not animation but this is just amazing!

Now I’ve praised Berserk 2017 for its vast improvements over the previous season. But this single episode in particular had unfathomably atrocious animation. An all-time series low even. Clearly they must’ve blown their entire budget on the previous four episodes, which were all freaking amazing.

Just what could they possibly be saving the rest of their money f-
*Ash Crow starts playing in the background*

7

I got to make today’s Google Doodle for NASA’s Trappist-1 announcement! It was a crazy exciting project cause we had no forewarning about this announcement and decided as a team to just make a doodle as fast as we could.  

I took on the project and concepted, designed and animated the whole doodle in about 5 hours.  It was a wild ride and a lot of fun, things always get interesting when you have to work under pressure like that. But the doodle team is amazing and everyone was supportive and helpful in us getting it launched!

Thought I’d shard a bit of the process for making it and some storyboards as well!

10

Samurai Jack Post Part 1:

In February of 2016, I had the honor of helping out on season 5 of Genndy Tartakovsky’s “Samurai Jack”. My assignment was to use Genndy’s awesome thumbnail sketches and translate them into production boards which included adding more animation keys and breakdowns. His drawings were super fun to work from since they already conveyed a lot of energy and perfect compositions.  I unfortunately only had enough time and energy to freelance for one episode in my off hours, but I’m just grateful I was even able to do just a little bit work on this incredible project. Genndy is amazing to work under and I learned a lot from my short time on “Jack”. I can’t wait to see the rest of the series. It has already been simply ground breaking in all the ways. 

anonymous asked:

There's been a image shared throughout the internet for years now titled "Cartoons Then Vs. Cartoons Now". It compares various faces from Hanna Barbera and Warner Bros era cartoons to "CalArts" cartoons (Steven Universe, SVTFOE, Gravity Falls, Clarence, etc), and it implies CalArts style is two circles for a head and big eyes and that all cartoons now are like that, compared to more diverse and artistically wholesome styles of the "old days".

Okay, this is the image we’re referring to:

I hadn’t seen this meme before. Very interesting! I could see the point they’re trying to make, but only on the surface. Once you deconstruct it you realize it’s silly…

Caveat: I graduated from Calarts, and I worked on two of these shows, so it’s pretty likely I have a bias toward defending the “cartoons now” stance. So there you go. But I had lunch with my peers today and we discussed this very topic, and we come from both Calarts and non-Calarts backgrounds. And we all agreed this meme was just…annoying. Here were some of our points:

First of all, I’m construing that the people who made this meme are arguing that cartoons today look too similar. Is this the same thing as the “calarts style?” If it is, then their “argument” is off to a bad start. Two of these current shows were created by people who didn’t attend Calarts. (Steven Universe and The Amazing World of Gumball) And the two that DID had the same character designer contribute to the designs for a time (Phil Rynda). 

Secondly, it’s comparing 80+ years of cartoons vs. cartoons from 2011-2015; just 4 years. Pick any 4 years since the beginning of animation as a storytelling medium and my hypothesis is that they, too, followed a somewhat recognizable trend in style and quality, right? Although I still feel like each of these shows is stylistically very unique and stands on its own. 

Thirdly, if this is what people are calling the “calarts style” then it is choosing to ignore the other 99% of animation that comes out of that school. Every year there are new innovative styles of storytelling and character animation that push the envelope–and not just from that school, from ANY animation school! So no, there is no “calarts style,” not in my book, and to me it’s kinda disrespectful or ignorant to assume that there would be. 

It would be fun to pull this apart even more, but I think I’ve put in my two cents worth… I would tell the people who complain about a “calarts style” to just go make your own cartoons if you don’t like what’s out there. 

Thanks for the fun topic! 

(P.S. that dipper is off-model)

Just a friendly reminder:



  • Steve Universe is a children’s animation that has themes of mourning, identity, romance both straight and lbgt, representation, a predominately female group in a scifi/fantasy setting
  • Gravity Falls is an enthralling mystery with suspense, horror, strained relationships within a family, having a positive outlook on an uncertain future. Also a children’s animation
  • Avatar the Last Airbender is an Asianic inspired adventure where an eclectic group of protagonists, powered and non, all under the age of 15 are responsible for ending a 100 year war. Is nonspecific oriented in terms of age demographic
  • The Amazing World of Gumball uses an eclectic array of animation/art styles, has genuine humor and toys with trope expectations, but also deals several heart warming moments. Definitely intended for children, but has a few more adult jokes. 
  • Clarence is a light hearted look into the almost idealistic world of childhood memory and experiences. Once again a Children’s animation. 
  • Regular Show is, while intended for children, a stoner comedy with themes of growing up and dealing with relationships romantic or non, particularly moving on. 
  • Adventure Time, despite in my personal opinion straining under its own weight in recent years, delves into aspects of depression, nurodiversity, responsibility, themes of growing up,  accepting mortality, morality is a grey area being a reoccurring theme. Also a children’s animation. 
  • Star VS the Forces of Evil, a children’s animation with a female protagonist and a Hispanic male lead, is a subversion of the magical girl genre in anime with unique style and humor, deals with the aftereffects of colonialism(both from the oppressed and the descendants of oppressors)
  • Bojack Horseman, an adult animation, delves into the psychosis of an alcoholic struggling with depression and self loathing, toxic relationships, the effects of having and loosing fame, has an asexual supporting character, and heavily deals with the consequences of our actions for better or for worse. 
  • The Adventures of Rick and Morty, another adult animation, deals with existentialism, depression, surviving an attempted sexual assault, sacrificing your freedom for your family, and much, much dark humor. 




Meanwhile Seth Macfarlene is still swimming in the stagnate pile of decaying fecal matter and vomit that is his three series, Family Guy being the worst offender. Littered with horrible messages, shock humor that tries far too hard and is pathetic to watch, and completely insulting to everyone. Hell, even the Simpsons are still fresh and interesting after a decade on the air. And the remakes of Teen Titans and Power Puff Girls are an insult to the original series, and are peddled off as for children. 

Disney Appreciation

God, Disney animation is amazing and gorgeous. And even the CGI stuff is so beautiful. The movies are such a large part of my childhood and inspired me to really love animation. 

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Watching Disney just makes me happy. 

Yuri on Ice interview translation - PASH! 2017/05 (p24-25)

I am pleased to bring you the very first interview with director Sayo Yamamoto!!! You don’t know how much I’ve been waiting for this… This one is pretty general because of course she has never been interviewed before so they are asking her the basics, but it’s very interesting to finally hear things from her perspective too, since she’s the one who started it all. More interviews with her will be appearing in other magazines in the near future, I’m looking forward to those ones too.

Also, I believe a bright future is to be expected for Yuri on Ice, since she seems to have lots of plans…!! (I was shivering typing out the translation, lol)

Translation is under the cut.

***If you wish to share this translation please do it by reblogging or posting a link to it***

***Re-translating into other languages is ok but please mention that this post is the source***


Interview (first appearance in media!)
The world of “Yuri on Ice” that director Yamamoto wanted to create
With 8 notebooks full of notes in one hand, director Sayo Yamamoto has answered our interview for the first time. We have asked her how this new animation that no one had ever seen before was born.

Keep reading

I’m bitter AND sticky so let’s get gooey on topic!

People just? forgot that ton of season 3 episode’s visuals are  actually amazing? I mean it could be just me but this season clearly trowed a ton of budget into some scenes an episodes! 

Super Watermelon Island got an amazing fluid fight scene between two giant women and it was as energetic as it sounds 

Gem drill, even tho it was pretty chilly on animation, had ton of detail on Steven’s faces, I find it like such a sweet detail having in mind the episode was focusing a ton on Steven and his connection with the cluster 

(this is my personal favorite)

Hit the diamond had a TON of characters on-screen at the same time, having in mind 5 of them where new characters and they had to design new clothing for 5 of them 

Even though my favorite part of this episode is the bond between Amethyst and Peridot, I think Too Short To Ride was pretty consistent, I am in love every time they put little lines under the eyes of the characters because it usually helps to remark the emotion they are feeling, is personal. 

Stevonnie’s back for Beach City Drift and the thing I like the most about this episode is the backgrounds and the color choices, they are AMAZING and pretty relaxing to watch on their own. 

Monster reunion was pretty harsh to see for me because painful scenes (aka scenes where the character is clearly in pain) make me feel incredibly bad, but I again shot out how they draw emotions and the subtle lines that make it all even better. 

More than for animation itself, I praise a lot Alone At Sea because of writing and atmosphere, and the last one really works, I felt incredibly… tense, when Jasper showed up, how she acted and the way she expressed herself, and how the colors got dark and the rain around it… just gosh

Even tho it was a pretty okay-o episode in general, I really liked Gem Hunt’s backgrounds, the whites and cold tones made a good mix with Jasper’s colors and really helped her to pop out! 

I’ve talked a lot about Bismuth, so at this point everything would feel redundant, so I’ll just say that the first and last scenes have pretty good colors, one being calm pastel tones and the other reddish dark tones #BRINGHERBACK2K17

And finally, Bubbled, which has some on the most beautiful space backgrounds i’ve seen in an animation product, is the feeling of emptiness that makes the most of the episode personally, how is literally just Steven and Eyeball and Eyeball pretty much tries to kill him, in other situations you can think about something going on, but is the fact that they are in space what makes it feel… well… empty, giving more focus to the characters that contrast the most in a sea of dark cold tones and blacks! 

I googled the cabbie’s number

Image from here.

771126 looked like a date to me, but backwards.

77/11/26 or 26th November 1977. I googled it and the very first hit was something called the Southern Television Broadcast Interruption that happened on that date. This is it:

This video is titled “alien broadcast” or something, but it’s actually real footage of a real thing that happened on 26th November 1977 (a real hoax, done by people, not aliens). It was a broadcast interruption through the Hannington transmitter of the Independent Broadcasting Authority in the UK on 26th Nov, 1977. The interruption is generally considered to be a hoax, and the hijaker remains unknown. The interruption lasted 6 minutes, and took over the sound, leaving the video signal unaltered aside from some picture distortion. The speaker claimed to be a representative of the “Intergalactic Association”. It interrupted the news, then transmission returned to normal shortly after. Southern Television later apologised for a “breakthrough in sound”.

An explanation is given for how this security breach could have happened:  “At that time, the Hannington UHF television transmitter was unusual in being one of the few transmitters which rebroadcast an off-air signal received from another transmitter (Southern Television’s Rowridge transmitter on the Isle of Wight), rather than being fed directly by a landline. As a consequence it was open to this kind of signal intrusion, as even a relatively low-powered transmission very close to the receiver could overwhelm its reception of the intended signal, resulting in the unauthorised transmission being amplified and rebroadcast across a far wider area. The IBA stated that to carry out a hoax would take “a considerable amount of technical know-how" and a spokesman for Southern Television confirmed that "A hoaxer jammed our transmitter in the wilds of North Hampshire by taking another transmitter very close to it.” However, like the Max Headroom broadcast signal intrusion a decade later, the identity of the intruder was never confirmed.



** Which means they had planned the HLV broadcast signal interruption story line before they even made the props for ASiP **


After all that I went on to casually start reading about Max Headroom (a weird thing I actually watched on TV in the 80s when I was little and the satire and subtext of it were beyond me) and found the British made pilot, titled “20 minutes into the future”. Weirdly, it’s very very relevant, and I don’t know if this cabbie number clue was meant to point me towards this, but it did anyway. I pointed out shortly after TLD aired that “20 minutes” had been said quite a few times in TLD, and that it was probably important (also see this and this). Also, mentions of 20 minutes in TLD and elsewhere are almost without fail a reference to something that’s going to happen in 20 minutes time, that is, 20 minutes in the future, as if it’s a countdown to something. Culverton’s life will change in exactly 20 minutes. John asks Sherlock if he will be okay by himself for 20 minutes.

To tell you the short version for now… the movie “Max Headroom: 20 minutes into the future” is about an evil television network hiding a dangerous truth from it’s viewers. People are dying because of this secret, in a most violent and terrifying way. A journalist is working to uncover the truth, and while doing so has an accident and is “brain dead” at one point before resurrecting himself from a morgue and coming back to complete his mission - *spoiler* the hero (the journalist) finally uncovers the truth! And reveals it to all via a live television transmission. 

I also like this parallel …The evil television network had taken the face of a dead man (the journalist) and used circa 1985 computer technology to animate his face so that he could continue to appear on camera in order to convince the public that he was still alive. Essentially, they turned him into a puppet.

The fact that we only see Moriarty’s head, and the unusual choice of backdrop for this shot of dummy!Jim which looks like it might possibly have been inspired by the amazing Max Headroom animation grid background..

…is all hopefully just a reference to the fact that someone was using Jim’s image to trick the public into thinking he was still alive when he wasn’t (even though in the movie he was actually still alive). Basically, the movie is about the media as a villain, hiding truths from viewers and brainwashing them, and a small band of rebel journalists (from within the evil media) who go on a mission to reveal this truth to the public. And they do reveal it, and the rebels win :) You can watch the movie here.

Keep reading

Sit down, kids.

Let me tell you why this:

is such a huge load of BS

FIRST OF ALL

The above pictures range from 1923-1999

the pictures below are from like 2011-2016

so um, yeah, of course 70 years worth of cartoons has more diversity than 5 years. It’s freaking 70 years of changing styles.

that’s like comparing the clothing styles of 2016 to the clothing styles of all of time and saying “w0w look ev3rytHing loOks the SaMe now smh!!1!”

*clears throat* Let’s break this down.

I’ve compiled a couple examples of TV cartoons through the decades. 

1920s:

1930s:

1940s:

1950s:

1960s:

1970s:

1980s:

and the good ol’ 1990s:

The point is styles change. And styles in the same time period tend to look really the same. Art goes through phases. Just look at fashion and architecture styles. 

The point is that cartoons aren’t bad because they look similar. It’s just a visual trend. In ten years, cartoons will all look the same in a totally different way.

TLDR: “CalArts-ifying” is not a real thing. Stop. 

so sorry for the huge long post

My Life as a Cartoon Network Intern (and how I think you can Intern in Animation too!)

Over this past summer, I was given the amazing opportunity to be a Production Intern at Cartoon Network (I worked on Clarence; woo!)

Every once in a while I get people who either come up to me in person, or who message me on Facebook, Tumblr, Instagram etc. and ask me how I got the opportunity, and how they can intern in animation as well. Recently (Over the course of the last week or so) I’ve been asked a bunch, so I decided to create this massive master post in an attempt to get the information out to as many artists (and non-artists) as possible! 

I know a lot of people who feel like getting into the animation industry is completely impossible, (I should know, I felt the exact same way not too long ago) and I also know just how LITTLE references there actually are on finding an internship, and beyond that, the type of experiences that people who gotten the chance to intern have had. I told myself that if I got the internship, I would try to change that, and here we are! (A little late, but I really want to make this as helpful as possible)

If you all could please Reblog this to your followers I would love it! You never know who’s looking and hopefully, I can help people with my experiences! 

So to make it easier for people who don’t have the time to read all of my ramblings, AND for the sake of ease/reference; I’m going to break this post up into different sections: My Internship search My initial excitement/rejections - How I got the internship - My experience as an Intern and How Interning has helped me as an artist

My Internship search: 

Halfway through last year (My Sophomore year of college) I had decided that I would take a leap of faith and apply for some internships. I didn’t expect much of it, but my hopes were high because I thought I had at least a halfway decent portfolio, and my resume had some pretty okay animation experience on it (I’m the head of the only Animation organization on campus) and I’m majoring in animation so I had some 3D experience and 2D experience (which I’ve worked on on my own time, since it’s what I want to do) 

One of my biggest worries was the fact that I go to a state school: Southern Illinois University. The school is great, and I love it there, but I couldn’t afford art school, so I was very worried about how many opportunities there would be for me in Southern Illinois. Especially with the amount of amazing art that I see coming from people who go to schools like CalArs, Sheridan and the like. I was frustrated because I wasn’t there and felt like I would never get the opportunity to work in animation, which has been my dream since I could hold a pencil. Cartoons have changed my life, and they still do; but I was genuinely afraid that because I couldn’t afford a more art-related education, that I wouldn’t get the opportunity to tell stories like I’ve always dreamed. (But I digress) 

As I was saying: I was doing all of your standard (I want/need a job) searches to try to find something in animation: Glassdoor, Internships.com, JOBS.com; stuff like that. FUN FACT: I’ve read every single Glassdoor review for both Cartoon Network and Nickelodeon. Every Job. All of them.

Some internships are a lot easier to find: Nickelodeon, Disney, Titmouse

While some are WAAAAAY more elusive: Cartoon Network… 

This narrowed my search down from a bunch of animation studios.. to a handful. My candidates were: Nickelodeon, Dreamworks and Titmouse. (All wonderful animation studios!) Now here’s where it gets interesting:

 My initial excitement/Rejections:

I didn’t hear back from any of them! NOT ONE. Which I learned after a very long, VERY stressful waiting period. (At this time it was early to mid April) Now; I knew that I was really too young to be applying for the internships, (I’m young for my grade so I was 19 at the time) And I knew that all of these internships specified that they wanted a Junior or above, but I figured since the year was almost over and I had good grades that MAYBE, they would let me slide. But I had no real experience working in animation, and although my hopes were high, they were also reeeeeeeal low. 

After waiting for the few weeks that I did, and not hearing a peep, I was dejected, frustrated, and I felt like there was no hope for me… Which leads us to…

HOW I GOT THE INTERNSHIP: 

When it comes to how I actually GOT the job: The answer I want to give you guys is that it was complete luck, and that by a series of random occurrences, somehow I was offered the position…. BUT, that’s only half true. Honestly, I worked really hard on making sure that I had as good a résumé as I possibly could: 

By that, I mean that I’ve worked really hard in school to get good grades/dean’s list/honors program, etc.; and I also started an animation organization on campus. (There’s a major, but there was a huge lack of enthusiasm and community within the program at SIU so I wanted to help to bring other artists and myself closer, and make great art while we’re at it) 

On top of that, I wrote (what I think was) a really good cover letter. But… Even with all three of those things, I don’t know if I would have gotten the position if it wasn’t for the internship coordinator at my school. I go to Southern Illinois University, and she pointed me in the direction of the Cartoon Network internship. (The Turner website isn’t like Nickelodeon, they only post internships when there’s a position to be filled)

LUCKILY for me, the Producer of Clarence (The wonderful Keith Mack) is an alum from SIU, so he connected with the internship coordinator (bless her heart) and I learned exactly when the position opened up. My resume and things got sent straight to him. I got a Skype interview a couple of weeks later, and I got accepted the day of the interview!

So I mean… Looking back, it was half luck, half hard work. 

It’s not like the grades and stuff really matter outside of college; Grades are just arbitrary letters, after all. But, I say that to say that I’ve tried to work hard in college even though I’m not at an art school, and that if you’re focused, it doesn’t really matter WHAT you’re good at; but how hard you work and the type of person you are. You can never go to college but be an amazing artist and an amazing person, and if you meet that ONE right person, or if you’re at that ONE correct place at the correct time; amazing things can happen; and I FIRMLY believe that. 

While I was at CN I was talking to someone (I don’t know if it’s best to call her out by name?..) But anyway she was telling me about how some of the artists are found at CN and she told me that Tumblr, YES TUMBLR. Is a HUUUUUUUUGE factor in the hiring of some people! So if you can… POST POST POST! Putting your art out there is the absolute best way to get seen. You NEVER know who’s looking at your artwork, and this website is an amazing platform for sharing, and learning about art. (And as a shameless plug: The blog Artists-Everyday is actually meant for just that ;) check it ouuuuut)

But moving forward; let’s talk about: 

THE INTERVIEW:

The interview to be an intern at CN was both really intimidating, and really comfortable at the same time. I love animation pretty much more than anything, so the idea that a single interview could determine whether or not I got a life-changing opportunity was pretty much one of the most daunting things that I could think of. The fact that I was in southern Illinois RIGHT at the time that I would have had to interview really didn’t help either… It was really scary to me, because it meant that I wasn’t going to be able to interview in person. It was a Skype interview, (a group one at that) and it was my first time ever interviewing for a position online. 

Once I got past all of the initial fear, the interview was smooth sailing. They had already seen my resume and cover letter; so we really just spent a lot of time talking about casual things: my favorite animated movie, what my favorite episode of Clarence was, etc. It wasn’t like your usual interview where they ask “why would we hire you” or “what is your greatest weakness” and I really appreciated that. They weren’t robots, they weren’t the ANIMATION GODS like I was imagining in my head – they were actual people, who happen to love animation, and the interview reflected that. 

I learned that I had gotten the position the day that I interviewed, and I’m SO GLAD I didn’t have to wait any more days, because at that point I was on fire on the inside. II don’t know what the hiring process was like for interns on different shows, so don’t take my word for how long it’ll take if you make it this far) 


MY EXPERIENCE AS AN INTERN/HOW IT’S HELPED ME AS AN ARTIST:

There is no one word to describe how amazing it is to work at Cartoon Network. A lot of CN stuff is “hush hush” high security, and they don’t allow you to take pictures of the inside of the buildings - So I’m not going to say much, other than: It’s magic. Pure magic. But I will say one thing: Free food. AT ALL TIMES. EVERY DAY. 

Working there is one of the most creatively satisfying things I’ve ever done in my life. The people, the atmosphere… it was all so inspiring. I’ve learned more in those past three months than I have in the last two years, and It’s all because I was surrounded by so many people who are better than me. People, who I might add, are some of the greatest, nicest, and most helpful people I’ve met in a long time. Plus, Cartoon Network really goes out on a limb to take care of their employees. 

I got to sit in on voice actors doing their recordings, I got to see storyboard pitches, I got to see animatics and assets for episodes that were unaired, and it was all being created right in front of me by such PASSIONATE people. 

I EVEN GOT TO MEET TOM KENNY. He remembered my name… 

As a production intern you get to see the logistic side of things: and you really grow to appreciate Production and that side of the industry, because without the production team, there would be no show! Even though I want to be a storyboard artist, I now know more about the industry and Cartoon Network as a whole, and it makes me feel much more connected to the shows that I watch on television.

One of the other biggest things about the program is the fact that I got to take storyboard/character design tests for practice, and I got the chance to pitch a show to the studio, in front of the Clarence Crew and even some really important executives! which was an AMAZING opportunity that I learned a TON from. I got amazing feedback, and I had to push myself harder than I’ve ever pushed myself before. Mentally, artistically, and personally. 


IN CONCLUSION

It’s possible. Being an intern at an animation studio is possible. Getting a job in animation is possible. Making friends in animation, and actually feeling like you belong to something you’ve dreamed about since you were a child is POSSIBLE. It doesn’t matter where you go to school, it doesn’t matter if you’re afraid, and it doesn’t matter what you look like. People are drawn to people who are genuine; and if you love animation, or production, or storyboarding or character design, and you work hard and try to really open yourself up artistically; you CAN do it. Take it from the 20 year old black guy who loves anime, video games and cartoons. You can do it. 


I don’t know how many people will see this or how helpful it actually is; but PLEASE PLEASE PLEASE feel free to share this info with your followers, and on top of that if you guys EVER have any questions about my experiences or need me to clarify anything for ANY reason you’re absolutely welcome to contact me! 

I know how many people would love to intern, and I know (from experience) how DREADFUL It is to find conducive information about how the process works and how YOU can get an internship. 

Hope you guys stuck with this post till the end, and like I said if you ever have any more questions, (hell, or if you even want to share YOUR art with me… I’m always open!) 

TL;DR:                  This Gif Sums it Up 

-Sean 

Can we all just agree that 2016 has been one of the most AMAZING years ever for Animated movies? So many brilliant, gorgeous and hilarious films. Congratulations to all my fellow animation workers, I feel so proud to be part of this industry! Here’s a little souvenir for the album :) <3

I know all I can do right now is talk about the Renora scene on the airship but can we please talk about the renora scene on the airship? But most importantly..REN’S EXPRESSIONS. 

When he first looks at her, he looks a little unsure but then his face gradually turns into a soft expression. 

It’s like Ren made the realization that he loves Nora (although, he probably realized that earlier when Nora pushed him under the building…or earlier than that but it’s now more apparent that the Grimm that killed his parents is dead and that’s A LOT off his shoulders and mind). 

AND THEN HE STARTS MOVING HIS HAND TO HOLD HER HAND AND UGH THIS SCREENCAP DOESN’T DO ENOUGH TO CAPTURE HIS GROWING SMILE. ONE MILLION BLESSINGS TO THE ANIMATION TEAM FOR SAYING SO MUCH WITH JUST THE TINIEST LITTLE MOVEMENTS OF HIS FACE.

NORA’S INITIAL REACTION IS SO PURE AND CUTE AND EVERYTHING I EVER NEEDED. (And Ren’s face is just…wow…have you ever seen him more serene with the world because I haven’t)

And then Ren puts his hand on-top of Nora’s and Nora holds up his hand and I can just see her examining it like “he really put his hand on my hand”. The way they readjust their hands just kills me in the best way. 

NORA’S EXPR/ESSION HERE IS EVEN PURER THAN THAT LAST ONE AND IT JUST SCREAMS “REALLY?”. Like, she’s looking at him to make sure what’s happening is really happening…that he might have the same feelings for her that she’s felt for him for so many years. 

AND HE JUST CONFIRMS EVERYTHING SHE’S THINKING (AND HE /KNOWS/ SHE’S THINKING) BY GIVING A LITTLE NOD/CLOSING HIS EYES. 

THAT LOOK RIGHT THERE I WILL TALK ABOUT THIS LOOK ALL DAMN DAY, WEEK, YEAR, AND CENTURY. THAT IS LOOK IS LOVE.

I thought this entire scene did an amazing job of developing their relationship and taking it beyond being close friends/crushes with just the smallest details in the animation. A kiss would have amazing and gladly accepted, but I thought their expressions and body language did soooo much more than what a kiss could have done here (besides, there’s plenty more time for kisses in the next volume ;)). 

Monologue assignment from 1st year of TAW with a grumpy Wirt (Over the Garden Wall) I just now tied down and colored. AND the monologue is Martin from my favourite BBC radio sitcom Cabin Pressure <3 

We had lovely Sarah Airriess - aka @tealin - as our teacher this time, and being a fangirl herself she had selected this as one of the clips we could choose… So of course I had to take it. 

(Also, I have rarely fangirled more than when she did an animation demo of Arthur from the show… *sigh*. It was amazing.)