Posts tagged "character design"
capriciouscrow:
“  modmad:
“  Things I did not mean to do today;
• This.
”
Now see….Look at how cool this looks. How cartoony it is, obviously it isn’t realism but…i just. I’m so jelous that people can draw these sort of things…
I HAVE to draw...

capriciouscrow:

modmad:

Things I did not mean to do today;

  • This.

Now see….Look at how cool this looks. How cartoony it is, obviously it isn’t realism but…i just. I’m so jelous that people can draw these sort of things…

I HAVE to draw somewhat realistically. I know i’m far from being a great artist who can render a scene like a photo but i am even farther from being able to do this…I can NOT draw something so cartoony like this because it bothers me…

And on some level it’s cuz i don’t wanna hear a critique that says “Well that’s not anatomically correct” … Anyway i really love this drawing and the band is pretty cool too u-u

Not very often I reblog my own stuff, but I got curious at seeing someone state ‘obviously it isn’t realism’ and clicked the link to read this through.

First of all, thank you! It’s wonderful that you like my work so much! Very very flattered, kisses, high-fives and hugs, and damned straight the band is pretty cool too.

The real reason I’m dropping this back on my blog though, is that the only reason I can draw like this is because I have learned how to draw realistically. If I didn’t know how to draw an anatomically correct human, I wouldn’t be able to exaggerate and caricature it like this. People seem to mistake stylistic design, especially cartoon design, as a way of drawing without applying realism. It’s completely the opposite. If you want to draw like this, it is imperative that you know what you are pulling apart and stretching and squashing and generally turning on its head.

You hear the phrase 'you have to learn the rules to break them’, all the time, but it isn’t explained very often. What it means it that you have to know what the rule you are breaking is, and you have to have a reason for breaking it. In a cartoon it happens all the time: a person walks off a cliff and doesn’t fall until he notices; rule broken- gravity, reason- comedy. A smear frame will have the character drawn with ten hands and three eyes; rule broken- realism/on model design, reason- fluidity. With this style I seem to bend the legs and have that jutting out part just below the knee on the lower leg- this is actually just an exaggeration of the calf muscle, and when you look at a real human leg, the two parts do not line up exactly and are, in fact, curved. The bones are bent in order to absorb the shock of walking, have a look at some skeletons, you’ll see. I didn’t add anything or change anything, just pushed what was there already. Certainly, I did it so far that it looks absurd, but it is grounded in truth; rule broken- anatomy, reason- silhouette.

Basically what I’m saying is that when artists can draw like this 99% of the time it’s because they’ve spent long and arduous hours learning how to draw realistically. If you’re still having trouble believing me have a look at some of my earlier drawings of the robots, they aren’t at all cartoony. I’m not saying that I’m a master at drawing humans, I wish I was, but I don’t want to encourage the idea that I or any other cartoonist would reject a solid grounding in anatomy.

(via capriciouscrow-blog)

Still trying to get him right (aaa his mouth is so hard to get right but it’s so fun to draw).

Still trying to get him right (aaa his mouth is so hard to get right but it’s so fun to draw).

TL:DR- style and design stuff I guess

image

1) I have no idea. One day, you just find people are talking about ‘your style’, and you sit there and say you don’t have one and look confused. I have no real idea of how or when it happened to me, and I would say even now that I have several different styles. Also, the idea of 'sticking with a style’ once you’ve found it can actually be dangerous. Even if people like something, you mustn’t feel like you’re restricted to it- it will stagnate, and you will as well. My SKIP design method resulted from pushing the lines to their extreme, stretching and pulling and pushing everything as far as I could, to the point that it was uncomfortable, but only when I had gone that far could I see where it felt right and pull it back. If you don’t push something to the extreme, you’ll never know how far you could have gone.

Evolution and art go hand in hand; if you stop trying to change, to push yourself and improve, then you’ll go extinct. Change can scare people, and they might not like it; you might explore new methods and tricks that simply don’t work for you, but mistakes are the best way to learn. Some of my best pictures have resulted from mistakes- I remember during foundation year, when I was doing some very precise work with a dip pen, I sneezed and my ink spattered across the page. I almost cried, but then I saw it sort of looked like a cat freaking out. I finished it off as the cat, and started over again for the actual piece. Both were far better than the original would have ever been, and the cat was by far my favourite of the two. I still have it at home somewhere.

2) When I draw feeling I draw movement, and when I draw movement I draw feeling. Animators have to be constantly aware of what happened before and after the split moment in time that they are drawing- why is the cloth moving that way, how are they going to land on that foot, what vowel are they saying with their lips, how are they saying it, why? Why is the biggest question to ask when you are drawing something. You are drawing someone who is shy- why are they shy? What sort of shy are they? Is it gangling and awkward, are they curling in on themselves away from the world, or do they simply not want others to know that they are afraid? In one of my acting classes I was told that the best way to portray an emotion in a scene is to try to be the exact opposite- someone who is scared will try to look brave, and as a result seem even more scared. As long as you know the motive of a character- what the character wants, and why they want it- you can do anything.

Motive drives everything, and that includes lines and shapes. With Hare, I wanted to express menacing resentment- in other words, his prerogative is to look mean, but the drive is bitterness. So, imagine what that emotion looks like, feels like, then think about how humans express it physically and combine the two. The result is everything is hooked over and slouching with the chin jutting right out in the front, like a moody teenager trying to make a point that he plain does not give a shit about posture or anything else. The shape is curling in and around itself with hooks and snarls- even though it still reads as aggressive, when you analyze it an abstract way, it is still defensive. He is creating a barrier against the world around him with his own construct.

Silhouette is very important in character design, but it is equally important in character acting- if you can tell what the character is doing by their silhouette, it’s a good drawing, if you can tell what the character is feeling by their silhouette, it’s a great drawing.

Last one aaaand I have done nothing for the comic today, oops, but I WAS ILL SO NER. I DO WHAT I WANT. Also is it odd that the Jack is legit the only one I am scared of the others are kind of adorable to me ahaha?
See the good guys over here.

Last one aaaand I have done nothing for the comic today, oops, but I WAS ILL SO NER. I DO WHAT I WANT. Also is it odd that the Jack is legit the only one I am scared of the others are kind of adorable to me ahaha?

See the good guys over here.

Things I did not mean to do today;
• This.

Things I did not mean to do today;

  • This.
This is sort of cheating because I drew these a few days ago but my gills are feeling greener than the Bayou at the moment so I guess this’ll have to do. I’ll try and draw some other prompts later but, wow, what is wrong with me uuuuurgh…
Anyway, I...

image

This is sort of cheating because I drew these a few days ago but my gills are feeling greener than the Bayou at the moment so I guess this’ll have to do. I’ll try and draw some other prompts later but, wow, what is wrong with me uuuuurgh…

Anyway, I figure if I animate these chaps I’d blend my SKIP style with Bunny’s own designs- so I’d end up with something more true to the creator’s vision but relatively moveable. I did try giving Spine the details on his jaw but it would make things too complex to animate well, and I still have no idea how I would deal with the Jon (I mean my god HOW DO YOU CONTROL THAT THING).

I might do a proper set of them at some point, turnarounds and details etc. but yeah… when I’m better.

Just some 20 second sketches. Also people were asking about designing characters- basically, you can make anything and anyone into a character, but keeping basic shapes in mind really helps to make things cohesive and expressive.

image

Also makes it much easier to draw/animate them in the long run.

Combined effort of my right and left hands. I’ve been coming up with this idea for a short animation over the past few days about an animator and his character. I still can’t pin down what the guy looks like but this is more about the feel of it...

Combined effort of my right and left hands. I’ve been coming up with this idea for a short animation over the past few days about an animator and his character. I still can’t pin down what the guy looks like but this is more about the feel of it (plus I can’t freaking draw).

Tumblr hates lateral images so it’s here on DA too.
Not all of the characters/creatures but just the silhouettes of (most of) the main players.

Tumblr hates lateral images so it’s here on DA too.

Not all of the characters/creatures but just the silhouettes of (most of) the main players.

takineko:
“ OMG! Cartoon concepts for Buster Keaton!

takineko:

OMG! Cartoon concepts for Buster Keaton! <3<3<3 Be still my nerdy heart!

www.morrislessmore.com

Yes more advertising of this but COME ON.

Also I cannot find this anywhere to watch it. So far as I know it isn’t a full feature but a long-ish short, fifteen minutes or so. My lucky as hell Swedish friend got to see about half of it at a fancy animation do but even she hasn’t seen the whole thing.

Needless to say if anyone finds any means to see it please tell me because I will be INDEBTED FOR LIFE ;A;

(via )