3d technique

Things I’m waiting to see in the kuro movie

- Everything.

But specifically:

- Dr. Feelgood:

- “We’re The Midfords”:

- “My mother did this to my hair because we’re going to church today” hairstyle:

- “You’re a freak but not for me” scene:

- “I am alone but I have food”:

- Masters of deception:

- Sportacus:

- Resident Evil. Starring Ronald Redfield:

- “Your face is grass and I’m gonna mow it”:

-”Even though I have to kill you I admit you have nice shoes”:

- This guy:

- “I am secretly a five year old inside of a demon’s body”:

- Ceiling Lizzy + “You just seem to keep falling for me”:

- Female character people would have liked more if she had been a boy:

- Jealous is the new red:

- Fetus Ciel:

- This guy snorts when he laughs:

- Titanic 3D:

- I am all technique (but I have killed many while trying to acquire the perfect precision):

- Emperor Nero + That moment when everyone was tired of Druitt’s shit and wanted to kill him:

- “My hair hides my true identity”:

- Undertaker’s real name is Charlie Chaplin:

- This scene will look awesome animated:

- Yandere! Sebastian + That moment when everybody’s heart broke:

- The origins:

- #LetUsAllHugFetusCiel 

- “Maybe this burnt down mansion was a bad idea”:

- “Cause you’re hot and you're cold, 

don’t wash me at all. 

You’ve hurt me, get out. 

It’s too hot, I’m out!”:

- The mistery of where Sebastian’s left hand is in here will finally be solved:

- More fetus Ciel:

- “And he was like, ‘hey bastard, your ends are split’ and I was like ‘just like your girlfriend’s legs last night, but you don’t see me complaining about it now, do you?’”

- It would have hurt more if he had hit the top of his hands instead of just the palms + Oh, so you suddenly feel the heat but you couldn’t manage to make a simple fucking bath, huh?:

- I don’t care if she doesn’t even talk I just wanna see her in the movie:

- Madam please, I’m still not over you:

- “Sweet kiss, shitty ass crown. Just get me a princess tiara and we can pretend”:

- When you think you know a lot of stuff for your age so you bother your father about it, but then your old man gets tired of you and hits you with the harsh reality:

- *Mmm watcha say…*

- Do you think Sebastian DiCaprio will get his oscar after this?

And of course… The thing that most definitely has to appear…



BurntPasta’s Flipnote Studio 3D Color Mixing Tutorial!

I do my best to showcase how I mix colors using different colors and brush textures/fill textures~


A lot of my color combinations were created by experimenting. Sometimes something would start off green with a layer of white using the first texture with a layer of blue on top using one of the later textures and I would end up making a lighter turquoise color.. 

I encourage everyone who animates or even just ‘arts’ in general on flipnote to experiment with all kinds of color combinations! :3 

For example: The best grey is actually created with the checker pattern brush of yellow on bottom, blue on top! (or vice versa!) It can be seen on the mettaton ex doodle seen above! Using white on black kind of creates a harsher grey that does not look metallic at all and blends in too much with the black outlines..

Another example is using Red on Green in the checker pattern brush creates a warm brown… Perfect for trees, monster kid stripes, or even hair color!

I tend to create the colors on the character first and then go back with either of the stripe pattern brushes with black to create shading since it allows both of the under-colors show through… But for high-lights, I prefer to use the checker brush and paint on white. ^^

Always remember that the more spaced out your brush is, the more you will see colors on lower layers, so you do a lot more mixing because of this! 

I would like to take a second to thank the anon who asked ‘how I color with Flipnote’ that prompted this tutorial! <3 

I’ve been meaning to do one for a while now, but I’ve never done a full-fledged tutorial before… ^^; 


PS: My favorite colors to make in flipnote are the purple made with red and blue and the checker brush, and turquoise made the same way with blue and green. lawl. >3<

Part 2: 10 More Animated Movies Beyond Pixar

Part 1: Animation Beyond Pixar
Part 3: Another 10 Animated Movies Beyond Pixar
Part 4: Some More Animated Movies Beyond Pixar

Hey! It looks like people really liked the first post, so let’s do it again. This time I’m going to expand the rules a little bit and show you 10 movies that were not produced by Disney, Pixar, Dreamworks, or Studio Laika. Hope you find something cool!

Kirikou and the Sorceress (Kirikou et la Sorcière, 1998)

The breakout hit of French animation master, Michel Ocelot, Kirikou and the Sorceress is an invented fairytale drawing from west African folklore. You’ll immediately notice the style, how it alternates between very lush, lovingly rendered scenery and somewhat limited animation. A lot of the limitations of this movie can be chocked up to the infant-status of French animation at the time, but in spite of a few reused walk-cycles Kirikou is a wonderful film! In fact, Kirikou was such a success in French theaters that it spawned its own sequel in 2005, Kirikou and the Wild Beasts.

The story recounts the birth and early travails of Kirikou, an impetuous but incredibly clever infant boy. Kirikou’s village has been all-but enslaved by the evil sorceress Karaba. It’s up to Kirikou to keep his ailing villagers safe from the sorceress, and find a way to stop Karaba for good.


Sita Sings the Blues (2008)

Sita Sings the Blues is an interesting creature, it’s actually been released under the Creative Commons license, so you can download it for free right now. A labor of love by cartoonist/animator Nina Paley, the movie is entirely animated with Adobe Flash. Ordinarily I’m not very fond of flash animation, it’s become the new fad in TV because it’s cheap, and has unfortunately ushered in a new era of bland, limited animation cartoons (Teen Titans Go, I’m looking at you). That said, Sita Sings the Blues is a wonderful example of how an artist can exceed & in some cases exploit the limitations of Flash to create really charming cartoons brimming with beautiful designs.

Featuring 4 different animation styles and an overabundance of musical set pieces, Sita Sings the Blues contrasts the many trials and tribulations of the mythical Sita (wife of hindu folk hero, Rama) with the waning days of the animator’s own marriage. Interspersed between these two stories is a more light-hearted retelling of the Ramayana (the story of Rama) by indian shadow puppets.


My Dog Tulip (2009)

My Dog Tulip recounts the trials and tribulations of one Mr. Ackerley as he attempts to raise his bratty german shepherd, Tulip. The most striking feature of this film is its styling, which can charitably be called “impressionistic” but more accurately be deemed “scribbly”. Everything is freeform, and the models shift and twist into the most expressive shapes for their given scenes. Considering that every one of its 60,000+ frames is actually an individually-rendered digital painting, the movie becomes quite impressive.

This is a very restful movie, aimed at an older audience, so save it for when you next want to relax. At once charming, silly, dry, and very juvenile, it’s hard not to smile as you watch Ackerley’s animated self blunder through raising his dog. And though Ackerley shamelessly anthropomorphizes Tulip, the film (quite refreshingly) will never let you forget that she’s a silly, fidgety dog.


Perfect Blue (Pāfekuto Burū, 1997)

While Japan produces a lot of animation, most of it is just miserable crap. That said, every so often someone amazing gets to make a movie. Writer/director Satoshi Kon was one of those people.

Kon’s directorial debut, Perfect Blue, is an intriguing, upsetting, suspenseful, and frightening movie. A young pop star leaves music for acting, but is traumatized by her first role. Shellshocked by her first experience, the actress falls into a fugue state, and the people involved in the production start dying. All signs point to the murderer being the actress, and while she should be recovering she’s inadvertently pulled into the world of an obsessive stalker who has been watching her every move.


The Illusionist (L’Illusionniste, 2010)

Based on a recovered script by legendary French comedian/director, Jacques Tati, The Illusionist is the story of the last bright spark of an aging stage magician’s career. Tati loosely based the film on his own stage career, which happened to start at a time when many stage acts were being muscled out of venues by young, hip rock bands. Supposedly Tati wrote the original script as an attempt to reconcile with his eldest daughter, whom he had abandoned as a baby. This is heavily-disputed. Delicately-rendered and beautifully-told, the Illusionist features no distinguishable dialogue, but its sentiments come across crystal-clear.

An older, struggling French magician takes a gig out in the Scottish boonies, and in the process picks up a new fan who thinks his magic is real. The result is a quirky father/daughter relationship between two strangers, the adoration of one keeping the other going during one of the darkest times of his life.


The Secret of NIMH (1982)

If you’re going to talk American animation beyond the big 3 studios then you have to go back, before the Disney Renaissance. If you’re going to talk American animation before the Disney Renaissance then there are two giant, inescapable names that you must address: Don Bluth and Ralph Bakshi. Let’s talk about a Don Bluth movie.

It’s easy to forget, now that Disney has been ascendant for 25 years, but from the 60s to the end of the 80s Disney’s animation studio nearly shut down half a dozen times. Having endured this long decline, Don Bluth, one of Disney’s veteran animators and directors, had enough. He left Disney and took 16 of the studio’s animators with him, intent on getting back to basics and producing feature-length animated films again. His name might not ring a bell, but you’ve definitely seen his movies: An American Tail 1 & 2 (the Fievel movies), All Dogs Go To Heaven, Anastasia, and the original Land Before Time were all Don Bluth movies. The Secret of NIMH was actually Bluth’s first post-Disney feature film, which unfortunately means it’s less well-known than some of his later successes.

The Secret of NIMH shows us the life of a simple farm mouse, Mrs. Brisby. Mrs. Brisby’s son is very sick, and she desperately needs help moving him before her home is destroyed by the farmer’s plough. The only ones that can help are the mysterious rats of the rose bush, strange, almost magical creatures that seem to have known her late husband.


American Pop (1981)

If you’re going to talk American animation beyond the big 3 studios then you have to go back, before the Disney Renaissance. If you’re going to talk American animation before the Disney Renaissance then there are two giant, inescapable names that you must address: Don Bluth and Ralph Bakshi. Let’s talk about a Ralph Bakshi movie.

The king of rotoscope, Ralph Bakshi is the guy who really created and explored the idea that animation doesn’t always have to be for kids. What’s rotoscope? It’s literally animating on top of live-action footage. For ages it was used as a pre-CGI method for creating special effects (the original Star Wars, for example, featured heavy rotoscoping). Bakshi was the first director to use it to animate entire movies, admittedly with mixed success. Rotoscoping allows for incredibly realistic movement, but is (surprisingly) bad at translating facial expressions.

Considered one of Bakshi’s better movies, American Pop is an alternate history retelling of the rise of pop music in the United States. The story is presented through the eyes of four generations of a Russian Jewish immigrant family, each of whom has a profound impact on the music industry of their respective day. It’s a fascinating look at the type of people who defined musical genres through the years.


Azur & Asmar: The Princes’ Quest (Azur et Asmar, 2006)

Another original fairytale from Michel Ocelot! Ocelot has this fantastic skill of drawing from all points of a culture’s folklore and making a movie that’s at once evocative of its inspiration but satisfyingly original.

This time around Ocelot draws from dozens of Arabic folk tales, including some of the more infamous stories of 1,001 Arabian Nights. He also employed a new technique for 3D animation, rendering non-photo-realistic figures on top of painted backgrounds. The effect is absolutely stunning, and gives the entire movie a storybook feeling without looking like a series of drawings. It’s absolutely overflowing with rich colors and intricate arabic designs, and is a complete treat to behold.

The story: On the French countryside two boys are inexplicably born with the exact same destiny: to save the djinn fairy of the east. One is born to a wealthy french household, the other is born to an Arabic nursemaid working in the same household. The boys grow together, are forced apart, and eventually meet back up as fate guides them towards their shared destiny.


A Town Called Panic (Panique au village, 2009)

Most of the animated feature films worth a damn are dramas and serious adventure movies. They can start to weigh on you, if you watch them one after another. That’s why it’s so fantastic that movies like A Town Called Panic exist. An unapologetically silly, borderline nonsensical comedy that injects you into its bizarre world for 80 minutes and keeps you entertained the entire time.

A stop-motion animated feature that uses action figures (kind of like the old KaBlam! shorts on Nickelodeon), based on a Belgian/French TV series of the same name, A Town Called Panic recounts the lives of Horse, Cowboy, and Indian. Three roommates in a small rural town. It’s your average guys-order-too-many-bricks-for-a-birthday-present-then-accidentally-destroy-their-house-then-as-they’re-attempting-to-fix-the-house-with-the-bricks-aquatic-dwellers-start-stealing-their-half-finished-house romp. And it’s a delight. Highly recommended!


The Secret of Kells (2009)

The Secret of Kells is a glorious reminder that 2D animation is very much alive, and capable of being infinitely improved upon. In this case the movie is animated with stylized 2D drawings, but uses computer graphics to add color-washes and other subtle effects. The overall product is an all-too-rare visual treat in a medium that’s increasingly becoming a victim of computer technology, when it should be a beneficiary.

A young boy raised among monks finds his calling as a manuscript illuminator. But in order to become skilled enough to illuminate the legendary Book of Iona he’ll have to brave the dangerous forests of Kells and discover nature’s secrets from its wild pagan spirits.

anonymous asked:

Coucou ! Comment va-tu ? 🐞 Tu parlais des écoles que tu tentais pour l'année pro dans un précédent ask, tu as eu des réponses ? (Déso si ça a déjà été demandé) Bonne nuit et/ou bonne fête de la musique ;)

Coucou Anon ! Merci ca va super :) Pour moi l’année prochaine ça sera direction l’EMCA en 2ème année 3D ! J’ai pas mal de copains pris là bas aussi ça va être chouette 👍

Malheureusement pour les autres écoles (Gobelins/Ensad/Animation Workshop) ça n’a rien donné, j’ai sans doute visé un peu haut cette année !


Extraordinary Tales (2015)

Extraordinary Tales is an anthology of five animated tales based on classic Edgar Allan Poe stories presented in a feature film format. Through his encounters with the Raven, Poe is given one last chance to divert his destiny in a series of macabre adventures. Using sophisticated 3D rendering and lighting techniques, each segment will visually express the graphic universe of illustration’s masters, thus visually matching the expressionist genius of Edgar Allan Poe’s writing. 

Includes: “The Tell-Tale Heart,” “The Pit and the Pendulum,” “The Fall of the House of Usher,” “The Facts in the Case of M. Valdemar,” and “The Masque of the Red Death.”


THE T-SHIRT ISSUE ‘Muybridge Part Two’ at MAD NYC

Art collective THE T-SHIRT ISSUE were born out of a frustration with the current approach to clothing design and their result is an innovative digital approach to apparel construction that uses a 3D construction technique to give them the freedom to create garments that begin with a concept. Their latest installation, Muybridge Part Two, is currently on show at the Museum of Arts and Design in NYC. The exhibition is a study on temporal change in 3D: a bird in full flight is rigged, animated, and transported into T-shirts, and is inspired by Edward Muybridge’s photography from the late 1800′s which pioneered the capture of animal and human locomotion. Exhibitors alongside THE T-SHIRT ISSUE include Zaha Hadid, Frank Stella, Anish Kapoor and many more. The show continues until June 1.

“Full love of fashion” Art. Fashion. Music. Quotes. Inspiration.

Written By: @7070-mailbox and @aimhigh-studyhard
Designed By: @herttz

Like many other colleges and university, art school is a buffet of multi majors with many sound-alike fields that can be confusing, not to mention how it can differ from campus to campus. What is graphic design? How does the illustration curriculum look compared to animation or sequential art? Are interior design and architecture the same thing? So today, some of us from the Studioblr Collective would like to help to shed some light on the matter of majors.


  • Editorial Design.
  • Advertising and Marketing.
  • Interactive Design.
  • Motion Graphics.
  • Sustainable Design.

Things To Know: 

Work can happen on any scale: simple postcards to large billboards. Definitely always make sure you are using the proper document size and format. Graphic design is meant to be experienced in an instant. You need to be able to communicate the message clearly and effectively. Always a good idea to sketch out thumbnails first before spending a lot of time creating something on the computer, to only find the design is not effective. Example classes would be Typography, Foundations of Design, Computer Applications, Multimedia Concepts, Photography, Electronic Art, Branding Design, Motion Graphics, etc. You will probably also be taking Drawing Foundation classes the first few semester.

Possible Careers:

  • Brand Identity Designer
  • Creative Director
  • Web Designer
  • Graphic Artist
  • Animator
  • Production Artist
  • Package Design


  • Using a variation of traditional and digital mediums in a concise amount of time to illustrate an idea or concept for commercial use. In the curriculum, you will get to explore an array of tools and techniques without focusing on anything in particular.

Things to Know: 

Despite sharing a lot of elements in common with painting, illustration is more commercial and broad as it expands a lot more into many different mediums, techniques, surfaces. One project you might finishing a children’s book illustration to finding yourself in another project designing fabric patterns. Illustration also divides into many specific branches of work and degree that require technical knowledge such as botanical, medical or animal illustration.

Possible Careers:

  • children’s book artist
  • poster designer
  • pattern designer
  • production artist
  • encyclopedia illustrator
  • Medical illustrator


  • The process of making an animated short or film, Animation is a very diverse major you can choose to be a part of the process as well as the whole thing. 2D animators focus on traditional art skill while 3D animators skills set lean more toward programming and acting.  

Things to Know: 

Usually divided into two different categories that are 2D and 3D, Animation is heavily reliant on collaboration. Depends on the kind of animation being produced you can take part in many different parts of the process. 2D animators are required to take a very different path and learn different techniques from 3D animators.  

Possible Careers:

  • storyboarder
  • 2D/3D Animator
  • rigger
  • character designer
  • background artist
  • colorist


  • Can be crackdown to many different focus/jobs: script, pencil, ink, color, letter (although lettering is now becoming a rare focus thanks to photoshop), editing. Would easily be squeezed in between Animation and Illustration. A lot of time people go to either or when the school doesn’t offer this major but it distinguish itself not just by the product but also the focus.

Things to Know: 

This major has a lot of inking, background study and anatomy classes along with scripting. Some students also dabble in storyboarding, illustration or animation classes as a boost. Like animation, collaboration with peers from other majors is very encouraged. Communication is key. Can be either traditional or digital but basic Photoshop, Mangastudio skills are a must.

Possible Careers:

  • Character designer for game and animation
  • Inker
  • Concept designer
  • Colorist
  • Comic author
  • Storyboarder


  • Creating art in a more tactile method, applying digital and traditional printing methods

Things to Know: 

  • Leans a lot toward tactile learning, printmaking is the study of different printing methods from old time to the current age of different materials such as lithography & bookbinding. It requires a lot of patience and studio time working with different exposures and chemicals as well as a more analytical perspective in art.

Possible Careers:

  • Layout artist
  • book binders
  • printmaker
  • media artist
  • print developer
  • artisan

This list only covers some of the examples but it should provide some ideas as to how many majors might sound similar, but offer different concentration as well as a varied career path.


KÀ by Cirque du Soleil | Behind the Blockbuster: 3D Head Scan

The KÀ team has replaced the old-fashioned plaster head molding process with a 3D head scan technique. This not only makes the process more efficient, but also allows the team to recreate a prop at any time. Watch as they explain the head scan process in detail!

Watch the full video here: https://youtu.be/2L48Gfs6GoE

anonymous asked:

Dear Aeo, I'm sorry to annoy you with this but I'm really desperate. :'c My drawings suck really badly. Atm I'm too afraid to pick up a pen and try it once more with the result that I haven't drawn for about half a year. I don't know why I still cling to the aspiration to draw nevertheless. I thought maybe learning to draw from the very beginning might help but I really don't know where to start. There is too much to learn and I feel completely overwhelmed. Maybe you have an idea? Thank you.

You’re not annoying at all! First of all, I want you to know that I completely relate to you. I’ve been where you are now, and sometimes I feel like I’m still there. I wish there was a catch-all answer I can give you- something simple and crisp that will help you feel less overwhelmed and empowered. But in the realm of visual art, you’ll be faced with the fact that there is no right answer. Every artist approaches their challenges differently. The best I can do is to show you a few things about how I personally deal with artistic challenges, and I am by no means the best person to ask about it. I’ll do what I can to help, though!

For starters, if you have an aspiration to draw, don’t lose it. Pick up a pencil and draw. But don’t draw for anyone else but yourself. If you don’t enjoy it at all, then it might be because you’re putting too much pressure on yourself. You’re either trying to please other people too much, or you’re placing impossible standards on yourself based on what other people are doing.

First and foremost: focus on yourself. Don’t draw for anyone but you.

As far as DRAWING goes… the best single piece of advice I can give?

Start simple.

This applies to everything, from teaching yourself to individual pieces.

No matter how rudimentary and basic it appears, drawing shapes in 3D space is paramount. If you cannot think in 3D, it will be really hard to draw anything without references. Draw a horizon line and a vanishing point and draw boxes and cylinders and cones. Draw them all over the page. See how the vanishing point affects them. When you’re ready, try a horizon line with two vanishing points, then even three. Use quick and simple pen strokes- you don’t even need to use a ruler. In fact, I think using rulers to do this slows you down.

You can’t dot his mindlessly- you really have to pay attention to the shapes. Don’t make my mistake- when I was younger I thought drawing shapes was boring and useless and I wanted to draw characters instead. But I constantly frustrated myself- I was baffled by foreshortening, poses, and turning characters around without using a reference to see how they would look in other angles. I ended up trying way too hard because I didn’t understand how to break down a character into simple shapes. Those simple shapes make all the difference. Start small, start simple!

The same concepts apply to drawing complex things like characters. Here is a doodle I did in 2010. Notice how she seems off-balance and her head isn’t properly aligned with her body? This is because I started this drawing by making a very detailed head, then I drew her body, and I skimped on anatomy by giving her flowing clothing. I tried to hide the fact that I didn’t know how to make the arms and legs a proper length. The only part of this sketch I was really concerned about was the face and hair, and I didn’t really plan out anything else.

I think the best way to draw a character is to create a stick figure or a very basic skeleton first before you worry about anything else. Use flowing lines and try not to use any straight ones or your character will appear stiff. Try to have the body majority flow with a singular line of action.

Then, you can start to build the anatomy of the character. This is where studying anatomy comes into use and your personal style will shine through. Also, your understanding of how 3D shapes work will be paramount. (Everything that you see is in 3D space and foreshortened to some degree- but we usually don’t think of something as foreshortened until it is used in the extreme.)

Once you are satisfied with your character’s anatomy sketch, then you can start to add details on top! Notice that I hardly added any detail onto the face this time. Detailing the face now comes last in my book- and only with images that Intend to complete.

Lastly, don’t try too hard. Don’t get too attached to a single sketch and work on it for hours and hours. When you’re teaching yourself difficult concepts such as anatomy, it’s best to sketch quickly and fill up pages and pages of your sketchbook. Focus on the entire body first, then hone in on individual body parts. The same can be said for anything that you want to draw, though human anatomy is probably the most complex.

Here’s a list of steps I recommend you take first in your journey as visual artist.

1- Learn Perspective. Play with horizon lines and vanishing points. Draw lots and lots of 3D shapes.

2- Practice Technique. Use quick, simple strokes and don’t use sketchy, ‘hairy’ lines.  Some artists still do this as a personal style, but I recommend un-learning it and keeping your pencil pressed on the page for the entirety of a single line if you can. And do it quickly! It’s a lot to think about at once, but once you are used to drawing this way, you may find your art looks cleaner and it is easier to do. If you still don’t like doing it this way, then you can try sketchy lines again. It’s just a suggestion- but I’ve found int he learning process this really helps you keep your art efficient, saves you time, and encourages you to learn quickly and not to get too attached to a single image. (I made this a long time ago, but it illustrates what I’m talking about.)

3- Study Artists. Learn from people you look up to. Read tutorials they’ve made, imitate their style, trace their work (but don’t share it!) If you’re particularly drawn to a particular style and enjoy drawing that way, embrace it. Reference from those artists and styles that you like.

4- Study from Real Life. Look at anatomy books, take pictures of things you want to draw, and try to sketch some people in real life situations.

5- Draw Without Reference Once A Day. Look at nothing but your own inspiration and your own mind, and put pencil to paper. Try to draw the things you like drawing without looking at anything to guide you. If you get frustrated, that’s okay. After you’re done drawing, look up tutorials or references related to what you were drawing and see what you can learn.

Be simple, don’t try too hard, and do it for yourself.

If you like my tutorials, take a gander at my patreon? I hope to make better tutorials soon!

anonymous asked:

when i paint digitally I have trouble with edges on characters. Especially with skin or smooth areas. It always looks so flat. Do you know any methods to start fixing this or is it a practice thing? I'm not sure if I just need bushier/blurrier edges or what but your edges seem really smooth but not in a flat cut out way.

w e l l
for starters it’s hard to completely understand what you mean, if you show me some images I’ll for sure be able to point you in the right direction but I’ll do my best with what I got so far

To create the illusion of something seeming multidimensional, it depends both on how you treat the middle area as well as how you treat the edges. This is where knowledge of lighting and understanding form and mass etc comes into play.
Light is bouncy as heck. In 3D lighting, there’s a technique called three point lighting. This involves the fill light, the key light, and the rim or back light. These are there to imitate lighting in a way that lifts the piece - if your artwork seems too flat, rim lighting will give the edges an extra kick to bring them out.
If you do an object study, you’ll be able to see that some light from the surface the object is resting on, is reflecting back on the object itself.

Like so!
We go from basic light and dark…

to this!
Keep in mind that you have to understand the form and anatomy of what you’re painting, though, so you know where the shapes will cast shadow and catch light.
As for technique, I keep the edges as clean as possible - I use a hard brush on opacity pressure, no blurring.

Hope that helps! Though you’re welcome to send me actual images to redline/give tips on if you like.

I felt the compelling need of sharing one panel of the updated animatic of “Choices”.  Yes, she signed, THAT WAS YOUR CHOICE!

The 3D model technique worked better than I expected, from this moment on I am going to use it in every single animatic I make.


1DDCB (New Age Dark Age)

Creative coding project by @ravenkwok uses the Processing programming language to develop audio visuals with 3D Voronoi technique:

1DDCB is a hybrid, basically blending rules and visual forms used in the generative systems for Skyline (vimeo.com/139977231) & Stickup (vimeo.com/147383431). As always, this system is programmed using Processing, and produces the visual for Karma Fields’ (soundcloud.com/karmafields) New Age Dark Age debut album announcement.

Like Stickup, 1DDCB consists of multiple layers of quadtree structures, which recursively subdivide themselves to random patterns. The vertices of each cell within the quadtree are used as seeds to generate a layer of Voronoi tessellation, collectively forming a fragmental geometric chaos.


mossforest  asked:

Hello Dani! I'm an animator as well, I'm not very good at it I'm afraid, but I was wondering if you could tell me a little about how you animated the character for Péah? Specially the head turn! is it 3D? thank you so much for your help!

Hey mossforest girl! Sure, no problem. No it isn`t 3D. It is a technique very used to animate tv series called “cut out”…Its like..animating in flash!.But i used another program called toon boom. The principles are the same.  Acceleration (more frames that looks like your previous keyframe) and slowdown (more frames that looks like your next keyframe). That way you wont SEE the frames that are in between this movement you just FEEL them. That said,you have first keyframe with the head facing one side, and last keyframe with the head facing the other side. The inbetweens will be like 2 to 4 drawings with the head facing the first frame but slightly facing front. You just have to reposition the pieces of the face so they look like they are located in the middle of the head (you don`t need them to be anatomical correct like the beak that isnt facing foward). Then you do the same “repositioning” thing for the last 2 to 4 inbetweens, so they look more  like the last keyframe. That`s a way you can “cheat” your eyes on this type of animation. If you want something less snappy and more fluid, you will have to have more inbetweens so more drawings. If this animation was slower i would probably need peah to draw the front view of this face for me.  Hope it helps you! ^^ and go team animators! \o/