amazing expressions

“A Message. From the Ricks and Mortys that believe in the Citadel. 

To the Ricks and Mortys that don’t: You’re outnumbered.”

-President Morty  

Notes for a young character designer

Dear E. 

Thanks for your email.

I don’t work at Cartoon Network any more. But I’m going to give you a very quick portfolio review in hopes that you find it helpful! Here are some things I noticed when looking at your stuff - lessons I learned from brilliant people while working on AT for two years: 

 1) AVOID SYMMETRY. Humans are organic, randomly shaped animals. Perfect symmetry rarely exists in nature and if it does, it’s conspicuous - it’s the exception rather than the rule. Find interesting ways to throw your characters off-balance. 

Don’t repeat objects in twos - (buttons or rips or whatever) - it feels prescribed - cluster things in threes or fives if necessary. 

 2) AVOID CONCAVITY - I don’t know what else to call this. But it’s those lines that go “in” rather than “out”. You are using inward sloping lines to describe many of your characters. As an exercise, try using outward, rounded, voluminous lines to draw EVERYTHING. Humans are fleshy lumps connected together by other fleshy lumps. Each mass is either in front of or behind other masses and as a designer, it’s your job to tell the animator where it is. As a designer, you are providing a technical blueprint for the location of masses. 

Only occasionally allow a concavity to connect two convexities. Look at the work of Robert Ryan Cory (spongebob), Tom Herpich (Adventure Time) or Phil Rynda (AT / Gravity Falls) - master character designers - for examples of this. If you need to, trace a couple of their drawings and you will see what I mean. 

 3) AVOID GRAPHIC DETAILS - Some shows use a graphic style; it’s very appealing and looks clever when done right. But in animation, everything needs to move in space - so if you use a graphic element - it needs to correspond with an actual 3D thing that can move. Therefore it is better to start with a voluminous style and then revert to graphic elements where appropriate. Art directors will look for this. Do not jump straight to graphic representation if you do not yet know what you are representing.

Look at the work of Tiffany Ford and Jasmin Lai for amazing examples of volume expressed graphically.

 4) STUDY JAMES MCMULLEN - To truly understand volume, and fully respect your subject, you should read very carefully High Focus Figure Drawing by James McMullen. Slow down and think about drawing “around” your subjects. It’s a truly meditative experience when you get there. Think about the weight and mass that your characters, props and effects are experiencing. Many students from SVA - Tomer Hanuka, Becky Cloonan, Rebecca Sugar, James Jean - studied under McMullen’s philosophy and you can see this common richness in their work. 

Jeffrey Smith, a top student of McMullen’s now teaches life drawing at Art Center. These are two of the best illustration schools in North America - anyone who is interested in drawing living things, should probably read his book. Also look at the work of Andy Ristaino or Danny Hynes - two other character designers’ whose work is seething with volume. 

I hope this is useful and I hope you have a wonderful career. 

Warmest,

Matt

10

So, let us catch our killer.

Headcanon that Katsuki literally models for his parents whenever they design something new because have you seen how BEAUTIFUL he is???? Like??

Like he has better trimmed eyebrows than I do, his skin absolutely flawless for a male, his fashion sense is on point, he can make AMAZING facial expressions, his posture is so on point and actually is really good in comparison to his other classmates, like for real, this boy HAS to be modeling for his parents when they need models because OH DAMN, he’s so much fashionable then his peers (and yes, that includes the saggy pants because lets be real, he’s achieving an actual look with that since has a belt attached.)