated gradient map underpainting -> additive color adjustments) is something I tried out with the piece i'd made right before (the one where gozu is holding mezu from behind) & turned out really well, so I wanted to keep going with it

I also wanted to draw them angstily again because it'd been a very long time. like half a year at least. angsting them is very enriching for my soul so I try to do it regularly, this one was overdue

subconsciously referenced the poses in the initial sketch from this old thing (feb 2021). i love doing this. all my for-fun works recycle old elements in some way. my favorite game is "what old art reminds me of what im doing rn" im so good at digging stuff out of my archives for it. everyone loves when i do this

the gangi-kozou panel also

i went through a "shade in bold red-orange & dark blue with hard light layers" phase in like..april/may of 2021. i still like that stuff a lot so I wanted to revisit it

💚Things you like about hurt mezu drawing

repasting the link there but the sixth image in the process is essentially the final so you can just look at that

the colors are nice!! I'm real happy with using more saturated colors n I think the warm vs cool balance works really well

the sleeves (man being dramatic on the sand meme)

no like fr look at the 2021 piece's kimono sleeves vs the one I just did 2.5 years later. so satisfying

Gozu's expression came out nice

i think the claws and flash lines successfully added Emphasis to Gozu's expression & the piece overall

the poses … the drama …. the brush textures are also good

⏳Things you’d do differently with hurt mezu drawing

add in a liiitle more contrast...aka use a wider range of values. Some lighter lights and darker darks. I miss my 2021 hard neon lighting

a bit more distinction between the characters and the background also

the composition isn't bad but it could be better. Should've thought more about the way the eye would flow around the image in the drafting stage (solid b&w color block thumbnails are good for this)

Moar Sparkles. (I put a solid amount of large & low opacity light bubbles in there & some finer brighter dots especially around the claw stems, but I think more clusters of tiny bright lights on the characters themselves would've gone hard)

💌Some favourite feedback on art

as the wise man Austin Kleon once said: keep a "praise file" of all the positive feedback you get (if you've never read "Steal Like an Artist," you must). so. i am prepared for this question hold on

tastes like sugar glass

multiple people have told me my art is soft & dreamlike

jayce you reblogged my touchstarved art with nice tags on april 10th ive got that saved love uou

umm theres a lot...anytime someone keysmashes or feels emotional because of my art i get happy ,,, lys messaged me about the hurt mezu piece that made me happy also,,,,,there is so much joy in the world

#shitboxposting #asks #shitbox drawn #JM SORRY I FEEL LIKE THE FORMATTING ISNT EASY TO READ NO MATTER WHAT I DO....AUGH #all my class work with actual conecptual meaning is monochrome what am i doing...man....... #i need to post more art and i also need to make more art. aghhh. boots up ultrakill and magical drop again #im actually Not sure how im going to afford the next few years of my life 😭😭 a bitch gotta have time to do fuck all but i need money..!!!! #whatever its fine. i have time to do fuck all right Now and thats what matters

[spacedlexi]

When you draw do you use references or just freehand everything? I’m trying to get better at figure drawing and different poses and I’m generally alright when I use a reference, but freehand I’m all over the place and everything looks stiff and bad.

ahah unfortunately for me i was on deviantart during my formative years when everyone acted like you were a cheater and a faker if you even Thought about using a reference (im SO glad its not like this anymore those were dark times as a child artist)

so 9 times out of 10 i do not use references. i really only use them when im studying or if theres a pose im unfamiliar with/certain pose i want to recapture. like right now im drawing some dancing but thats not something that comes to my minds eye easily so i looked at a bunch of different references just to get the "idea", instead of using just one

dont be afraid about using references if they help you a lot! different things work for different people and lots if not all professional artists are using references in some way

BUT if you would like to improve your reference-less figure drawing, and it seems like youre unhappy with the movement (or lackthereof) in your free hand drawing? my first tip for that is to use some sort of base so you can try feel out the pose before you actually draw it. here are some examples of what i mean:

i have a few different methods depending on how i feel like doing it but you get the idea. i usually like to block out the shape but sometimes i need to be able to see details so its more of a little figure. some people just use little wire-frame-like skeletons which i also use but more rarely(i like to see the silhouette). but regardless of the method you choose, the point is to help with posing and movement and to try to keep things fluid. especially if you really PUSH the movement youre trying to capture. just exaggerate the pose a bit. push and pull and squeeze and stretch it helps make your drawings looks more alive. having the base like this helps me exaggerate more if i need to during the line stage

it also helps to know about the way the body likes to naturally rest. tip 2 is to look up the contrapposto pose itll go into all that and give you a nice little diagram. but the "rules" associated with the pose help a lot in creating poses that feel natural. it just helps with figuring out angles/weight distribution/balance stuff like that. keeping in mind that everything has a weight to it and we move to compensate for that helps too

UHHH i hope this helps?? getting poses to look natural and fluid takes practice more than anything. for me the most important part to pay attention to is the way you angle the shoulders and hips. those are like grounding points for me and i work from there (shoulders/hips/spine) (youll read more about this if you look up the contrapposto pose)

HEREs a little link to an article about contrapposto with a quick video at the end that would probably tell you all youll need to know about it. look up images for more diagrams if you need them

#replies with lexi #incognito #art tips #i should start tagging these aha i like answering art questions if i can

[fosterscribbles]

You draw canids/quadrupedal animals in general so well I am so inspired by your works. Do you have any suggestions or tips on how to get better at wolf/dog etc anatomy? I've always leaned towards anthro/humanoids BC they're easier for me to draw but I really wanna start getting better at drawing my 4 legged ocs

Thank you so much!! As for tips and suggestions I do have some! This ended up a little long but I hope these are helpful in some way!

For wolves and dogs in particular (bc I have most experience with them) they have a similar structure, things just sit slightly different sometimes depending on dog breed. For example, wolves hold their neck level with their back quite often, while dogs necks stand upright typically. When looking at your animal of choice you can take notes on aspects you are interested in or want to express in your art! You can do this for any animals, looking at the way they typically hold themselves and how things are placed, taking notes on the aspects you find important or read as the animal best to you. This is not to say anyone who doesn't follow these structure 'rules' is wrong or bad at art. I fully belive there is no wrong way to make art, and I myself don't follow these rules 100% all the time (this goes for all my tips). But if you want to include these things in your work for any reason, thats something I like to look into and take notes on!

Look at photos! You don't always have to trace photos, if you want to work off them just by sight you can! But tracing photos of the animal you are trying to draw can be a good way to explore the shapes and placement of things as well. My favourite method of this is less tracing and more finding the structure to use as a framework. For this you place circles for the head, shoulders, hips, and all the joints and use lines to connect them together. This shows where things are and gives a skeleton to build on or learn from! I don't condone stealing other people's art or images, but tracing photos can be very helpful for some people to learn (and of course proper credit should be given if you post it online).

Practise drawing the basic shapes of the animal in a variety of poses. This can give a good idea of how the basic shapes of the animal move and change depending on the pose, and if you can get a good idea of simple poses and how those shapes look you can build on top of those with other details!

Do a full page (or more if you're up for it) of quick gesture drawings/sketches! I use reference images for these as well. Get your references out where you can see them and begin doing quick and loose sketches! You can choose to focus on pose, movement, shapes, etc.. The trick to these is to not worry or get hung up on them looking 'good' or presentable. These are meant for practise and understanding certain elements of your subject matter! You can do these timed if you'd like, 1min/5min/10min intervals to challenge yourself depending on whats most comfortable for you. But you don't have to of course!

This one isn't always everyone's favourite but is very true: Practice a bunch! Its cliche but I got to drawing canines the way I do in large part by drawing them constantly. Even a bit of practise can help, you don't need to work yourself into the ground, in fact please don't! Doing some practice when you can is good no matter how much you do in one sitting, day, week, and so on.

As a final note, I know its hard to give yourself a hard time with art, especially when trying to do things you aren't used to or have never tried before. Patience is hard, but it does take time! Everyone's ability is different, so take it at your own pace, theres no wrong way to learn/paractise. Don't be afraid to make something you think isn't the best or you don't like, you're learning and what you made is still art in its own right! And if you find you want to try these tips, you're free to try them in a different way, use your own take on them, or change them up however you see fit. Not every method works for everyone so play around and see what suits you best! They aren't super specific, so I do hope they are still helpful in some way! I could always try doing a post more in depth about how I work on these things one day, but you are free to ask more questions too if needed! Good luck and have fun!!

#asks #max text #im not an expert so this is the best ive got but i hope it helps! #also my tablet is still fkd so i dont have any examples to include but i can add them at a later date mayb #theres some that dont require one i could do too so may rb in the future with examples bc i am bad at explaining sometimes lol #srry its so long btw lol #long post #just in case

[meruz]

replying to some asks - lots of weird preachy art advice. just trying to cram every sophomore year art school lecture into my blog

ANON, PLEASE SEND ME A PICTURE OF THIS..........................

glad to hear it!!!! I always love to see sketches from other artists but somehow when I post mine I feel like it’s just...cheap? like its not ““Real content”““ LOL... but if even one person likes to see it thats all I need to hear

very interesting question, thank you for being specific because that makes it a lot easier to answer. This is going to kind of sound like what every other artist tells you but

1) Go to figure drawing classes/sessions! I know we’re in the middle of a pandemic right now but actually that might even make it easier to find because a lot of figure drawing sessions are being held online atm! Anyways, I cannot possibly overemphasize the importance or studying the human form from life. It’s something that artists spend their whole lives studying and still learn new things about. Nude figure sessions are far preferred over clothed ones especially for beginners but, really, any practice from life helps. Whenever you draw from observation, make sure to step back and really look at your model and then your drawing. What discrepancies do you see, what feels like its missing, where do you think you can improve, etc etc. developing a critical eye is crucial.

I think figure drawing classes are the best method by far but theres plenty of other ways to get the practice in. I do a lot of cafe drawing and drawing on public transport, personally. Drawing from life is vastly preferred over drawing from photo reference because the human body is a living thing and conveying it properly means understanding 3D space and gesture and movement, all things that are easier to perceive irl. A lot of artists draw from dance videos on youtube to at least get the idea of movement even if it’s ultimately from a 2D screen. Recently, I’ve been drawing a lot from rock climbing videos on youtube!

because they’re climbing you actually get a lot of interesting angles LOL... good study of pose-to-pose relationships too, actually..

2) Practice dynamically. If you can develop the eye to figure out where your drawings are lacking, you can practice with those weaknesses in mind. If you realize you don’t really understand the structure of a foot or the back of the head or the back when it’s arched, look up references and practice those things specifically. Sometimes it’s not in the specifics but the general - if you realize you have a hard time proportioning out the figure, draw guides for yourself and set goals to draw proportions before details. Stuff like that.

3) Box Trick. This is just the simplest way to get a set of guidelines down for perspective on the human body the same way you put down guidelines to figure out where the eyes sit on the head LOL.

but here’s something to keep in mind regardless: perspective is a game. You’re tricking the eye into thinking something is close or far when actually its just sitting on the same 2D plane as everything else. You can do the math and make all the guides you want but at the end of the day its either going to look convincing or its not. And being convincing is a lot less about being accurate and a lot more about confidently selling your point. So don’t sweat the calculations of proportions, make hands or heads or feet as big as you feel is right and trust your eye and your gut over your brain.

Hi, yeah sure go ahead! As long as you link+credit me, I don’t mind my work being used for non-profit purposes. Especially fanart like.. I don’t even own these characters LOL. Just, if you edit my art, please don’t use it to perpetuate like...hate speech or even edgy politics... unless they are edgy politics I have explicitly endorsed LOL. If you’re ever on the fence abt it feel free to ask, of course!

TYSSMMM yeah ideally I guess its just ? group therapy LOL? I feel like actually Ryuji, Akechi, and Haru are characters we see very rarely interact and when they do they seem very alienated by each other?? So I think it would actually be great for them to chat LOL they have a lot in common especially the fondness for direct action.

VERY NICE THINGS TO SAY TYSMMMMMMMMMM

I guess since I was old enough to hold a crayon? Doesn’t every kid draw? 

But if you mean when I started seriously drawing and trying to get better.. I guess I started carrying a sketchbook when I was 12-13 years old and I’m turning 25 in a couple days so it’s been 12-13 years about. I don’t believe that years have any huge bearing on art progress though. You can be drawing for 50 years without ever deepening or widening your skill set, if you stick to the same old patterns day in and day out. Similarly an artist who is proactive with learning new skills and targeting their weaknesses can improve in leaps and bounds in a matter of weeks.

The style I currently use for painting, I only really started using.... about 3 years ago? When I was a senior in college.

but i wouldn’t say I’ve “““mastered”““ it and I doubt I really ever will because I don’t think that’s the point... I’m constantly changing things depending on how I want a painting to look or the way I want it to feel... or how I feel on any given day LOL

the thing about art style is I don’t think it’s actually something you have to work on or “find”. An artist should change the way they draw depending on the subjects or techniques they want to explore. If I wanted to convey comedy, I’d draw characters differently from how I would if I wanted to portray drama. And if I wanted to focus on lighting I’d paint differently from how I would if I wanted to focus on the details of the human form. When I was drawing a lot of digimon fanart earlier this year I drew differently from how I’m drawing now while putting out a lot of persona 5 fanart LOL - even when the content is similar the characters have different gestures and different tone that I convey through any number of things, proportion, rendering, edge definition, color range, etc etc.

as you experiment with techniques and approaches undoubtedly there’ll be some you’re naturally better at or more interested in than others. and i think that’s what a person’s “art style” really is, the stuff that you gravitate to and come back to over and over even as you transform and explore.

not sure if that makes sense but.. that’s my two cents, anyway.

yea hit me uppp dude [email protected] lmk what you want and I’ll give you a quote

#art advice??? LOL #ask #anon #anonymous #parkore #whatevayouwannacallit #lesbianellliesattler

[mildlycuriousdragon]

You're art is a huge inspiration to me, and I was just wondering how you practice with face shape? I'd hate to copy anyone's art style, but I've heard practicing with a reference helps?

AAAA bless you anon ;;;;; It makes me so happy to hear that I can inspire someone,,,

When it comes to doing the arts, I shamefully admit I am a mess,,, My methods are constantly changing depending on my mood honestly gdfg But I can say practising with refs is a way to go! Just spending time playing around, observing shapes both through irl reference or through your fav artist’s art style can help you get a sense of how and where to place things!  You can also draw skeleton like structures/shapes over pictures you want to study to help map out the shape and method better too! Then practice free handing what you discover after! 

Like this! I know these are hands not heads but I did this over my own art for a friend to show them how I tend to draw hands! 

This is just as a practice tool tho! Tracing art to then post and claim as your own is a nono! But its perfectly fine to for studying! 

I also got a couple of useful DA accounts I refer to when I’m trying to practice!

https://www.deviantart.com/senshistock - This account is all real life pics of people posing in different angles, sometimes with items ect ect! Plus theres a variety of body shapes available to study!! :D!!!

https://www.deviantart.com/etheringtonbrothers - These guys are fantastic for all kinds of refs!! They’ve posted hundreds of little tips and tricks for drawing people, animals and more for free!!  

#Anonymous #hope something here helps!! #id share the whole hand thing i did for my friend but its a mess to look at and i am ashamed djfghdf #answered

[madgemoen528676-blog]

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[beansandco]

Research for Specialist Subject

When thinking about what I should research, I thought about what would make me a better Animator. Well I know from my Advert that I can draw pretty characters. However, when I think of Cupti & Shaker; which I wanted to be smooth Rubber Hose fluid animation, I dont think it ticked all the boxes. As a first real crack at animating, I learnt a lot about software and the practicality of it ( the long time it takes). However when I look at it, it doesn't feel as professional as I would have liked. Since then I've pulled away from the Animate CC software quite a bit. I felt like it held back the possibilities for drawing and detail because of its limited brush features. I'm using Photoshop a lot more as I get a professional feeling and look from my work. Despite finding a style that feels good, Cupti & Shaker; which was heavily inspired by "Who Framed Rodger Rabbit", doesn't reach its level of fluid motion. So I decided to work on my actual understanding of the motion that is used in animation. I went to the library on campus and found a book titled "The Animators Survival Kit" which funnily enough, was written by the creator of "Who Framed Rodger Rabbit". From reading it he gives an intro into his early experience in the industry and his idolization of the man he worked with. Richard Williams, learnt much from, Grim Natwick (born Myron Nordveig). When William's first met him he was told by Natwick that "Animation, its all in the timing and the spacing". For me this is what I read and thought this is exactly what I need to know! I decided to read on in the book and it goes on to perfectly explain the animators "Timing Chart" and the main forms of drawings that they make while animating a scene which are (In order of importance), Key Frames, Extremes, Breakdowns and Inbetweens. (Williams,.2009) Obviously all the drawings are important but the idea of expressive animation, is the key poses. They are so important to get right because they are the story telling poses. So long as those frames explain the story and expression, the the playing of or the "acting" of the character comes in the extremes and breakdowns. These are things I was only vaugely informed on during the animating of "Cupti & Shaker". So apart from the frames. There is the timing. The time charts are usually made for other animators that are helping with the animation to understand what is wanted from the scene being drawn. Because the timing explains where each picture is as a frame in the scene. The timing comes hand in hand with the spacing however. The spacing is the distance of each drawing in a frame compared to eachother. This effects the speed and "fluidity" of the movement. If you have someone running, each frame they are drawn, they will be considerably further away from the last frame. However if he were to slow down, he would not suddenly be still in the next frame, there will have to be frames in between gradually getting closer together to "slow in" to the stop. This is one of the most used methods for realistic animation. Timing & Spacing is considered widely among the animation community, that it is a core principle to have. I specifically want to study this because I know it is something I have misunderstood in previous projects. With Cupti & Shaker I know specifically that I would animate, pose to pose, with a frame drawn evenly between the next. This means most movements are simply sliding at a constant rate. This can be considerably similar to the movement of digital animations. A problem with digital animations is how “perfect” a lot of the movement is. With computers being able to figure out how to time things, the specificity of the movement can make it unbelievable, reaching a kind of “uncanny valley”, where its too real to be real. Similarly I mentioned something similar with the animation of the new The Lion King remake where the movement is “floaty” which is a popular term used among animators to describe a movement that forgets weight. (The Lion Kind, 2019) Broadening the subject slightly, Timing and Spacing also relies heavily on other aspects of drawing. Being something I focused on recently; drawing. When it comes to animation, you need to think of what you’re drawing as a 3D object moving in space. That way, through the use of timing and spacing, your characters will also be consistent with their movements. The human brain is very good at subconsciously knowing if something is keeping its shape, however it is very difficult to then put this into our work. This is why some animators actually draw rough passes using the shapes of the characters before the details. What I’ve read when it comes to this, there is no way to research this, its more to do with practicing, because it is a practical skill. The skill should be developed along side animating. One person who I have been following on his YouTube channel is Aaron Blaise, he is an ex animator/director for the Walt Disney Company who now creates tutorials and streams for aspiring animators like myself. He’s been incredibly helpful with tips for animators who need to learn to draw thinking about shapes and perspectives. He’s one of the reasons I’ve taken to practicing drawing a lot more. (Aaron Blaise, 2012) 

My idea for the Specialist Subject is to create a series of designed characters and have some small animated movements as a practice of timing and spacing. These short animated characters will help to give me an understanding of moving characters in 3D space in a 2D format and also to use my new understanding of timing and spacing. This could be similar to the industry standard of “Rough Passes” used when producing animated films. These rough passes are animations that are incomplete but have the full movement planned and fleshed out above secondary motions like hair and clothing.

As an example of other creators using rough passes would be, Disney. They say testing is a crucial part of the production. As soon as a sequence was ready they would put it into the multi-plane camera and have it made into film. This way they could watch it over and over and see the movement. With new software it is possible to always test your animation, methods known such as “Scrubbing through”, where you use a play head to drag trough the frames, you can quick export to view it  as a video file ect. I find this helps me specifically when trying to visualize the characters in a 3D space on a 2D plane.

Of all the styles of animation I’ve mainly held myself to the “pose-to-pose” method. This allows to keep characters more consistent and planed out. However, with this being a realistic and restrictive method, I have mind to try using the “straight ahead” method which is very different. This is a form of animation where you draw a frame and then draw the next one after another. This allows for a lot of freedom and spontaneity. Most animators use this for character hair, fire or fight scenes where things are far more random. This could benefit me within animations as it provides visual interest and doesn't require anywhere as much  time because you don’t need to worry about the consistency.   If I were to use this style, I might want to use it as more of a “main feature” than a characters hair or such. An idea that comes to mind is something like magic. This is represented in many animations and is usually a form of character expression. Something that springs to mind is the story of “The Sorcerers Apprentice” in the Disney classic Fantasia. This could be a “realistic” pose to pose character, that uses straight ahead magic. (Fantasia,1940)  

Animation as an Art form is comparatively young and compared to others. As I went into in my FMP last year, animation had a boom of popularity around 1920′s however it really came into its own when animators developed “Methods” that all aspiring animators would benefit from learning. These are a set of rules for animation. I’ve spoken about the principles of animation however I haven’t mentioned that despite these being “Rules” many animators that are experienced find that they are there to be broken. A lot of the character and story telling done in movement is made unique and eye catching when the rules are bent but not so far that is seems unbelievable. This is where originality and skills comes in most. Sometimes animating on two’s works better than one’s and this we still aren't sure why, probably because techniques for everything are still being discovered today. Theres no way to know exactly how best timing will work in scenes. So even when you use the principles you might find deviating from them works better. ( Thomas, F. Johnston, O, 1981)

However, there is one thing that animators have found that DO stick to certain rules, and these work across the board. The timing of a walk is very specific in animations because people in real life all tend to walk at the same pace. Our unconscious recognises this and holds animation to the same standard. most people walk on 12′s. This means theres is 12 frames per step they take. Walks can be animated on 2′s but runs are always animated on 1′s. The more a position of a character changes the more time you might add to have more frames to reach there, or you would want more frames in a shorter time. Most companies animate on a standard of 2′s however when running or theres a fast change of shape your would need to animate on 1′s to compensate. This is why animations where made with music and it worked so well, because everything could be reduced to the beat of a characters walk.

[vero-verse]

I'm slowly coming to grips with practicing what I preach. I'm kinda accepting that I'm gonna have to learn by doing and I can't do that if I don't do it. So I attempted a fight scene page in my sketch book and I'm gonna try and discipline myself to finish it. I have a sketched out composition but I see so many problems with it. Its a case of my skill doesn't match up with my knowledge. I can see problems with pacing, line of motion, anatomy, and composition in the placement of speech bubbles and sound effects. I know the proper thing would be to do new page with another sketched composition to adjust the composition accordingly. In designing you should do several drafts to come up with the best composition. This is why thumb nailing is so important. But my sense of space was never good at thumbnailing. The frames and images within would end up proportioned differently from my thumbnails. Also, my ability to put down, then pick up a piece at a later time has always been terrible. Once I put a piece down I never come back to finish it. My attention span os short. If I can't finish it in one sitting, I will likely not return to it. This simply won't do with my schedule. So ::frustrated sigh:: I need to fucking persevere through it and do all these things that I KNOW LOGICALLY in theory, into practice. It's kinda like when I was first learning to draw and I'd just do the eyes and then build everything around them. All the books and my friends atarted with a circle, and I knew I should too. But my brain didnt know how to place things in a circle and I just wanted to do it -my- way. This will end up biting me in the butt if I maintain that attitude. So... i'm gonna have to just push myself. Push myself to do things the correct way, then develope my own way. You need to start with the proper basics and foundations before you embellish. I know that, and I stubbornly refuse to do it because its too hard, and then nothing gets made. I'm gonna start by addressing one thing at a time in a list and go point by point on training myself on these things. 1) I've lost the ability to draw digitally. Theres something in paper and pencil that makes it easier to work than tablet. Its similar to when I first got my tablet and I couldn't adjust to the different method. Since I'm having Dyzz, Lazz, and Clock do the clean up, I need to get over that and just do my pencils. One less thing to get hung up on. 2) The first thing I'm gonna practice on is disciplining myself in working in several sittings. The reason for this is all the gesture drawing, composition practice, and ect. Aren't going to matter if I get tired part way through, and don't finish the page. 3/4 )I am unsure which one would be better to work on after this. Composition or Gesture. If I can't draw the poses, I won't be able to set up the panels. But if the poses look shit the panels won't matter? 5) action technique. The motion lines. Effects to show point of impact. These things are slightly different. They add to the fights but don't count for poses. They're just different. But since they're kinda like the finishing touch, they should be last. And thats what I think I need to do. And I need to do that through Anesthesia. Not a bunch of practice pages. Otherwise I'm going to have hundreds up unconnected practice pieces and no project because I want the finished product perfect. But look st the first chapter of a manga vs. The latest chapter. The artist grew as they went and I'm gonna have to do that. I'm gonna have to accept that the first pages are gonna look like shit to me no matter how much I prepare. So... In summation, I have a resolution to do these things and I'm gonna try and start that. My baby step is to try and draw/ practice something at LEAST once a week. I need to give myself a motivator to do this. A reward or something for accomplishing the one thing a week goal. The carrot on the stick... Anywhore, let's see how long this resolution lasts...

#sorry for the wall of text #long post is long

[crystalgeneratormedia]

Grey NoteS

I have not come to teach, rather to remind. 

For we must not give our opinions of truth.

Clock watched

Pillow soft, as I toss

I cannot sleep this night

Through terror, dim-lit souls surrender

Called away with silver fingers

Lately, left with panic manifested

Dark tombs, which surpass original thought

Wolves prowl all around met by silent bliss

Wouldn’t you like to be seen for who you are?

Lanterns in the sky will guide your path.

Easy to feel alone at times, but there is always one to pick you up.

Getting trapped in my head

Look out the window, fresh air.

The answer is always yes. The trick is finding the one who gives it.

Airport orange juice says it best, “good in, good out.”

To be…

Time is an investment of the heart

Speech, a cruel charade

A thick mire, where many lonely prisoners lie

Held at hand, but holds control tighter than a child-to-mother

She tells us when to go, dictates when we come.

This sweet illusion, we give so quick our souls

Morning (west coast)

Cool grey clouds hung up on wires

Cast a coddle body

Mornings autumn breath, stirring the leaves

Lungs of a crippled woman

Lovely whispers whirl

Canty speech allures me out of bedtime clothes

Morning (East Coast)

Moist breath, fascinates olfactory senses

Precious blossoms all around

New rays from the east reflect a deep green pond

Bowing to the red ball

Seafarer

Salty clanks of sea bells

Far travelled passengers prepare for an aquarian voyage

Past down the southern point, never to return

An heirloom of the setting sun, a sacred relic of a gaudy look

A passerby, or of native blood, cannot escape the solemn roar

colossal white walls purge the sky

Massive domes ignite a shrine

Carefully posed in tryptic glow

Fabrics woven children 

Plastic yellow chapels

Litter shores

Odd partition 

Feel the seas low groan

Road to Rampart

All vessels bleed to the turned-neck beat

High-speed metal teeth

Commerce centered Babylon

Painted children’s faces

Chills the heat of high-class traffic

Determined mission fixed

To indoctrinate into loving visage of a planet removed

Ones they will never meet, certainly never feed

The games to play for keeps

The Owl

Seen a face on my way home

Saw it in the road

And numbered certificates of ones own fate

Have become all but too familiar

And when the vision of the eye has befallen all of thought, and attention hard to redirect

With tension deep within the fabric

A shear-cut satin film distorts and means to sever

Don’t have to like a word i speak

But if you find the nectar sweet, 

i do implore you take an honest taste.

College

A balancing act

Caffeine fueled adrenaline

Mind preset, muscle spasm

Largely caused by procrastination, 

even a sunny day sets too early

Leaving behind all days work

What you know is what you have been told

With streets walked and words talked

Do not have to invest in a soul, but you will lose your time alone

Nothing in particular, everything in mind

White Wave

A word would not leave to bitter a taste,

Aroma only a reminder

To feel this fierce, to release a grain of sand

And time will do as it always may

No incantation of ecstacy or grief

Simply and subtle, like that of good taste

The ocean’s opals, and lion’s mane

With material shed and life at it’s basic

Thoughts sent away i’m left with gratitude

A life spent if fear is left.

How glorious a day!

The chrysalis of potential awaiting springs blossom

Why accept a broken string?

Baffled, showed me beauty

Never saw a picture, only felt a feeling

Heaven sent Angels’ greeting, 

When I choose, I soar

I have not lied

I left the wire perched

He showed me how to love you

Live a life questioning who can i help today

Who can i love today

How can i show grace and mercy

Remember you were bought at a price and are loved

Not a political game, a simple i love you

Nothing expected in return

Only more gifts granted for obedience

A good leader learns to lead through obedience

The chasm

You were not sent to plunge the chasm

A cool tone, silent lips are a better leader than most

Let them know who you are

With shame forgotten, and lessons learned, respect is paid

Lay yourself down

You are your brother’s best man

Reflections of a catholics candle

You said you wanted love the most

You said your missing him the most

Am i host or but a ghost

Where does your blood call home?

98% drop out. Keep at it

If your good, you will have work

Daylight come, daphodilia daze

Ancient uttering a sacred praise

We live and breathe in a world of ancient discussion

We have not created a modern society for ourselves

Our roots go back to ancient times

The fair-hair mare

What a novice

A special banquet on a golden plain

A portion for the king

Bring down thunder hear the swears apportioned to the rightful heir

Candid practices tell me more

I want to see you love

Please can i hold it close

I need it now

I will

There is no big stuff

No argument to tear us apart

No word to draw a tear

No attitude to set a day on edge

Time is on our side, and ours to enjoy

Let it all flow

Let love settle and grow

Nature’s Lovers

To the nature, Lord of fire

Every man she did inspire

Mother nature Queen of ice

Everyone who loved her died

Caring mother, shamed whore

Both good and evil men she borned

Wind and fire, destroyed by water

Time was her favorite daughter

To end in death, forgotten laughter

Cross of martyr endless slaughter

Forgiven children dear departed.

Concerning present consumption of energy

There is a big movement towards finding an alternative energy source to power our current and future growing need for power. All the methods of deriving power through wires, manifolds, and other apparatus are far too complex, and filled with unnecessary complexities. The future of sustainable energy is not a question of new technology, but rather an ascention of culture.

Sometimes i write to see the ink leave the pen, other times to speak

Words hold all the power

They are key to the mystery

People fade like the grass

You can know, because you can think

These sounds weigh pounds

You will remember only what you want

If one knew everything, he would remain silent

The universe came as a traveller 

Human health, the main concern

A reminder to believe, and time is fake

That is enough to sum it up to sum

He died to prove the same pursuit

Would lead a better world

To tend to those need tending

Simply because were here

If what your making is better than whats out there let it out

Remember this and always remember

Do not be fooled by a kiss

Take an honest bite and honest look

Does it bring out the best 

If it does not, why is that?

Is love to blame or just yourself

Do not be shy and do not hide

They are out there and they love you the way you are

If its them you must fight, be kind, patient and smile

Bring honor to there majesty

You have learned so much, come so far

Bore the burden

Seen the cards

Laughed a bit

Left a tear

Met oneself

Walked out on fear

In just a few numbered years

Oh stem oh leaf

Inspired flower

Seen you every day sometimes every hour

To hear a voice believed out of power

Now I’ve forgotten and fruit turned sour

I could have simply tried harder

To fear

Frozen, kept in a frost

Clouded eye of way

Face you, overtaker

Be honest in my prayers

You stole my friends

Stole my days

Sucked them all away

Now i must face you overtaker

Forever cast you

Its not all for all to see

Candle light, days rest

When garden tended 

Rise were stars and given true

When work and struggles life grandest pleasure

The world transforms how fortunate

after all one life was given

And chosen have we now

And choose again we will each day

Fear exists in the chest and head

And love is truly free

Amidst the question to all who listen

It perplexes

Hard like stone or mystics vexes

Beneath the sun we seek perfection to run around each to their messes

But in the end deemed it fair

That all would wonder a selfish share

Some chose folly others prayer

Though answers found, I’ve heard them rare

Pacify it would be out on the field

On my way home it then appeared

And with my perception cleared

Enjoyed all things i once feared

Formation reconstruction of patience everlasting

Settles statements aligns passions more random than dynamic

However fractal when divided, love is the constant

Fear of loss is perhaps the most debilitating sickness

   JUST have a good day.

Sun sending seeds

Monsters fingers slowly creep, holding the mountains tightly

But sun always breaching through shows colors yellow blue

On tangerine and down the hill through mist a monster on the left he comes from the lake

Theres a way to let things go

Its not fair, but thats life

Let it all fall like a grain of sand back into the surf

night walk, sudden movement

Mice are lead under the moon

To keep watch of baker’s bread

A torn portrait borders faithful watchers and whispered myths of mystic diction

Cradled by a long-stood pillar

Lavish purple fishes

Cantered lemon kisses

Boyhood fostered memories

Cold remarks affliction

Ample reasons ready

For swimmers tiny eyelits

Quartered seasons prisons a restful incantation

Patient mortals on an ancient porch

Fair laid and blissful caverns are ellipses of the iris to bear

Simple wisdom a portal

Fortunes bastard children indirect relations misinformed passions kept secret resurrection

As days hours grow bleak and childish relics carefully are tucked away, lavender and black as pitch is night a cardinals path

Leagues of allies stored in memories deep, point to a savior, capitol magistrate.

you read, and think my thought

#poetry #poet